text:
Latin
Portuguese
Costa
da Costa
philosopher
skeptic
rabbinic
Porto
New Christians
converted
Judaism
Catholicism
by state edict
tax-farmer
canon law
University of Coimbra
Bible
Inquisition
Conversos
Mosaic
Sephardic
diaspora
Amsterdam
Hamburg
rabbi
ritual
legalistic
Law of Moses
Jewish community in Venice
Hamburg community
"herem", or excommunication
Leon of Modena
heretic
Semuel da Silva
Hebrew Bible
immortality of the soul
Pharisaic
Jewish principles of faith
Rabbinic Judaism
ceremonies
spiritual
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burned publicly
kashrut
excommunicated
lashes
synagogue
intolerance
rationalistic
Moses
religion
natural law
Johannes Müller
Hamburg
Remonstrat
Philipp van Limborch
Menasseh ben Israel
Index of Prohibited Books
Pierre Bayle
Enlightenment
Herder
Voltaire
Reimarus
Seven Laws of Noah
Deists
heretic
martyr
Orthodox Jewish
Baruch Spinoza
biblical criticism
Marrano
Crypto-Jew
Iberia
Oral Law
Pharisee
Sadducees
Karaites
Pharisaic
soul
immortal
Latin
liberal
Revolutions of 1848
German
Karl Gutzkow
Yiddish
Yiddish theater
Sholem Aleichem
Wandering Stars
Osip Mikhailovich Lerner
Mariinski Theater
Odessa
Ukraine
Imperial Russia
Tsar
Alexander II
Abraham Goldfaden
operetta
Remesleni Club
Israel Rosenberg
Łódź
Poland
Jacob Adler
Hermann Jellinek
Adolf Jellinek
Israel Zangwill
Criticism of Judaism
Criticism of the Talmud
The Tragic Life of Uriel Da Costa
Adler, Jacob
Lecture on Uriel da Costa
Dr. Henry Abramson
Index
International committee Uriel da Costa
Who Was Uriel Da Costa?
Henry Abramson

categories: 17th-century Sephardi Jews,Suicides by firearm in the Netherlands,Jewish skeptics,16th-century Portuguese people,Portuguese Jews,Skeptics,Portuguese philosophers,17th-century Portuguese people,Converts to Judaism,People from Porto,Philosophers of religion,1580s births,Sephardi Jews,Spanish and Portuguese Jews,Critics of Judaism,Jewish philosophers,Philosophers who committed suicide,1640 deaths,Dutch Jews,16th-century Sephardi Jews,Yiddish plays,17th-century philosophers

paragraph: Uriel da Costa

paragraph: Uriel da Costa (; c. 1585 – April 1640), Uriel Acosta or d'Acosta (from the Latin form of his Portuguese surname, "Costa", or "da Costa") was a Jewish philosopher and skeptic who questioned the Catholic and rabbinic institutions of his time.

paragraph: Section::::Life.

paragraph: Many details about his life appear in his short autobiography, but over the past two centuries documents uncovered in Portugal, Amsterdam, Hamburg and more have changed and added much in the picture.

paragraph: Costa was born in Porto with the name Gabriel da Costa Fiuza. His ancestors were "Cristãos-novos", or New Christians, converted from Judaism to Catholicism by state edict at 1497. His father was a well-off international merchant and tax-farmer.

paragraph: Studying canon law in the University of Coimbra intermittently between 1600 and 1608, he began to read the Bible and contemplate it seriously. Costa also occupied an ecclesiastical office. In his autobiography Costa pictured his family as devout Catholics. However they have been subjects to several investigations by the Inquisition, suggesting they were Conversos, more or less close to Jewish customs. Gabriel explicitly supported the adherence to Mosaic prescriptions as well as traditional ones.

paragraph: After his father died, the family came in greater need of some debts they had not been paid. In 1614 they changed this predicament as they sneaked out of Portugal with a significant sum of money they previously collected as tax-farmers for . The family took Jewish names, and headed to two major Sephardic diaspora communities. Newly circumcised, two brothers settled in Amsterdam, and two with their mother in Hamburg. Gabriel was in the latter city, and became Uriel for the Jewish neighbors, and Adam Romez for outside relations, presumably because he was wanted in Portugal. All resumed their international trade business.

paragraph: Upon arriving there, Costa quickly became disenchanted with the kind of Judaism he saw in practice. He came to believe that the rabbinic leadership was too consumed by ritualism and legalistic posturing. His earliest known written message is known as "Objections against tradition". In eleven short theses he called into question the disparity between certain Jewish customs and a literal reading of the Law of Moses, and more generally tried to prove from reason and scripture that this system of law is sufficient. In 1616 the text was dispatched to the leaders of the prominent Jewish community in Venice. The Venetians ruled against it and prompted the Hamburg community to sanction Costa with a "herem", or excommunication. The "Objections" are extant only as quotes and paraphrases in "Magen ṿe-tsinah (מגן וצנה"; "Shield and Buckler"), a longer rebuttal by Leon of Modena, of the Venice community, who responded to religious queries about Costa sent by the Hamburg Jewish authorities.

paragraph: Costa's 1616 attempts resulted in official excommunication in Venice and Hamburg. It is not known what this meant in practice, Costa barely mentions it in his autobiography, and he would continue his international business. In 1623 he moved to Amsterdam for an unknown reason. The leaders of the Amsterdam Sephardic community were troubled by the arrival of a known heretic, staged a hearing and approved the excommunication set by the previous authorities.

paragraph: At about the same time (in Hamburg or Amsterdam) Costa was working on a second treatise. Three chapters of the unpublished manuscript were stolen, and formed the target for a traditionalist rebuttal quickly published by Semuel da Silva of Hamburg; so Costa enlarged his book and the printed version already contains responses and revisions to the crux of the tract.

paragraph: In 1623 Costa published the Portuguese book, titled "An Examination of the Traditions of the Pharisees". Costa's second work spans more than 200 pages. In the first part it develops his old "Objections", owing to Modena's responses and corrections. In the second part he adds his newer views that the Hebrew Bible, especially the Torah, does not support the idea of immortality of the soul. Costa believed that this was not an idea deeply rooted in biblical Judaism, but rather had been formulated primarily by later Pharisaic rabbis, and promoted to a Jewish principles of faith. The work further pointed out the discrepancies between biblical Judaism and Rabbinic Judaism; he declared the latter to be an accumulation of mechanical ceremonies and practices. In his view, it was thoroughly devoid of spiritual and philosophical concepts. Costa was relatively early in teaching to Jewish readership in favor of the mortality of the soul, and in appealing exclusively to direct reading of the bible. He cites neither rabbinic authorities nor philosophers of the Aristotelian and Neoplatonic traditions.

paragraph: The book became very controversial among the local Jewish community, whose leaders reported to the city authorities this was an attack on Christianity as well as on Judaism, and it was burned publicly. He was fined a significant sum. In 1627 Costa was a denizen of Utrecht. The Amsterdam community still had an uncomfortable relationship with him; they queried a Venetian rabbi, Yaakov Ha-Levi, whether his elderly mother is eligible for a burial lot in their city; the next year the mother died and Uriel went back to Amsterdam. Ultimately, the loneliness was too much for him to handle, Around 1633 he accepted the terms of reconciliation, which he does not detail in his autobiography, and was reaccepted into the community.

paragraph: Shortly after that Costa was tried again; he encountered two Christians who expressed to him their desire to convert to Judaism. In accordance with his views, he dissuaded them from doing so. Based on this and earlier accusations regarding kashrut"," he was excommunicated. As he describes it, for seven years he lived in virtual isolation, shunned by his family and embroiled in civil-financial disputes with them. In search for legal help, he decided to go back being "an ape amongst the apes"; he would follow the traditions and practices, but with little real conviction. He sought a way of reconciliation. As a punishment for his heretical views, Costa was publicly given 39 lashes at the Portuguese synagogue in Amsterdam. He was then forced to lie on the floor while the congregation trampled over him. This left him both demoralized and seeking revenge against the man (a cousin or nephew) who brought about his trial, seven years previously.

paragraph: The humiliating ceremony makes the final dramatic point of his autobiography. This document is a few pages long, and was transmitted to print in Latin some decades after his death, with the title "Exemplar Humanae Vitae". It tells the story of his life and intellectual development, his experience as a victim of intolerance. It also expresses rationalistic and skeptical views: It doubts whether biblical law was divinely sanctioned or whether it was simply written down by Moses. It suggests that all religion was a human invention, and specifically rejects formalized, ritualized religion. It sketches a religion to be based only on natural law, as god has no use for empty ceremony, nor for violence and strife.

paragraph: Two reports agree that Costa committed suicide in Amsterdam in 1640: Johannes Müller, a Protestant theologian of Hamburg gives the time as April, and Amsterdam Remonstrat preacher Philipp van Limborch adds that he set out to end the lives of both his brother (or nephew) and himself. Seeing his relative approach one day, he grabbed a pistol and pulled the trigger, but it misfired. Then he reached for another, turned it on himself, and fired, dying a reportedly terrible death.

paragraph: Section::::Influence.

paragraph: Ultimately there have been many ways to view Uriel da Costa. In his lifetime, his book "Examinations" inspired not only Silva's answer, but also Menasseh ben Israel's more lasting "De Resurrectione Mortuorum" (1636) directed against the "Sadducees", and a listing in the Index of Prohibited Books.

paragraph: After his death, his name became synonymous with the "Exemplar Humanae Vitae". Müller publicized Costa's excommunication, to make an anachronistic point that some Sephardic Jews of his days are Sadducees. Johann Helwig Willemer made the same point, and alluded this extreme heresy leads to suicide.Pierre Bayle reported the contents of the "Exemplar" quite fully, to demonstrate among other things that questioning religion without turning to revelation would bring one to miserable faithlessness.

