#Herbert Arnold Olivier | Explore Tumblr Posts and Blogs

alexlacquemanne · 1 year

Text

Janvier MMXXIII

Films

Airport (1970) de George Seaton avec Burt Lancaster, Dean Martin, Jean Seberg, Jacqueline Bisset, George Kennedy, Helen Hayes et Van Heflin

L'Homme qui murmurait à l'oreille des chevaux (The Horse Whisperer) (1998) de Robert Redford avec Scarlett Johansson, Robert Redford, Kristin Scott Thomas, Sam Neill et Dianne Wiest

Boulevard du crépuscule (Sunset Boulevard) de Billy Wilder avec William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Fred Clark et Lloyd Gough

Écrit sur du vent (Written on the Wind) (1956) de Douglas Sirk avec Rock Hudson, Lauren Bacall, Robert Stack, Dorothy Malone, Robert Keith et Grant Williams

Take Me Out to the Ball Game (1949) de Busby Berkeley avec Gene Kelly, Frank Sinatra, Esther Williams, Betty Garrett et Edward Arnold

Les Tontons flingueurs (1963) de Georges Lautner avec Lino Ventura, Bernard Blier, Jean Lefebvre, Francis Blanche, Venantino Venantini, Robert Dalban, Sabine Sinjen et Claude Rich

Un air de famille (1996) de Cédric Klapisch avec Jean-Pierre Bacri, Wladimir Yordanoff, Catherine Frot, Jean-Pierre Darroussin, Claire Maurier et Agnès Jaoui

Le Rapace (1968) de José Giovanni avec Lino Ventura, Rosa Furman, Xavier Marc, Aurora Clavel, Augusto Benedico et Marco Antonio Arzate

Aimez-vous Brahms… (Goodbye Again) (1961) d'Anatole Litvak avec Ingrid Bergman, Anthony Perkins, Yves Montand, Jessie Royce Landis, Pierre Dux, Jackie Lane et Michèle Mercier

Par-dessus les moulins (La bella mugnaia) (1955) de Mario Camerini avec Vittorio De Sica, Sophia Loren, Marcello Mastroianni, Paolo Stoppa et Yvonne Sanson

Y a-t-il enfin un pilote dans l'avion ? (Airplane II: The Sequel) (1983) de Ken Finkleman avec Robert Hays, Julie Hagerty, Lloyd Bridges, Chad Everett, William Shatner, Sonny Bono et Chuck Connors

Pouic-Pouic (1963) de Jean Girault avec Mireille Darc, Louis de Funès, Roger Dumas, Jacqueline Maillan, Christian Marin, Philippe Nicaud, Guy Tréjan et Daniel Ceccaldi

Papy fait de la résistance (1983) de Jean-Marie Poiré avec Christian Clavier, Michel Galabru, Roland Giraud, Gérard Jugnot, Martin Lamotte, Dominique Lavanant, Jacqueline Maillan, Jacques Villeret, Julien Guiomar et Jacques François

Votez McKay (The Candidate) (1972) de Michael Ritchie avec Robert Redford, Peter Boyle, Don Porter, Allen Garfield, Karen Carlson et Michael Lerner

American Graffiti (1973) de George Lucas avec Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Candy Clark, Mackenzie Phillips, Cindy Williams, Wolfman Jack, Bo Hopkins et Harrison Ford

Duel (1972) de Steven Spielberg avec Dennis Weaver, Jacqueline Scott, Eddie Firestone, Lou Frizzell, Gene Dynarski, Lucille Benson et Tim Herbert

Le jour se lève (1939) de Marcel Carné avec Jean Gabin, Jules Berry, Jacqueline Laurent, Arletty, Arthur Devère, Jacques Baumer, Mady Berry et Bernard Blier

Le Grand Alibi (Stage Fright) (1950) d'Alfred Hitchcock avec Jane Wyman, Marlène Dietrich, Michael Wilding, Richard Todd, Alastair Sim et Sybil Thorndike

Capitaine sans peur (Captain Horatio Hornblower R.N.) (1951) de Raoul Walsh avec Gregory Peck, Virginia Mayo, Robert Beatty, James Robertson Justice, Denis O'Dea, Moultrie Kelsall et Stanley Baker

Jack Reacher: Never Go Back (2016) d'Edward Zwick avec Tom Cruise, Cobie Smulders, Danika Yarosh, Jessica Stroup, Aldis Hodge et Patrick Heusinger

Confidences sur l'oreiller (Pillow Talk) (1959) de Michael Gordon avec Rock Hudson, Doris Day, Tony Randall, Thelma Ritter, Nick Adams et Julia Meade

Fanfan la Tulipe (1952) de Christian-Jaque avec Gérard Philipe, Gina Lollobrigida, Noël Roquevert, Olivier Hussenot, Marcel Herrand, Geneviève Page et Sylvie Pelayo

Les Sentiments (2003) de Noémie Lvovsky avec Nathalie Baye, Jean-Pierre Bacri, Isabelle Carré, Melvil Poupaud, Agathe Bonitzer : Sonia et Virgile Grünberg

Moby Dick (1956) de John Huston avec Gregory Peck, Richard Basehart, Leo Genn, Orson Welles, Harry Andrews et James Robertson Justice

Tueurs de dames (The Ladykillers) (1955) de Alexander Mackendrick avec Katie Johnson, Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers et Danny Green

Séries

Kaamelott Livre IV, I

Tous les matins du monde : 1re partie - Tous les matins du monde : 2e partie - Raison et Sentiments - Les Tartes aux fraises - Le Dédale - Les Pisteurs - Le Traître - La Faute : 1re partie - La Faute : 2e partie - L’Ascension du Lion - Enluminures - Les nouveaux frères - La jupe de Calogrenant - La dent de requin

Friends Saison 3, 4, 5

Celui qui était laissé pour compte - Celui qui s'auto-hypnotisait - Celui qui avait un tee-shirt trop petit - Celui qui courait deux lièvres - Celui qui avait un poussin - Celui qui s'énervait - Celui qui avait un truc dans le dos - Celui qui voulait être ultime champion - Celui qui allait à la plage - Celui qui soignait les piqûres de méduses - Celui qui ne voyait qu'un chat - Celui qui avait des menottes - Celui qui apprenait à danser - Celui qui avait une nouvelle copine - Celui qui fréquentait une souillon - Celui qui poussait le bouchon - Celui qui était dans la caisse - Celui qui savait faire la fête - Celui qui draguait au large - Celui qui posait une question embarrassante - Celui qui gagnait les paris - Celui qui se gourait du tout au tout - Celui qui n'avait pas le moral - Celui qui jouait au rugby - Celui qui participait à une fête bidon - Celui qui avait la chaîne porno - Celui qui cherche un prénom - Celui qui faisait de grands projets - Celui qui va se marier - Celui qui envoie l'invitation - Celui qui était le pire témoin du monde - Celui qui se marie : première partie - Celui qui se marie : deuxième partie - Celui qui avait dit Rachel

Inspecteur Barnaby Saison 1, 2, 3

Meurtres à Badger's Drift - Écrit dans le sang - Mort d'un pantin - Fidèle jusqu'à la mort - Le Masque de la mort - L'Ombre de la mort - Le Bois de l'étrangleur - Le Terrain de la mort - Et le sang coulera - Mort d'un vagabond - Angoisse dans la nuit - Le Jour du jugement - Le Mystère de la tombe

Coffre à catch

#96 : Bonne année + Kelly Kelly + LA SURPRISE ! - #97 : L'enclumette à la ECW !! - #98 : Kofi Kingston est-t-il invincible? - #99 : Avec le Big Show, c'est Mieux! - #100 : Avec Sturry, la ECW reste forte !

Columbo Saison 3

En toute amitié

Affaires Sensibles

Le bal tragique de Saint-Laurent-du-Pont - "Soleil Vert" : un mirage écologique à Hollywood - Le calvaire de Scorsese - L'aventure Canal Plus - Les dents de la mer - Redoine Faïd : le braqueur aux multiples visages - 4 août 1962, chute et mort de la femme éternelle - Los Angeles, les émeutes de 1992 : chronique d’un drame annoncé - O.J. Simpson, une histoire américaine - 17 avril 1961 : La baie des cochons - Lockerbie, 1988. La mort tombe du ciel

Doctor Who

Le Pouvoir du Docteur

L'Agence tous risques Saison 1

Les gladiateurs - Enlèvement à Las Vegas - Bagarre à Bad Rock - Racket - Bataille rangée - Et c'est reparti - Pour le meilleur et pour le pire

Le Voyageur Saison 2

Le roi nu - Au bout de la nuit

Spectacles

Concert du Nouvel An en direct du Musikverein, à Vienne (2023)

Le Mari, la Femme et la Mort (1970) d'André Roussin avec Bernard Blier, Jacqueline Gauthier, Denise Grey, Claude Nicot et Harry-Max

Livres

Le seigneur des anneaux Tome 1 : La communauté de l'anneau de J.R.R. Tolkien

Détective Conan : Tome 4 de Gôshô Aoyama

Watchmen : Tome 1 d'Alan Moore et Dave Gibbons

Les aventures de Tintin : Tome 18 : L'Affaire Tournesol d'Hergé

Des dragées sans baptême de Frederic Dard

Kaamelott : Tome 10 : Karadoc et l'Icosaèdre d'Alexandre Astier, Steven Dupré et Roberto Burgazzoli

Goldboy N°11 : Aventure en Amazonie

#mediatheque #janvier23

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huariqueje · 6 years

Photo

Poppy Fields , Flanders - Herbert Arnold Olivier , 1917.

