bluuebunny/crossref_metadata_2025 huggingface dataset:
Influence of behavioral symptoms on rates of institutionalization for persons with Alzheimer's disease
Authors: GILLEY D. W. , BIENIAS J. L. , WILSON R. S. , BENNETT D. A. , BECK T. L. , EVANS D. A.
Published: October 2004

Background. Recent studies indicate that behavioral symptoms may play a key role in decisions to institutionalize persons with Alzheimer's disease (AD), but the specific types of behavior that contribute to this increased risk have not been reliably identified. The relationship between behavioral symptoms and time to institutionalization was evaluated in a 4-year longitudinal study.

Method. A total of 410 persons with the clinical diagnosis of AD completed annual clinical evaluations to assess cognitive impairment, functional limitations, delusions, hallucinations, depressive symptoms and physical aggression. Participation rates among survivors exceeded 90% for four follow-up evaluations with complete ascertainment of mortality and institutionalization. Time to institutionalization was evaluated using proportional hazards regression models in relation to time-varying clinical features.

Results. In multivariate models, adjusted for demographic and social variables, four clinical features emerged as the predominant predictors of institutionalization: cognitive impairment level, physical aggression, hallucinations and depressive symptoms. These associations were virtually unchanged in analyses controlling for mortality.

Conclusions. Specific behavioral symptoms are important independent risk factors for institutionalization in persons with AD. Because behavioral symptoms are susceptible to therapy, efforts to modify or prevent these symptoms deserve careful consideration as a means to delay institutionalization for persons with this disease.
How accurate is recall of key symptoms of depression? A comparison of recall and longitudinal reports
Authors: WELLS J. ELISABETH , HORWOOD L. JOHN
Published: October 2004

Background. Assessment of lifetime major depression is usually made from a single interview. Most previous studies have investigated reliability. Comparison of recall of key symptoms and longitudinal reports shows the accuracy of recall, not just reliability.

Method. At age 25, 1003 members of the Christchurch Health and Development Study cohort were asked to recall key symptoms of depression (sadness, loss of interest) up to age 21. This recall was compared with longitudinal reports at ages 15, 16, 18 and 21 years. Diagnosis was by DSM-III-R and DSM-IV criteria.

Results. Only 4% of those without previous reports recalled key symptoms. Of those with a diagnosis of depression up to age 21, 44% recalled a key symptom. Measures of severity of an episode (number of symptoms, impairment, duration, suicidality) and chronicity (years with a diagnosis, years with suicidal ideation) all strongly predicted recall. Current key symptoms increased recall, even after taking account of severity and chronicity. Being female and receiving treatment also predicted recall, although odds ratios were reduced to 1·6–1·7 when all other predictors were included. Comparison of risk factors for key symptoms showed similar results from longitudinal reports and recall. Sexual abuse, neuroticism, lack of parental attachment, gender, physical abuse and maternal depression were major risk factors in both sets of analyses.

Conclusions. Forgetting of prior episodes of depression was common. Severity, chronicity, current depression, gender and treatment predicted recall. Lifetime prevalence based on recall will be markedly underestimated but the identification of major risk factors may be relatively little impaired.
The structure of the contemporary debate on the problem of evil
Authors: WILKS IAN
Published: October 2004

This paper concerns the attempt to formulate an empirical version of the problem of evil, and the attempt to counter this version by what is known as ‘sceptical theism’. My concern is to assess what is actually achieved in these attempts. To this end I consider the debate between them against the backdrop of William Rowe's distinction between expanded standard theism and restricted standard theism (which I label E and R respectively). My claim is that the empirical version significantly fails to challenge E in the way that a workable logical version would; and that sceptical theism significantly fails to defend R in the way that a workable theodicy would. My conclusion is that sceptical theism and the empirical argument play a significantly more limited role in the debate over evil than the arguments they are supposed to replace.
Talbott's universalism, divine justice, and the Atonement
Authors: KRONEN JOHN , REITAN ERIC
Published: October 2004

Thomas Talbott has argued that the following propositions are inconsistent: (1) it is God's redemptive purpose for the world (and therefore His will) to reconcile all sinners to Himself; (2) it is within God's power to achieve His redemptive purpose for the world; (3) some sinners will never be reconciled to God, and God will therefore either consign them to a place of eternal punishment, from which there will be no hope of escape, or put them out of existence altogether. In this paper we explore two attempts to reconcile (1)–(3) by appealing to divine justice. We argue that both versions fail for the same reason: in order for the appeal to God's justice to effectively reconcile (1)–(3), the demands of God's retributive justice must be taken to be so exacting that they call forth a very strong doctrine of the Atonement. And such a doctrine of the Atonement removes justice as an impediment to saving all.
Divine deception, identity, and Social Trinitarianism
Authors: TUGGY DALE
Published: October 2004

After laying out the claims and motivations of Social Trinitarianism, I develop three new arguments against it. According to the first two, if Social Trinitarianism were true, the Father, Son, and Holy Spirit would have engaged in wrongful deception via both Old and New Testament revelation. I briefly consider the strength of the arguments and some possible replies to them, concluding that they constitute good reasons to deny that version of Trinitarian doctrine. According to the final argument, Social Trinitarianism is incompatible with two central claims of the New Testament.
Reply to Almeida
Authors: MURPHY MARK C.
Published: October 2004

