NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)
Identifieur interne : 001074 ( Istex/Corpus ); précédent : 001073; suivant : 001075NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)
Auteurs : David DrewSource :
- Tempo [ 0040-2982 ] ; 2010-04.
Abstract
This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. Jahrhunderts edited by Susanne Schaal-Gotthardt, Luitgard Schader and Heinz-Jürgen Winkler, published as Band XII of Frankfurter Studien, a publication of the Hindemith-Institut (Frankfurt am Main: Schott ED 20571, 2009). David Drew had discussed with the present editor a projected followup article for Tempo, to deal specifically with Walter Leigh's music for A Midsummer Night's Dream and the ideological and critical misunderstandings which he felt were beginning to envelop it as a result of its citation in Fred K. Prieberg's Musik im NS-Staat. This was presumably one of the ‘several research-projects’ ongoing to which he alludes in footnote 37. Sadly, little if any of that projected article was written down. But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. KG, Mainz, to Sally Groves in particular, and the estate of David Drew.
Url:
DOI: 10.1017/S0040298210000185
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ISTEX:66A8BD20C3511BD25BAF22385F5A1ADC3A14DDC5Le document en format XML
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WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)</title><author><name sortKey="Drew, David" sort="Drew, David" uniqKey="Drew D" first="David" last="Drew">David Drew</name></author></analytic><monogr></monogr><series><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="ISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2010-04">2010-04</date><biblScope unit="volume">64</biblScope><biblScope unit="issue">252</biblScope><biblScope unit="page" from="44">44</biblScope><biblScope unit="page" to="64">64</biblScope></imprint><idno type="ISSN">0040-2982</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0040-2982</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. Jahrhunderts edited by Susanne Schaal-Gotthardt, Luitgard Schader and Heinz-Jürgen Winkler, published as Band XII of Frankfurter Studien, a publication of the Hindemith-Institut (Frankfurt am Main: Schott ED 20571, 2009). David Drew had discussed with the present editor a projected followup article for Tempo, to deal specifically with Walter Leigh's music for A Midsummer Night's Dream and the ideological and critical misunderstandings which he felt were beginning to envelop it as a result of its citation in Fred K. Prieberg's Musik im NS-Staat. This was presumably one of the ‘several research-projects’ ongoing to which he alludes in footnote 37. Sadly, little if any of that projected article was written down. But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. KG, Mainz, to Sally Groves in particular, and the estate of David Drew.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>David Drew</name></json:item></author><articleId><json:string>00018</json:string></articleId><arkIstex>ark:/67375/6GQ-8H8FMNS0-5</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. 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WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)</title><author xml:id="author-0000"><persName><forename type="first">David</forename><surname>Drew</surname></persName><note type="biography">David Drew was born in London. His parents divorced before he was two; Drew was his mother's name. He was educated at Aysgarth prep school in Yorkshire, Harrow and Peterhouse, Cambridge. He began studying the life and music of Kurt Weill as early as 1952, and became pre-eminent among authorities on that composer. In the 1950s he collaborated with William Glock on The Score and on various performance projects, lectured at the Dartington Summer School, and edited The Decca Book of Ballet (published 1958). From 1959 till 1967 – with a brief spell as a BBC staff producer in 1960 – he was the music critic of the New Statesman. He was editor of Tempo from 1971 into the early 1980s, and remained as Advisory Editor until 1992. From 1976 to 1992 he was Director of Publications for Boosey & Hawkes Music Publishers. He was also European Representative of The Kurt Weill Foundation for Music, a member of the Editorial Board of the Kurt Weill Complete Edition, a Trustee of the Britten-Pears Foundation, and from 1999 to 2001 Dramaturg for Broomhill Opera at Wilton's Theatre, London. As a record producer he was responsible for the Calouste Gulbenkian Foundation's project ‘music today’ (1961–76), releasing unfamiliar 20th-century music on the EMI and Argo labels, and later (1993–98) was artistic director for Largo Records, Cologne.</note><affiliation>David Drew was born in London. His parents divorced before he was two; Drew was his mother's name. He was educated at Aysgarth prep school in Yorkshire, Harrow and Peterhouse, Cambridge. He began studying the life and music of Kurt Weill as early as 1952, and became pre-eminent among authorities on that composer. In the 1950s he collaborated with William Glock on The Score and on various performance projects, lectured at the Dartington Summer School, and edited The Decca Book of Ballet (published 1958). From 1959 till 1967 – with a brief spell as a BBC staff producer in 1960 – he was the music critic of the New Statesman. He was editor of Tempo from 1971 into the early 1980s, and remained as Advisory Editor until 1992. From 1976 to 1992 he was Director of Publications for Boosey & Hawkes Music Publishers. He was also European Representative of The Kurt Weill Foundation for Music, a member of the Editorial Board of the Kurt Weill Complete Edition, a Trustee of the Britten-Pears Foundation, and from 1999 to 2001 Dramaturg for Broomhill Opera at Wilton's Theatre, London. As a record producer he was responsible for the Calouste Gulbenkian Foundation's project ‘music today’ (1961–76), releasing unfamiliar 20th-century music on the EMI and Argo labels, and later (1993–98) was artistic director for Largo Records, Cologne.