British, 1861-1952

Oil on board, 10 x 14 in. 25.4 x 35.56 cm.

#Herbert Arnold Olivier #british artist #poppy fields

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trans-and-baby-names · 4 years

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Masculine Names

Aaron Abdul Abe Abel Abraham Abram Ace Achilles Adair Adam Adonis Adrian Adriel Ahmed Ajax Ajay Aiden Alan Albert Alejandro Alex Alexander Alfonso Alfred Alistair Alister Allen Alonzo Amadeo Amadeus Amani Amari Ambrose Amir Anders Anderson Andre Andreas Andrew Andy Angel Angelo Angus Ansel Anson Anthony Antonio Apollo Aries Archer Archie Aristotle Arlo Arnaldo Arnold Arsenio Arthur Arturo Arwin Asa Asher Aslan Atlas Atticus Aubrey August Augustin Augustine Augustus Aurelio Aurelius Austin Axel Aziz

Balthazar Bane Barnabas Barnaby Barney Baron Barrett Basil Bastian Bear Beau Beck Ben Benjamin Benji Bentley Bernard Bertram Bertrand Blake Blaze Blue Bobby Bodhi Booker Boris Boston Bowie Boyd Brad Bradford Bradley Bram Bramwell Bran Brandon Brandt Braxton Braylen Brayden Brendon Brent Brett Brian Briar Brick Bridge Bridger Brock Brody Brogan Bronx Brook Brooks Bruce Bruno Brutus Bryce Bryson Buck Bud Buddha Buddy Buck Burt Burton Buster Buzz Byron

Cade Caden Cain Cairo Caius Calder Caleb Callum Calvin Cam Cameron Camillo Campbell Carl Carlisle Carlito Carlo Carlos Carlton Carmine Carson Carter Casper Caspian Cassian Cassias Cato Cecil Cedar Cedric Cesar Chad Chadwick Chance Charles Charlton Chase Chauncey Chester Chidi Chip Christoff Christoph Christopher Christian Chuck Cian Cillian Clarence Clark Claud Clay Clayton Cliff Clifford Clint Clinton Clyde Coby Cody Colby Cole Collin Colt Colton Conan Connor Conrad Constantine Cooper Copper Corbin Cornelius Cory Cosmo Cosmos Costas Craig Crispin Cruz Curt Curtis Cyrus

Dale Dallas Dalton Damien Damon Dan Dane Daniel Dante Darius Darrel Darren Dash Dashiell Davey David Dawson Dax Daxton Deacon Dean DeAndre Declan Demetrius Denali Dennis Denny Denzel Derek Derrick Des Desmond Dewey Dex Dexter Diego Diesel Dion Dirk Dixon Dmitri Dominic Donatello Donovan Dorian Doug Douglas Draco Drew Duke Duncan Dustin Dusty Dwayne Dwight Dylan Dyson

Earl Easton Edgar Edmund Eduardo Edward Edwin Egon Eli Elijah Elias Elliott Ellis Elroy Elton Emanuel Emeric Emerson Emery Emil Emiliano Emmett Emrys Enrique Enzo Eric Ernest Ernesto Ernie Esteban Ethan Eugene Eustace Euvan Evan Evander Everett Ezekiel Ezra

Fabian Fabio Falcon Faustus Felix Ferdinand Fergus Ferguson Fernando Fidel Fido Finbar Findlay Finn Finnley Fionn Fisher Fitz Fletcher Flint Florence Florian Ford Forrest Fort Foster Fowler Fox Francesco Francis Francisco Franco Frank Frankie Franklin Fred Freddy Fredrick Frederico

Gabe Gabriel Gael Gage Gale Galen Garfield Garrett Gaston Gatsby Gavin Geoffrey Geordie George Gerald Gerard Gideon Gil Gilbert Gilberto Giovanni Glenn Gordon Gordy Grady Graham Grant Gray Grayson Gregg Gregory Grey Griffin Griffith Grover Gunner Gunther Gus Gustavo Guy

Hades Hal Hamilton Hank Hans Harley Harrison Harry Hawk Hayden Hayes Heath Hector Henrik Hendrix Henry Herb Herbert Herbie Hercules Hermes Hershel Hiram Holden Howard Howie Hudson Hugo Humphrey Hunter Hux Huxley

Ian Igor Iker Irvin Isaac Isaiah Ivan

Jace Jack Jackson Jacob Jaques Jaden Jake Jalen Jamal James Jameson Jared Jason Jax Jay Jed Jedidiah Jefferson Jeffrey Jeremiah Jeremy Jerome Jerry Jesus Jethro Jett Jim Jimmy Joe Joel Johan Johannes John Johnny Jonah Jonas Jonathan Jones Jordan Jose Joseph Joshua Josiah Juan Juanito Judah Judas Judd Jude Jules Julian Julien Julio Julius Junior Jupiter Jurgen Justice Justin Justus

Kaden Kai Kaiser Kale Kaleb Kane Keane Keanu Keaton Keegan Keenan Keith Kellen Kenan Kendrick Kenneth Kenzo Keoni Kevin Khalid Kian Kieran Kiernan Kingsley Kingston Killian Kip Kwan Kyle

Lachlan Lake Lamar Lance Lancelot Landon Lane Larkin Larry Lars Laurence Laurent Lawrence Lawson Lazlo Legend Leif Leith Leland Leo Leon Leonardo Leopold Leroy Levi Liam Lincoln Linden Logan Loki London Lonnie Lonny Lorcan Lorenzo Lou Louie Louis Luc Luca Lucas Lucian Lucky Luke Lupe Luther

Maddox Maksim Malachi Malachy Malakai Malcolm Malik Manfred Manny Marcel Marcello Marcellus Marcio Marcius Marco Marcos Marcus Marian Marino Mario Marius Mark Marlin Marlon Marmaduke Marques Mars Marshall Martin Marty Marvel Marvin Massimo Mason Matt Matteo Matthew Maurice Maverick Max Maximilian Maximus Maxwell Melvin Mercury Meredith Merritt Micah Michael Miguel Miles Milo Mitchell Moe Monte Montgomery Murdoch Murphy Murray Murtagh Murtaugh Myles

Nathan Nathaniel Ned Nelson Nemo Neo Neon Neptune Neville Newt Newton Nick Nicky Nicola Nicolai Nicholas Niko Noah Noel Nolan Norm Norman Novak

Obadiah Octavio Octavius Odin Olaf Oleg Oliver Olivier Omar Orion Orlando Orville Osborn Oscar Oso Osvaldo Oswald Ottis Otto Owen Oz Ozzy

Pablo Palmer Panther Parker Pascal Patrick Paul Paxton Pedro Penn Percival Percy Perseus Peter Peyton Phil Philip Phineas Phoenix Pier Pierce Pierre Pilot Pluto Porter Poseidon Preston Prince Prosper

Qadir Quincy Quinn Quinton

Raiden Ralph Ramone Ramses Randall Randolph Randy Raphael Ravi Ray Raymond Red Reece Reggie Reginald Regis Reid Remington Reuben Rex Reynald Reynaldo Reynard Rhett Rhys Ricardo Richard Richie Richmond Rick Ricky Rico Ridge Riley Rio Riordan River Robert Roberto Robbie Rocco Rocky Rodney Rodrigo Roger Ricky Riley Rod Rodrick Roger Roland Roman Romeo Ross Rowan Rudy Rufus Russell Ryder Ryker Rylan Ryland

Salem Salvador Salvator Sam Samir Sampson Samson Samuel Sander Sandford Sanjay Santiago Saul Sawyer Scott Sean Sebastian Septimus Serge Sergio Seth Seus Seymour Shane Shawn Shayne Sheldon Shepherd Sherlock Sherman Shin Sidney Sigmund Silas Silver Silvester Simon Sinclair Sinjin Sirius Slade Slate Sol Solomon Sonny Sparrow Spartacus Spencer Spike Soren Stan Stanford Stanley Steele Stephen Steven Stevie Stone Sven Summit Sullivan Sully Sylvester

Tad Tag Talon Tanner Tate Ted Teddy Teo Teodor Teodoro Terence Terrell Terry Tex Thad Thaddeus Thane Thatcher Theo Theoden Theodore Thomas Thor Thorn Tiberius Tiger Tito Titus Timothy Titus Tobias Toby Tommy Tony Topher Trace Travis Trent Trenton Trev Trevor Trey Tristan Troy Truman Tucker Tudor Tullio Tullius Tully Tycho Tyler Tyrell Tyrese Tyrone Tyson

Uberto Ulric Ulrich Ulysses Uriah Urban Urijah Uriel

Van Vance Vaugn Victor Vince Vincenco Vincent Vinny Virgil Vlad Vladimir

Wade Walden Waldo Walker Wallace Wally Walt Walter Warner Warren Watson Waylon Wayne Wendall Wesley Westley Weston Wilbert Wilbur Wilder Wiley Wilfred Will William Winston Wolf Wolfe Wolfgang Woodrow Wyatt

Xander Xavier Xavion Xenon

Yael Yahir York Yosef Yousef Yusef

Zac Zach Zachariah Zacharias Zachary Zack Zander Zane Zayden Zeke Zeus Ziggy Zion Zoltan

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hotguysfugue · 4 years

Text

top 100 pieces of western art music (2020 edition)

it’s been approximately a year since i posted my 2019 list, so here goes nothing!