Michael J. Almeida offers two criticisms of the argument of my ‘A trilemma for divine command theory’. The first criticism is that I mistakenly assume the validity of the following inference pattern: property A is identical to property B; property B supervenes on property C; therefore, property A supervenes on property C. The second criticism is that I have misinterpreted the moral-supervenience thesis upon which I rely in making this argument. The first of Almeida's criticisms is completely untenable. The second of his criticisms casts doubt on my argument, a doubt that I can mitigate but not entirely dispel.
Religions, truth, and the pursuit of truth: a reply to Zamulinski
Authors: MAWSON T. J.
Published: October 2004

This paper provides a comment on Brian Zamulinksi's article in Religious Studies, 39 (2003), 43–60. Contrary to Zamulinski's claim that religions are not truth-oriented but function as fictions, it is contended that they could not serve the purpose he assigns them unless their adherents regarded them as true. Religions must therefore be truth-oriented. The substantive question is whether any of them are true, and Zamulinski's paper provides no new method for addressing this question.
Rejoinder to Mawson
Authors: ZAMULINSKI BRIAN
Published: October 2004

In reply to Mawson, I accept that each and every religion includes the self-referential belief that it is true. I seek to show that this admission does not entail that the rest of the beliefs of religions track the truth or that they are not better explained through the religion-as-fiction hypothesis. If that hypothesis is well-grounded, it gives us good reason not to take arguments for religions' non-self-referential beliefs seriously.
The holiness and love of God
Authors: Webster John
Published: October 2004

Written in honour of the Berlin systematic theologian Wolf Krötke, this paper gives an exposition of two propositions. (1) ‘A Christian dogmatics of the divine perfections is a positive science in the church of Jesus Christ whose task is the rational articulation of the singular identity of God the Holy Trinity, freely presented in the works of God's triune being.’ Christian dogmatics is a positive science concerned, not with deity as maximally perfect, but with the singular identity of God in his self-presentation as it is confessed in the sphere of the church. That identity is God's identity as Father, Son and Spirit, confessed as immanently complete and as operative in the economy of God's works. This is applied to the attributes of holiness and love in a further proposition: (2) ‘God's holiness is the majestic incomparability, difference and purity which he is in himself as Father, Son and Holy Spirit, and which is manifest and operative in the economy of his works in the love with which he elects, reconciles and perfects human partners for fellowship with himself.’ God's holiness is self-consecration to be the wholly unique being that he is. But as the triune God, his self-consecration includes his consecration of the creature as he singles out the creature for blessing in his works of election, reconciliation and sanctification. As such, God's holiness is operative as the love which maintains the creature's cause by eradicating all that hinders the creature's consecration to life in fellowship with God.
Beyond Inclusivism: Richard Harries, Jonathan Sacks and The Dignity of Difference
Authors: Gorsky Jonathan
Published: October 2004

Jonathan Sacks's engagement with the major social and economic problems of our time is unique in the modern rabbinate. To the best of my knowledge no contemporary rabbi of any Jewish denomination equals his breadth of reading and concern in matters ranging from globalisation to the well-being of the family. Rabbi Sacks is well equipped in philosophy, politics and sociology and seeks to take part in debates about the great issues of our time from the standpoint of orthodox Judaism. He is a gifted communicator, unusually able to make complex issues intelligible for the general public without reducing them to banality. He is also a fine rabbinic scholar with a particular expertise in Jewish philosophy.
ROBIN HOLLOWAY'S ‘SHOWPIECE’
Authors: Gritten Anthony
Published: October 2004

The language of every musical work can, if deemed necessary, be analysed. How each work responds to analytical prodding, however, varies considerably from work to work.
LETTERS TO THE EDITOR
Authors: Johnson David
Published: October 2004

Julian Silverman's article and letter (Tempo 223, 224) are excellent, yet hard to accept in their entirety. I would love to agree with everything he says; instead, here I am writing in to tell him where he's wrong.
Recent Messiaen releases
Authors: Fallon Robert
Published: October 2004

MESSIAEN: La Transfiguration de Notre Seigneur Jésus-Christ1; Réveil des Oiseaux2. SWR Sinfonieorchester Baden-Baden und Freiburg, EuropaChorAkademie c. 1Sylvain Cambreling, 2Hans Rosbaud; 2Yvonne Loriod (pno). Hänssler Classic 93.078 (2-CD set).

La Transfiguration de Notre Seigneur Jésus-Christ. Orchestre Philharmonique de Radio France c. Myung-Whun Chung. DG 471 569-2 (2-CD set).

Des Canyons aux Étoiles …. Orchestre Philharmonique de Radio France c. Myung-Whun Chung, with Roger Muraro (pno), Jean-Jacques Justafré (hn). DG 471 617-2 (2-CD set).