</affiliation></author><idno type="istex">66A8BD20C3511BD25BAF22385F5A1ADC3A14DDC5</idno><idno type="ark">ark:/67375/6GQ-8H8FMNS0-5</idno><idno type="DOI">10.1017/S0040298210000185</idno><idno type="PII">S0040298210000185</idno><idno type="article-id">00018</idno></analytic><monogr><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="pISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><idno type="publisher-id">TEM</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2010-04"></date><biblScope unit="volume">64</biblScope><biblScope unit="issue">252</biblScope><biblScope unit="page" from="44">44</biblScope><biblScope unit="page" to="64">64</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2010</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="normal"><p>This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. Jahrhunderts edited by Susanne Schaal-Gotthardt, Luitgard Schader and Heinz-Jürgen Winkler, published as Band XII of Frankfurter Studien, a publication of the Hindemith-Institut (Frankfurt am Main: Schott ED 20571, 2009). David Drew had discussed with the present editor a projected followup article for Tempo, to deal specifically with Walter Leigh's music for A Midsummer Night's Dream and the ideological and critical misunderstandings which he felt were beginning to envelop it as a result of its citation in Fred K. Prieberg's Musik im NS-Staat. This was presumably one of the ‘several research-projects’ ongoing to which he alludes in footnote 37. Sadly, little if any of that projected article was written down. But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. KG, Mainz, to Sally Groves in particular, and the estate of David Drew.</p></abstract></profileDesc><revisionDesc><change when="2010-04">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298210000185</article-id><article-id pub-id-type="pii">S0040298210000185</article-id><article-id pub-id-type="publisher-id">00018</article-id><title-group><article-title>NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)</alt-title></title-group><contrib-group><contrib><name><surname>Drew</surname><given-names>David</given-names></name><bio><p><italic>David Drew</italic> was born in London. His parents divorced before he was two; Drew was his mother's name. He was educated at Aysgarth prep school in Yorkshire, Harrow and Peterhouse, Cambridge. He began studying the life and music of Kurt Weill as early as 1952, and became pre-eminent among authorities on that composer. In the 1950s he collaborated with William Glock on <italic>The Score</italic> and on various performance projects, lectured at the Dartington Summer School, and edited <italic>The Decca Book of Ballet</italic> (published 1958). From 1959 till 1967 – with a brief spell as a BBC staff producer in 1960 – he was the music critic of the <italic>New Statesman</italic>. He was editor of Tempo from 1971 into the early 1980s, and remained as Advisory Editor until 1992. From 1976 to 1992 he was Director of Publications for Boosey & Hawkes Music Publishers. He was also European Representative of The Kurt Weill Foundation for Music, a member of the Editorial Board of the Kurt Weill Complete Edition, a Trustee of the Britten-Pears Foundation, and from 1999 to 2001 Dramaturg for Broomhill Opera at Wilton's Theatre, London. As a record producer he was responsible for the Calouste Gulbenkian Foundation's project ‘music today’ (1961–76), releasing unfamiliar 20th-century music on the EMI and Argo labels, and later (1993–98) was artistic director for Largo Records, Cologne.</p></bio></contrib></contrib-group><pub-date pub-type="ppub"><month>04</month><year>2010</year></pub-date><volume>64</volume><issue>252</issue><fpage seq="10">44</fpage><lpage>64</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 2010</copyright-statement><copyright-year>2010</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="normal"><p>This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “<italic>… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. Jahrhunderts</italic> edited by Susanne Schaal-Gotthardt, Luitgard Schader and Heinz-Jürgen Winkler, published as Band XII of <italic>Frankfurter Studien</italic>, a publication of the Hindemith-Institut (Frankfurt am Main: Schott ED 20571, 2009).</p><p>David Drew had discussed with the present editor a projected followup article for <italic>Tempo</italic>, to deal specifically with Walter Leigh's music for <italic>A Midsummer Night's Dream</italic> and the ideological and critical misunderstandings which he felt were beginning to envelop it as a result of its citation in Fred K. Prieberg's <italic>Musik im NS-Staat</italic>. This was presumably one of the ‘several research-projects’ ongoing to which he alludes in footnote 37. Sadly, little if any of that projected article was written down. But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. KG, Mainz, to Sally Groves in particular, and the estate of David Drew.</p></abstract><counts><page-count count="21"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298210000185a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>NORTH SEA CROSSINGS. 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From 1976 to 1992 he was Director of Publications for Boosey & Hawkes Music Publishers. He was also European Representative of The Kurt Weill Foundation for Music, a member of the Editorial Board of the Kurt Weill Complete Edition, a Trustee of the Britten-Pears Foundation, and from 1999 to 2001 Dramaturg for Broomhill Opera at Wilton's Theatre, London. As a record producer he was responsible for the Calouste Gulbenkian Foundation's project ‘music today’ (1961–76), releasing unfamiliar 20th-century music on the EMI and Argo labels, and later (1993–98) was artistic director for Largo Records, Cologne.</description></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">2010-04</dateIssued><copyrightDate encoding="w3cdtf">2010</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="normal">This was David Drew's last published article. 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But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. 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