paragraph: Late Enlightenment saw Costa's Rational Religion more tolerantly. Herder eulogized him as a crusader of authentic belief. Voltaire noted that he quit Judaism for Philosophy. Reimarus embraced Costa's appeal to have legal status based on the Seven Laws of Noah, when he made an analogous argument that Christian states should be at least as tolerant toward modern Deists as ancient Israelites had been.

paragraph: Internally to Judaism, he was seen by many as both a troublemaking heretic and martyr against the intolerance of the Orthodox Jewish establishment. He has also been seen as a precursor to Baruch Spinoza and of modern biblical criticism.

paragraph: Costa is also indicative of the difficulty that many "Marranos" faced upon their arrival in an organized Jewish community. As a Crypto-Jew in Iberia, he read the Bible and was impressed by it. Yet upon confronting an organized Rabbinic community, he was not equally impressed by the established ritual and religious doctrine of Rabbinical Judaism, such as the Oral Law. As da Costa himself pointed out, traditional Pharisee and Rabbinic doctrine had been contested in the past by the Sadducees and the Karaites.

paragraph: Section::::Writings.

paragraph: BULLET::::- ["Propositions against tradition"], ca. 1616. an untitled letter addressed at certain Rabbis, opposing their extra-biblical traditions.

paragraph: BULLET::::- "Exame das tradições farisaicas" (Portuguese for "Examination of Pharisaic traditions"), 1623. Here, Costa argues that the human soul is not immortal.

paragraph: BULLET::::- "Exemplar humanae vitae" (Latin for "Example of a human life"), 1640. Costa's life, questions the authorship of Torah, and expresses trust in Natural law.

paragraph: Section::::Works based upon Costa's life.

paragraph: BULLET::::- In 1846, in the midst of the liberal milieu that led to the Revolutions of 1848, the German writer Karl Gutzkow (1811–1878) wrote "Uriel Acosta", a play about Costa's life. This would later become the first classic play to be translated into Yiddish, and it was a longtime standard of Yiddish theater; Uriel Acosta is the signature role of the actor Rafalesco, the protagonist of Sholem Aleichem's "Wandering Stars". The first translation into Yiddish was by Osip Mikhailovich Lerner, who staged the play at the Mariinski Theater in Odessa, Ukraine (then part of Imperial Russia) in 1881, shortly after the assassination of Tsar Alexander II. Abraham Goldfaden rapidly followed with a rival production, an operetta, at Odessa's Remesleni Club. Israel Rosenberg promptly followed with his own translation for a production in Łódź (in modern-day Poland). Rosenberg's production starred Jacob Adler in the title role; the play would remain a signature piece in Adler's repertoire to the end of his stage career, the first of the several roles through which he developed the persona that he referred to as "the Grand Jew".

paragraph: BULLET::::- Hermann Jellinek (brother of Adolf Jellinek) wrote a book entitled "Uriel Acosta "(1848).

paragraph: BULLET::::- Israel Zangwill used the life of Uriel da Costa as one of several fictionalized biographies in his book "Dreamers of the Ghetto".

paragraph: BULLET::::- Agustina Bessa-Luís, Portuguese writer (1922- ) published in 1984 the novel " Um bicho da terra" based on Uriel's life.

paragraph: Section::::See also.

paragraph: BULLET::::- Criticism of Judaism

paragraph: BULLET::::- Criticism of the Talmud

paragraph: Section::::References.

paragraph: BULLET::::- Bertao, David. The Tragic Life of Uriel Da Costa

paragraph: BULLET::::- Adler, Jacob, "A Life on the Stage: A Memoir", translated and with commentary by Lulla Rosenfeld, Knopf, New York, 1999, . 200 "et. seq".

paragraph: BULLET::::- Lecture on Uriel da Costa by Dr. Henry Abramson

paragraph: BULLET::::- "Tradizione e illuminismo in Uriel da Costa. Fonti, temi, questioni dell"'Exame das tradiçoẽs phariseas, edited by O. Proietti e G. Licata, eum, Macerata 2016 Index

paragraph: Section::::External links.

paragraph: BULLET::::- International committee Uriel da Costa

paragraph: BULLET::::- Who Was Uriel Da Costa? by Dr. Henry Henry Abramson

description: Portuguese philosopher

enwikiquote_title: Uriel da Costa

wikidata_label: Uriel da Costa

wikipedia_title: Uriel da Costa


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categories: 20th-century classical composers,Musicians from London,1900 births,20th-century English musicians,English classical pianists,Male opera composers,1995 deaths,Alumni of the Royal Academy of Music,British male pianists,20th-century classical pianists,People from Dulwich,English opera composers,English communists,Academics of the Royal Academy of Music,People educated at Highgate School,English male classical composers,Fellows of the Royal Academy of Music,20th-century British composers,Pupils of Artur Schnabel

paragraph: Alan Bush

paragraph: Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.

paragraph: Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.

paragraph: In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

paragraph: Section::::Life and career.

paragraph: Section::::Life and career.:Family background and early life.

paragraph: Bush was born in Dulwich, South London, on 22 December 1900, the third and youngest son of Alfred Walter Bush and Alice Maud, née Brinsley. The Bushes were a prosperous middle-class family, their wealth deriving from the firm of industrial chemists founded by the composer's great-grandfather, W. J. Bush. As a child Alan's health was delicate, and he was initially educated at home. When he was eleven he began at Highgate School as a day pupil, and remained there until 1918. Both of his elder brothers served as officers in the First World War; one of them, Alfred junior, was killed on the Western Front in 1917. The end of the war in November 1918 meant that Alan narrowly avoided being called up for military service; meantime, having determined on a musical career, he had applied to and been accepted by the RAM, where he began his studies in the spring of 1918.

paragraph: Section::::Life and career.:Royal Academy and after.

paragraph: At the RAM, Bush studied composition under Frederick Corder and piano with Tobias Matthay. He made rapid progress, and won various scholarships and awards, including the Thalberg Scholarship, the Phillimore piano prize, and a Carnegie award for composition. He produced the first compositions of his formal canon: Three Pieces for Two Pianos, Op. 1, and Piano Sonata in B minor, Op. 2, and also made his first attempt to write opera – a scene from Bulwer Lytton's novel "The Last Days of Pompeii", with a libretto by his brother Brinsley. The work, with Bush at the piano, received a single private performance with family members and friends forming the cast. The manuscript was later destroyed by Bush.

paragraph: Among Bush's fellow students was Michael Head. The two became friends, as a result of which Bush met Head's 14-year-old sister Nancy. In 1931, ten years after their first meeting, Bush and Nancy would marry and begin a lifelong artistic partnership in which she became Bush's principal librettist, as well as providing the texts for many of his other vocal works.

paragraph: In 1922 Bush graduated from the RAM, but continued to study composition privately under John Ireland, with whom he formed an enduring friendship. In 1925 Bush was appointed to a teaching post at the RAM, as a professor of harmony and composition, under terms that gave him scope to continue with his studies and to travel. He began to study piano under Benno Moiseiwitsch, from whom he learned the Leschetizky method. In 1926 he made his first of numerous visits to Berlin, where with the violinist Florence Lockwood he gave two concerts of contemporary, mainly British, music which included his own "Phantasy" in C minor, Op. 3. The skill of the performers was admired by the critics more than the quality of the music. In 1928 Bush returned to Berlin, to perform with the Brosa Quartet at the Bechstein Hall, in a concert of his own music which included the premieres of the chamber work "Five Pieces", Op. 6 and the piano solo "Relinquishment", Op. 11. Critical opinion was broadly favourable, the "Berliner Zeitung am Mittag" correspondent noting "nothing extravagant but much of promise".

paragraph: Among the works composed by Bush during this period were the Quartet for piano, violin, viola and cello, Op. 5; Prelude and Fugue for piano, Op. 9; settings of poems by Walter de la Mare, Harold Monro and W. B. Yeats; and his first venture into orchestral music, the Symphonic Impressions of 1926–27, Op. 8. In early 1929 he completed one of his best-known early chamber works, the string quartet "Dialectic", Op. 15, which helped to establish Bush's reputation abroad when it was performed at a Prague festival in the 1930s.

paragraph: Section::::Life and career.:Music and politics.

paragraph: Bush had begun to develop an interest in politics during the war years. In 1924, rejecting his parents' conservatism, he joined the Independent Labour Party (ILP). The following year he joined the London Labour Choral Union (LLCU), a group of largely London-based choirs that had been organised by the socialist composer Rutland Boughton, with Labour Party support, to "develop the musical instincts of the people and to render service to the Labour movement". Bush was soon appointed as Boughton's assistant, and two years later, he succeeded Boughton as the LLCU's chief musical adviser, remaining in this post until the body disbanded in 1940. Through his LLCU work, Bush met Michael Tippett, five years his junior, who shared Bush's left-wing political perspective. In his memoirs Tippett records his first impressions of Bush: "I learned much from him. His music at the time seemed so adventurous and vigorous". Tippett's biographer Ian Kemp writes: "Apart from Sibelius, the contemporary composer who taught Tippett as much as anyone else was his own contemporary Alan Bush".

paragraph: After his 1928 concert tour in Berlin, Bush returned to the city to study piano under Artur Schnabel. He left the ILP in 1929, and joined the Labour Party proper, before taking extended leave from the RAM to begin a two-year course in philosophy and musicology at Berlin's Friedrich-Wilhelm University. Here, his tutors included Max Dessoir and Friedrich Blume. Bush's years in Berlin profoundly affected his political beliefs, and had direct influence on the subsequent character of his music. Michael Jones, writing in "British Music" after Bush's death, records Bush's concern at the rise of fascism and antisemitism in Germany. His association with like-minded musicians such as Hanns Eisler and Ernst Hermann Meyer, and writers such as Bertold Brecht, helped to develop his growing political awareness into a lifelong commitment to Marxism and communism. Bush's conversion to full-blown communism was not immediate, but in 1935 he finally abandoned Labour and joined the British Communist Party.

