Tag Archives: Cambridge Music
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Graham Griffiths
It was in April 2014, I think, when I first exchanged the comforts of the Bodleian Library (Oxford) for the Baltic, and that razor-sharp wind on St Petersburg’s river Neva (accent on VA, if you please). My modest hotel room, in Pushkin-esque décor, was in the poet’s former residence on the Angliskaya Naberezhnaya, the English […]
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Penny Souster, Vicki Cooper, Kate Brett
Arnold Whittall, Professor Emeritus at King’s College, London, is one of the most respected figures in CUP’s music list. His publishing record with the Press is immense, and spans nearly forty years. But it is above all his editorship of Music since 1900, and its precursor series Music in the Twentieth Century, which arguably constitutes […]
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Hugh Macdonald
Ever since I developed a passion for French music and started working on Berlioz and then Bizet, I was constantly aware of the formidable figure of Saint-Saëns at the end of the nineteenth century, contributing to every branch of music and regularly heard in concert halls and, thanks to Samson et Dalila, in opera houses […]
Read More
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Graham Griffiths
It was in April 2014, I think, when I first exchanged the comforts of the Bodleian Library (Oxford) for the Baltic, and that razor-sharp wind on St Petersburg’s river Neva (accent on VA, if you please). My modest hotel room, in Pushkin-esque décor, was in the poet’s former residence on the Angliskaya Naberezhnaya, the English […]
Read More
-
Penny Souster, Vicki Cooper, Kate Brett
Arnold Whittall, Professor Emeritus at King’s College, London, is one of the most respected figures in CUP’s music list. His publishing record with the Press is immense, and spans nearly forty years. But it is above all his editorship of Music since 1900, and its precursor series Music in the Twentieth Century, which arguably constitutes […]
Read More
-
Hugh Macdonald
Ever since I developed a passion for French music and started working on Berlioz and then Bizet, I was constantly aware of the formidable figure of Saint-Saëns at the end of the nineteenth century, contributing to every branch of music and regularly heard in concert halls and, thanks to Samson et Dalila, in opera houses […]
Read More
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