MESSIAEN – A SUGGESTED PLACING (1955)
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Auteurs : David DrewSource :
- Tempo [ 0040-2982 ] ; 2010-04.
Abstract
It has often been said that David Drew first made his critical reputation with a series of three articles on the music of Olivier Messiaen – essentially, the first informed criticism of the French composer that had appeared in English – published in The Score and I. M. A. magazine in 1955. David's friendship with William Glock, who owned and edited The Score, was long-lasting: from this time, when he was essentially Glock's assistant in its editing and production, to after Glock's death in 2000, when he acted as co-executor of his Will. ‘A Suggested Placing’ is the concluding portion of the final Messiaen article, published in The Score Number 14, the issue of December 1955. The invocations of Charles Ives – at that period hardly known to his own countrymen in the USA, let alone outside it – seem particularly prescient, and should remind us that David had already published a knowledgeable survey of ‘American Chamber Music’(in Chamber Music, ed. Alec Robinson, Pelican Books, 1955).
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DOI: 10.1017/S0040298210000124
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M. A. magazine in 1955. David's friendship with William Glock, who owned and edited The Score, was long-lasting: from this time, when he was essentially Glock's assistant in its editing and production, to after Glock's death in 2000, when he acted as co-executor of his Will. ‘A Suggested Placing’ is the concluding portion of the final Messiaen article, published in The Score Number 14, the issue of December 1955. The invocations of Charles Ives – at that period hardly known to his own countrymen in the USA, let alone outside it – seem particularly prescient, and should remind us that David had already published a knowledgeable survey of ‘American Chamber Music’(in Chamber Music, ed. 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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">E32EF80166A60C3AED51A317F89A1C9EE130DA75</idno><idno type="ark">ark:/67375/6GQ-W4H3SFCJ-P</idno><idno type="DOI">10.1017/S0040298210000124</idno><idno type="PII">S0040298210000124</idno><idno type="article-id">00012</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="10">10</biblScope><biblScope unit="page" to="13">13</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2010</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="normal"><p>It has often been said that David Drew first made his critical reputation with a series of three articles on the music of Olivier Messiaen – essentially, the first informed criticism of the French composer that had appeared in English – published in The Score and I. M. A. magazine in 1955. David's friendship with William Glock, who owned and edited The Score, was long-lasting: from this time, when he was essentially Glock's assistant in its editing and production, to after Glock's death in 2000, when he acted as co-executor of his Will. ‘A Suggested Placing’ is the concluding portion of the final Messiaen article, published in The Score Number 14, the issue of December 1955. The invocations of Charles Ives – at that period hardly known to his own countrymen in the USA, let alone outside it – seem particularly prescient, and should remind us that David had already published a knowledgeable survey of ‘American Chamber Music’(in Chamber Music, ed. Alec Robinson, Pelican Books, 1955).</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/S0040298210000124</article-id><article-id pub-id-type="pii">S0040298210000124</article-id><article-id pub-id-type="publisher-id">00012</article-id><title-group><article-title>MESSIAEN – A SUGGESTED PLACING (1955)</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">MESSIAEN – A SUGGESTED PLACING (1955)</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="4">10</fpage><lpage>13</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>It has often been said that David Drew first made his critical reputation with a series of three articles on the music of Olivier Messiaen – essentially, the first informed criticism of the French composer that had appeared in English – published in <italic>The Score and I. M. A.</italic> magazine in 1955. David's friendship with William Glock, who owned and edited <italic>The Score</italic>, was long-lasting: from this time, when he was essentially Glock's assistant in its editing and production, to after Glock's death in 2000, when he acted as co-executor of his Will. ‘A Suggested Placing’ is the concluding portion of the final Messiaen article, published in <italic>The Score</italic> Number 14, the issue of December 1955. The invocations of Charles Ives – at that period hardly known to his own countrymen in the USA, let alone outside it – seem particularly prescient, and should remind us that David had already published a knowledgeable survey of ‘American Chamber Music’(in <italic>Chamber Music</italic>, ed. Alec Robinson, Pelican Books, 1955).</p></abstract><counts><page-count count="4"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298210000124a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>MESSIAEN – A SUGGESTED PLACING (1955)</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>MESSIAEN – A SUGGESTED PLACING (1955)</title></titleInfo><name type="personal"><namePart type="given">David</namePart><namePart type="family">Drew</namePart><role><roleTerm type="text">author</roleTerm></role><description>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.</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">It has often been said that David Drew first made his critical reputation with a series of three articles on the music of Olivier Messiaen – essentially, the first informed criticism of the French composer that had appeared in English – published in The Score and I. 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