paragraph: Notwithstanding the uncompromising nature of his politics, Bush in his writings tended to express his views in restrained terms, "much more like a reforming patrician Whig than a proletarian revolutionary" according to Michael Oliver in a 1995 "Gramophone" article. Bush's Grove Music Online biographers also observe that in the politicisation of his music, his folk idioms have more in common with the English traditions of Ralph Vaughan Williams than with the continental radicalism of Kurt Weill.

paragraph: Section::::Life and career.:1930s: emergent composer.

paragraph: In March 1931 Bush and Nancy were married in London, before returning to Germany where Bush continued his studies. In April a BBC broadcast performance of his Dance Overture for Military Band, Op. 12a, received a mixed reception. Nancy Bush quotes two listeners' comments that appeared in the "Radio Times" on 8 May 1931. One thought that "such a medley of fearful discords could never be called music", while another opined that "[we] should not cry for more Mozart, Haydn or Beethoven if modern composers would all give us sheer beauty like this".

paragraph: At the end of summer 1931 the couple returned permanently to England, and settled in the village of Radlett, in Hertfordshire. In the following years three daughters were born. Bush resumed his RAM and LLCU duties, and in 1932 accepted a new appointment, as an examiner for the Associated Board of London's Royal Schools of Music, a post which involved extensive overseas travel. These new domestic and professional responsibilities limited Bush's composing activity, but he provided the music for the 1934 Pageant of Labour, organised for the London Trades Council and held at the Crystal Palace during October. Tippett, who co-conducted the event, later described it as a "high water mark" in Bush's drive to provide workers' choirs with settings for left-wing texts. In 1936 Bush was one of the founders of the Workers' Musical Association (WMA), and became its first chairman.

paragraph: In 1935 Bush began work on a piano concerto which, completed in 1937, included the unusual feature of a mixed chorus and baritone soloist in the finale, singing a radical text by Randall Swingler. Bush played the piano part when the work was premiered by the BBC Symphony Orchestra under Sir Adrian Boult on 4 March 1938. The largely left-wing audience responded to the work enthusiastically; Tippett observed that "to counter the radical tendencies of the finale ... Boult forced the applause to end by unexpectedly performing the National Anthem". A performance of the concerto a year later, at the 1939 "Festival of Music for the People", drew caustic comments from Neville Cardus in "The Manchester Guardian". Cardus saw little direction and no humour in the music: "Why don't these people laugh at themselves now and then? Just for fun."

paragraph: Bush provided much of the music, and also acted as general director, for the London Co-operative Societies' pageant "Towards Tomorrow", held at Wembley Stadium on 2 July 1938. In the autumn of that year he visited both the Soviet Union and the United States. Back home in early 1939 he was closely involved in founding and conducting the London String Orchestra, which operated successfully until 1941 and again in the immediate postwar years. He also began to write a major orchestral work, his Symphony No. 1 in C. Amid this busy life Bush was elected a Fellow of the Royal Academy of Music.

paragraph: Section::::Life and career.:Second World War.

paragraph: When war broke out in September 1939, Bush registered for military service under the National Service (Armed Forces) Act of 1939. He was not called up immediately, and continued his musical life, helping to form the WMA Singers to replace the now-defunct LLCU, and founding the William Morris Music Society. In April 1940 he conducted a Queen's Hall concert of music by Soviet composers which included the British premieres of Shostakovich's Fifth Symphony, and Khatchaturian's Piano Concerto. William Glock in "The Observer" was disdainful, dismissing the Khatachurian concerto as "sixth-rate", and criticising the inordinate length, as he saw it, of the symphony.

paragraph: Bush was among many musicians, artists and writers who in January 1941 signed up to the communist-led People's Convention, which promoted a six-point radical anti-war programme that included friendship with the Soviet Union and "a people's peace". The BBC advised him that because of his association with this movement, he and his music would no longer be broadcast. This action drew strong protests from, among others, E. M. Forster and Ralph Vaughan Williams. The ban was opposed by the prime minister, Winston Churchill, in the House of Commons, and proved short-lived; it was annulled following the German invasion of the Soviet Union in June 1941.

paragraph: In November 1941 Bush was conscripted into the army, and after initial training was assigned to the Royal Army Medical Corps. Based in London, he was given leave to perform in concerts, which enabled him to conduct the premiere of his First Symphony at a BBC Promenade Concert in the Royal Albert Hall on 24 July 1942. He also performed regularly with the London String Orchestra, and in 1944 was the piano soloist in the British premiere of Shostakovich's Piano Quintet. His wartime compositions were few; among them were the "Festal Day" Overture, Op. 23, written for Vaughan Williams's 70th birthday in 1942, and several songs and choruses including "Freedom on the March", written for a British-Soviet Unity Demonstration at the Albert Hall on 27 June 1943.

paragraph: Bush's relatively calm war was marred by the death, in 1944, of his seven-year-old daughter Alice in a road accident. As the war in Europe drew to its end, Bush was posted to the Far East despite being well over the normal age limit for overseas service. The matter was raised in Parliament by the Independent Labour member D. N. Pritt, who enquired whether political factors were behind the decision. The posting was withdrawn; and Bush remained in London until his discharge in December 1945.

paragraph: Section::::Life and career.:Post-war: struggle for recognition and performance.:Persona non grata.

paragraph: Bush's return to composing after the war led to what Richard Stoker, in the "Oxford Dictionary of National Biography", calls "his best period". However, Bush's attempts to secure a place in the concert repertoire were frustrated. A contributory factor may have been what the critic Dominic Daula calls Bush's "intriguingly unique compositional voice" that challenged critics and audiences alike. But the composer's refusal to modify his pro-Soviet stance following the onset of the Cold War alienated both the public and the music establishment, a factor which Bush acknowledged 20 years later: "People who were in a position to promote my works were afraid to do so. They were afraid of being labelled". Stoker comments that "in a less tolerant country he would certainly have been imprisoned, or worse. But he was merely ignored, both politically, and, which is a pity, as a composer". Nancy Bush writes that the BBC considered him "persona non grata", and imposed an almost complete though unofficial broadcast ban that lasted for some 15 years after the war.

paragraph: As well as resuming his teaching routines, Bush embarked on a busy schedule of travel, mainly in Eastern Europe with the WMA choir. While in Czechoslovakia in August 1947, he and the WMA performed his unaccompanied chorus "Lidice" at the site of the village of that name, which had been destroyed by the Nazis in 1942 in a reprisal for the assassination of Reinhard Heydrich.

paragraph: Among Bush's earliest postwar works was the "English Suite", performed by the revived London String Orchestra at the Wigmore Hall on 9 February 1946. The orchestra had suspended its operations in 1941; after the war, Bush's failure to secure funding for it led to its closure, despite considerable artistic success. Critics noted in the work a change of idiom, away from the European avant-garde character of much of his prewar music and towards a simpler popular style. This change was acknowledged by Bush as he responded to the 1948 decree issued by Stalin's director of cultural policy, Andrei Zhdanov, against formalism and dissonance in modern music – although the process of simplification had probably begun during the war years.

paragraph: In 1948 Bush accepted a commission from the Nottingham Co-operative Society to write a symphony as part of the city's quincentennial celebrations in 1949.  According to Foreman, "by any standards this is one of Bush's most approachable scores", yet since its Nottingham premiere on 27 June 1949 and its London debut on 11 December 1952 under Boult and the London Philharmonic, the work has been rarely heard in Britain. His Violin Concerto, Op. 32, received its premiere on 25 August 1949, with Max Rostal as soloist. In this work Bush explained that "the soloist represents the individual, the orchestra world society, and the work [represents] the individual's struggles and of his final absorption into society". "The Daily Telegraph"s critic observed that "it was the orchestra, i.e. society, that after a strenuous opening gave up the struggle".

paragraph: In 1947 Bush became chairman of the Composers' Guild of Great Britain for 1947–48. He also produced a full-length textbook, "Strict Counterpoint in the Palestrina Style" (Joseph Williams, London, 1948). On 15 December 1950 the WMA marked Bush's 50th birthday with a special concert of his music at the Conway Hall.

paragraph: Section::::Life and career.:Post-war: struggle for recognition and performance.:Opera ventures.

paragraph: Since his youthful "Last Days of Pompeii", Bush had not attempted to write opera, but he took up the genre in 1946 with a short operetta for children, "The Press Gang (or the Escap'd Apprentice)", for which Nancy supplied the libretto. This was performed by pupils at St Christopher School, Letchworth, on 7 March 1947. The following year he began a more ambitious venture, a full-length grand opera recounting the story of Wat Tyler, who led the Peasants' Revolt of 1381. "Wat Tyler", again to Nancy's libretto, was submitted in 1950 to the Arts Council's Festival of Britain opera competition, and was one of four prizewinners – Bush received £400. The opera was not taken up by any of the British opera houses, and was first staged at Leipzig Opera in 1953. It was well received, retained for the season and ran again in the following year; there was a further performance in Rostock in 1955. "Wat Tyler" did not receive its full British premiere until 19 June 1974, when it was produced at Sadler's Wells; as of 2017, this remains the only professional staging of a Bush opera in Britain.

