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/ Papers/2016
Papers published in 2016
Ansaripour, A., Uyl-de Groot, C.A. de, Foroozanfar, M., Rahimimoghadam, S. & Redekop, W.K. (2016). Which is more important for doctors in a middle-income country, a national guideline or the medical literature? An adherence survey of trastuzumab use for breast cancer in Iran. Journal of Cancer Policy, 9, 8-13. doi: http://dx.doi.org/10.1016/j.jcpo.2016.05.005
Attema, A.E., Brouwer, W.B.F., l'Haridon, O. & Pinto-Prades, J.L. (2016). An elicitation of utility for quality of life under prospect theory. Journal of Health Economics, 48, 121-134. doi: http://dx.doi.org/10.1016/j.jhealeco.2016.04.002
Baal, P.H.M. van, Peters, F., Mackenbach, J.P. & Nusselder, W.J. (2016). Forecasting differences in life expectancy by education. Population Studies. A Journal of Demography, 70 (2), 201-216. doi: 10.1080/00324728.2016.1159718
Baal, P.H.M. van, Hoogendoorn, M. & Fischer, A. (2016). Preventing dementia by promoting physical activity and the long-term impact on health and social care expenditures. Preventive Medicine, 85 (4), 78-83. doi: 10.1016/j.ypmed.2016.01.013
Bakx, P.L.H., Doorslaer, E.K.A. van & O'Donnell, O.A. (2016). Spending on Health Care in the Netherlands: Not Going so Dutch. Fiscal Studies (London), 37 (3-4), 593-625. doi: http://dx.doi.org/10.1111/j.1475-5890.2016.12114
Bindels, J., Ramaekers, B, Corro Ramos, I., Mohseninejad, L., Knies, S., Grutters, J, Postma, M., Al, M.J., Feenstra, TL & Joore, M. (2016). Use of Value of Information in Healthcare Decision Making: Exploring Multiple Perspectives. Pharmacoeconomics (Print), 34 (3), 315-322. doi: http://dx.doi.org/10.1007/s40273-015-0346-z
Blommestein, H.M., Verelst, S.G.R., Groot, S. de, Huijgens, P.C., Sonneveld, P. & Uyl-de Groot, C.A. de (2015). A cost-effectiveness analysis of real-world treatment for elderly patients with multiple myeloma using a full disease model. European Journal of Haematology, 96 (2), 198-208. doi: http://dx.doi.org/10.1111/ejh.12571
Blommestein, H.M., Groot, S. de, Aarts, MJ, Vemer, P., de Vries, R., Abeelen, A.F.M., Posthuma, E.F.M. & Uyl-de Groot, C.A. de (2016). Cost-effectiveness of obinutuzumab for chronic lymphocytic leukaemia in The Netherlands. Leukemia Research, 50, 37-45. doi: 10.1016/j.leukres.2016.09.005
Blommestein, H.M., Armstrong, N, Ryder, S, Deshpande, S, Worthy, G, Noake, C., Riemsma, R, Kleijnen, J., Severens, J.L. & Al, M.J. (2016). Lenalidomide for the Treatment of Low- or Intermediate-1-Risk Myelodysplastic Syndromes Associated with Deletion 5q Cytogenetic Abnormality: An Evidence Review of the NICE Submission from Celgene. Pharmacoeconomics (Online), 34 (1), 23-31. doi: http://dx.doi.org/10.1007/s40273-015-0318-3
Boland, M.R.S., Kruis, A.L., Tsiachristas, A., Assendelft, W.J.J., Gussekloo, J, Blom, CMG, Chavannes, NH & Rutten – van Molken, M.P.M.H. (2015). Cost-effectiveness of integrated COPD care: the RECODE cluster randomised trial. BMJ Open Gastroenterology, 5, 1-10. doi: http://dx.doi.org/10.1136/bmjopen-2014-007284
Boland, M.R.S., Kruis, A.L., Huygens, S.A., Tsiachristas, A., Assendelft, W.J.J., Gussekloo, J, Blom, CMG, Chavannes, NH & Rutten – van Molken, M.P.M.H. (2015). Exploring the variation in implementation of a COPD disease management programma and its impact on health outcomes: a post hoc analysis of the RECODE cluster randomised trial. npj Primary Care Respiratory Medicine, 25 (15071), 1-9. doi: http://dx.doi.org/10.1038/npjpcrm.2015.71
Boland, M.R.S., van Boven, J.F., Kruis, A.L., Chavannes, NH, Van der Molen, T., Goossens, L.M.A. & Rutten – van Molken, M.P.M.H. (2016). Investigating the association between medication adherence and health-related quality of life in COPD: Methodological challenges when using a proxy measure of adherence. Respiratory Medicine, 110, 34-45. doi: http://dx.doi.org/10.1016/j.rmed.2015.11.008
Bond, C.M., Bruhn, H, Bont, A.A. de, Exel, N.J.A. van, Busse, R., Sutton, M. & Elliot, R.F. (2016). The iMpact on practice, oUtcomes and costs of New roles for health pROfeSsionals: a study protocol for MUNROS. BMJ Open Gastroenterology, 6, e010511. doi: http://dx.doi.org/10.1136/bmjopen-2015-010511
Bonfrer, I.E.J. & Gustafsson-Wright, E. (2016). Health shocks, coping strategies and foregone healthcare among agricultural households in Kenya. Global Public Health: An International Journal for Research, Policy and Practice, 19, 1-22. doi: 10.1080/17441692.2015.1130847