Saint François d'Assise. Orchestre et Choeurs de l'Opéra de Paris c. Seiji Ozawa; José Van Dam (bar), Christiane Eda-Pierre (sop). Assai 222212 (4-CD set).

Saint François d'Assise. Halle Orchestra, Arnold Schoenberg Chor c. Kent Nagano; José Van Dam (bar), Dawn Upshaw (sop). DG 445 176-2 (2-CD set).
Tallinn: Estonian Music Days
Authors: Anderson Martin
Published: October 2004

Even a decade and more after the fall of Communism, one regularly hears sorry tales of the difficulties faced by the countries of the east as they adapt to a more liberal order: Russian health-care in meltdown, the Romanian economy struggling, St Petersburg pumping untreated sewage into the Baltic, Belarus still in the grip of a Stalinist despot …. In the circumstances, contemporary music in the Baltics seems to be in remarkably good health, with two longstanding festivals in Estonia, another in Lithuania and a new event emerging in Latvia all providing encouraging testimony of the vigour of the new-music scene in the three republics.
LETTERS TO THE EDITOR
Authors: Silverman Julian
Published: October 2004

On David's last point, I am working on it. If I succeed, I'm not going to tell you all how. If I find I can't manage it, I'll go for adoption instead. Beneath the PRS I've always felt like a stray dog – or a member of an endangered species. But the officers of the society do well by their pets. I know: they send me their magazine, and there they all are, grinning expensively from their shiny pages. My own earnings from the PRS all these years, amount to 29p (no exaggeration). So I'd be well motivated to fetch papers for them, or whatever you have to do.
Dutilleux
Authors: Sutherland Roger
Published: October 2004

DUTILLEUX: Métaboles1; Cello Concerto2; The Shadows of Time3. 1Orchestra National de France c. Mstislav Rostropovitch; 2Arto Noras (vlc), Finnish Radio Symphony Orchestra c. Jukka-Pekka Saraste; 3Boston Symphony Orchestra c. Seiji Ozawa. Hlatus 0927-49830-2.
Birmingham: Param Vir's ‘The Theatre of Magical Beings’
Authors: Conway Paul
Published: October 2004

It seems natural than Delhi-born and Brighton-based Param Vir should celebrate multiculturalism in his compositions. He has effected a convincing assimilation of the best of Western and Eastern tradition in his new piece The Theatre of Magical Beings, written for the Birmingham Contemporary Music Group and premièred by them on 6 May as part of their highly successful ‘Sound Investment’ scheme. At 25 minutes' duration and requiring 25 players, it is one of the most substantial works ever to come out of the project. The scoring even seems extravagant for a contemporary chamber ensemble: it calls for 12 string players and there is a considerable array of exotic percussion instruments, split into two groups of skin, wood and metal.
Elliott Carter
Authors: Griffiths Paul
Published: October 2004

ELLIOTT CARTER: Steep Steps1; Two Diversions2; Oboe Quartet3; Figment No.24; Au Quai5; Of Challenge and of Love6; Figment No.17; Retrouvailles8; Hiyoku9. 1Virgil Blackwell, 2,8Charles Rosen, 3Stephen Taylor, 3Curtis Macomber, 3,5Maureen Gallagher, 3Eric Bartlett, 4,7Fred Sherry, 5Peter Kolkay 6Tony Arnold, 6Jacob Greenberg, 9Charles Neidich, 9Ayako Oshima. Bridge 9128

CARTER: Oboe Quartet1; Four Lauds2; A 6 Letter Letter3; Figments Nos.1–24. ISANG YUN: Piri5; Oboe Quartet6. 1,3,5,6Heinz Holliger, 1,2,6Thomas Zehetmair, 1,6Ruth Killius, 1,4,6Thomas Demenga. ECM New Series 1848/49
Isang Yun
Authors: Whittall Arnold
Published: October 2004

YUN: My Land, My People!; Exemplum in Memoriam Kwangju. Chorus and State Symphony Orchestra of the Democratic Peoples Republic of Korea, c. Byung-Hwa Kim. Symphonies Nos. 1–5. Filharmonia Pomorska Bydgoszcz, c. Takao Ukigaya. Richard Salter (bar). CPO 999 165-2 (4-CD set)
London, St. John's Smith Square: Britten and David Matthews premières
Authors: Anderson Martin
Published: October 2004

The world première of Benjamin Britten's Two Pieces (his title) for violin, viola and piano on 9 July provided further proof of his precocious genius, and also hinted intriguingly at the turning his compositional career never took. The concert that presented the Britten trio and another première, David Matthews's Duet Variations for violin and piano, was organized by Haus Publishing to launch Matthews's new biography of Britten, and it was while researching the book that Matthews came across the score of the Two Pieces, written in late 1929 for a chamber group in which he played the viola. Like the Quartettino, which it immediately predates, the Two Pieces shows Britten trying his hand at a Bergian expressionism. A note in his diary at the time (November 1929), quoted in the programme for the concert, reveals the direction his mind was taking: ‘I am thinking much about modernism in art, debating whether Impressionism, Expressionism, Classicism etc are right. I have half decided on Schoenberg’. His music confirms his words.
Thea Musgrave round-up
Authors: Conway Paul
Published: October 2004

‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.

‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Classics CC0039.

MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.

‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.
London, Trinity College: Roger Smalley at 60
Authors: Head Raymond
Published: October 2004

In the mid-1960s Roger Smalley was a leading exponent of the music of Stockhausen (whose student he became). But except for his own performance of Klavierstück IX (at his piano recital which I did not hear) this early influence was hardly to be felt in the 60th birthday celebrations hosted by Trinity College of Music, London in May. Under the overall artistic direction of Douglas Finch, a series of concerts and recitals presented a cross-section of work from the past two decades.
Swiss Music
Authors: Palmer Peter
Published: October 2004

NORBERT MORET: TriptyquepourlesFêtes1;
Gastlosen2; Mendiant du Ciel
bleu3. 1The Tallis Scholars;
2Fritz Muggler organ); 3Béatrice Haldas
(sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of
Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen
Women's Choir; Heiner Kühner, Catherine Moret, Claudia
Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan.
Musiques Suisses MGB CD 6199.

ROLF LIEBERMANN:
Furioso for orchestra1; Geigy Festival
Concerto2; Medea-Monolog3; Les
Echanges4; Concerto for Jazz Band and Symphony
Orchestra5. 3Rachael Tovey (sop),
3Darmstadt Concert Choir; 2Alfons Grieder (perc);
1,2,5Simon Nabatov (pno); 5NDR Big Band,
1–5Bremen Philharmonic Orchestra c. Günter
Neuhold. Naxos 8.555884.

BETTINA SKRZYPCZAK:
Scène1; Miroirs2;
Fantasie for oboe3; SN 1993 J4;
Toccata sospesa5; Concerto for Piano and
Orchestra6. 1Noemi Schindler (vln), Christophe
Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble
Contrechamps of Geneva; 3Matthias Arter (oboe);
4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland
Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo
Leandro (perc); 6Massimiliano Damerini (pno),
Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz
Grammont Portrait MGB CTS-M 78.

RICHARD DUBUGNON: Piano
Quartet1; Incantatio for cello and
piano2; Trois Evocations finlandaises3;
Cinq Masques for oboe4; Canonic Verses for Oboe,
Cor Anglais and Oboe d'Amore5; Frenglish Suite
for Wind Quintet6. 4,5Nicholas Daniel (ob),
5Emma Fielding (cor ang), 5Sai Kai (ob
d'amore), 1Viv McLean (pno), 2Dominic Harlan
(pno), 1Illka Lehtonen (vln), 1Julia Knight
(vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon
(db), 6Royal Academy Wind Soloists. Naxos 8.555778.
American Music
Authors: Johnson Bret
Published: October 2004

LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).

LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.

FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.

HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.

HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
Will Todd
Authors: Barlow Jill
Published: October 2004

WILL TODD: St. Cuthbert. Patricia Rozario (sop), John Hudson (ten), Graeme Danby (bass); orthern Sinfonia Chorus, Durham Singers, Hallé Choir and Orchestra c. Christopher Austin. Mawson & Wareham Northumbrian Anthology MWM CDSP 56 79. (Distribution www.mwmrecords.co.uk or call 0191 232 8765; also obtainable online from www.tyalgumpress.com)
Myaskovsky
Authors: Sutherland Roger
Published: October 2004

MYASKOVSKY: Symphonies Nos. 24 and 25. Moscow Philharmonic Orchestra c. Dmitri Yablonsky. Naxos 8.555376.
Lace Knots and Variations
Authors: Rickards Guy
Published: October 2004

‘Lace Knots and Variations, and the Power of Sacred Physic’

MAGUIRE: Così1,2; Per Acqua3; Lace Knots1,4; Cummings Lieder5,2; Invenzione4. Inno a Dio3; L'Altro Quartetto4. 1Cristina Mantese (sop), 2Elisabetta Bocchese (pno), 3A Cappella Ensemble Lübeck c. Hartmut Bethke, 4Paul Klee String Quartet,. 5Julie Mellor (mezzo). New World 80602-2.
THE MUSIC OF ANTHONY GILBERT (PART I)
Authors: Jarman Douglas
Published: October 2004

First, the essential biographical information. Born in London on 26 July 1934, Anthony Gilbert was a relative latecomer to composition. Not until he was 19 did he start to study part time at Trinity College and not until he was 23, by which time he was working as a translator and interpreter at the London offices of the Société des Fonderies de Pont-à-Mousson of Nancy, did he begin to study composition, largely as a private pupil, with Anthony Milner, Mátyás Seiber and Alexander Goehr. It is a mark of Gilbert's determination that for the next ten years, while working in a variety of both non-musical (warehouseman and accounts clerk) and musical jobs (free-lance copyist, proof-reader and arranger) for Schotts, and full-time Music and Record Library Assistant at the City of Westminster Public Library, he not only devoted his summer holidays to studying at Dartington and Wardour Castle (with, amongst other teachers, Nono and Berio) but also found time to produce a whole series of works, including an unpublished Elegy for Piano, a Duo for violin and viola, the Piano Sonata No.1, Serenade, the Missa Brevis and the Sinfonia.
ORDINARY MATTERS: CHRISTIAN WOLFF ON HIS RECENT MUSIC
Authors: Chase Stephen , Gresser Clemens
Published: October 2004