100. Antonin Dvorak - Symphony No. 8

99. Bohuslav Martinu - String Trio No. 1

98. György Ligeti - String Quartet No. 1

97. G.F. Haas - String Quartet No. 2

96. Arnold Schoenberg - Verklärte Nacht

95. William Walton - Violin Concerto

94. Samuel Barber - Violin Concerto

93. Maurice Ravel - Trois Poèmes de Stéphane Mallarmé

92. Bela Bartok - Concerto for Orchestra

91. Krysztof Penderecki - Threnody

90. G.F. Handel/Johan Halverson - Passacaglia

89. Max Grafe - Moon Cycles

88. John Cage - 59 ½ for a string player

87. J.S. Bach - Harpsichord Concerto No. 1

86. Gustav Mahler - Symphony No. 1

85. Jennifer Higdon - blue cathedral

84. Sergei Prokofiev - Violin Concerto No. 1

83. George Crumb - Makrokosmos III (Music for a Summer Evening)

82. Paul Hindemith - String Quartet No. 4

81. Alban Berg - Violin Concerto

80. Dmitri Shostakovich - String Quartet No. 10

79. Luciano Berio - Sequenza XIVb

78. Steve Reich - Music for 18 Musicians

77. Charles Ives - The Unanswered Question

76. Eugene Ysaye - Solo Sonata No. 2

75. Tomás Luis de Victoria - O magnum mysterium

74. Sergei Prokofiev - Sinfonia concertante

73. Maurice Ravel - String Quartet

72. György Ligeti - String Quartet No. 2

71. Witold Lutosławski - Partita (for Violin & Orchestra)

70. Pierre Boulez - Anthemes

69. Augusta Read Thomas - Incantation

68. Erwin Schulhoff - Five Pieces

67. Gustav Mahler - Symphony No. 6

66. Krysztof Penderecki - Cadenza

65. Steve Reich - Music for Pieces of Wood

64. John Luther Adams - Dream of the Canyon Wren

63. Caroline Shaw - Valencia

62. Brian Ferneyhough - String Quartet No. 6

61. G.F. Haas - Solo (for viola d’amore)

60. Paul Hindemith - Viola Sonata

59. Iannis Xenakis - Metastasis

58. Andy Akhio - to wALk Or ruN in wEst harlem

57. Dmitri Shostakovich - Violin Sonata

56. Jessie Montgomery - Starburst

55. John Corigliano - Symphony No. 1

54. Kate Soper - Ipsa Dixit

53. Grazyna Bacewicz - Concerto for Strings

52. Alfred Schnittke - Concerto for Piano and Strings

51. Ben Johnston - String Quartet No. 4

50. Igor Stravinsky - Petrouchka

49. Dmitri Shostakovich - Symphony No. 10

48. Arnold Schoenberg - Pierrot Lunaire

47. Folke Rabe - Basta

46. Bela Bartok - String Quartet No. 4

45. Jennifer Higdon - Viola Concerto

44. Elizabeth Maconchy - String Quartet No. 11

43. György Ligeti - Lux aeterna

42. Herbert Howells - Elegy

41. Olivier Messiaen - Quatuor pour la fin du temps

40. J.S. Bach - Violin Sonata No. 2

39. Arvo Pärt - Fratres

38. Alberto Ginastera - Piano Concerto No. 1

37. Igor Stravinsky - L��oiseau de feu

36. John Luther Adams - The Wind in High Places

35. Alberto Ginastera - Harp Concerto

34. Silvestre Revueltas - La noche de los Mayas

33. William Grant Still - Afro-American Symphony

32. George Rochberg - String Quartet No. 3

31. Jessie Montgomery - Source Code

30. Ben Johnston - String Quartet No. 7

29. Bedrïch Smetana - String Quartet No. 1

28. Caroline Shaw - Entr’acte

27. Igor Stravinsky - Le sacre du printemps

26. Alberto Ginastera - Violin Concerto

25. Kaija Saariaho - Nocturne

24. Grazyna Bacewicz - Quartet for Four Violins

23. György Ligeti - Sechs Bagatellen/Musica Ricercata

22. Salvatore Sciarrino - Capricci per violino solo

21. Dai Fujikura - Fluid Calligraphy

20. Sky Macklay - Many, Many Cadences

19. Alberto Ginastera - String Quartet No. 1

18. György Ligeti - Violin Concerto

17. Luciano Berio - Sequenza III

16. Jessie Montgomery - Strum

15. George Crumb - Black Angels

14. Dmitri Shostakovich - String Quartet No. 8

13. Iannis Xenakis - Naama

12. Luciano Berio - Sequenza VIII

11. Toru Takemitsu - Rain Spell

10. Andy Akhio - NO one to kNOW one

9. Alberto Ginastera - String Quartet No. 2

8. Alfred Schnittke - Concerto Grosso No. 1

7. Caroline Shaw - Partita for Eight Voices

6. John Luther Adams - Canticles of the Sky

5. György Ligeti - Mysteries of the Macabre

4. Maurice Ravel - Introduction & Allegro

3. Jennifer Higdon - Violin Concerto

2. György Ligeti - Requiem

1. Kate Soper - Voices from the Killing Jar

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mawvsi · 4 years

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⭐💡.The 2, 300 Musicians: Music That Everyone In This World Should Know. (2020)

-1- ☁️

Author: Maxine Van Stellanidou. 🕊️✨

1. The Beatles.

2. The Rolling Stones.

3. Queen.

4. The Beach Boys.

5. Bob Dylan.

6. David Bowie.

7. Led Zeppelin.

8. The Doors.

9. Pink Floyd.

10. Elvis Presley.

11. Duke Ellington.

12. Elliott Smith.

13. Jeff Buckley.

14. Lou Reed & The Velvet Underground.

15. Sex Pistols.

16. Ramones.

17. Talking Heads.

18. Maxine Van Stellanidou.

19. Elton John.

20. Miles Davis.

21. Charlie Parker.

22. Thelonius Monk.

23. Louis Armstrong.

24. Patti Smith.

25. Sigur Ros.

26. Bjork.

27. Mum.

28. 2pac.