Bonfrer, I.E.J., Breebaart, L. & Poel, E. van de (2016). The Effects of Ghana's National Health Insurance Scheme on Maternal and Infant Health Care Utilization. PLoS One (print), 11 (e01655623). doi: 10.1371/journal.pone.0165623
Bont, A.A. de, Exel, N.J.A. van, Coretti, S., Guldem Okem, Z., Janssen, M., Lofthus Hope, K., Ludwicki, T., Zvonickova, M., Zander, B., Bond, C.M. & Wallenburg, I. (2016). Reconfiguring health workforce: A case-based comparative study explaining the increasingly diverse professional roles in Europe. Bmc Health Services Research, 16 (1), 637-651. doi: http://dx.doi.org/DOI: 10.1186/s12913-016-1898-0
Bovenkamp, H.M. van de & Dwarswaard, J. (2016). Dilemma Rust geven of activeren? Nursing.
Bredenkamp, C. & Buisman, L.R. (2016). Financial protection from health spending in the Philippines: policies and progress. Health Policy and Planning, 31 (7), 919-927. doi: http://dx.doi.org/10.1093/heapol/czw011
Breukelen – van der Stoep, D.F., Zeben, D van, Klop, B, Geijn, GJM van de, Janssen, HJW, Meulen, N van der, Vries, MA de, Hazes, M., Birnie, E. & Cabezas, MC (2016). Marked underdiagnosis and undertreatment of hypertension and hypercholesterolaemia in rheumatoid arthritis. Rheumatology, 55 (7), 1210-1216. doi: http://dx.doi.org/10.1093/rheumatology/kew039
Buisman, L.R., Luime, J.J., Oppe, M., Hazes, J.M.W. & Rutten – van Molken, M.P.M.H. (2016). A five-year model to assess the early cost-effectiveness of new diagnostic tests in the early diagnosis of rheumatoid arthritis. Arthritis Research & Therapy, 18 (1):135. doi: http://dx.doi.org/10.1186/s13075-016-1020-3
Buisman, L.R., Rutten – van Molken, M.P.M.H., Postmus, D., Luime, J.J., Uyl-de Groot, C.A. de & Redekop, W.K. (2016). The early bird catches the worm: early cost-effectiveness analysis of new medical tests. International Journal of Technology Assessment in Health Care, 32 (1-2), 46-53. doi: http://dx.doi.org/10.1017/S0266462316000064
Buisman, L.R. (2016, Juni 30). Early cost-effectiveness of medical tests in rheumatoid arthritis and ischemic stroke. EUR. Prom./coprom.: prof.dr. M.P.M.H. Rutten – van Molken & dr. W.K. Redekop.
Burgers, L.T., Redekop, W.K., Al, M.J., Lhachimi, S.K., Armstrong, N, Walker, S., Rothery, C., Westwood, M. & Severens, J.L. (2016). Cost-effectiveness analysis of new generation coronary CT scanners for difficult-to-image patients. European Journal of Health Economics (HEPAC), 1-12. doi: http://dx.doi.org/10.1007/s10198-016-0824-z
Burgers, L.T., Vahl, AC, Severens, J.L., Wiersema, AM, Cuypers, P.W.M., Verhagen, H.J.M. & Redekop, W.K. (2016). Cost-effectiveness of Elective Endovascular Aneurysm Repair Versus Open Surgical Repair of Abdominal Aortic Aneurysms. European Journal of Vascular and Endovascular Surgery, 52 (1), 29-40. doi: 10.1016/j.ejvs.2016.03.001
Burgers, P.T.P.W., Hoogendoorn, M., Woensel, EAC Van, Poolman, RW, Bhandari, M, Patka, P. & Lieshout, E.M.M. van (2016). Total medical costs of treating femoral neck fracture patients with hemi- or total hip arthroplasty: a cost analysis of a multicenter prospective study. Osteoporosis International, 27 (6), 1999-2008. doi: 10.1007/s00198-016-3484-z
Corro Ramos, I., Lhachimi, SK, Gerber-Grote, A. & Al, M.J. (2016). Cost Recommendation under Uncertainty in IQWiG's Efficiency Frontier Framework. Medical Decision Making. doi: 10.1177/0272989X16636856
Exuzides, A., Colby, C.E., Briggs, A, Lomas, DA, Rutten – van Molken, M.P.M.H., Tabberer, M., Chambers, M., Muellerova, H., Locantore, N., Risebrough, N.A., Ismaila, A.S. & Gonzalez-McQuire, S. (2015). Statistical Modeling of Disease Progression for Chronic Obstructive Pulmonary Disease Using Datra from the ECLIPSE Study. Medical Decision Making. doi: http://dx.doi.org/10.1177/0272989X15610781
Fugel, H.J., Nuijten, M., Postma, M. & Redekop, W.K. (2016). Economic evaluation in stratified medicine: methodological issues and challenges. Frontiers in pharmacology, 7:113. doi: 10.3389/fphar.2016.00113
Fugel, H.J. (2016, Juni 17). Economics of Stratified Medicine. Rijksuniversiteit Groningen. Prom./coprom.: M. Postma, dr. M.J. Nuijten & dr. W.K. Redekop.
Gheorghe, M., Wubulihasimu, P., Peters, F., Nusselder, W.J. & Baal, P.H.M. van (2016). Health inequalities in the Netherlands: trends in quality-adjusted life expectancy (QALE) by educational level. European Journal of Public Health, 26 (5), 794-799. doi: 10.1093/eurpub/ckw043