paragraph: Bush's second opera, "Men of Blackmoor", composed in 1954–55 to Nancy's libretto, is a story of Northumbrian miners in the early 19th century; Bush went down a mine as part of his research. It received its premiere at the German National Theatre, Weimar on 18 November 1956. Like "Wat Tyler" in Leipzig, the opera was successful; after the Weimar season there were further East German productions in Jena (1957), Leipzig (1959) and Zwickau (1960). In Britain there were student performances at Oxford in 1960, and Bristol in 1974. In December 1960 David Drew in the "New Statesman" wrote: "The chief virtue of "Men of Blackmoor", and the reason why it particularly deserves a [professional] performance at this historical point, is its unfailing honesty ... it is never cheap, and at its best achieves a genuine dignity."

paragraph: For his third opera, Bush chose a contemporary theme – the struggle against colonial rule. He intended to collect appropriate musical material from British Guiana, but an attempt to visit the colony in 1957 was thwarted when its government refused him entry. The ban was rescinded the following year, and in 1959 Bush was able to gather and record a great deal of authentic music from the local African and Indian populations. The eventual result was "The Sugar Reapers", premiered at Leipzig on 11 December 1966. "The Times" correspondent, praising the performance, wrote: "One can only hope that London will soon see a production of its own". With Nancy, Bush wrote two more operettas for children: "The Spell Unbound" (1953) and "The Ferryman's Daughter" (1961). His final opera, written in 1965–67, was "Joe Hill", based on the life story of Joe Hill, an American union activist and songwriter who was controversially convicted of murder and executed in 1915. The opera, to a libretto by Barrie Stavis, was premiered at the German State Opera, Berlin, on 29 September 1970, and in 1979 was broadcast by the BBC.

paragraph: Section::::Life and career.:1953–1975.

paragraph: During his involvement with opera, Bush continued to compose in other genres. His 1953 cantata "Voice of the Prophets", Op. 41, was commissioned by the tenor Peter Pears and sung by Pears at its premiere on 22 May 1953. In 1959–60 he produced two major orchestral works: the "Dorian Passacaglia and Fugue", Op. 52, and the Third Symphony, Op. 53, known as the "Byron" since it depicts musically scenes from the life of the poet. The symphony, a commission from East German Radio, was first performed at Leipzig on 20 March 1962. Colin Mason, writing in "The Guardian", thought the work had a stronger socialist programme than the Nottingman symphony of 1949. The ending of the second movement, a long tune representing Byron's speech against the extension of the death penalty was, Mason wrote, "a splendid piece". The symphony was awarded that year's Händel Prize in the city of Halle.

paragraph: At the end of the 1960s Bush wrote, among other works, "Time Remembered", Op. 67, for chamber orchestra, and "Scherzo for Wind Orchestra and Percussion", Op. 68, based on an original Guyanese theme. In 1969 he produced the first of three song cycles, "The Freight of Harvest", Op. 69 – "Life's Span" and "Woman's Life" would follow in 1974 and 1977. In the 1970s, while maintaining his teaching commitment to the RAM, he continued to perform in the concert hall as conductor and pianist. Bush was slowly being recognised for his achievements, even by those who had long cold-shouldered him. In 1968 he was awarded a Doctor of Music degree by the University of London, and two years later received an honorary doctorate from the University of Durham. On 6 December 1970, just before Bush's 70th birthday, BBC Television broadcast a programme about his life and works, and on 16 February 1971 the RAM hosted a special (late) birthday concert, in which he and Pears performed songs from "Voices of the Prophets". Bush featured in a further television programme, broadcast on 25 October 1975, in a series entitled "Born in 1900".

paragraph: Section::::Life and career.:Final years.

paragraph: In old age, Bush continued to lead an active and productive life, punctuated by periodic commemorations of his life and works. In November 1975 his 50 years' professorship at the RAM was marked in a concert there, and in January 1976 the WMA gave a concert to honour his recent 75th birthday. In 1977 he produced his last major piano work, the "Twenty-four Preludes", Op. 84, of which he gave the first performance at the Wigmore Hall on 30 October 1977. A later reviewer described this piece as "music I'd like to have playing beside me as I sprawled on the grass beneath the trees with an ice-cream, watching a county cricket match on a golden afternoon".

paragraph: In 1978 Bush retired from the RAM after 52 years' service. His 80th birthday in December 1980 was celebrated at concerts in London, Birmingham and East Germany, and the BBC broadcast a special birthday musical tribute. In the same year he published "In My Eighth Decade and Other Essays", in which he stated his personal creed that "as a musician and as a man, Marxism is a guide to action", enabling him to express through music the "struggle to create a condition of social organisation in which science and art will be the possession of all". In 1982 Bush visited the Lascaux caves in south-western France, and was inspired by the prehistoric cave paintings to write his fourth and final symphony, Op. 94, subtitled the "Lascaux". This, his last major orchestral work, was premiered by the BBC Philharmonic Orchestra, under Edward Downes in Manchester, on 25 March 1986.

paragraph: In the late 1980s Bush was increasingly hampered by failing eyesight. His last formal compositions appeared in 1988: "Spring Woodland and Summer Garden" for solo piano, Op. 124, and "Summer Valley" for cello and piano, Op. 125, although he continued to compose privately and play the piano. Nancy's health meanwhile deteriorated, and she died on 12 October 1991. Bush lived on quietly at Radlett for another four years, able to recall the events of his youth but with no memory of the last fifty years and unaware of the collapse of the Soviet Union in 1991. He died in Watford General hospital on 31 October 1995, after a short illness, at the age of 94.

paragraph: Section::::Music.

paragraph: Section::::Music.:General character.

paragraph: Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".

paragraph: John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning", introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".

paragraph: Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make. However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'."

paragraph: Section::::Music.:To 1945.

paragraph: According to Duncan Hall's account of the music culture of the Labour Movement in the inter-war years, Bush's youthful music, composed before his Berlin sojourn, already demonstrated its essential character. His "Dialectic for String Quartet" (1929), Op. 15, created a strong impression when first heard in 1935, as "a musical discourse of driving intensity and virile incident". Christiansen highlights its "tightness and austerity" in contrast to the more fashionable lyricism then prevalent in English music.

paragraph: Bush's years in Berlin brought into his music the advanced Central European idioms that characterise his major orchestral compositions of the period: the Piano Concerto (1935–37), and the First Symphony (1939–40). Nancy Bush describes the Piano Concerto as Bush's first attempt to fuse his musical and political ideas. The symphony was even more overtly political, representing in its three movements greed (of the bourgeoisie), frustration (of the proletariat) and the final liberation of the latter, but not, according to Christiansen, "in an idiom calculated to appeal to the masses".

paragraph: Aside from these large-scale works, much of Bush's compositional activity in the 1930s was devoted to pageants, songs and choruses written for his choirs, work undertaken with the utmost seriousness. In his introduction to a 1938 socialist song book, Bush wrote that "socialists must sing what we mean and sing it like we mean it". Under Bush's influence the "music of the workers" moved from the high aesthetic represented by, for example, Arthur Bourchier's mid-1920s pamphlet "Art and Culture in Relation to Socialism", towards an expression with broader popular appeal.

paragraph: Section::::Music.:Postwar and beyond.

paragraph: Although Bush accepted Zhdanov's 1948 diktat without demur and acted accordingly, his postwar simplifications had begun earlier and would continue as part of a gradual process. Bush first outlined the basis of his new method of composition in an article, "The Crisis of Modern Music", which appeared in WMA's "Keynote" magazine in spring 1946. The method, in which every note has thematic significance, has drawn comparison by critics with Schoenberg's twelve-note system, although Bush rejected this equation.

paragraph: Many of Bush's best-known works were written in the immediate postwar years. Anthony Payne described the "Three Concert Studies for Piano Trio" (Op. 31) of 1947 as exceeding Britten in its inventiveness, "a high-water mark in Bush's mature art". The Violin Concerto (Op. 32, 1948) has been cited as "a work as beautiful and refined as any in the genre since Walton's". Foreman considers the concerto, which uses twelve-tone themes, to be the epitome of Bush's thematic theory of composition, although Bush's contemporary, Edmund Rubbra, thought it too intellectual for general audiences. The "Dorian Passacaglia and Fugue" for timpani, percussion and strings, (Op. 52, 1959), involves eight variations in the Dorian mode, followed by eight in other modes culminating in a final quadruple fugue in six parts. "Musical Opinion"s critic praised the composer's "wonderful control and splendid craftsmanship" in this piece, and predicted that it could become the most popular of all Bush's orchestral works.

paragraph: The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, "Wat Tyler", was written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany. When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in "The Guardian" thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of "Men of Blackmoor", Guyanese songs and dances in "The Sugar Reapers", and American folk music in "Joe Hill" – the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the early 1930s.

paragraph: The extent to which Bush's music changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish". In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.

paragraph: Section::::Music.:Assessment.

paragraph: In the 1920s it appeared that Bush might emerge as Britain's foremost pianist, after his studies under the leading teachers of the day, but he turned to composition as his principal musical activity. In Foreman's summary he is "a major figure who really straddles the century as almost no other composer does". He remained a pianist of consequence, with a strong and reliable, if heavy, touch.

paragraph: Joanna Bullivant, writing in "Music and Letters", maintains that in his music Bush subordinated all ideas of personal expression to the ideology of Marxism. The critic Hugo Cole thought that, as a composer, Bush came close to Paul Hindemith's ideal: "one for whom music is felt as a moral and social force, and only incidentally as a means of personal expression". The composer Wilfrid Mellers credits Bush with more than ideological correctness; while remaining faithful to his creed even when it was entirely out of fashion, he "attempt[ed] to re-establish an English tradition meaningful to his country's past, present and future". Hall describes Bush as "a key figure in the democratisation of art in Britain, achieving far more in this regard than his pedagogic, utopian patrons and peers, the labour romantics."