29. Eminem.

30. Johnny Cash.

31. Run DMC.

32. Philip Glass.

33. Chet Baker.

34. Wolfgang Amadeus Mozart.

35. Ludwig Van Beethoven.

36. Arnold Schoenberg.

37. Igor Stravinsky.

38. Sergej Prokofiev.

39. J. S. Bach.

40. Joseph Haydn.

41. Frederic Chopin.

42. Erik Satie.

43. Edvard Grieg.

44. Benny Goodman.

45. Dizzy Gillespie.

46. Ornette Coleman.

47. Little Richard.

48. Morton Feldman.

49. Julia Wolfe.

50. John Cage.

51. Arvo Part.

52. Sergej Rachmaninov.

53. Dmitrij Shostakovich.

54. Toru Takemitsu.

55. Maxim Keyfman.

56. Jaakko Eino Kalevi.

57. Serge Gainsbourg.

58. U2.

59. Jacques Brel.

58. Francoise Hardy.

59. XXXTentacion.

60. Coldplay.

61. Vladimir Visotsky.

62. Brian Eno.

63. John Lennon.

64. Johann Johannsson.

65. Nico Muhly.

66. BTS.

67. Antonio Vivaldi.

68. Franz Schubert.

69. Michael Jackson.

70. Nirvana.

71. Janis Joplin.

72. Robert Johnson.

73. Jimi Hendrix.

74. Amy Winehouse.

75. Nine Inch Nails.

76. Joep Beving.

77. Max Richter.

78. Olafur Arnalds.

79. Otis Redding.

80. Yann Tiersen.

81. Bill Evans.

82. Leonard Bernstein.

83. George Gershwin.

84. The Notorious B. I. G.

85. Leadbelly.

86. Moondog.

87. Gustav Mahler.

89. Howlin Wolf.

90. Simon & Garfunkel.

91. Paul McCartney.

92. George Harrison.

93. The Who.

94. Joy Division.

95. Taylor Swift.

96. Jay-Z.

97. Kanye West.

98. Lil Uzi Vert.

99. Green Day.

100. Linkin Park.

101. My Bloody Valentine.

102. Billie Eilish.

103. Petr Tchaikovsky.

104. Modest Mussorgsky.

105. Glenn Miller.

106. Billie Holiday.

107. Ella Fitzgerald.

108. Aretha Franklin.

109. Jean Sibelius.

110. Alexandre Desplat.

111. Hildur Gudnadottir.

112. Linkin Park.

113. Bruno Mars.

114. Bruce Springsteen.

115. Angelo Badalamenti.

116. Radiohead.

117. Vangelis.

118. Sufjan Stevens.

119. Christian Loffler.

120. Metallica.

121. Kendrick Lamar.

122. Frank Ocean.

121. Ennio Morricone.

122. AC/DC.

123. Daniel Johnston.

124. Nick Cave.

125. Yes.

126. Arctic Monkeys.

127. Nino Rota.

128. Georges Bizet.

129. Giuseppe Verdi.

130. The Kinks.

131. Funkadelic.

132. Ray Charles.

133. Frank Sinatra.

134. Nina Simone.

135. Harry Styles.

136. One Direction.

137. David Lang.

138. Benjamin Britten.

139. Ralph Vaughan Williams.

140. John Towner Williams.

141. John Tavener.

142. Maurice Ravel.

143. Claude Debussy.

144. Alfred Schnittke.

145. Robert Schumann.

146. Johannes Brahms.

147. Franz Liszt.

148. Wojciech Kilar.

149. Edward Elgar.

150. Henry Purcell.

151. Guns N Roses.

152. Gabriel Faure.

153. Frank Zappa.

154. Camille Saint-Saens.

155. Frank Sesar.

155. Hector Berlioz.

156. Placebo.

157. Iannis Xenakis.

158. Karol Szymanowski.

159. Krzysztof Penderecki.

160. Ignacy Jan Paderewski.

161. Olivier Messiaen.

162. Karlheinz Stockhausen.

163. Alban Berg.

164. Gyorgy Ligeti.

165. Pierre Boulez.

166. Bela Bartok.

167. Niccolo Paganini.

168. Felix Mendelssohn.

169. Asian Kung Fu Generation.

170. Eazy E.

171. Dr. Dre.

172. Ice Cube.

173. Vladimir Horowitz.

174. Glenn Gould.

175. Sviatoslav Richter.

176. Emil Gilels.

177. Mstislav Rostropovich.

178. Yehudi Menuhin.

179. Martha Argerich.

180. Claudio Abbado.

181. Herbert Von Karajan.

182. Judy Garland.

183. Andy Williams.

184. Marilyn Monroe.

185. Marilyn Manson.

186. Green Day.

187. Beach House.

188. Slowdive.

189. Twenty One Pilots.

190. Clint Mansell.

191. Slash.

192. Blind Lemon Jefferson.

193. The Clash.

194. Madonna

#music #art #design #fashion #painting #composer #the beatles

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simena · 5 years

Photo

HERBERT ARNOLD OLIVIER (detail)

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steenpaal · 5 years

Text

Serialism - Wikipedia

In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre.

The idea of serialism is also applied in various ways in the visual arts, design, and architecture (Bandur 2001, 5, 12, 74; Gerstner 1964, passim), and the musical concept has also been adapted in literature (Collot 2008, 81; Leray 2008, 217–19; Waelti-Walters 1992, 37, 64, 81, 95).

Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch (Whittall 2008, 273). Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism (Grant 2001, 5–6).

Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, Elisabeth Lutyens, Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music. Other composers such as Béla Bartók, Luciano Berio, Benjamin Britten, John Cage, Aaron Copland, Olivier Messiaen, Arvo Pärt, Walter Piston, Ned Rorem, Alfred Schnittke, Ruth Crawford Seeger, Dmitri Shostakovich, and Igor Stravinsky used serialism only in some of their compositions or only in some sections of pieces, as did some jazz composers, such as Yusef Lateef and Bill Evans.

Basic definitions

Serialism is a method (Griffiths 2001, 116), "highly specialized technique" (Wörner 1973, 196), or "way" (Whittall 2008, 1) of composition. It may also be considered "a philosophy of life (Weltanschauung), a way of relating the human mind to the world and creating a completeness when dealing with a subject" (Bandur 2001, 5).

Serialism is not by itself a system of composition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music (Griffiths 2001, 116).

"Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German.(Frisius 1998, 1327). The term's use in connection with music was first introduced in French by René Leibowitz (1947), and immediately afterward by Humphrey Searle in English, as an alternative translation of the German Zwölftontechnik twelve-tone technique or Reihenmusik (row music); it was independently introduced by Herbert Eimert and Karlheinz Stockhausen into German in 1955 as serielle Musik, with a different meaning (Frisius 1998, 1327) but also translated as "serial music".

Twelve-tone serialism

Serialism of the first type is most specifically defined as the structural principle according to which a recurring series of ordered elements (normally a set—or row—of pitches or pitch classes) are used in order or manipulated in particular ways to give a piece unity. Serialism is often broadly applied to all music written in what Schoenberg called "The Method of Composing with Twelve Notes related only to one another" (Schoenberg 1975, 218; Anon. n.d.), or dodecaphony, and methods that evolved from his methods. It is sometimes used more specifically to apply only to music where at least one element other than pitch is treated as a row or series. In such usages post-Webernian serialism will be used to denote works that extend serial techniques to other elements of music. Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter.

A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehensive strategy. The choice of strategy often depends on the relationships contained in a row class, and rows may be constructed with an eye to producing the relationships needed to form desired strategies.(Mead 1985, 129–30)

The basic set may have additional restrictions, such as the requirement that it use each interval only once.

Non-twelve-tone serialism

The series is not an order of succession, but indeed a hierarchy—which may be independent of this order of succession.(Boulez 1954,[page needed], translated in Griffiths 1978, 37)

Rules of analysis derived from twelve-tone theory do not apply to serialism of the second type: "in particular the ideas, one, that the series is an intervallic sequence, and two, that the rules are consistent" (Maconie 2005, 119). Stockhausen, for example, in early serial compositions such as Kreuzspiel and Formel, "advances in unit sections within which a preordained set of pitches is repeatedly reconfigured ... The composer's model for the distributive serial process corresponds to a development of the Zwölftonspiel of Josef Matthias Hauer" (Maconie 2005, 56), and Goeyvaerts, in such a work as Nummer 4,

provides a classic illustration of the distributive function of seriality: 4 times an equal number of elements of equal duration within an equal global time is distributed in the most equable way, unequally with regard to one another, over the temporal space: from the greatest possible coïncidence to the greatest possible dispersion. This provides an exemplary demonstration of that logical principle of seriality: every situation must occur once and only once. (Sabbe 1977, 114)

For Henri Pousseur, after an initial period working with twelve-tone technique in works like Sept Versets (1950) and Trois Chants sacrés (1951), serialism

evolved away from this bond in Symphonies pour quinze Solistes [1954–55] and in the Quintette [à la mémoire d’Anton Webern, 1955], and from around the time of Impromptu [1955] encounters whole new dimensions of application and new functions.

The twelve-tone series loses its imperative function as a prohibiting, regulating, and patterning authority; its working-out is abandoned through its own constant-frequent presence: all 66 intervallic relations among the 12 pitches being virtually present. Prohibited intervals, like the octave, and prohibited successional relations, such as premature note repetitions, frequently occur, although obscured in the dense contexture. The number twelve no longer plays any governing, defining rôle; the pitch constellations no longer hold to the limitation determined by their formation. The dodecaphonic series loses its significance as a concrete model of shape (or a well-defined collection of concrete shapes) is played out. And the chromatic total remains active only, and provisionally, as a general reference.(Sabbe 1977, 264)

In the 1960s Pousseur took this a step further, applying a consistent set of predefined transformations to preexisting music. One example is the large orchestral work Couleurs croisées (Crossed Colours, 1967), which performs these transformations on the protest song "We Shall Overcome", creating a succession of different situations that are sometimes chromatic and dissonant and sometimes diatonic and consonant (Locanto 2010, 157). In his opera Votre Faust (Your Faust, 1960–68) Pousseur used a large number of different quotations, themselves arranged into a "scale" for serial treatment, so as to bring coherence and order to the work. This "generalised" serialism (in the strongest possible sense) aims not to exclude any musical phenomena, no matter how heterogenous, in order "to control the effects of tonal determinism, dialectize its causal functions, and overcome any academic prohibitions, especially the fixing of an anti-grammar meant to replace some previous one" (Bosseur 1989, 60–61).

At about the same time, Stockhausen began using serial methods to integrate a variety of musical sources from recorded examples of folk and traditional music from around the world in his electronic composition Telemusik (1966), and from national anthems in Hymnen (1966–67). He extended this serial "polyphony of styles" in a series of "process-plan" works in the late 1960s, as well as later in portions of Licht, the cycle of seven operas he composed between 1977 and 2003 (Kohl 2002, 97 et passim).

History of serial music

Before World War II

In the late 19th and early 20th century, composers began to struggle against the ordered system of chords and intervals known as "functional tonality". Composers such as Debussy and Strauss found differing ways of stretching the limits of the tonal system to accommodate their ideas. After a brief period of free atonality, Schoenberg and others began exploring tone rows, in which an ordering of the twelve pitches of the equal tempered chromatic scale is used as the source material of a composition. This ordered set, often called a row, allowed for new forms of expression and (unlike free atonality) the expansion of underlying structural organizing principles without recourse to common practice harmony (Delahoyde n.d.).

Twelve-tone serialism first appeared in the 1920s, with antecedents predating that decade (instances of twelve-note passages occur in Liszt's Faust Symphony Walker 1986,[page needed] and in Bach Cope 1971,[page needed]). Schoenberg was the composer most decisively involved in devising and demonstrating the fundamentals of twelve-tone serialism, though it is clear it is not the work of just one musician (Whittall 2008, 1).

After World War II

Serialism, along with John Cage's indeterminate music (music composed with the use of chance operations) and Werner Meyer-Eppler's aleatoricism, was enormously influential in postwar music. Theorists such as George Perle codified serial systems, and his 1962 text Serial Composition and Atonality became a standard work on the origins of serial composition in the music of Schoenberg, Berg, and Webern.

The serialization of rhythm, dynamics, and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students, including Karel Goeyvaerts and Boulez, in postwar Paris.