Gheorghe, M., Picavet, S, Verschuren, M., Brouwer, W.B.F. & Baal, P.H.M. van (2016). Health losses at the end of life: a Bayesian mixed beta regression approach. Journal of the Royal Statistical Society. Series A. Statistics in Society. doi: 10.1111/rssa.12230
Gheorghe, M. (2016, September 15). Quantitative Approaches in Monitoring Population Quality Of Life. EUR. Prom./coprom.: prof.dr. W.B.F. Brouwer & dr. P.H.M. van Baal.
Goossens, L.M.A., Overbeek, J, Driessen, M. & Rutten – van Molken, M.P.M.H. (2016). Effect van therapietrouw op exacerbaties is moeilijk te schatten met beschikbare real life data voor astma en COPD. Pharmaceutisch Weekblad, 1, a1632.
Groot, S. de, Linden, N. van der, Franken, M.G., Blommestein, H.M., Leeneman, B., Rooijen, E.M. van, Hoeven, J.J.M. van der, Wouters, MW, Westgeest, H.M. & Uyl-de Groot, C.A. de (2016). Balancing the optimal and the feasible: A practical guide for setting up patient registries for the collection of real-world data for health care decision making based on Dutch experiences. Value in Health. doi: 10.1016/j.jval.2016.02.007
Groot, S. de, Redekop, W.K., Sleijfer, S., Oosterwijk, E., Bex, A., Kiemeney, L.A.L.M. & Uyl-de Groot, C.A. de (2016). Survival in patients with primary metastatic renal cell carcinoma treated with sunitinib with or without previous cytoreductive nephrectomy: Results from a population-based registry. Urology, 95, 121-127. doi: http://dx.doi.org/10.1016/j.urology.2016.04.042
Groot, S. de, Sleijfer, S., Redekop, W.K., Oosterwijk, E., Haanen, JB, Kiemeney, L.A.L.M. & Uyl-de Groot, C.A. de (2016). Variation in use of targeted therapies for metastatic renal cell carcinoma: Results from a Dutch population-based registry. Bmc Cancer, 16, 364. doi: http://dx.doi.org/10.1186/s12885-016-2395-x
Groot, S. de. Evidence from clinical practice to support healthcare decision making, evaluation of clinical and economic outcomes of new therapies for metastatic renal cell carcinoma. EUR. Prom./coprom.: prof.dr. C.A. de Uyl-de Groot, L.A.L.M. Kiemeney & dr. W.K. Redekop.
Hanly, P, Koopmanschap, M.A. & Sharp, L (2016). Valuing productivity costs in a changing macroeconomic environment: the estimation of colorectal cancer productivity costs using the friction cost approach. European Journal of Health Economics (HEPAC). doi: 10.1007/s10198-015-0698-5
Hoogendoorn, M., Feenstra, T.L., Asukai, Y, Briggs, AH, Borg, S. ter, Dal Negro, RW, Hansen, RN, Jansson, SA, Leidl, R., Risebrough, N, Samyshkin, Y, Wacker, ME & Rutten – van Molken, M.P.M.H. (2016). Patient heterogeneity in health economic decision models for chronic obstructive pulmonary disease: are current models suitable to evaluate personalized medicine? Value in Health, 19 (6), 800-10. doi: 10.1016/j.jval.2016.04.002
Hoogenveen, R.T., Boshuizen, H.C., Engelfriet, PM & Baal, P.H.M. van (2016). You Only Die Once: Accounting for Multi-Attributable Mortality Risks in Multi-Disease Models for Health-Economic Analyses. Medical Decision Making. doi: 10.1177/0272989X16658661
Horn, E.K., Verheul, R., Thunnissen, M, Delimon, J, Goorden, M., Roijen, L. van, Soons, M, Meerman, AMMA, Ziegler, UM, Rossum, BV, Stijnen, T, Emmelkamp, P.M.G. & Busschbach, J.J.V. van (2016). COST-EFFECTIVENESS OF SHORT-TERM INPATIENT PSYCHOTHERAPY BASED ON TRANSACTIONAL ANALYSIS IN PATIENTS WITH PERSONALITY DISORDER. Journal of Personality Disorders, 30 (4), 483-501. doi: 10.1521/pedi_2015_29_210
Kanters, T.A. (2016, December 08). Health Technology Assessment Of Orphan Drugs : The example of Pompe disease. EUR. Prom./coprom.: prof.dr. M.P.M.H. Rutten – van Molken, Prof. Dr. A.T. van der Ploeg & dr. L. Hakkaart-van Roijen.
Karlsdotter, K, Bushe, C, Hakkaart-van Roijen, L., Sobanski, E, Kan, C.C., Lebrec, J, Kraemer, S.A. & Dieteren, N.A.H.M. (2016). Burden of illness and health care resource utilization in adult psychiatric outpatients with attention-deficit/hyperactivity disorder in Europe. Current Medical Research & Opinion, 32 (9), 1547-1556. doi: http://dx.doi.org/10.1080/03007995.2016.1189892
Lenk, E.J., Redekop, W.K., Luyendijk, M., Rijnsburger, A.J. & Severens, J.L. (2016). Productivity Loss Related to Neglected Tropical Diseases Eligible for Preventive Chemotherapy: A Systematic Literature Review. PLoS Neglected Tropical Diseases (print), 10 (2), 1-19. doi: http://dx.doi.org/10.1371/journal.pntd.0004397
Linden, N. van der, Bongers, M.L., Coupe, VMH, Smit, E.F., Groen, H.J.M., Welling, A., Schramel, FMNH & Uyl-de Groot, C.A. de (2016). Costs of non-small cell lung cancer in the Netherlands. Lung Cancer, 91, 79-88. doi: http://dx.doi.org/http://dx.doi.org/10.1016/j.lungcan.2015.10.015