paragraph: The music critic Colin Mason described Bush's music thus:His range is wide, the quality of his music consistently excellent. He has the intellectual concentration of Tippett, the easy command and expansiveness of Walton, the nervous intensity of Rawsthorne, the serene leisureliness of Rubbra ... He is surpassed only in melody, as are the others, by Walton, but not even by him in harmonic richness, nor by Tippett in contrapuntal originality and the expressive power of rather austere musical thought, nor by Rawsthorne in concise, compelling utterance and telling invention, nor by Rubbra in handling large forms well.

paragraph: Section::::Legacy.

paragraph: Bush's long career as a teacher influenced generations of English composers and performers. Tippett was never a formal pupil, but has acknowledged a deep debt to Bush. Herbert Murrill, a pupil of Bush's at the RAM in the 1920s, wrote in 1950 of his tutor: "[T]here is humility in his makeup, and I believe that no man can achieve greatness in the arts without humility ... To Alan Bush I owe much, not least the artistic strength and right to differ from him". Among postwar Bush students who later led distinguished careers are the composers Edward Gregson, Roger Steptoe and Michael Nyman, and the pianists John Bingham and Graham Johnson. Through his sponsorship of the London String Quartet Bush helped launch the careers of string players such as Norbert Brainin and Emanuel Hurwitz, both of whom later achieved international recognition.

paragraph: Bush's music was under-represented in the concert repertoire in his lifetime, and virtually disappeared after his death. The 2000 centenary of his birth was markedly low key; the Prom season ignored him, although there was a memorial concert at the Wigmore Hall on 1 November, and a BBC broadcast of the Piano Concerto on 19 December. The centenary, albeit quietly observed, helped to introduce the name and music of Bush to a new generation of music lovers, and generated an increase in both performance and recordings. The centenary also heralded an awakening of scholarly interest in Bush, whose life and works were the subject of numerous PhD theses in the early 20th century. Scholars such as Paul Harper-Scott and Joanna Bullivant have obtained access to new material, including documents released since the collapse of the Soviet Union, and Bush's MI5 file. This, says Bullivant, enables a more informed assessment of the interrelationships within Bush's music and his communism, and of the inherent conflicting priorities.

paragraph: In October 1997 family members and friends founded The Alan Bush Music Trust "to promote the education and appreciation by the public in and of music and, in particular, the works of the British composer Alan Bush". The trust provides a newsletter, features news stories, promotes performances and recordings of Bush's works, and through its website reproduces wide-ranging critical and biographical material.

paragraph: It continues to monitor concert performances of Bush's works, and other Bush-related events, at home and abroad.

paragraph: At the time of Bush's centenary, Martin Anderson, writing in the British Music Information Centre's newsletter, summarised Bush's compositional career:

paragraph: Bush was not a natural melodist à la Dvorák, though he could produce an appealing tune when he set his mind to it. But he was a first-rate contrapuntist, and his harmonic world can glow with a rare internal warmth. It would be foolish to claim that everything he wrote was a masterpiece – and equally idiotic to turn our backs on the many outstanding scores still awaiting assiduous attention.

paragraph: Section::::Recordings.

paragraph: Before Bush's centenary year, 2000, the few available recordings of his music included none of the major works. In the 21st century much has been added, including recordings of Symphonies 1, 2 and 4, the Piano and Violin Concertos, many of the main vocal works and the complete organ works.

paragraph: Section::::External links.

paragraph: BULLET::::- Wat Tyler libretto A photostat typescript of the Nancy Bush's original libretto

paragraph: BULLET::::- Violin Concerto, Six short pieces & Dialectic – Claudio Records Review & Track Listing

paragraph: BULLET::::- Alan Bush manuscripts in the British Library

description: British composer, musician, and educator

wikidata_label: Alan Bush

wikipedia_title: Alan Bush


text: William Bourchier, 9th Baron FitzWarin

text: John Bourchier, 1st Earl of Bath

text: feudal baron of Bampton

text: William Bourchier, 9th Baron FitzWarin

text: Richard Hankford

text: Annery

text: John Dinham

text: Nutwell

text: John Dynham, 1st Baron Dynham

text: Elton, Huntingdonshire

text: impaling

text: Sir Thomas Brandon

text: Duddington

text: Northamptonshire

text: Bishop Fisher

text: Greyfriars, London

text: John Bourchier, 1st Earl of Bath

text: James Tuchet, 7th Baron Audley

text: Tower Hill

text: Cornish rebellion

text: Blackfriars, London

text: Elizabeth Bourchier

text: Anne Stanhope

text: Edward Seymour, 1st Duke of Somerset

text: Jane Seymour

text: Lord Protector of England

text: Bourchier knot

text: Bampton, Devon

text: Dugdale

text: thepeerage.com

categories: Bourchier family,1445 births,1479 deaths

paragraph: Fulk Bourchier, 10th Baron FitzWarin

paragraph: Fulk Bourchier, 10th Baron FitzWarin (25 October 1445 – 18 September 1479) was the son and heir of William Bourchier, 9th Baron FitzWarin (1407–1470) and the father of John Bourchier, 1st Earl of Bath. He was feudal baron of Bampton in Devon.

paragraph: Section::::Origins.

paragraph: Fulk Bourchier was the eldest son and heir of William Bourchier, 9th Baron FitzWarin (1407–1470) by his wife Thomasine Hankford, a daughter and coheiress of Sir Richard Hankford (c. 1397 – 1431) of Annery, Devon, feudal baron of Bampton.

paragraph: Section::::Marriage and issue.

paragraph: Fulk Bourchier married Elizabeth Dynham (died 19 October 1516), the daughter of Sir John Dinham (1406–1458) of Nutwell by his wife Joan Arches (died 1497), and sister and coheir of John Dynham, 1st Baron Dynham (died 1501). After the death of Fulk Bourchier, Elizabeth Dynham remarried twice, firstly to Sir John Sapcotes (died 1501) of Elton, Huntingdonshire; a stained glass heraldic escutcheon survives in Bampton church showing the arms of Sapcotes impaling Dinham. After the death of Sapcotes, Elizabeth Dynham remarried secondly to Sir Thomas Brandon (died 27 January 1510) of Duddington, Northamptonshire. There was no issue of Elizabeth Dynham's marriage to Thomas Brandon, and according to Gunn, after his death she took a vow of celibacy before Bishop Fisher on 21 April 1510. She died 19 October 1516, and was buried in the Greyfriars, London.

paragraph: By Elizabeth Dynham Fulk Bourchier had the following children:

paragraph: BULLET::::- John Bourchier, 1st Earl of Bath (20 July 1470 – 30 April 1539)

paragraph: BULLET::::- Joan Bourchier (died 3 March 1532), second wife of James Tuchet, 7th Baron Audley, who was beheaded 28 June 1497 on Tower Hill for his part in the Cornish rebellion, and buried at the Blackfriars, London.

paragraph: BULLET::::- Elizabeth Bourchier (before 1473 – 8 August 1557) who married, as his second wife, Sir Edward Stanhope (1462 – 6 June 1511), by whom she was the mother of Anne Stanhope (c. 1497 – 1587), the second wife of Edward Seymour, 1st Duke of Somerset (c. 1500 – 1552), brother of Queen Jane Seymour, uncle of King Edward VI and Lord Protector of England. The Duchess's monument and effigy survives in Westminster Abbey and displays profusely the Bourchier arms and Bourchier knots.

paragraph: Section::::Death and burial.

paragraph: Bourchier died 18 September 1479 at the age of thirty-three. In his will, dated 1 April 1475 and proved 10 November 1480, he requested burial in the chapel of the Blessed Virgin at Bampton, Devon, next to the tomb of his mother, the Lady Thomasine. He left the residue of his estate to his wife, Elizabeth Dynham, whom he made his sole executrix.

paragraph: Dugdale, quoting the will of Fulk Bourchier, shows that his father, William Bourchier, and his mother, Thomasine Hankford, are also buried at Bampton, as he bequeathed his body to be buried at Bampton near the grave of his mother, Lady Thomasine, and he willed that marble stones with inscriptions should be placed on his own grave and that of his father, Lord William, and his mother, Lady Thomasine.

paragraph: Section::::External links.

paragraph: BULLET::::- Will of Fulk Bourchier, proved 10 November 1480, National Archives Retrieved 5 April 2013

paragraph: BULLET::::- Will of Sir Thomas Brandon, proved 11 May 1510, National Archives Retrieved 5 April 2013

paragraph: BULLET::::- thepeerage.com Accessed December 8, 2007

description: English Baron

wikidata_label: Fulk Bourchier, 10th Baron FitzWarin

wikipedia_title: Fulk Bourchier, 10th Baron FitzWarin


text:
Rennes
Paris
dramatist
sailor
architect
actor
Académie française
Amaury Duval (1760–1838)
Domenico Della-Maria
Joseph

categories: 19th-century French dramatists and playwrights,French theatre managers and producers,1842 deaths,People from Rennes,Officiers of the Légion d'honneur,1767 births,Members of the Académie française,French librettists

paragraph: Alexandre-Vincent Pineux Duval

paragraph: Alexandre-Vincent Pineux Duval (Rennes 6 April 1767 – 1 September 1842 Paris) was a French dramatist, sailor, architect, actor, theatre manager. He was the eighth member elected to occupy seat 4 of the Académie française in 1812.

paragraph: Duval was brother to the diplomat Amaury Duval (1760–1838).