Several of the composers associated with Darmstadt, notably Stockhausen, Goeyvaerts, and Pousseur, developed a form of serialism that initially rejected the recurring rows characteristic of twelve-tone technique in order to eradicate any lingering traces of thematicism (Felder 1977, 92). Instead of a recurring, referential row, "each musical component is subjected to control by a series of numerical proportions" (Morgan 1975, 3). In Europe, the style of some serial and non-serial music of the early 1950s emphasized the determination of all parameters for each note independently, often resulting in widely spaced, isolated "points" of sound, an effect called first in German "punktuelle Musik" ("pointist" or "punctual music"), then in French "musique ponctuelle", but quickly confused with "pointillistic" (German "pointillistische", French "pointilliste"), the familiar term associated with the densely packed dots in paintings of Seurat, despite the fact that the conception was at the opposite extreme (Stockhausen and Frisius 1998, 451).

Pieces were structured by closed sets of proportions, a method closely related to certain works from the de Stijl and Bauhaus movements in design and architecture called "serial art" by some writers (Bochner 1967; Gerstner 1964; Guderian 1985; Sykora 1983), specifically the paintings of Piet Mondrian, Theo van Doesburg, Bart van Leck, Georg van Tongerloo, Richard Paul Lohse, and Burgoyne Diller, who had been seeking to “avoid repetition and symmetry on all structural levels and working with a limited number of elements” (Bandur 2001, 54).

Stockhausen described the final synthesis in this manner:

So serial thinking is something that's come into our consciousness and will be there forever: it's relativity and nothing else. It just says: Use all the components of any given number of elements, don't leave out individual elements, use them all with equal importance and try to find an equidistant scale so that certain steps are no larger than others. It's a spiritual and democratic attitude toward the world. The stars are organized in a serial way. Whenever you look at a certain star sign you find a limited number of elements with different intervals. If we more thoroughly studied the distances and proportions of the stars we'd probably find certain relationships of multiples based on some logarithmic scale or whatever the scale may be. (Cott 1973, 101)

Igor Stravinsky's adoption of twelve-tone serial techniques offers an example of the level of influence that serialism had after the Second World War. Previously Stravinsky had used series of notes without rhythmic or harmonic implications (Shatzkin 1977). Because many of the basic techniques of serial composition have analogs in traditional counterpoint, uses of inversion, retrograde, and retrograde inversion from before the war are not necessarily indicative of Stravinsky adopting Schoenbergian techniques. But after meeting Robert Craft and other younger composers, Stravinsky began to consciously study Schoenberg's music, as well as that of Webern and later composers, and began to adapt their techniques in his work, using, for example, serial techniques applied to fewer than twelve notes. Over the course of the 1950s he used procedures related to Messiaen, Webern and Berg. While it is difficult to label each and every work as "serial" in the strict definition, every major work of the period has clear uses and references to serialist ideas.

During this period, the concept of serialism influenced not only new compositions but also the scholarly analysis of the classical masters. Adding to their professional tools of sonata form and tonality, scholars began to analyze previous works in the light of serial techniques; for example, they found the use of row technique in previous composers going back to Mozart and Beethoven (Jalowetz 1944, 387; Keller 1955, passim). In particular, the orchestral outburst that introduces the development section halfway through the last movement of Mozart's next-to-last symphony is a tone row that Mozart punctuates in a very modern and violent way that Michael Steinberg called "rude octaves and frozen silences" (Steinberg 1998, 400).

Ruth Crawford Seeger is credited with extending serial controls to parameters other than pitch and to formal planning as early as 1930–33 (Tick 2001).

Reactions to and against serialism

the first time I ever heard Webern in a concert performance …[t]he impression it made on me was the same as I was to experience a few years later when … I first laid eyes on a

Mondriaan

canvas...: those things, of which I had acquired an extremely intimate knowledge, came across as crude and unfinished when seen in reality.

Karel Goeyvaerts on Anton Webern's music. (Goeyvaerts 1994, 39)

Some music theorists have criticized serialism on the basis that the compositional strategies employed are often incompatible with the way information is extracted by the human mind from a piece of music. Nicolas Ruwet (1959) was one of the first to criticise serialism through a comparison with linguistic structures, citing theoretical claims by Boulez and Pousseur, taking as specific examples bars from Stockhausen's Klavierstücke I & II, and calling for a general reexamination of Webern's music. Ruwet specifically names three works as exempt from his criticism: Stockhausen's Zeitmaße and Gruppen, and Boulez's Le marteau sans maître (Ruwet 1959, 83, 85, 87, 93–96).

In response, Pousseur (1959) questioned the equivalence made by Ruwet between phonemes and notes. He also suggested that, if analysis of Le marteau sans maître and Zeitmaße, "performed with sufficient insight", were to be made from the point of view of wave theory—taking into account the dynamic interaction of the different component phenomena, which creates "waves" that interact in a sort of frequency modulation—this analysis "would accurately reflect the realities of perception". This was because these composers had long since acknowledged the lack of differentiation found in punctual music and, becoming increasingly aware of the laws of perception and complying better with them, "paved the way to a more effective kind of musical communication, without in the least abandoning the emancipation that they had been allowed to achieve by this 'zero state' that was punctual music". One way this was achieved was by the development of the concept of "groups", which allows structural relationships to be defined not only between individual notes but also at higher levels, up to the overall form of a piece. This is "a structural method par excellence", and a sufficiently simple conception that it remains easily perceptible (Pousseur 1959, 104–105, 114–15). Pousseur also points out that serial composers were the first to recognize and attempt to move beyond the lack of differentiation within certain pointillist works (Campbell 2010, 125). Pousseur later followed up on his own suggestion by developing his idea of "wave" analysis and applying it to Stockhausen's Zeitmaße in two essays, Pousseur 1970 and Pousseur 1997.

Later writers have continued both lines of reasoning. Fred Lerdahl, for example, in his essay "Cognitive Constraints on Compositional Systems" (Lerdahl 1988), argues that serialism's perceptual opacity ensures its aesthetic inferiority. Lerdahl has in turn been criticized for excluding "the possibility of other, non-hierarchical methods of achieving musical coherence," and for concentrating on the audibility of tone rows (Grant 2001, 219), and the portion of his essay focussing on Boulez's "multiplication" technique (exemplified in three movements of Le Marteau sans maître) has been challenged on perceptual grounds by Stephen Heinemann (1998) and Ulrich Mosch (2004). Ruwet's critique has also been criticised for making "the fatal mistake of equating visual presentation (a score) with auditive presentation (the music as heard)" (Grant 2006, 351).

Within the community of modern music, exactly what constituted serialism was also a matter of debate. The conventional English usage is that the word "serial" applies to all twelve-tone music, which is a subset of serial music, and it is this usage that is generally intended in reference works. Nevertheless, a large body of music exists that is called "serial" but does not employ note-rows at all, let alone twelve-tone technique, e.g., Stockhausen's Klavierstücke I–IV (which use permuted sets), as well as his Stimmung (with pitches from the overtone series, which is also used as the model for the rhythms), and Pousseur's Scambi (where the permuted sounds are made exclusively from filtered white noise).

When serialism is not limited to twelve-tone techniques, a contributing problem is that the word "serial" is seldom if ever defined. In many published analyses of individual pieces the term is used while actual meaning is skated around (Koenig 1999, 298).

Theory of twelve-tone serial music

The vocabulary of serialism eventually became rooted in set theory, and uses a quasi-mathematical vocabulary to describe how the basic sets are manipulated to produce the final result. Musical set theory is often used to analyze and compose serial music, but may also be used to study tonal music and nonserial atonal music.

The basis for serial composition is Schoenberg's twelve-tone technique, where the twelve notes of the basic chromatic scale are organized into a row. This "basic" row is then used to create permutations, that is, rows derived from the basic set by reordering its elements. The row may be used to produce a set of intervals, or a composer may derive the row from a particular succession of intervals. A row that uses all of the intervals in their ascending form once is an all-interval row. In addition to permutations, the basic row may have some set of notes derived from it, which is used to create a new row. These are derived sets.

Because there are tonal chord progressions that use all twelve notes, it is possible to create pitch rows with very strong tonal implications, and even to write tonal music using twelve-tone technique. Most tone rows contain subsets that can imply a pitch center; a composer can create music centered on one or more of the row's constituent pitches by emphasizing or avoiding these subsets, respectively, as well as through other, more complex compositional devices (Newlin 1974; Perle 1977).

To serialize other elements of music, a system quantifying an identifiable element must be created or defined (this is called "parametrization", after the term in mathematics). For example, if duration is to be serialized, then a set of durations must be specified. If tone colour (timbre) is to be serialized, then a set of separate tone colours must be identified, and so on.

The selected set or sets, their permutations and derived sets form the basic material with which the composer works.

Composition using twelve-tone serial methods focuses on each appearance of the collection of twelve chromatic notes, called an aggregate. (Sets of more or fewer pitches, or of elements other than pitch, may be treated analogously.) The principle is that no element of the aggregate should be reused until all of the other members have been used, and each member must appear only in its place in the series. This rule is violated in numerous works still termed "serial".[citation needed]

An aggregate may be divided into subsets, and all the members of the aggregate not part of any one subset are said to be its complement. A subset is self-complementing if it contains half of the set and its complement is also a permutation of the original subset. This is most commonly seen with hexachords or six-note segments from a basic tone row. A hexachord that is self-complementing for a particular permutation is referred to as prime combinatorial. A hexachord that is self-complementing for all of the canonic operations—inversion, retrograde, and retrograde inversion—is referred to as all-combinatorial.

The composer then presents the aggregate. If there are multiple serial sets, or if several parameters are associated with the same set, then a presentation will have these values calculated. Large-scale design may be achieved through the use of combinatorial devices, for example, subjecting a subset of the basic set to a series of combinatorial devices.