Linden, N. van der, Flach, G.B, Bree, R. de & Uyl-de Groot, C.A. de (2016). Cost–utility of sentinel lymph node biopsy in cT1–T2N0 oral cancer. Oral Oncology, 53, 20-26. doi: http://dx.doi.org/http://dx.doi.org/10.1016/j.oraloncology.2015.11.011
Lötters, F.J.B., van den Bergh, J.P, Vries, F. de & Rutten – van Molken, M.P.M.H. (2016). Current and Future Incidence and Costs of Osteoporosis-Related Fractures in the Netherlands: Combining Claims Data with BMD Measurements. Calcified Tissue International, 98, 235-243. doi: http://dx.doi.org/10.1007/s00223-015-0089-z
Mason, H., Exel, N.J.A. van, Baker, R., Brouwer, W.B.F. & Donaldson, C. (2016). From representing views to representativeness of views: Illustrating a new (Q2S) approach in the context of health care priority setting in nine European countries. Social Science & Medicine, 166, 205-213. doi: 10.1016/j.socscimed.2016.08.036
McLean, S, Hoogendoorn, M., Hoogenveen, R.T., Feenstra, T.L., Wild, S, Simpson, CR, Rutten – van Molken, M.P.M.H. & Sheikh, A (2016). Projecting the COPD population and costs in England and Scotland: 2011 to 2030. Scientific Reports, 6, 31893. doi: 10.1038/srep31893
Morton, A, Adler, A.L., Bell, D, Briggs, A, Brouwer, W.B.F., Claxton, K., Craig, N., Fischer, A., McGregor, P & Baal, P.H.M. van (2016). Unrelated Future Costs and Unrelated Future Benefits: Reflections on NICE Guide to the Methods of Technology Appraisal. Health Economics, 25 (8), 933-938. doi: 10.1002/hec.3366
Nooten, F.E. van, Exel, N.J.A. van, Eriksson, D. & Brouwer, W.B.F. (2016). "Back to the future": Influence of beliefs regarding the future on TTO answers. Health and Quality of Life Outcomes, 14, 4. doi: http://dx.doi.org/10.1186/s12955-015-0402-6
Oemrawsingh, R.M., Akkerhuis, K.M., Vark, L.C. van, Redekop, W.K., Rudez, G., Remme, W.J., Bertrand, M.E., Fox, K.M., Ferrari, R., Danser, A., Maat, M.P.M. de, Simoons, M.L., Brugts, J.J. & Boersma, E. (2016). Individualized Angiotensin-Converting Enzyme (ACE)-Inhibitor Therapy in Stable Coronary Artery Disease Based on Clinical and Pharmacogenetic Determinants: The PERindopril GENEtic (PERGENE) Risk Model. Journal of the American Heart Association, 5 (3), e002688. doi: http://dx.doi.org/10.1161/JAHA.115.002688
Phillips, KA, Payne, K. & Redekop, W.K. (2016). Personalized Medicine: Economic Evaluation and Evidence. In R.M. Scheffler (Ed.), World Scientific Handbook of Global Health Economics and Public Policy: Volume 2: Health Determinants and Outcomes (pp. 123-150). World Scientific.
Posthumus, A.G., Birnie, E., Veen, M.J. van, Steegers, E.A.P. & Bonsel, G.J. (2016). An antenatal prediction model for adverse birth outcomes in an urban population: The contribution of medical and non-medical risks. Midwifery, 38, 78-86. doi: http://dx.doi.org/10.1016/j.midw.2015.11.006
Rappange, D.R., Brouwer, W.B.F. & Exel, N.J.A. van (2016). Rational expectations? An explorative study of subjective survival probabilities and lifestyle across Europe. Health Expectations, 19 (1), 121-137. doi: 10.1111/hex.12335
Rappange, D.R. (2016, Mei 19). Future Health: A Policy and Individual Perspective. EUR. Prom./coprom.: prof.dr. W.B.F. Brouwer & prof.dr. N.J.A. van Exel.
Raza, W.A., Poel, E. van de, Panda, P., Dror, D. & Bedi, A.S. (2016). Healthcare seeking behavior among self-help group households in rural Bihar and Uttar Pradesh. Bmc Health Services Research, 16 (1), 1-13. doi: http://dx.doi.org/10.1186/s12913-015-1254-9
Richters, A, Melis, RJF, Exel, N.J.A. van, Olde Rikkert, M.G.M. & Marck, M.A. van der (2016). Perseverance time of informal caregivers for institutionalized elderly: construct validity and test-retest reliability of a single-question instrument. Journal of the American medical directors association, 17 (8), 761-762. doi: 10.1016/j.jamda.2016.05.001
Riemsma, R, Corro Ramos, I., Birnie, R., Buyukkaramikli, N.C., Armstrong, N, Ryder, S, Duffy, S, Worthy, G, Al, M.J., Severens, J.L. & Kleijnen, J. (2016). Integrated sensor-augmented pump therapy system [the MiniMed® Paradigm™ Veo system and the Vibe™ and G4® PLATINUM CGM (continuous glucose monitoring) system] for managing blood glucose levels in type 1 diabetes: a systematic review and economic evaluation. Health Technology Assessment, 20 (17). doi: http://dx.doi.org/10.3310/hta20170