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Les Projets de mariage" (1790)

paragraph: BULLET::::- "Les Tuteurs vengés" (1794)

paragraph: BULLET::::- "La Manie d'être quelque chose" (1795)

paragraph: BULLET::::- "Le Défenseur officieux" (1795)

paragraph: BULLET::::- "La Jeunesse de Richelieu" (1796)

paragraph: BULLET::::- "Les Héritiers ou le Naufrage", comédie en 1 acte et en prose (représentée pour la première fois le 27 novembre 1796)

paragraph: BULLET::::- "Maison à vendre" (1800) ;

paragraph: BULLET::::- "Édouard en Écosse" (1801), en 3 actes et en prose

paragraph: BULLET::::- "Guillaume le Conquérant" (1803)

paragraph: BULLET::::- "Shakespeare amoureux" (1804)

paragraph: BULLET::::- "Le Menuisier de Livonie" (1805)

paragraph: BULLET::::- "Le Tyran domestique", en 5 actes et en vers (1805)

paragraph: BULLET::::- "La Jeunesse d'Henri V", en 3 actes (1806)

paragraph: BULLET::::- "Le Chevalier d'industrie" en 5 actes et en vers (1809)

paragraph: BULLET::::- "Le Retour d'un croisé", parodie des mélodrames alors en vogue (1810)

paragraph: BULLET::::- "La Manie des grandeurs", en 5 actes et en vers (1817)

paragraph: BULLET::::- "La manie des grandeurs" (1817)

paragraph: BULLET::::- "Le Faux Bonhomme" (1821)

paragraph: BULLET::::- "La Fille d'honneur", en 5 actes et en vers (1819)

paragraph: Section::::Libretti.

paragraph: BULLET::::- "Le Prisonnier", musique de Domenico Della-Maria, créé le 10 pluviôse an VI, Opéra-Comique (salle Favart) ;

paragraph: BULLET::::- "Le Vieux Château", musique de Domenico Della-Maria, créé le 25 ventôse an VI, théâtre Feydeau ;

paragraph: BULLET::::- "L'Oncle valet", musique de Domenico Della-Maria, créé le 18 frimaire an VII, Opéra-Comique (salle Favart) ;

paragraph: BULLET::::- "Le Trente et Quarante, ou le Portrait", musique d'Angelo Tarchi, créé le 17 floréal an VI, Opéra-Comique (salle Favart) ;

paragraph: BULLET::::- "La Maison du Marais ou Trois ans d'absence", musique de Domenico Della-Maria, créé le 17 brumaire an VIII, Opéra-Comique (salle Favart) ;

paragraph: BULLET::::- "Maison à vendre", musique de Nicolas Dalayrac, créé le 1er brumaire an IX, Opéra-Comique (salle Favart) ;

paragraph: BULLET::::- "Joseph", opéra biblique en trois actes, musique d'Étienne-Nicolas Méhul, créé le 17 février 1807, Opéra-Comique (théâtre Feydeau).

paragraph: He made a collection of his works in 9 volumes as well (1812–1825).

description: French writer

wikidata_label: Alexandre-Vincent Pineux Duval

wikipedia_title: Alexandre-Vincent Pineux Duval


text:
salon
neoclassicism
persona
great beauty
Prince Augustus of Prussia
Lyon
diminutive
Jacques-Rose Récamier
Brillat-Savarin
Prosper Mérimée
François-René de Chateaubriand
French Consulate
July Monarchy
salon
habitué
General Jean Bernadotte
General Jean Victor Moureau
Joséphine de Beauharnais
Germaine de Staël
Jacques-Louis David
his portrait
François Gérard
Benjamin Constant
First French Empire
Bourbon Restoration
Napoleon
Rome
Naples
Joachim Murat
Caroline Bonaparte
Bourbons
Congress of Vienna
Hundred Days
Coppet
Prince Augustus of Prussia
Abbaye-aux-Bois
Guillaume Gavarni
Mathieu de Montmorency
Lucien Bonaparte
Pierre-Simon Ballanche
Jean-Jacques Ampère
baron de Barante
cholera
Cimetière de Montmartre
Montmartre
type of sofa or chaise longue
Madame Récamier
Fern Andra
Madame Récamier
Jean Anthelme Brillat-Savarin
Amélie Lenormant
Amélie Lenormant
Mary Elizabeth Mohl
François Guizot
Revue des deux mondes
Édouard Herriot
"Madame Récamier et ses amis"

categories: French salon-holders,1777 births,People from Lyon,1849 deaths,Burials at Montmartre Cemetery,Deaths from cholera,Coppet group,Women letter writers,French letter writers

paragraph: Juliette Récamier

paragraph: Jeanne Françoise Jullie Adélaïde Récamier (; 3 December 1777 – 11 May 1849), known as Juliette (), was a French socialite, whose salon drew Parisians from the leading literary and political circles of the early 19th century. As an icon of neoclassicism, Récamier cultivated a public persona of herself as a great beauty and her fame quickly spread across Europe. She befriended many intellectuals, sat for the finest artists of the age, and spurned an offer of marriage from Prince Augustus of Prussia.

paragraph: Section::::Family and education.

paragraph: A native of Lyon, she was the only child of Jean Bernard, the King's counsellor and a notary, and his wife, the former Julie Matton. Her father became, in 1784, the receiver of finance. She was educated at the Couvent de la Déserte in Lyon briefly, after which her family moved to Paris. The name "Juliette" came about as a diminutive of "Jullie". Beautiful, accomplished, and with a love of literature, Récamier was described as shy and modest by nature.

paragraph: Section::::Early marriage.

paragraph: At the age of fifteen, she was married on 24 April 1793 to Jacques-Rose Récamier (1751–1830), a banker nearly thirty years her senior and a relative of the gourmet Brillat-Savarin. In relaying the news to a friend of his impending marriage to Juliette, Jacques wrote:

paragraph: A rumour arose that her husband was, in fact, her natural father who married her to make her his heir. Their marriage occurred at the height of the revolutionary terror and, if he was guillotined, she would inherit his money. Although many biographers have given credence to this theory, it is unproven, and discounted by several historians. Curiously, however, Jacques once wrote to a friend that his relations with Madame Bernard may have been more than platonic:

paragraph: The marriage was never consummated, and Récamier remained a virgin until at least the age of forty. A rumour was initiated by writer Prosper Mérimée that she suffered from a physical condition which made the act of sexual intercourse painful. This, however, did not inhibit her charm, as many individuals including François-René de Chateaubriand were said to have had intense emotional relationships with her. Chateaubriand was a constant visitor of her salon and, in a manner, master of the house.

paragraph: Section::::European celebrity.

paragraph: From the earliest days of the French Consulate to almost the end of the July Monarchy, Récamier's salon in Paris was one of the chief resorts of literary and political society that followed what was fashionable. The habitués of her house included many former royalists, with others, such as General Jean Bernadotte and General Jean Victor Moureau, more or less disaffected to the government. This circumstance, together with her refusal to act as lady-in-waiting to Empress consort Joséphine de Beauharnais and her friendship for Germaine de Staël, brought her under suspicion. In 1800 Jacques-Louis David began his portrait of her, but left it unfinished on learning François Gérard had been commissioned to paint a portrait before he had.

paragraph: It was through Germaine de Staël that Récamier became acquainted with Benjamin Constant, a Swiss-French political activist and writer, whose political equivocations during the last days of the First French Empire and the first of the Bourbon Restoration have been attributed to her persuasions. She was eventually exiled from Paris by the orders of Napoleon. After a short stay at her native Lyon, she proceeded to Rome, and finally to Naples. There she was on exceedingly good terms with Joachim Murat and his wife Caroline Bonaparte, who were then intriguing with the Bourbons. She persuaded Constant to plead the claims of Murat in a memorandum addressed to the Congress of Vienna, and also induced him to take up a decided attitude in opposition to Napoleon's return during the Hundred Days.

paragraph: Section::::Later years.

paragraph: Récamier's husband had sustained heavy financial losses in 1805, and she visited Germaine de Staël at Coppet in Switzerland. There was a project for her divorce, in order that she might marry Prince Augustus of Prussia, but, though her husband was willing, it was not arranged. In her later days she lost most of what was left of her fortune; but she continued to receive visitors in her apartment at Abbaye-aux-Bois, a 17th-century convent (demolished in 1907) situated at 16 rue de Sèvres in Paris, to which she retired in 1819.

paragraph: Despite old age, ill-health, partial blindness, and reduced circumstances, Récamier never lost her attractiveness, though at least one man who met her, artist Guillaume Gavarni, opined that she "stank of the lower middle class." And although she numbered among her admirers the Mathieu de Montmorency, Lucien Bonaparte, Prince Augustus of Prussia (whose proposal was accepted but the marriage never occurred), Pierre-Simon Ballanche, Jean-Jacques Ampère, and Benjamin Constant, none of them obtained over her so great an influence as did Chateaubriand, though she suffered much from his imperious temper. If she had any genuine affection, it seems to have been for the baron de Barante, whom she met at Coppet.

paragraph: In 1849, Récamier died in Paris of cholera at the age of 71 and was buried in the Cimetière de Montmartre in Montmartre, at the time a village north of Paris.

paragraph: Section::::Cultural legacy.

paragraph: A type of sofa or chaise longue on which she liked to recline, the "récamier", was named after her.

paragraph: She was the subject of two silent films. A 1920 German film "Madame Récamier" starring Fern Andra and a 1928 French film "Madame Récamier".

paragraph: Section::::See also.