Notable composers

Further reading

Delaere, Marc. 2016. "The Stockhausen–Goeyvaerts Correspondence and the Aesthetic Foundations of Serialism in the Early 1950s". In The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward, edited by M.J. Grant and Imke Misch, 20–34. Hofheim: Wolke Verlag. ISBN 978-3-95593-068-4.

Eco, Umberto. 2005. "Innovation & Repetition: Between Modern & Postmodern Aesthetics". Daedalus 134, no. 4, 50 Years (Fall): 191–207. doi:10.1162/001152605774431527. JSTOR 20028022.

Fürstenberger, Barbara. 1989. Michel Butors literarische Träume: Untersuchungen zu Matière de rêves I bis V. Studia Romanica 72. Heidelberg: C. Winter. ISBN 9783533040705; ISBN 9783533040699.

Gollin, Edward. 2007. "Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók." Music Theory Spectrum 29, no. 2 (Fall): 143–76. doi:10.1525/mts.2007.29.2.143.

Gredinger, Paul. 1955. "Das Serielle". Die Reihe 1 ("Elektronische Musik"): 34–41. English as "Serial Technique", translated by Alexander Goehr. Die Reihe 1 ("Electronic Music"), (English edition 1958): 38–44.

Knee, Robin. 1985. "Michel Butor's Passage de Milan: The Numbers Game". Review of Contemporary Fiction 5, no. 3:146–49.

Kohl, Jerome. 2017. Karlheinz Stockhausen: Zeitmaße. Landmarks in Music Since 1950, edited by Wyndham Thomas. Abingdon, Oxon; London; New York: Routledge. ISBN 978-0-7546-5334-9.

Krenek, Ernst. 1953. "Is the Twelve-Tone Technique on the Decline?" The Musical Quarterly 39, no 4 (October): 513–27.

Miller, Elinor S. 1983. "Critical Commentary II: Butor's Quadruple fond as Serial Music". Romance Notes 24, no. 2 (Winter): 196–204.

Misch, Imke. 2016. "Karlheinz Stockhausen: The Challenge of Legacy: An Introduction". In The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward, edited by M.J. Grant and Imke Misch, 11–19. Hofheim: Wolke Verlag. ISBN 978-3-95593-068-4.

Rahn, John. 1980. Basic Atonal Theory. New York: Schirmer Books.

Roudiez, Leon S. 1984. "Un texte perturbe: Matière de rêves de Michel Butor". Romanic Review 75, no. 2:242–55.

Savage, Roger W. H. 1989. Structure and Sorcery: The Aesthetetics of Post-War Serial Composition and Indeterminancy. Outstanding Dissertations in Music from British Universities. New York: Garland Publications. ISBN 0-8240-2041-3.

Schoffman, Nathan. 1981. "Serialism in the Works of Charles Ives". Tempo, new series, no. 138 (September): 21–32.

Scruton, Roger. 1997. Aesthetics of Music. Oxford: Clarendon Press. ISBN 0-19-816638-9. Quoted in Arved Ashbey, The Pleasure of Modernist Music (University of Rochester Press, 2004) p. 122. ISBN 1-58046-143-3.

Spencer, Michael Clifford. 1974. Michel Butor. Twayne's World Author Series TWS275. New York: Twayne Publishers. ISBN 9780805721867.

Wangermée, Robert. 1995. André Souris et le complexe d'Orphée: entre surréalisme et musique sérielle. Collection Musique, Musicologie. Liège: P. Mardaga. ISBN 9782870096055.

White, Eric Walter, and Jeremy Noble. 1984. "Stravinsky". In The New Grove Modern Masters. London: Macmillan Publishers.

External links

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secrets-of-the-dark-academia · 5 years

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Herbert Arnold Olivier - The Terms of the Armistice, 3rd and 4th November, 1918 (1918)

#museum #reddit #art #arts #fineartamerica

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1shakti · 7 years

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Herbert Arnold Olivier

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abager · 4 years

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No one likes to arrive too early at a party. There’s no one to talk to and nowhere to hide. You can’t leave without being conspicuously rude. In due course you find yourself talking about car insurance (or worse still, Brexit) with other new arrivals. Of course, there’s the decor to look at (paintings you don’t much like) and there’s the buffet, tempting but as yet untouchable.

As hosts, though, we’re always grateful to those who arrive early and get things going.

New social networks have a hard time too. What’s the point of joining if no one’s there?

In gigglemusic, our new social network for classical musicians, we try to solve that problem by offering new users content that doesn’t depend on the community being large. We’ve uploaded the schedules of major classical music venues around the world (for the moment mainly opera houses).

We’ve also entered the ‘diaries’ of the world’s greatest composers – well, the greatest composers writing within the Western tradition or having some significant influence on it. By their diaries I mean their dates and places of birth and death (though many are still alive and kicking) and the dates and places of the first performances of their major works. Almost all of this comes from Wikipedia.

It may be a bit like trainspotting, but I, for one, find it mildly interesting to know where this or that masterpiece was first performed, and when.

To review a composer’s diary, start with People, open a profile, tap Diary and then scroll up to go back in time. Tap on an individual work to find out more. There’s usually a Wikipedia article to link to.

But who are the world’s greatest composers?

There’s no ideology behind the selection I’ve made, and no conscious exclusions (I’ve even included Carl Orff). They’re just the first 292 composers who came to mind, and for whom there was also a Wikipedia entry. I’m sure the assiduous researcher will detect unconscious bias, but if you do, please tell me who I’ve missed. There’s room for nearly everyone in gigglemusic.

Adam (Adolphe) Adams (John) Adès (Thomas) Albeniz (Isaac) Albinoni (Tomaso) Alwyn (William) Arne (Thomas) Arnold (Malcolm) Auric (Georges) Bach (Carl Philipp Emanuel) Bach (Johann Sebastian) Balakirev (Mily) Barber (Samuel) Bartok (Bela) Bax (Arnold) Beach (Amy) Beamish (Sally) Beethoven (Ludwig van) Bellini (Vincenzo) Bennett (Richard Rodney) Berg (Alban) Berio (Luciano) Berkeley (Lennox) Berkeley (Michael) Berlioz (Hector) Berners (Gerald (Lord)) Bernstein (Leonard) Berwald (Franz) Birtwistle (Harrison) Bizet (Georges) Bliss (Arthur) Blitzstein (Marc) Bloch (Ernst) Blow (John) Bologne (Joseph) Borodin (Alexander) Boulanger (Lili) Boulanger (Nadia) Boulez (Pierre) Bowen (York) Bozza (Eugene) Brahms (Johannes) Brian (Havergal) Bridgetower (George) Britten (Benjamin) Bruch (Max) Bruckner (Anton) Bush (Alan) Busoni (Ferrucio) Butterworth (George) Buxtehude (Dietrich) Cage (John) Canteloube (Joseph) Carter (Elliot) Chabrier (Emmanuel) Chagrin (Francis) Chaminade (Cécile) Charpentier (Gustave) Chausson (Ernest) Cherubini (Luigi) Chopin (Frédéric) Cilea (Francesco) Cimarosa (Domenico) Clarke (Rebecca) Clementi (Muzio) Coleridge-Taylor (Samuel) Copland (Aaron) Corelli (Arcangelo) Cornelius (Peter) Couperin (Francois) Cui (César) Czerny (Carl) Dallapiccola (Luigi) Debussy (Claude) Delibes (Léo) Delius (Frederick) Dittersdorf (Carl Ditters von) Dohnányi (Ernst von) Donizetti (Gaetano) Dorati (Antal) Dukas (Paul) Duruflé (Maurice) Dutilleux (Henri) Dvorak (Antonin) Einem (Gottfried von) Eisler (Hans) Elgar (Edward) Ellington (Duke) Enescu (George) Erkel (Ferenc) Falla (Manuel de) Fauré (Gabriel) Feldman (Morton) Ferguson (Howard) Ferneyhough (Brian) Field (John) Finzi (Gerald) Francaix (Jean) Franck (César) Gabrieli (Giovanni) Gershwin (George) Ginastera (Alberto) Giordano (Umberto) Glass (Philip) Glazunov (Alexander) Glière (Reinhold) Glinka (Mikhail) Gluck (Christoph Willibald) Górecki (Henryk) Gounod (Charles) Grainger (Percy) Granados (Enrique) Grieg (Edvard) Grovlez (Gabriel) Gubaidulina (Sofia) Gurney (Ivor) Haas (Pavel) Handel (George Frideric) Harty (Hamilton) Haydn (Joseph) Head (Michael) Hindemith (Paul) Hoddinott (Alun) Holliger (Heinz) Holst (Gustav) Honegger (Arthur) Howells (Herbert) Hummel (Johann Nepomuk) Humperdinck (Engelbert) Ibert (Jacques) Indy (Vincent d’) Ireland (John) Ives (Charles) Jacob (Gordon) Janacek (Leos) Jolivet (André ) Joplin (Scott) Kalivoda (Jan) Kálmán (Emmerich) Khachaturian (Aram) Knussen (Oliver) Kodaly (Zoltan) Koechlin (Charles) Korngold (Erich) Krenek (Ernst) Krommer (Franz) Kurtág (György) Lalo (Édouard) Lang (David) Lauridsen (Morten) Leclair (Jean-Marie) Lehár (Franz) Leifs (Jón) Leigh (Walter) Leoncavallo (Ruggero) Ligeti (Gyorgy) Liszt (Franz) Loeillet (Jean Baptiste) Lyadov (Anatoly) Mahler (Alma) Mahler (Gustav) Marcello (Alessandro) Martin (Frank) Martinu (Bohuslav) Mascagni (Pietro) Massenet (Jules) Maxwell Davies (Peter) Medtner (Nikolai) Mendelssohn (Felix) Menotti (Gian Carlo) Messiaen (Olivier) Meyerbeer (Giacomo) Milhaud (Darius) Moeran (Ernest) Monteverdi (Claudio) Morricone (Ennio) Moyzes (Alexander) Mozart (Wolfgang Amadeus) Mussorgsky (Modest) Nancarrow (Conlon) Nielsen (Carl) Nono (Luigi) Nyman (Michael) Offenbach (Jacques) Orff (Carl) Pachelbel (Johann) Paderewski (Ignacy Jan) Paganini (Niccolò) Paisiello (Giovanni) Palestrina (Giovanni Pierluigi da) Panufnik (Andrzej) Parry (Hubert) Pärt (Arvo) Pasculli (Antonio) Penderecki (Krzysztof) Pepusch (Johann Christoph) Pergolesi (Giovanni) Piazzola (Astor) Poulenc (Francis) Previn (André) Price (Florence) Prokofiev (Sergei) Puccini (Giacomo) Purcell (Henry) Quantz (Johann Joachim) Quilter (Roger) Rachmaninoff (Sergei) Raff (Joachim) Rameau (Jean-Philippe) Ravel (Maurice) Reger (Max) Reich (Steve) Reinecke (Carl) Reizenstein (Franz) Respighi (Ottorino) Richardson (Alan) Riley (Terry) Rimsky-Korsakov (Nikolai) Rodrigo (Joaquín) Rossini (Giacomo) Rota (Nino) Rubbra (Edmund) Saint-Saëns (Camille) Salieri (Antonio) Sammartini (Giovanni Battista) Satie (Erik) Scarlatti (Domenico) Schnittke (Alfred) Schoeck (Othmar) Schoenberg (Arnold) Schubert (Franz) Schumann (Clara) Schumann (Robert) Scriabin (Alexander) Sessions (Roger) Shostakovich (Dmitri) Sibelius (Jean) Sinding (Christian) Skalkottas (Nikos) Smetana (Bedrich) Smyth (Ethel) Sondheim (Stephen) Sorabji (Kaikhosru Shapurji) Spohr (Louis) Stanford (Charles Villiers) Stenhammar (Wilhelm) Still (William Grant) Stockhausen (Karlheinz) Strauss (Johann) I Strauss (Johann) II Strauss (Richard) Stravinsky (Igor) Suk (Josef) Sullivan (Arthur) Sweelinck (Jan Pieterszoon) Szymanowski (Karol) Tailleferre (Germaine) Takemitsu (Toru) Tallis (Thomas) Tavener (John) Tchaikovsky (Pyotr) Tcherepnin (Alexander) Tcherepnin (Nikolai) Telemann (Georg Philipp) Thompson (Virgil) Tippett (Michael) Tubin (Edward) Turnage (Mark-Anthony) Varese (Edgard) Vaughan Williams (Ralph) Verdi (Giuseppe) Vierne (Louis) Villa-Lobos (Heitor) Vivaldi (Antonio) Wagner (Richard) Walker (George) Walton (William) Warlock (Peter) Weber (Carl Maria von) Webern (Anton) Weelkes (Thomas) Weill (Kurt) Weir (Judith) Widor (Charles-Marie) Williams (John) Williamson (Malcolm) Wolf (Hugo) Xenakis (Iannis) Ysaÿe (Eugène) Yun (Isang) Zelenka (Jan Dismas) Zemlinsky (Alexander von)