Rosendaal, N.T., Hendriks, M.E., Verhagen, M.D., Bolarinwa, O.A., Sanya, E.O., Kolo, P.M., Adenusi, P., Agbede, K., Eck, D. van, Tan, S.S., Akande, T.M., Redekop, W.K., Schultsz, C & Gomez, G.B. (2016). Costs and Cost-Effectiveness of Hypertension Screening and Treatment in Adults with Hypertension in Rural Nigeria in the Context of a Health Insurance Program. PLoS One (print), 11 (6), e0157925. doi: http://dx.doi.org/10.1371/journal.pone.0157925
Scheerhagen, M., Stele, HF van, Tholhuijsen, DJC, Birnie, E., Franx, A & Bonsel, G.J. (2016). Applicability of the ReproQ client experiences questionnaire for quality improvement in maternity care. PEERJ, 4. doi: 10.7717/peerj.20922
Selya-Hammer, C, Guix, N.G.R, Baldwin, M, Ternouth, A, Miravitlles, M., Rutten – van Molken, M.P.M.H., Goossens, L.M.A., Buyukkaramikli, N.C. & Acciai, V (2016). Development of an enhanced health-economic model and cost-effectiveness analysis of tiotropium + olodaterol Respimat® fixed-dose combination for chronic obstructive pulmonary disease patients in Italy. Therapeutic Advances in Respiratory Disease, 10 (5), 391-401. doi: http://dx.doi.org/10.1177/1753465816657272
Slok, A.H.M., Bemelmans, T.C.H., Kotz, D., Van der Molen, T., Kerstjens, H.A.M., Veen, JCCM in't, Chavannes, NH, Asijee, G.M., Rutten – van Molken, M.P.M.H. & van Schayk, O.C.P. (2016). The Assessment of Burden of COPD (ABC) Scale: A Reliable and Valid Questionnaire. COPD-Journal of chronic obstructive pulmonary disease, 13 (4), 431-438. doi: http://dx.doi.org/10.3109/15412555.2015.1118025
Tan, S.S., Teirlinck, CH, Dekker, J, Goossens, L.M.A., Bohnen, A.M., Verhaar, J.A.N., Es, P.P. van, Koes, B.W., Bierma-Zeinstra, S., Luijsterburg, P.A.J. & Koopmanschap, M.A. (2016). Cost-utility of exercise therapy in patients with hip osteoarthritis in primary care. Osteoarthritis and Cartilage, 24 (4), 581-588. doi: 10.1016/j.joca.2015.11.010
Tan, S.S., Slot, W.M.A. van der, Ketelaar, M, Becher, J.G., Dallmeijer, AJ, Smits, D.W. & Roebroeck, M.E. (2016). Factors contributing to the longitudinal development of social participation in individuals with cerebral palsy. Research in Developmental Disabilities, 57, 125-135. doi: 10.1016/j.ridd.2016.03.015
Teirlinck, CH, Luijsterburg, P.A.J., Dekker, J, Bohnen, A.M., Verhaar, J.A.N., Koopmanschap, M.A., Es, P.P. van, Koes, B.W. & Bierma-Zeinstra, S.M.A. (2016). Effectiveness of exercise therapy added to general practitioner care in patients with hip osteoarthritis: a pragmatic randomized controlled trial. Osteoarthritis and Cartilage, 24 (1), 82-90. doi: http://dx.doi.org/10.1016/j.joca.2015.07.023
Thielen, W.F., Mastrigt, GAPG van, Burgers, L.T., Bramer, W.M., Majoie, H.J.M., Evers, S.M.A.A. & Kleijnen, J. (2016). How to prepare a systematic review of economic evaluations for clinical practice guidelines: database selection and search strategy development (part 2/3). Expert review of pharmacoeconomics & outcomes research, 16 (6), 1-17. doi: 10.1080/14737167.2016.1246962
Thielen, W.F., Blommestein, H.M. & Uyl-de Groot, C.A. de (2016). Using appropriate methods in cost-effectiveness analyses: the case of allogeneic hematopoietic cell transplantation in sickle cell disease. Biology of Blood and Marrow Transplantation, 22 (11), 2109-2110. doi: 10.1016/j.bbmt.2016.08.022
Thielen, W.F. (2016). Entering your heart: how barely tested medical innovations find their way into clinical practice. In M.T. Brancaccio (Ed.), Governance of Health Care Innovation. Excursions into Politics, Science and Citizenship (pp. 19-40). Maastricht: Creative Commons License CC BY-NC.
Tsiachristas, A., Burgers, L.T. & Rutten – van Molken, M.P.M.H. (2015). Cost-Effectiveness of Disease Management Programs for Cardiovascular Risk and COPD in The Netherlands. Value in Health, 18 (8), 977-986. doi: http://dx.doi.org/http://dx.doi.org/10.1016/j.jval.2015.07.007
Vemer, P., Corro Ramos, I., Voorn, G.A.K. van, Al, M.J. & Feenstra, TL (2016). AdViSHE: A Validation-Assessment Tool of Health-Economic Models for Decision Makers and Model Users. Pharmacoeconomics (Print), 34 (4), 349-361. doi: 10.1007/s40273-015-0327-2
Verhoef, T.I., Redekop, W.K., Langenskiold, S., Kamali, F., Wadelius, M., Burnside, G., Maitland-van der Zee, A.H., Hughes, D.A. & Pirmohamed, M. (2016). Cost-effectiveness of pharmacogenetic-guided dosing of warfarin in the United Kingdom and Sweden. Pharmacogenomics Journal, 16 (5), 478-484. doi: 10.1038/tpj.2016.41
Versteegh, M.M., Vermeulen, KM, Evers, S.M.A.A., de WIt, G.A., Prenger, R & Stolk, E.A. (2016). Dutch Tariff for the Five-Level Version of EQ-5D. Value in Health, 19 (4), 343-352. doi: 10.1016/j.jval.2016.01.003