Christian Wolff, who turned 70 in March this year, is the last remaining member of the so-called New York School of Composers. Very briefly he studied with John Cage, and was exchanging thoughts with Earle Brown, Morton Feldman and David Tudor from the age of 16 in 1950. Along with friends and colleagues Cornelius Cardew and Frederic Rzewski, he began in the 1970s to draw upon musical ideas that reflected his social and political concerns in a more direct manner. The following is an extract of a much longer interview which took place during the Huddersfield Contemporary Music Festival in November 2002 where Christian Wolff was a featured composer. Wolff discusses his recent compositions, his attitude to writing for voice, and his approach to performance and to begin with, recording.
MESSIAEN AND THE CONCEPT OF ‘PERSONNAGES’
Authors: Healey Gareth
Published: October 2004

Messiaen's concept of ‘personnages’ is essential to his compositional and analytical thinking. Yet it is not described in his Technique of My Musical Language of 1944, and it features only sporadically in the secondary literature. There are references to personnages in Messiaen's booklet notes to recordings of the Turangalîla-symphonie, but only the basic premise of personnages rythmiques is discussed there. Messiaen's preliminary thoughts on the rhythmic aspect of the process are given in his 1939 article ‘Le rythme chez Igor Stravinsky’, but those two pages only permit fairly general comments and the label ‘personnages’ was not yet in use. We are introduced to personnages in detail at various points in his seven-volume Traité de rythme, de couleur et d'ornithologie – a compilation of Messiaen's writings from 1949 onwards, edited by Alain Louvier and Yvonne Loriod and published between 1994 and 2002, the order of material having been decided by Messiaen shortly before his death. For those patient enough to negotiate its convoluted presentation, the Traité allows the reader a unique insight into Messiaen's thought-processes, his musical and technical influences, analytical style, and non-musical interests. The present article seeks to disentangle and clarify the concept of personnages, to gather the threads from various analyses in the Traité in which they appear, and to trace their progress from Messiaen's Stravinsky analysis to a pinnacle of complexity in the Turangalîla-symphonie.
COMPOSER IN INTERVIEW: JUDITH BINGHAM
Authors: Doran Mark
Published: October 2004

Judith Bingham was born in Nottingham in 1952, and grew up in Mansfield and Sheffield. After making considerable self-taught progress in composition while still a schoolgirl, she attended the Royal Academy of Music (1970–73), where her teachers were Malcolm MacDonald, Eric Fenby Alan Bush and John Hall (composition), and Jean Austin-Dobson (singing). In 1972 she was awarded the Academy's ‘Principal's Prize for Composition’ for the ‘Fires of London’-influenced chamber-piece Maelstrom. After obtaining her Performer's Certificate, she continued her composition studies privately with Hans Keller (1974–80), and took singing lessons from Eric Vietheer and David Mason. In 1976 she was selected for the BBC's ‘Young Composers' Forum’ on the strength of two scores: The Divine Image (1976) for harpsichord, and The Fourth Universe (1976) for mezzo-soprano and harpsichord.
LETTER TO THE EDITOR
Authors: Doran Mark
Published: October 2004

Since my last communication to Tempo was a detailed examination of a piece of programme-making that showed today's BBC at its most culturally clueless and journalistically inept, I hope I may now be permitted to make some public acknowledgement of a more recent broadcast that can only be described as a truly splendid piece of work.
London, Royal Opera House: ‘The Tempest’
Authors: Venn Edward
Published: October 2004

By all (press) accounts, the overture to The Tempest, Thomas Adès's first full-scale opera, was completed at speed – just five days before the 20 February première, at the Royal Opera House, Covent Garden. Comparisons with Rossini naturally followed, but the question remained whether such facility would be married to the necessary substance for a setting of Shakespeare's play Robin Holloway's claim (in the Financial Times) that the opera was ‘make or break’ for Adès may in hindsight come to appear somewhat overstated, but there is no doubt that this was an important milestone in the composer's career.
Munich: Ferneyhough's ‘Shadowtime’ and other new operas at the Biennale
Authors: Lack Graham
Published: October 2004

We trust the word is not too forthright, but ‘puerile’ might legitimately be levied against the new opera Berenice by Johannes Maria Staud. Premièred on 12 May this year as part of the 9th Munich Biennale for New Music Theatre at the city's Staatstheater am Gärtnerplatz, this first attempt at the genre by the Austrian-born composer Staud renders, blow by blow, the short story of the same name by Edgar Allan Poe. The libretto, by Durs Grünbein, sticks closely to the famous writer's narrative like epoxy resin. Played without an interval, Berenice comes in at just under two hours; it seemed like two days.
Carter's ‘What Next?’
Authors: Hodges Nicolas
Published: October 2004