paragraph: BULLET::::- Jean Anthelme Brillat-Savarin

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Amélie Lenormant, "Souvenirs et correspondances tirés des papiers de Madame Récamier" (1859)

paragraph: BULLET::::- Amélie Lenormant, "Madame Récamier, les amis de sa jeunesse et sa correspondance intime" (1872)

paragraph: BULLET::::- Mary Elizabeth Mohl, "Madame Récamier", with a sketch of the history of society in France (1821 and 1862)

paragraph: BULLET::::- François Guizot in the "Revue des deux mondes" (December 1859 and February 1873)

paragraph: BULLET::::- H. Noel Williams, "Madame Récamier, and her Friends" (London, 1901)

paragraph: BULLET::::- Édouard Herriot (Engl. trans., by Alys Hallard), "Madame Récamier et ses amis" (1904)

alias: Jeanne Françoise Julie Adélaīde Bernard Récamier

description: French salon-holder

wikidata_label: Juliette Récamier

wikipedia_title: Juliette Récamier


text:
professional golfer
1907 Open Championship
Biarritz
Pyrénées-Atlantiques
sheep farmer
sardine
North Berwick
French Open
Harry Vardon
The Open Championship
Belgian Open
Spanish Open
France–United States Professional Match
Bobby Jones
World War I
Verdun
Étretat
Seine-Maritime
Upper Normandy
men's major championships
Seve Ballesteros
Newington Cemetery
Edinburgh
R&A
French Open
Grand Duke Michael's Tournament
The Open Championship
French Open
Belgian Open
French Open
Spanish Open
Inter-Allied Games
Tooting Bec Cup
French Open
Spanish Open
Spanish Open
The Open Championship
1911
France–United States Professional Match
Inter-Allied Games
Arnaud Massy
Wikinfo
GNU Free Documentation License

categories: Sportspeople from Biarritz,1877 births,Winners of men's major golf championships,French male golfers

paragraph: Arnaud Massy

paragraph: Arnaud George Watson Massy (; 6 July 1877 – 16 April 1950) was one of France's most successful professional golfers, most notable for winning the 1907 Open Championship.

paragraph: Section::::Early life.

paragraph: Massy was born in Biarritz, Pyrénées-Atlantiques, France. The son of a sheep farmer, he worked on a sardine boat and supplemented his income by caddying at the new Biarritz golf course where a great many of the best professional golfers from Britain came to practice during the off-season in the warm climate of southern France. Blessed with natural abilities, he learned from these pro golfers and in 1898 traveled to North Berwick, Scotland to develop his skills for a professional career.

paragraph: Section::::Golf career.

paragraph: In 1906, Massy won the first edition of the French Open played at a Paris course. The following year he won it again, defeating a strong contingent of British players including the great Harry Vardon. But Massy wasn't through, he followed up his French national championship by becoming the first non-Briton to win The Open Championship (British Open). His victory raised the profile of the game in his native France, and with three other major players, he put on exhibition matches in various European cities that contributed significantly to the increased popularity of golf on the continent.

paragraph: In 1910, Massy won the inaugural Belgian Open and in 1911 was the runner-up at the Open Championship to Harry Vardon. That year, Massy completed his book on golfing that was successfully published in France then translated into English for the British market. In 1912, he won the first Spanish Open ever played.

paragraph: In 1913 he played in the France–United States Professional Match. In 1926 he won an exhibition match against Bobby Jones in France.

paragraph: Massy's golfing career had to be put on hold as a result of World War I. While serving in the French army he was wounded at Verdun but at war's end was able to return to golfing. At age 41, he had lost four prime years and struggled to compete. Remarkably, in 1925 at age 48, he won the French Open for the fourth time and then won back-to-back Spanish Opens in 1927–28. When his career finally wound down he worked as a pro at courses in England, France and Morocco. Married to a British woman, Janet Henderson, originally from North Berwick, East Lothian, he lived in Edinburgh, Scotland, during the 1920s and early 1930s.

paragraph: Section::::Death and legacy.

paragraph: Massy retired in Étretat, Seine-Maritime in Upper Normandy where he died in 1950 in poverty. He remains the only French golfer to ever have won any of the four men's major championships. He was also the only golfer from continental Europe to win a men's major championship before Seve Ballesteros won The Open Championship in 1979.

paragraph: He is buried in Newington Cemetery in Edinburgh, where a new headstone was recently erected by the European Golf Association, Golf Collectors and the R&A. However shortly after the ceremony it was discovered that the actual burial site was located nearby in the cemetery. Despite this discrepancy, the headstone remains in its incorrect location. There is a plaque commemorating him fixed on the wall of the house he originally lived in North Berwick, East Lothian, in Forth Street there.

paragraph: Section::::Tournament wins.

paragraph: "Note: This list may be incomplete."

paragraph: BULLET::::- 1906 French Open

paragraph: BULLET::::- 1907 Grand Duke Michael's Tournament, The Open Championship, French Open

paragraph: BULLET::::- 1908 Blackpool Tournament (England), Turnberry Open (Scotland), Pitlochry Open (Scotland)

paragraph: BULLET::::- 1910 Belgian Open

paragraph: BULLET::::- 1911 French Open

paragraph: BULLET::::- 1912 Spanish Open

paragraph: BULLET::::- 1919 Inter-Allied Games

paragraph: BULLET::::- 1921 Tooting Bec Cup

paragraph: BULLET::::- 1925 French Open, Omnium National (France)

paragraph: BULLET::::- 1926 Omnium National (France)

paragraph: BULLET::::- 1927 Spanish Open

paragraph: BULLET::::- 1928 Spanish Open

paragraph: Section::::Major championships.

paragraph: Section::::Major championships.:Results timeline.

paragraph: "Note: Massy only played in The Open Championship"br

paragraph: WD = Withdrewbr

paragraph: NT = No tournamentbr

paragraph: CUT = missed the half-way cutbr

paragraph: "T" indicates a tie for a place

paragraph: Section::::Team appearances.

paragraph: BULLET::::- Coronation Match (representing the Professionals): 1911 (winners)

paragraph: BULLET::::- France–United States Professional Match (representing France): 1913 (winners)

paragraph: BULLET::::- Inter-Allied Games (representing France): 1919 (winners)

paragraph: BULLET::::- France–Great Britain Professional Match (representing France): 1929

paragraph: Section::::References.

paragraph: "Adapted from the article Arnaud Massy, from Wikinfo, licensed under the GNU Free Documentation License."

description: professional golfer

wikidata_label: Arnaud Massy

wikipedia_title: Arnaud Massy


text:
Artigas
Uruguayan Department
University of the Republic (Uruguay)

categories: Uruguayan botanists,Uruguayan chemists,People from Artigas Department,Agrostologists,1917 births,2011 deaths

paragraph: Blanca Renée Arrillaga

paragraph: Blanca Renée Arrillaga Oronoz de Maffei (Artigas, 1917 - 2011) was a Uruguayan chemist, botanist, professor and agrostologist. Originally from the Uruguayan Department of Artigas, she began her studies there then moved to Montevideo where she earned a degree in Pharmaceutical Chemistry from the Faculty of Chemistry at the University of the Republic (Uruguay). Her most important publications include 'Nuevas especies y notas taxonómicas en Uruguay y Paraguay' (1968) in collaboration; Plantas Medicinales (1969) and Gramíneas Uruguayas (1970) with B. Rosengurtt and P. Izaguirre de Artucio.

description: Uruguayan scientist

wikidata_label: Blanca Renée Arrillaga

wikipedia_title: Blanca Renée Arrillaga


text: Fremantle

text: Newport

text: blues

text: gospel

text: Aretha Franklin

text: Nina Simone

text: Pretenders

text: Joan Armatrading

text: country

text: Jerry Lee Lewis

text: Johnny Cash

text: Dolly Parton

text: Ray Charles

text: Elvis Presley

text: crooner

text: Stevie Wonder

text: Dr John

text: The Cure

text: The Police

text: Prince

text: Michael Jackson

text: John Butler

text: Nicky Bomba

text: Michael Caruana

text: John Butler Trio

text: Aerosmith song

text: EP

text: iTunes

text: Wurlitzer

text: MGM

text: Gurrumul

text: The Cat Empire

text: AIR

text: Jan Skubiszewski

text: ARIA Award

text: Best Blues & Roots Album

text: Offcutts

text: Mama Kin Spender

text: ARIA Award

text: Fremantle Arts Centre

text: introduced

text: Kevin Rudd

text: workshop

text: Broome

text: Transcendental Meditation

text: The Seed Fund website

text: Family background

categories: People from Melbourne,Musicians from Western Australia,People from Fremantle,Australian singer-songwriters,Transcendental Meditation practitioners,Living people

paragraph: Mama Kin (musician)

paragraph: Danielle Caruana, known professionally as Mama Kin, is an Australian singer-songwriter. She has released two albums, "Beat and Holler" and "The Magician's Daughter". She lives with her family in Fremantle.

paragraph: Section::::Early life.

paragraph: Caruana grew up in the Melbourne suburb of Newport, the youngest, by some years, of six siblings by parents of Maltese extraction. The family was musical and she studied classical piano from the age of five to 16. Every child in the family was expected to play an instrument and to play in the family band in church and for members of the Maltese community who visited their house. Her strongest musical influence was her sister Carmen, 14 years older, with whom she sang and who taught her to harmonise, and who introduced her to lasting musical influences: blues and gospel, Aretha Franklin, Nina Simone, the Pretenders and Joan Armatrading. Other family influences were country, Jerry Lee Lewis, Johnny Cash, Dolly Parton, Ray Charles, Elvis Presley, the crooners, Stevie Wonder, Dr John, The Cure, The Police, Prince and Michael Jackson. Caruana says, "I loved all of it, because my brothers and sisters were into it. I couldn't imagine a life without music", but also that the musicality of her family inhibited her own career: "I was completely petrified. After having grown up under two really incredibly, incredibly diverse musical brothers and a really musical family, I think I just made a decision really early on that I wasn't good enough, that I wasn't as good as them."