Versteegh, M.M., Knies, S. & Brouwer, W.B.F. (2016). From Good to Better: New Dutch Guidelines for Economic Evaluations in Healthcare. Pharmacoeconomics (Print), 34 (11), 1071-1074. doi: http://dx.doi.org/10.1007/s40273-016-0431-y
Versteegh, M.M. (2016). Impact on the Incremental Cost-Effectiveness Ratio of Using Alternatives to EQ-5D in a Markov Model for Multiple Sclerosis. Pharmacoeconomics (Online), 34, 1133-1144. doi: 10.1007/s40273-016-0421-0
Versteegh, M.M. & Brouwer, W.B.F. (2016). Patient and general public preferences for health states: A call to reconsider current guidelines. Social Science & Medicine, 165, 66-74. doi: http://dx.doi.org/10.1016/j.socscimed.2016.07.043
Versteegh, M.M. (2016). Doelmatige gezondheidszorg: hoe besteden we onze euro's het beste? In M M Levi (Ed.), De dokter en het geld. Diagnosis uitgevers.
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text:
These Maps Show the Thousands of Intricate Undersea Cables Connecting Us to the Internet
ByZak Cheney-Rice
Growing up in the digital age has allowed us to think about the Internet as a kind of natural resource – something we have because of course we do.
But it's easy to forget that a technology so ubiquitous and central to our daily lives requires solid materials to function. Enter the maps below: The telecommunications research firm Telegeography has created these images depicting the incredible network of fiber optic cables that transport 99% of the world's international Internet traffic.
Image Credit: CNN
Wow. Over 300 of these cables line the ocean floor. They've been installed by a relatively small group of global telecommunications companies (all labeled on the map), which are also responsible for their maintenance and repairs.
A cable's installation process begins when the companies send survey vessels to study their proposed routes. These studies reveal a number of critical elements that need to be taken into account: archaeological features of the ocean floor, marine habitats, permit requirements and active fishery zones. Underwater builders then lay the cables directly onto the seabed, except for the high damage-risk sections within 1,500 meters of the shoreline that are buried underground using sea plows.
These cables are also installed with a good degree of slack, thereby minimizing possible damage from underwater geological activity. They are surprisingly thin, with a diameter of just about 2.7 inches, but sturdy enough to last a quarter century. "External aggression" accounts for about 90% of the damage they recieve whether it's ship anchors dropping on them or earthquakes whipping them about. Some reach depths of over 8,000 meters, which is only slightly less deep than Mount Everest is tall.
What about price? Telegeography research director Alan Mauldin tells CNN that the price of a cable usually depends on how many times it reaches land: "A complicated cable that lands in 10 different countries with thousands of kilometers per link will cost much more than one linking just two points." A recent cable traversing the Pacific Ocean cost $300 million, for example. Another one that reaches numerous locations in Asia cost $400 million.
Obviously this means the more money you have, the more cables you can afford. America Movil for example — a company backed by famous Mexican billionaire Carlos Slim — is constructing a huge new cable linking the U.S. to Mexico and many other Latin American countries. It should be completed sometime this year.
The future. The goal at this point is to improve service, especially to underserved parts of the world. "Basically we have now wired the ends of the Earth, almost," says Mauldin. "What's left is generally very remote island communities. Absolutely there can be improvements, having one cable is often not enough, we need to have multiple cables to provide a balanced and reliable way to access the world; it's not good enough anymore to have a cable out of service for weeks if it gets damaged. If you're a user in that country it's not acceptable, you expect seamless high quality net access all the time."
There's still plenty of room to add more cables and implement these improvements. Studies suggest their environmental impact is minimal, so for the time being, telecom companies can install deep seas cable without worrying about oil pipeline-level damage to the ocean floor. Barring unforeseen setbacks, global Internet connection will only improve in the coming years.