ELLIOTT CARTER: What Next? Valdine Anderson, Sarah Leonard, Hilary Summers, William Joyner, Dean Elzinga, Emanuel Hoogeveen, Netherlands Radio Symphony Orchestra c. by Peter Eötvös. ECM New Series 1817
Barbican, London: Turnage's Viola Concerto ‘On Opened Ground’
Authors: Stein Robert
Published: October 2004

Not being a string player himself, Mark-Anthony Turnage approached his first concerto for a string instrument with some trepidation. It turns out that while the writing for the viola is idiomatic enough, Turnage has something of a love/hate relationship with traditional ideas about the concerto. Divided into two movements – Turnage admitted that in the unlikely event of his writing a symphony it would have three, five or six movements, never four – the new concerto (completed in 2001 and here given its UK première) has the expected cadenza but one that appears only 36 bars in! Such challenging attitudes to an old form characterize the new piece, subtitled On Opened Ground. Even so the work's structure – scherzando opening with slower coda, slow second movement and brisk chaconne finale – bring us back to the more usual reference points for a concerto. While he acknowledges the surprising influence of Walton ‘in the second movement’, the influence of that composer's own viola concerto is actually more pervasive than Turnage would have us believe. Even the title, while apparently making reference to Seamus Heaney's collection Opened Ground, seems to point more fruitfully to the ground bass of the second movement's chaconne. One thing is certainly as described: On Opened Ground is, as he claims, one of Turnage's most lyrical pieces and might win him an audience for whom the earlier astrigencies were too great.
LETTERS TO THE EDITOR
Authors: Graubart Michael
Published: October 2004

In replying to Julian Silverman's reply to me, entitled ‘Did Anybody have to be Schoenberg?’, in the letters pages of Tempo Volume 58, no.227, I should like to take the opportunity to respond first to Christopher Wintle's letter above.
Henze's ‘Scorribanda’
Authors: Rickards Guy
Published: October 2004

HENZE: Scorribanda Sinfonica sopra la Tomba di una Maratona; Antifone; Piano Concerto No. 11. Christopher Tainton (pno), Norddeutschen Rundfunk Sinfonieorchester c. Peter Ruzicka. Wergo 6657 2
Judith Weir
Authors: Whittall Arnold
Published: October 2004

WEIR: Piano Concerto, Distance and Enchantment, and other works. William Howard (pno), Susan Tomes (pno), The Schubert Ensemble, Domus. NMC DO90 (2-CD set).
London, Queen Elizabeth Hall: Carter's ‘Dialogues’
Authors: Service Tom
Published: October 2004

It's been more than 40 years since Elliott Carter wrote a concertante work for piano and orchestra: the 1963 Piano Concerto was one of the high watermarks of the complexity and richness of his early maturity. His latest piece is Dialogues for piano and large ensemble, and at its dazzlingly expressive world premiere performance on 23 January, by its commissioners and dedicatees, pianist Nicolas Hodges and the London Sinfonietta, conducted by Oliver Knussen, the work was revealed as one of the most significant of Carter's recent catalogue.
Paul Kletzki as composer
Authors: Johnson Bret
Published: October 2004

KLETZKI: Symphony No. 3, In Memoriam; Concertino for Flute and Orchestra. Sharon Bezaly (fl), Norrköping Symphony Orchestra c. Thomas Sanderling. BIS CD-1399.
Milton Babbitt
Authors: Lister Rodney
Published: October 2004

BABBITT: String Quartet No. 61; Occasional Variations for synthesizer; String Quartet No. 22; Composition for Guitar3. 1The Sherry Quartet; 2The Composers Quartet; 3William Anderson (gtr). Tzadik TZ7088.

BABBITT: Quatrains1; Manifold Music2, My Ends Are My Beginnings3; Soli e Duettini4; Swan Song No. 15. 1Tony Arnold (sop), Charles Neidich, Ayako Oshima (cls); 2Gregory D'Agostino (org); 3Allen Blustine (cl); 4William Anderson, Oren Fader (gtrs); 5Cygnus Ensemble c. Jeffrey Milarsky. Bridge 9135.
Boston: Elliott Carter's ‘Micomicón’
Authors: Lister Rodney
Published: October 2004

Next season James Levine ceases to be Music Director Designate of the Boston Symphony, and becomes the orchestra's Music Director and Conductor. Due to previous commitments, Levine has conducted only one program in each of the three seasons since he was named to the post. Celebration of his ascendency to the directorship of the orchestra has already begun, though, with the commissioning of works from a number of composers, including Milton Babbitt, John Harbison, and Yehudi Wyner, for his first season, restoring one of the proudest traditions of the BSO – that of the music director's active and enthusiastic promotion of contemporary orchestral compositions. It is not insignificant that this first season of the directorship of this American orchestra by an American conductor features American composers at a time when classical concert music seems to be about the only area of American life resistant to overt jingoism. Levine's earliest plans for the season included performing Elliott Carter's Symphonia: Sum fluxae pretium spei, and, hoping to link the occasion and the BSO to the triptych, he commissioned from Carter a short introductory fantasy to that work, entitled Micomicón. This pendant received its première, preceding a performance of Partita, the first part of the Symphonia triptych, at Symphony Hall in January.
George Crumb piano music
Authors: Pearsall Edward
Published: October 2004

GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).
Norwegian Orchestral Music
Authors: Anderson Martin
Published: October 2004

KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032

FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACD

PERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029

NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).
Birmingham: John Foulds at Symphony Hall
Authors: MacDonald Calum
Published: October 2004

The City of Birmingham Symphony Orchestra's conductor, Sakari Oramo, took up the cause of the long-neglected and little-regarded British composer John Foulds (1880–1939) in the late 1990s, as soon as he was appointed to his present post. This February saw his most high-profile push on Foulds's behalf so far, with performances of three Foulds works – one of them a UK and concert première, another a world première – in three Symphony Hall concerts, two of them broadcast on BBC Radio 3. This was followed by a CD recording for Warner Classics of these three pieces plus a fourth, Foulds's early elegy for violin and orchestra, Apotheosis. Intervening in one of the pre-concert talks, Oramo stated his conviction that after decades of misunderstanding during his lifetime, and half a century of neglect thereafter, ‘we owe it to this remarkable composer to play his music – and play it often’. It is difficult to think that any London orchestra would dare to programme anything so distant from their narrow core repertoire and so utterly contrary to contemporary fashions. Yet three near-capacity audiences were plainly both surprised and enthralled by the music, and many members of the public expressed a desire to hear more.
Hampstead: Rhian Samuel's ‘Light and Water’
Authors: Rickards Guy
Published: October 2004

Rhian Samuel is 60 this year. Never one to follow the conventional paths in contemporary composition or music-making, her works are sometimes tricky to pigeonhole, though this does not seem to have impaired their performance or appreciation. Her new piano quartet, Light and Water (2003), received its première as the centrepiece of the opening concert of the Hampstead and Highgate Festival, given by the Fidelio Quartet and framed by Schumann's op. 47 Quartet and the Elgar Quintet (in which they were joined by violinist Katherine Gowers).
Psanterin: Anthology of Israeli Piano Music
Authors: Miller Malcolm
Published: October 2004

Psanterin: Anthology of Israeli Music for Piano. Liora Ziv-Li, Allan Sternfield, Ora Rotem-Nelken, Herut Israeli, Tomer Lev, Michal Tal, Natasha Tadson, Yuval Admoni, Astrith Baltsan, Allon Goldstein (pianists). Israel Music Center IMCD: 104–112 (9-CD set) produced by The Israel Composers League and the Israeli Music Center (IMC), 55 Begin Rd, Tel Aviv, Israel. (Tel/fax:00-972-(0)3-562 1282. Email: icl@zahav.net.il
Birmingham, CBSO Centre: Turnage's ‘The Torn Fields’ and Cashian's Three Pieces for Chamber Orchestra
Authors: Conway Paul
Published: October 2004

Two major additions to the Birmingham Contemporary Music Group's ‘Sound Investment’ scheme were unveiled on 31 May in a concert of rare intensity in the CBSO Centre.
Samuil Feinberg's Piano Sonatas
Authors: MacDonald Calum
Published: October 2004

FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.

FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.
London, Trinity College: David Johnson's ‘Sorry, False Alarm’
Authors: Barlow Jeremy
Published: October 2004

An opera which runs for less than an hour and has 20 solo parts might seem destined to remain unperformed, but Scottish composer David Johnson's Sorry, False Alarm was composed as a training opera for students, and a workshop production by singers from Trinity College of Music (24 March, Greenwich) demonstrated that it fits its purpose admirably.
Ludlow: Songs of Eternity and Sorrow (English Song Weekend)
Authors: Palmer Peter
Published: October 2004

Last year I was offered for review a recording of a live song recital promoted jointly by the British Music Information Centre and the English Poetry and Song Society. Its attractions included a cameo appearance by tenor Ian Partridge and an important first recording of Ivor Gurney's Lights Out cycle, in the order proposed by Richard Carder. After hearing the disc, however, I thought it kinder to several of the other performers not to publish an opinion. What a pity, it seemed, that the organizers had failed to draw upon those strikingly fresh and technically secure voices that have recently emerged from our music colleges.
ROGER SMALLEY
Authors: Harris Richard Leigh
Published: October 2004

ROGER SMALLEY: Poles Apart and other chamber works. Continuum Ensemble. NMC DO 83.
Michael Finnissy's ‘This Church’
Authors: Stadlen Shoël
Published: October 2004

FINNISSY: This Church. Richard Jackson (bar), Jane Mooney (mezzo), Tony Potter, Larry Yates (narrs), Philip Adams (org), IXION, Choir of Saint Mary de Haura Church and guests, The Saint Mary de Haura Handbell Ringers c. Michael Finnissy. Metier MSV CD92069.
London, Royal Academy of Music: Stephen Dodgson at 80
Authors: Barlow Jill
Published: October 2004

Stephen Dodgson (born in London, 1924) is not so much a neglected composer as a quintessentially English one, with a quizzical sense of humour, who has never really courted a mass audience. He is often described as ‘a performer's composer’, responding to commissions from colleagues and prominent artists connected with the Royal College of Music, where he taught harmony to, among others, guitarist John Williams back in the 1950s. His connexion also with Julian Bream led to his lifelong love-affair with the guitar, despite the fact that Dodgson never played the instrument himself. His resulting two Guitar Concertos (1959 and 1972) gained instant international recognition. At Dodgson's 80th Birthday celebration concert at the Royal Academy of Music on 29 February, Head of Guitar Studies Michael Lewin said in his introduction that: ‘no single composer who is a non-guitarist has contributed in such a major way to the guitar repertoire, and in such varied genres’.
John McCabe CD round-up
Authors: Conway Paul
Published: October 2004

JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.

‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.

McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.

‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
LEE HYLA
Authors: Rickards Guy
Published: October 2004

LEE HYLA: Bass Clarinet Concerto1; Trans; Violin Concerto2. 1Tim Smith (bass cl), 2Laura Frautschi (vln), Boston Modern Orchestra Project c. Gil Rose. New World 80614-2
De-coding Skin
Authors: Weeks James
Published: October 2004

De-coding Skin: piano works by FELDMAN, XENAKIS, FINNISSY, NEWLAND, WILSON, WHITTY. Philip Howard (pno). The Divine Art 25021.
MORTON GOULD McKINLEY
Authors: Johnson Bret
Published: October 2004

MORTON GOULD: Symphony No. 2. HARBISON: Cello Concerto1. STUCKY: Son et Lumière. GABRIEL GOULD: Watercolors2. 1David Finckel (vlc), 2Robert Sheena (cor anglais), Albany Symphony Orchestra c. David Alan Miller. Albany TROY 605.

McKINLEY: Violin Concerto1; Symphony of Winds; Sinfonie Concertante2. 1Janet Packer (vln), Warsaw National Philharmonic c. Jerzy Svoboda, 2Silesian Philarmonic Orchestra c. Joel Suben. MMC2119.

McKINLEY: Wind, Fire, and Ice1; Mostly Mozart2; Silent Whispers3. 1Victoria Griswold (pno), London Symphony Orchestra c. Roger Briggs, 2Royal Liverpool Philharmonic c. Gerard Schwarz, 3Warsaw Philharmonic c. Robert Black. MMC2134.

McKINLEY: Symphony No. 6, Prague1. STEWART: Scherzo. BIGGS: Salutation. ROSSI: Moon-Mirror. 1Roman Janal (bar), Czech Radio Symphony c. Vladimir Valek. MMC2123.
Skalkottas
Authors: Rickards Guy
Published: October 2004

SKALKOTTAS: Piano Trio; Eight Variations on a Greek Folk Tune for piano trio. Works for cello and piano – Largo; Bolero; Serenata; Sonatina; Tender Melody. Maria Kitsopoulos (vlc), Maria Asteriadou (pno), Georgios Demertzis (vln). BIS CD-1224.
Lachenmann
Authors: Whittall Arnold
Published: October 2004

LACHENMANN: Piano Music. Marino Formenti (pno). collegno WWE 1CD 20222.
Bernard Stevens
Authors: Pickard John
Published: October 2004

BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER
Authors: Palmer Peter
Published: October 2004

‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.

‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.

‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.

HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
Casella
Authors: MacDonald Calum
Published: October 2004

CASELLA: Complete Piano Music. Lya de Barberiis (pno). Warner Fonit 0927 47043-2 (3-CD set).
Forum on the American Empire Introduction: A new American Empire?
Authors: Cox Michael
Published: October 2004

The words used to describe things sometimes tell us less about the thing itself and more about those telling the story: and in the case of the words ‘American Empire’ one could more or less tell in the past that the story was being told by a critic. Not any longer. Indeed, since 9/11 those who have been at the forefront of promoting the idea have not been radical opponents on the left but defenders of the United States on the neo-conservative right. Under conditions where the US dominates the earth like no other power, Empire they argue not only describes what America has become – even though its own leaders invariably fail to recognise the fact; it also indicates to us what has to be done if we are to tackle the threat posed by catastrophic terrorism. And in this the United States now needs to do what it normally does worst: namely learn from the history of other great powers. As one of the new gurus of Empire has suggested, in a world of failed states and terrorist threats, the US has to abandon the idea that it is unique and see how its predecessors, the British and the Romans, created the conditions of order before.
Diplomacy and international theory
Authors: Steiner Barry H.
Published: October 2004

Diplomacy has long been neglected as a preoccupation of international theory. To repair this deficiency, this essay focuses upon bargaining over interstate disputes and makes two distinctions. One is between diplomacy as independent and as dependent variable. Analysis of diplomacy as independent variable studies diplomatic practice as causal influence, as when overcoming pressures that increase the danger of war or deadlock. This perspective is important for developing a diplomatic ‘point of view’. Dependent diplomacy analysis is preoccupied with constraints upon diplomatic statecraft and with adaptation to them. A second distinction is between negotiated bargaining, to reconcile divergent state interests, and non-negotiated bargaining that converges upon common interests between states. The essay dwells upon the link between independent diplomacy and negotiated bargaining, on one hand, and dependent diplomacy and convergent bargaining, on the other.