paragraph: Section::::Career.

paragraph: Caruana first started writing songs in 2006. Prior to her solo career, she provided vocals on albums by her husband, John Butler. The Mama Kin band came about through playing with her brothers Nicky Bomba and Michael Caruana. The name Mama Kin was given her by Bomba, a former member of the John Butler Trio. Caruana says, "we were toying with the idea of doing a creative project together called Kin. A couple of days into the process I found out I was pregnant with my second child and he called me the Mama Kin." When it stuck as her band name she had not heard of the Aerosmith song. Caruana, her brother Michael on keyboards and drummer George Servanis are the principal members of the Mama Kin ensemble.

paragraph: Her first released recording was an EP, "Papoose", followed by a single, "Tore My Heart Out", released in early 2010 and named iTunes Single of the Week. Her debut album, "Beat and Holler", written almost entirely on an old Wurlitzer organ and recorded at The Compound, Fremantle, was distributed by MGM in July 2010. Prior to its release Mama Kin had become a popular act at Australian music festivals supporting notably Butler, Gurrumul and The Cat Empire, and the band launched a first headline national tour in October 2010 to promote "Beat and Holler". Of the album Caruana has said, "In almost every song, although it might sound like I'm talking about a partner, I'm generally talking about a part of myself." "Beat and Holler" was nominated for an AIR Award for Best Blues and Roots Album 2010.

paragraph: Caruana's second album, "The Magician's Daughter", was released in early 2013. It is named after her mother, an actual magician's daughter. Caruana's grandfather worked as a professional magician in post-World War II Malta, and her mother, Iris, was one of his assistants. The album was written mostly from home and recorded at The Compound. It was produced by Jan Skubiszewski. "The Magician's Daughter" was nominated for a 2013 ARIA Award for Best Blues & Roots Album.

paragraph: Caruna joined with Tommy Spender from Offcutts to form Mama Kin Spender. They released their debut album "Golden Magnetic" in 2018 and it was nominated for the 2018 ARIA Award for Best Hard Rock/Heavy Metal Album.

paragraph: Section::::Philanthropy.

paragraph: Caruana contributes to philanthropic activities in the fields of indigenous and environmental rights.

paragraph: In February 2011 John Butler and Caruana performed as Brave and the Bird at the annual Gimme Shelter fundraising event for the homeless at the Fremantle Arts Centre, their set introduced by Kevin Rudd.

paragraph: The Seed Fund, originally the JB Seed Fund, was set up in 2005 by Butler, Caruana and others with an initial donation of A$80,000, to help artists and musicians become self-sustained. Its flagship project is the Management Workshop, in which 25 emerging managers have three days of workshops with experienced industry managers of internationally known Australian bands. Caruana says the main motivation behind creating the organisation is to create community within the music industry.

paragraph: Section::::Personal life.

paragraph: Caruana met John Butler in Fremantle, Western Australia and they were married in Broome in 1999. Their home is in Fremantle. They have a daughter, Banjo, and a son, Jahli. Both children play music and Caruana credits having them, along with the Seed Fund, with starting her musical career. Of her musical relationship with her husband, she has said, "I love and respect his opinion, but we definitely have different tastes in music." Prior to beginning her solo musical career Caruana suffered from depression, an experience that has informed her songwriting and which she ascribes to her suppression of her musicality. She reports that one of her biggest discoveries was Transcendental Meditation and that, "When I first started this practice I remember thinking 'Oh, this is what sanity must feel like.'"

paragraph: The John Butler Trio song "Daniella" is about Caruana.

paragraph: Section::::External links.

paragraph: BULLET::::- The Seed Fund website

paragraph: BULLET::::- Family background

paragraph: BULLET::::- Video interview on "The Magician's Daughter"

description: Australian singer

wikidata_label: Mama Kin

wikipedia_title: Mama Kin (musician)


text: baritone

text: Moscow Conservatory

text: Camille Everardi

text: Yelizaveta Lavrovskaya

text: Zimin Opera

text: The Duel

text: Kuprin

text: The Death of Ivan the Terrible

text: Yakov Protazanov

categories: 19th-century Russian opera singers,People from Ryazan,1870 births,Russian opera singers,Russian operatic baritones,Russian music educators,1930s deaths,Moscow Conservatory alumni

paragraph: Nikolai Vekov

paragraph: Nikolai Dmitryevich Vekov (; November 26, 1870 — 1930s) was a Russian opera and operetta artist (baritone) and director. He was one of the most popular artists of his time.

paragraph: Section::::Biography.

paragraph: From the family priest. In 1892 he graduated from the Orenburg Teacher's Institute. In 1894-1897 he sang in the Moscow Synodal Choir. In 1895-1901, he studied singing at the Moscow Conservatory (teachers Camille Everardi and Yelizaveta Lavrovskaya). Since 1900, he performed in the troupe of the Association of Moscow Private Russian Opera. In 1901, after graduating from the Moscow Conservatory with a small silver medal, he first continued to work there, until 1904, simultaneously with 1903 speaking in concerts of the Mug of Russian music lovers with the performance of romances, and then (1904-1911) he entered the Zimin Opera. Worked on provincial scenes. He was a director at the Sofia Folk Opera, later taught.

paragraph: Centuries worked in the movies. Among his roles — "The Duel" in story of Kuprin, Miroslav in "Martha-Posadnitsa" and boyar Nagoy in "The Death of Ivan the Terrible", where he debuted Yakov Protazanov.

paragraph: Section::::External links.

paragraph: BULLET::::- Коллекция открыток с изображением Векова в различных ролях

wikidata_label: Nikolai Vekov

wikipedia_title: Nikolai Vekov


text:
noise rock
Lubricated Goat
Kryptonics
X
Ian Rilen
Rose Tattoo
Wheels and Doll Baby
Cardiac Arrest
Kryptonics
Stu Spasm
Beasts of Bourbon
James Baker Experience
Lubricated Goat
Plays the Devil's Music
Guy Maddison
Paddock of Love
Blah Blah Blah
Roddy Radalj
Le Hoodoo Gurus
Dubrovniks

categories: Noise rock musicians,20th-century Australian musicians,20th-century drummers,1959 births,Australian songwriters,Lubricated Goat members,Male drummers,2007 deaths,Australian rock drummers

paragraph: Brett Ford

paragraph: Brett Taylor Ford (30 December 195921 July 2007) was an Australian rock music drummer and songwriter. He was a founder of noise rockers, Lubricated Goat (1986–89) in Perth. During the 1980s Ford played in other rock bands, including the Kryptonics (1986–87) and X (with Ian Rilen of Rose Tattoo). In 1987 Ford and his then-wife, Melanie Greensmith, established a rock couture fashion label, Wheels and Doll Baby.

paragraph: According to Ford's family he died on 21 July 2007, aged 47, of Cardiac Arrest

paragraph: Section::::Biography.

paragraph: Brett Ford was born in 1959 and was raised in Melbourne. He was a member of different groups, Exhibit A, Rockafellas and Kansas City Killers. Ford was in Perth when he joined the Kryptonics on drums in mid-1986 alongside Peter Hartley on guitar (ex-Rockafellas, X-Offenders, Lavender Disaster), Ian Underwood on guitar and vocals and Cathy Webb on bass guitar. That line-up released the group's second single, "Land That Time Forgot" (January 1987), and third single, "Cyclops", before breaking up in mid-1987.

paragraph: In September 1986 his former band mate from Exhibit A, Stu Spasm (also ex-Zulu Rattle, Salamander Jim, Beasts of Bourbon, James Baker Experience, Death in Vegas, Hot Property), invited Ford and Hartley to record material as Lubricated Goat, while they were still members of Kryptonics. Their five tracks were included with four more that Spasm had recorded with Martin Bland in Adelaide, as the noise rock group's first album, "Plays the Devil's Music" (July 1987). Ford co-wrote the tracks, "Guttersnipe" and "Nerve Quake", with Hartley and Spasm.

paragraph: Guy Maddison (ex-Greenhouse Effect) joined on bass guitar and the group released their second album, "Paddock of Love" (July 1988). Besides drums Ford provided harmonica, backing vocals and song writing. One of the tracks, "In the Raw", co-written by Ford and Spasm, was performed in November 1988 on Australian Broadcasting Corporation's TV series, "Blah Blah Blah". The members appeared in the nude while lip-syncing to the track as the episode dealt with censorship.

paragraph: Ford formed the Punjabbers in Sydney in 1988 with Roddy Radalj on guitar and vocals (ex-Exterminators, the Scientists, Rockets, Le Hoodoo Gurus, Johnnys, Love Rodeo, James Baker Experience, Dubrovniks), Tony Robertson on bass guitar (ex-Hitmen, New Christs, Naked Lunch) and Tony Thewlis on guitar (ex-Scientists). They issued a single, "Rock 'n' Roll Love Letter", on Timberyard Records in December. Radalj left and the group broke up.

paragraph: In 1990 Ford joined Rattlesnake Shake, a garage rock group. The line-up included Steve Beves on guitar (ex-Melting Skyscrapers, Naked Lunch), Tony Gibson on guitar (ex-ME 262, Decline of the Reptiles), Andy Newman on bass guitar (ex-Trans 262, Howling Commandos) and Peter Patterson on vocals (ex-Melting Skyscrapers, Naked Lunch). They issued a self-titled EP in August on Rattlesnake Records, in March 1991 they changed their name to Dark Carnival and then to Thrill Killers a month later. Ford left soon after.

paragraph: Section::::References.

paragraph: Section::::References.:General.

paragraph: BULLET::::- Note: Archived [on-line] copy has limited functionality.

description: Australian musician

wikidata_label: Brett Ford

wikipedia_title: Brett Ford