redpajama_set_name: RedPajamaCommonCrawl


It may seem unwise, or at least unusual, to beat the summertime heat with noodles. For starters, the carbs could set your beach body back a few precious weeks. But, in fact, the tradition of chilled-noodle-as-warm-weather-refreshment goes way back, inhabiting the culinary past and present of numerous cultures, especially those in Asia. These seasonally inspired cold-noodle dishes truly run the gamut, from light and delicate to spicy and robust. And as far as noodle types are concerned, almost anything is fair game to boil, shock, and chill.
Now with summer officially here—though it's certainly felt like the season for longer than that—it's time to give a few of these knockout noodles their day in the sun. Because what could be a better revenge against the oppressive heat than noodles that are best served cold?


text:
Q: Node JS: How to set template engine in krakenjs I don't know how to set jade template in kraken js, can anyone help me please.

A: Open your config/app.json, there´s "view engines". Uncomment it and add your own template module (you have to npm install it first of course). You may also have to change the "express" config to use Jade.
Below is an example of a config to use ejs as a view engine:
"view engines": {
    "html": {
        "module": "ejs",
        "renderer": "__express"
    }
},

"express": {
    "view engine": "html"
}

Source.

redpajama_set_name: RedPajamaStackExchange


text:
Stephen Koch (born May 8, 1941) is a novelist, essayist, historian and teacher. He has written numerous books of cultural history, two novels, and a classic study of the work of Andy Warhol. He has taught creative writing at both the undergraduate and graduate levels at Columbia University and Princeton University. He is also the author of a handbook for writers, The Modern Library Writer's Workshop.

Early life
Koch was born in Saint Paul, Minnesota, though he spent his childhood in Northfield, Minnesota, a college town (Carleton and St. Olaf Colleges), where his father was a local lawyer. His father died in 1951, when Koch was ten, and he grew up in a middle-class home with his mother, Edith Koch; his brother, the physicist Frederick Koch, and his maternal grandmother, Emma Pilling Bayard, a classic daughter of midwestern pioneers, who died at an advanced age when Koch was 16.

After attendance in the local schools, where he his prime enthusiasm was the theater, Koch entered the University of Minnesota, studying comparative literature.  After one year, he moved to New York City, where he had dreamt of living since childhood. He earned his living in various menial positions at the New York Public Library, and more glamorously, as an assistant to the managing clerk of the prominent white-shoe law firm, Lord, Day, and Lord.

In 1960, Koch married for the first time, and in 1963 earned his BA at the City College of New York. At City College, he studied literature, not because he wished to become an academic, but because he hoped knowledge of literature would serve his ambition to be a writer.  At City College, he was awarded what he still regards as the greatest honor of his life, when he was named the most promising future law student in his graduating class. Nonetheless, because of his primary vocation to be a writer, he decided against law school, and instead pursued graduate studies at Columbia University.

Literary career
Dissatisfied with graduate school, Koch began to write reviews and literary essays which, in 1965, came to the attention of the then-rising literary star, Susan Sontag, and he became for the next several years, Sontag's protégé. He dropped graduate study, and his criticism was regularly published in magazines such as the New Republic, Partisan Review, The Nation, Tri-Quarterly, The New York Times Book Review, and many others. In 1966, he became an instructor in the department of English at the State University of New York at Stony Brook. In 1969, he completed his first novel, Night Watch, which was published by Harper and Row to generally strong positive critical response both in print and the media.

In 1971, Koch became the writer and on-camera host of the ten-part PBS series on art: Eye-to-Eye. In the same year, he also wrote his book on the films of Andy Warhol, Stargazer, which has remained in print for over fifty years. After that, he became a regular contributor to various magazines, notably Harper's and Esquire, where during the first wave of feminism, he published a widely noticed essay The Guilty Sex. His relation with Harper's Magazine ended when the editor refused to publish his enthusiastic essay about Robert Wilson and Philip Glass' avant-garde opera "Einstein on the Beach."

In 1977, despite his reluctance to become an academic, Koch became a fiction workshop leader at Columbia University's MFA program in the School of the Arts. In 1978, he became an instructor in the undergraduate fiction writing program at Princeton University, where he continued to teach for seven years. He used his experience as a mentor to creative writers to produce the widely recognized handbook, The Modern Library Writer's Workshop. He remained at Columbia until 1991, by which time he had been, for several years, chairman of the program. A number of his former students at both universities have gone onto distinguished careers in literature and the theater.

In 1986, Koch published The Bachelor's Bride, a novel about the life and violent death of an art star of the 60s and 70s. By a strange fluke, in the last interview given before his death, Andy Warhol mentioned that he wanted to make a movie based on this novel.

In the late 1980s into the mid-1990s, Koch wrote about twentieth century cultural history and wrote books of nonfiction: Double Lives: Stalin, Willi Munzenberg and the Seduction of the Intellectuals and The Breaking Point: Hemingway, Dos Passos and the Murder of Jose Robles.  Later, because of his longstanding interest in the forces that lead to German fascism and the Second World War, he published Hitler's Pawn: The Boy Assassin and the Holocaust, the story of the obscure Jewish teenager in Paris whose assassination of a German diplomat was used by Hitler for the initiating event of the Holocaust, the Kristalnacht.

Personal life
Koch has been married twice: from 1960 to 1965, Sheila Shulman and from 1987 to the present, Frances Cohen, MD. Frances Cohen passed away 2021. He has one daughter, Angelica Madeline Koch, born in 1994. Koch is bisexual and has had significant liaisons with both men and women.