The Great Composers No one likes to arrive too early at a party. There's no one to talk to and nowhere to hide.

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whatchamagadget · 7 years

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American Greatest Hits By Year, 1840-2013

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1840 (Timothy Twiss, US Marine Corps); 1841 (Family Trio, Daniel Schwen, David Blaney Brown); 1842 (Timothy Twiss, Detroit Historical Society); 1843 (2nd South Carolina String Band); 1844 (Travelgroupie); 1845 (Mark Gilston, Catherine Hall, Herbert W. Gleason); 1846 (Stella Splendens, Tennessee State Library); 1847 (Victrolaman, Rick Thorne); 1848 (Cliff's Vintage Music Shoppe, Library of Congress); 1849 (Fred Feild); 1850 (2nd South Carolina String Band, Harper's Weekly, Axon); 1851 (Jerry Garcia and David Grisman); 1852 (Edward Tarte, Library of Congress, Fredericksburg, VA); 1853 (John Prine); 1854 (Xavier Heraud); 1855 (Vi Wickam, sfo1164); 1856 (Michael O'Connor); 1857 (Earl Scruggs); 1858 (Gossamer Memories); 1859 (Londonderry Choir, John Steuart Curry); 1860 (Max Power, lauralexus); 1861 (Gloria Jane, rexlibris99); 1862 (rexlibris99, rexlibris99); 1863 (Marco Pott, rexlibris99); 1864 (ptapit733); 1865 (Arnold Mackie); 1866 (M. Ryan Taylor, Acarter of Ebay); 1867 (Library of Congress); 1868 (warholsoup100, tmcmoose); 1869 (bossyfrogband, Little Women); 1870 (SE Samonte, Mint Museum, WXXI); 1871 (Mormon Tabernacle Choir, Ken Corbett); 1872 (Tom Frøkjær, Frank Leslie's Publishing House); 1873 (Achila Amarasinghe, Charles Marion Russell, Robert Neralich); 1874 (Clarke Buehling); 1875 (duxdemontis98); 1876 (EMGColonel, George Eastman House, South Dublin Libraries); 1877 (Keeper1st); 1878 (Kurt Meyer, Rufus Anderson, Richard Woods); 1879 (Bigband Lou, kshs.org); 1880 (Andrea Boceli, Kamla Bhatt, hd4desktop.com); 1881 (kshs.org); 1882 (avrilfan2213, Historia - Bel99TV); 1883 (Andy Hoskinson, The Washingtons of Wessyngton Plantation); 1884 (lewdite); 1885 (Orlik1946); 1886 (Paul Draper, Woods History); 1887 (santa, Cabinet Card Gallery); 1888 (raresoulcom, ProperGanderSaul); 1889 (jazzbanjorex); 1890 (monamomoneme, Glenn County Schools); 1891 (gallopingalligator, Distant Musical Memories); 1892 (jackmeboy november); 1893 (Strombo, Cabinet Card Gallery); 1894 (threelegsoman, Harper's Weekly); 1895 (dbstores, dbstores); 1896 (TheMarches09); 1897 (Doc Nosbisch); 1898 (Jolson1950, chuckgame.blogspot.com); 1899 (Keeper1st, treasurenet.com); 1900 (AndOneMillion, watchmojo.com); 1901 (pseerpianist, There Will Be Blood); 1902 (karenkek2kek, Gamingwithvariety); 1903 (Footagefile); 1904 (Bruce Victrolaman Young); 1905 (Cliff's Vintage Music Shoppe, Ford); 1906 (Bruce Victrolaman Young); 1907 (warholsoup100, Library of Congress); 1908 (myzeidi); 1909 (Nathaniel Jordon, Cabinet Card Gallery); 1910 (CatsPJamas1, Bartlett History Museum); 1911 (bsgs98, Lewis Hine); 1912 (peteranders48, Titanic); 1913 (Solstaro, Ford); 1914 (jack11anbar); 1915 (pax41); 1916 (Tom Smith, Military Channel); 1917 (Military Channel); 1918 (ryanattalahdotcom ); 1921 (Aaron1912); 1922 (2havago, watchmojo.com); 1923 (watchmojo.com); 1924 (Myfootage.com); 1925 (Onlyjazzhq); 1926 (CatsPJamas1); 1927 (edmundusrex, Lewis Hine); 1928 (blummweiss, The Great Gatsby); 1929 (edmundusrex); 1930 (eecgn2, watchmojo.com); 1931 (moontreal, KSHS); 1932 (Cliff's Vintage Music Shoppe, FDR); 1933 (Nathaniel Jordon, PBS); 1934 (PhanDCI, PBS); 1935 (katandbaby, ConverttoMetal); 1936 (megajackapp, jotazenda); 1937 (teacherbrad); 1938 (Snow White); 1939 (Wizard of Oz); 1941 (L Heitman, CVL23USSPrinceton); 1946 (catman916, cultofgiovanni); 1947 (Song of the South, Charlie Dean Archives); 1948 (Scrambled Eggs 1969, Charlie Dean Archives); 1950 (Nat King Cole); 1951 (Nat King Cole, I Want Moore Retro); 1952 (fm-base.co.uk, Squabbling Turtles); 1953 (NM Catalogue); 1954 (NoodleInc, Marilyn96Monroe); 1955 (Olivier Cotton, fishamdchips billy); 1958 (rwells47); 1970 (Steven Edson); 1971 (AmekKhmer); 1973 (The Book Archive); 1974 (Footage File); 1975 (nerisob); 1976 (Foxy Brown); 1978 (TheMGBoys19817); 1979 (crap1453); 1984 (80s fashions); 1986 (Ice T); 1988 (The New York Times); 1989 (BBC); 1991 (Johnny Faragher); 1993 (GameOverContinue); 1995 (unitedgangs); 1996 (Retrohead92); 1997 (Saul Obelliero); 1998 (Titanic); 1999 (CNN); 2003 (wwwtbi24com); 2005 (The Best of Funny Videos); 2006 (Jhon Cast); 2007 (MrVoolp); 2008 (Wolf of Wall Street); 2011 (Zero Dark Thirty)...(Read...)

