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19 June onwards
— RDMR (@RDMR1) June 28, 2016
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-> Or by one's marked-up @sheffdocfest programme, free this year (and very orange !), i.e. alea jacta sunt - the film will be what it is...— THE AGENT APSLEY (@THEAGENTAPSLEY) June 19, 2016
Tippett & Britten II ~ Saturday 18 June at 3.00 p.m. ~ St Bartholomew's, Orford
The @heathquartet and @seanstshibe's performances from Aldeburgh Festival are currently on @BBCRadio3. pic.twitter.com/pajR1B1A8x— Aldeburgh Music (@aldeburghmusic) June 30, 2016
-> The first 21 lines in the ever-attractive @aldeburghmusic programme-book in fact gave considerable pause - unlike hearing @heathquartet— THE AGENT APSLEY (@THEAGENTAPSLEY) June 30, 2016
-> Britten, ever acutely exact with language, surely did not call these pieces Divertimenti casually (fr. Italian divertire, 'to amuse') ?— THE AGENT APSLEY (@THEAGENTAPSLEY) June 30, 2016
-> The title of the last is quite explicit (Burlesque, cp. March and Waltz), and by now Béla Bartók had written four quartets (and Op. 8c)— THE AGENT APSLEY (@THEAGENTAPSLEY) June 30, 2016
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Colin Matthews at 70 celebrations this week include the premiere of Barrie Gavin's film today at #aldeburghfestival pic.twitter.com/ccuWi7o6OA— NMC Recordings (@nmcrecordings) June 20, 2016
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Mixing Gesualdo and electronics, @solomonsknot and @miracalix premiere their new work The Discovery of Bomarzo pic.twitter.com/vdVyvkCGe9— Aldeburgh Music (@aldeburghmusic) June 22, 2016
-> We recalled, with @solomonsknot @miracalix, that even if we follow libretti set by Monteverdi, Gesualdo and C17 others, we heard sounds— THE AGENT APSLEY (@THEAGENTAPSLEY) June 22, 2016
-> The word is sospiri, but we hear moans, gasps and sighs in these madrigale, just as we catch 'amor' (love) or 'occhi' (eyes) in passing— THE AGENT APSLEY (@THEAGENTAPSLEY) June 22, 2016
-> 'Vorrei morire' (I'd like to die), but, as in Shakespeare, 'dying' means orgasm - as well as literal death... https://t.co/hv9lZTvUeq— THE AGENT APSLEY (@THEAGENTAPSLEY) June 22, 2016
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Applause all round for Rebecca Saunders, Carolin Widmann, Ryan Wigglesworth and the @BBCSSO in tonight's concert. pic.twitter.com/mlTF1bjy1J— Aldeburgh Music (@aldeburghmusic) June 22, 2016
Carolin Widmann performs Anderson & Saunders w/ @BBCSSO at #AldeburghFestival, 21 & 22 Jun https://t.co/NaVBeObqFD pic.twitter.com/DgARrLdhYl— Askonas Holt (@AskonasHolt) June 21, 2016
Articulation: the 'weakest' should be closest to the head, with techniques further away. #booseyfacts pic.twitter.com/8RIjvwXzBT— Boosey & Hawkes (@Boosey_London) June 29, 2016
-> Or about 'the aetherial strings' in Rebecca Saunders' Still (2011) at #AldeburghFestival, meaning the slap bass https://t.co/pOMfWFODva— THE AGENT APSLEY (@THEAGENTAPSLEY) June 22, 2016
-> Did we recognize in it 'trois esquisses symphoniques pour orchestre' at @aldeburghmusic to-night, or will we on hearing it @BBCRadio3 ?— THE AGENT APSLEY (@THEAGENTAPSLEY) June 22, 2016
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Popped my @aldeburghmusic festival cherry tonight. Thank you @BrittenSinfonia and Oliver Knussen for a joyous concert!— Ella Roberts (@Ellarobe) June 23, 2016
-> @BrittenSinfonia was especially energetic and exciting in Tippett's Concerto for Orchestra, lively and thrilling with Beethoven No. 8...— THE AGENT APSLEY (@THEAGENTAPSLEY) June 23, 2016
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-> You are not deceived - it is almost certainly the arrangement by Rinaldo Alessandrini, as here :https://t.co/f7cktxcN4E— THE AGENT APSLEY (@THEAGENTAPSLEY) July 5, 2016
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-> With @TStefanovich [Tamara S.] and @HkonLA [Håkon Austbø], a trio of pianists of conviction and great individuality, facility and passion— THE AGENT APSLEY (@THEAGENTAPSLEY) June 25, 2016
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Julian Anderson reveals the reason behind the title of his new work for Aimard 'Sensation' - it's easy to translate! pic.twitter.com/FJU1suBgrE— Aldeburgh Music (@aldeburghmusic) June 25, 2016
-> Benedict Mason asked what we thought :— THE AGENT APSLEY (@THEAGENTAPSLEY) June 25, 2016
As if Richard Hamilton had made a copy of The Large Glass, and it became a sound sculpture... ?
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Peter Eotvos conducts music by Reich and Kurtág :https://t.co/lHrtR7Znxd— THE AGENT APSLEY (@THEAGENTAPSLEY) June 26, 2016
The Desert Music, returning from #AldeburghFestival in the car
-> A link to @solomonsknot & @miracalix in The Discovery of Bomarzo :— THE AGENT APSLEY (@THEAGENTAPSLEY) June 26, 2016
How do we relate to texts, when performed ? https://t.co/KozjuQ510c
End-notes
* For, respectively, Sheffield Doc/Fest and Aldeburgh Festival** : in 2016, their respective 23rd and 69th incarnations (they bear a relation : for example, one is one-third the age of the other, one may note).
** No doubt (?), Peter Bradshaw (@PeterBradshaw1) would wish to insist that Aldeburgh is, properly, Aldeburgh Festival of Music and the Arts ?
Ah, but it's Peter Bradshaw, of course, and he 'has form' on that, @guardian ! :(#IReadTheAnnotatedAliceAsWell— THE AGENT APSLEY (@THEAGENTAPSLEY) May 27, 2016
Judging, at any rate, by his word-wasting pedantry (please see below) in ‘Alice Through the Looking Glass review – large as life and twice as phoney’, his a skatingly thin review of Alice Through The Looking Glass (2016)...
Bradshaw takes, that is, many a word (a sentence of thirty-four, in fact) to make yet another highly catty observation about this work (even if the film may not bear examination, as, for some, its Burton-directed predecessor did not...) : Using only the title and some characters from Lewis Carroll’s own 1871 sequel – in fact called Through the Looking Glass, and What Alice Found There [The Agent’s emphasis] – this new movie is just machine-tooled CGI fantasy fare’.
Alice Through the Looking Glass review – large as life and twice as phoney https://t.co/Gqd2XsOzgK— The Guardian (@guardian) May 26, 2016
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