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viralhottopics · 7 years

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Sir John Hurt obituary

British actor became an overnight sensation after playing Quentin Crisp in the 1975 television film The Naked Civil Servant

Few British actors of recent years have been held in as much affection as Sir John Hurt, who has died aged 77. That affection is not just because of his unruly lifestyle he was a hell-raising chum of Oliver Reed, Peter OToole and Richard Harris, and was married four times or even his string of performances as damaged, frail or vulnerable characters, though that was certainly a factor. There was something about his innocence, open-heartedness and his beautiful speaking voice that made him instantly attractive.

As he aged, his face developed more creases and folds than the old map of the Indies, inviting comparisons with the famous lived-in faces of WH Auden and Samuel Beckett, in whose reminiscent Krapps Last Tape he gave a definitive solo performance towards the end of his career. One critic said he could pack a whole emotional universe into the twitch of an eyebrow, a sardonic slackening of the mouth. Hurt himself said: What I am now, the man, the actor, is a blend of all that has happened.

For theatregoers of my generation, his pulverising, hysterically funny performance as Malcolm Scrawdyke, leader of the Party of Dynamic Erection at a Yorkshire art college, in David Halliwells Little Malcolm and His Struggle Against the Eunuchs, was a totemic performance of the mid-1960s; another was David Warners Hamlet, and both actors appeared in the 1974 film version of Little Malcolm. The play lasted only two weeks at the Garrick Theatre (I saw the final Saturday matine), but Hurts performance was already a minor cult, and one collected by the Beatles and Laurence Olivier.

He became an overnight sensation with the public at large as Quentin Crisp the self-confessed stately homo of England in the 1975 television film The Naked Civil Servant, directed by Jack Gold, playing the outrageous, original and defiant aesthete whom Hurt had first encountered as a nude model in his painting classes at St Martins School of Art, before he trained as an actor.

Crisp called Hurt my representative here on Earth, ironically claiming a divinity at odds with his low-life louche-ness and poverty. But Hurt, a radiant vision of ginger quiffs and curls, with a voice kippered in gin and as studiously inflected as a deadpan mix of Nol Coward, Coral Browne and Julian Clary, in a way propelled Crisp to the stars, and certainly to his transatlantic fame, a journey summarised when Hurt recapped Crisps life in An Englishman in New York (2009), 10 years after his death.

Hurt said some people had advised him that playing Crisp would end his career. Instead, it made everything possible. Within five years he had appeared in four of the most extraordinary films of the late 1970s: Ridley Scotts Alien (1979), the brilliantly acted sci-fi horror movie in which Hurt from whose stomach the creature exploded was the first victim; Alan Parkers Midnight Express, for which he won his first Bafta award as a drug-addicted convict in a Turkish torture prison; Michael Ciminos controversial western Heavens Gate (1980), now a cult classic in its fully restored format; and David Lynchs The Elephant Man (1980), with Anthony Hopkins and Anne Bancroft.

In the latter, as John Merrick, the deformed circus attraction who becomes a celebrity in Victorian society and medicine, Hurt won a second Bafta award and Lynchs opinion that he was the greatest actor in the world. He infused a hideous outer appearance there were 27 moving pieces in his face mask; he spent nine hours a day in make-up with a deeply moving, humane quality. He followed up with a small role Jesus in Mel Brookss History of the World: Part 1 (1981), the movie where the waiter at the Last Supper says, Are you all together, or is it separate cheques?

Hurt was an actor freed of all convention in his choice of roles, and he lived his life accordingly. Born in Chesterfield, Derbyshire, he was the youngest of three children of a Church of England vicar and mathematician, the Reverend Arnould Herbert Hurt, and his wife, Phyllis (ne Massey), an engineer with an enthusiasm for amateur dramatics.

After a miserable schooling at St Michaels in Sevenoaks, Kent (where he said he was sexually abused), and the Lincoln grammar school (where he played Lady Bracknell in The Importance of Being Earnest), he rebelled as an art student, first at the Grimsby art school where, in 1959, he won a scholarship to St Martins, before training at Rada for two years in 1960.

He made a stage debut that same year with the Royal Shakespeare Company at the Arts, playing a semi-psychotic teenage thug in Fred Watsons Infanticide in the House of Fred Ginger and then joined the cast of Arnold Weskers national service play, Chips With Everything, at the Vaudeville. Still at the Arts, he was Len in Harold Pinters The Dwarfs (1963) before playing the title role in John Wilsons Hamp (1964) at the Edinburgh Festival, where critic Caryl Brahms noted his unusual ability and blessed quality of simplicity.

This was a more relaxed, free-spirited time in the theatre. Hurt recalled rehearsing with Pinter when silver salvers stacked with gins and tonics, ice and lemon, would arrive at 11.30 each morning as part of the stage management routine. On receiving a rude notice from the distinguished Daily Mail critic Peter Lewis, he wrote, Dear Mr Lewis, Whooooops! Yours sincerely, John Hurt and received the reply, Dear Mr Hurt, thank you for short but tedious letter. Yours sincerely, Peter Lewis.

After Little Malcolm, he played leading roles with the RSC at the Aldwych notably in David Mercers Belchers Luck (1966) and as the madcap dadaist Tristan Tzara in Tom Stoppards Travesties (1974) as well as Octavius in Shaws Man and Superman in Dublin in 1969 and an important 1972 revival of Pinters The Caretaker at the Mermaid. But his stage work over the next 10 years was virtually non-existent as he followed The Naked Civil Servant with another pyrotechnical television performance as Caligula in I, Claudius; Raskolnikov in Dostoevskys Crime and Punishment and the Fool to Oliviers King Lear in Michael Elliotts 1983 television film.

His first big movie had been Fred Zinnemanns A Man for All Seasons (1966) with Paul Scofield (Hurt played Richard Rich) but his first big screen performance was an unforgettable Timothy Evans, the innocent framed victim in Richard Fleischers 10 Rillington Place (1970), with Richard Attenborough as the sinister landlord and killer John Christie. He claimed to have made 150 movies and persisted in playing those he called the unloved people like us, the inside-out people, who live their lives as an experiment, not as a formula. Even his Ben Gunn-like professor in Steven Spielbergs Indiana Jones and the Kingdom of the Crystal Skull (2008) fitted into this category, though not as resoundingly, perhaps, as his quivering Winston Smith in Michael Radfords terrific Nineteen Eighty-Four (1984); or as a prissy weakling, Stephen Ward, in Michael Caton-Joness Scandal (1989) about the Profumo affair; or again as the lonely writer Giles DeAth in Richard Kwietniowskis Love and Death on Long Island.

His later, sporadic theatre performances included a wonderful Trigorin in Chekhovs The Seagull at the Lyric, Hammersmith, in 1985 (with Natasha Richardson as Nina); Turgenevs incandescent idler Rakitin in a 1994 West End production by Bill Bryden of A Month in the Country, playing a superb duet with Helen Mirrens Natalya Petrovna; and another memorable match with Penelope Wilton in Brian Friels exquisite 70-minute doodle Afterplay (2002), in which two lonely Chekhov characters Andrei from Three Sisters, Sonya from Uncle Vanya find mutual consolation in a Moscow caf in the 1920s. The play originated, like his Krapp, at the Gate Theatre in Dublin.

His last screen work included, in the Harry Potter franchise, the first, Harry Potter and the Philosophers Stone (2001), and last two, Harry Potter and the Deathly Hallows Parts One and Two (2010, 2011), as the kindly wand-maker Mr Ollivander; Roland Joffs 1960s remake of Brighton Rock (2010); and the 50th anniversary television edition of Dr Who (2013), playing a forgotten incarnation of the title character.

Because of his distinctive, virtuosic vocal attributes was that what a brandy-injected fruitcake sounds like, or peanut butter spread thickly with a serrated knife? he was always in demand for voiceover gigs in animated movies: the heroic rabbit leader, Hazel, in Watership Down (1978), Aragorn/Strider in Lord of the Rings (1978) and the Narrator in Lars von Triers Dogville (2004). In 2015 he took the Peter OToole stage role in Jeffrey Bernard is Unwell for BBC Radio 4. He had foresworn alcohol for a few years not for health reasons, he said, but because he was bored with it.

Hurts sister was a teacher in Australia, his brother a convert to Roman Catholicism and a monk and writer. After his first short marriage to the actor Annette Robinson (1960, divorced 1962) he lived for 15 years in London with the French model Marie-Lise Volpeliere Pierrot. She was killed in a riding accident in 1983. In 1984 he married, secondly, a Texan, Donna Peacock (divorced in 1990), living with her for a time in Nairobi until the relationship came under strain from his drinking and her dalliance with a gardener. With his third wife, Jo Dalton (married in 1990, divorced 1995), he had two sons, Nicolas and Alexander (Sasha), who survive him, as does his fourth wife, the actor and producer Anwen Rees-Myers, whom he married in 2005 and with whom he lived in Cromer, Norfolk. Hurt was made CBE in 2004, given a Bafta lifetime achievement award in 2012 and knighted in the New Years honours list of 2015.

John Vincent Hurt, actor, born 22 January 1940, died 27 January 2017