Peter Hujar
In 1987, when the photographer Peter Hujar died as a victim of the AIDS pandemic, he named Koch as the executor of his entire artistic estate. Since then, Koch has worked to usher Hujar's work out of an esoteric cult following into what he regards as its rightful prominence in twentieth century art. In Harper's Magazine, April 2018, Koch published an essay describing these efforts: "The Pictures".

In 2017, a retrospective of Hujar's work, curated at the Morgan Library in New York, travelled to major venues in Europe and the United States. By then, the critical consensus numbered Hujar among the great American photographers.

Bibliography
Books:
 Hitler's Pawn: The Boy Assassin and the Holocaust San Francisco, Counterpoint Books. 2019.
 The Breaking Point: Hemingway, Dos Passos, and the Murder of Jose Robles. New York, Counterpoint, 2005. (Paperback 2006; printed in London by Robson Books, 2006). Translations: [Adieu a l'Amitie, Hemingway, Dos Passos et la Guerre d'Espagne. Paris, Editions Grasset et Fasquelle, 2005; La Ruptura: Hemingway, Dos Passos, y el Asesinato de Jose Robles. Barcelona, Galaxia Gutenberg: Circolo des Lectores. 2006.
 Double Lives: Stalin, Willi Münzenberg, and the Seduction of the Intellectuals. New York, Enigma Books, 2004. (Fully revised and updated edition)
 The Modern Library Writer's Workshop. New York, The Modern Library and Random House, 2003.
 The Bachelor's Bride. New York and London, Marion Boyars Inc., 1986. Translations: La Mariée des Célibataires. Paris: Stock, 1988; De Vrijgezellenbruid. Amsterdam: Meulenhoff, 1988; La Novia de los solteros. Barcelona: Editorial Anagrama, 1989.
 Andy Warhol: Photographs. New York, Robert Miller Gallery, 1986.
 Stargazer: Andy Warhol's World and His Films. New York, Praeger, 1986. (Printed in UK by Calder and Boyars, 1974. Second Revised and Expanded USA and UK Edition in 1985 by Marion Boyars. Third USA and UK Edition in 1990, revised with a new introductory chapter). Translations: Hyperstar. Paris: Éditions du Chêne.
 Night Watch. New York, Harper and Row, 1970. (Second printing by Calder and Boyers, 1971. Paperback by Harper and Row, 1973; Trade, 1975). Translations: Les Yeux de la Nuit. Paris: Editions Buchet/Chastel, 1971; Nachtwacke. Amsterdam: Mullenhof, 1973; Guardia Nocturna. Caracas: Monte Avila Editores, 1980.

Essays:
 "Guilt, Grace and Robert Mapplethorpe" (Art in America, November 1986).
 "Caravaggio and the Unseen" (Antaeus, 1986).
 "The Secret Kafka" (The New Criterion, January 1984), translated into French as "Kafka Secret" (L'Infini, Autumn 1985).
 "The Spirit of Soho" (Esquire, April 1975).
 "The Guilty Sex: Man and Feminism" (Esquire, 1975).

References

1941 births
Living people
Writers from Saint Paul, Minnesota
University of Minnesota alumni
City College of New York alumni
Columbia University alumni
Stony Brook University faculty
Columbia University faculty
Princeton University faculty

redpajama_set_name: RedPajamaWikipedia


Are you stuck trying to decide which type of pressure washer you need? It really comes down to one simple principal. If the surface you are trying to clean contains any type of grease, grime or oil – you need a hot water pressure washer. And it just so happens that Hotsy – the brand we represent – is the #1 name for hot water cleaning. In fact, that's how Hotsy got it's name (hot systems). Hotsy offers an efficient upright burner to heat the water, providing hot water at the pull of the trigger gun.
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Helps maintain body's water balance. Aids in nerve and muscle function.
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Vital for breaking down protein. Helps to keep nervous system and muscles working properly. May protect against some birth defects.


text:
RLB appoints first chief digital officer
9 January 2020 | By Neil Gerrard
Matt Sharp
Consultant Rider Levett Bucknall UK (RLB UK) has appointed its first ever chief digital officer to lead its digital transformation.
Matt Sharp, who in 2017 became the first member of the British Computing Society to represent IT professionals on the Construction Industry Council, has previously worked for organisations including Aecom, Marks and Spencer, Westfield and Sovereign Housing Association.
Andrew Reynolds, chief executive at RLB UK said: "A key priority for RLB UK is the focused development of our digital capability and transformation to provide better outcomes for our clients and industry as we build for the future. I am delighted to welcome Matt Sharp to the team as our first chief digital officer. The combination of Matt's digital capabilities and his industry relationships and insight will be an enormous asset as we drive the delivery of our digital strategy."
Sharp added: "Joining RLB UK as its first chief digital officer at such an interesting time in the industry's technical transformation is very exciting. I am really looking forward to working with the team to further develop our digital capabilities and optimising technical solutions for our clients as well as contributing to wider industry collaboration and debate in this fast moving and vital area."
In November 2019, RLB UK announced plans to grow its turnover to £150m over the next 10 years (2019 £80m) and to achieve sustainable profit margins while remaining an independent employee-owned organisation.


text:
Sir Herbert Brewer & Handel's Messiah
There is a delightful story in Sir Herbert Brewer's Autobiography Choirs and Cloisters which was published in 1931.
In December of 1927 the Bristol Choral Society gave their annual performance of Messiah at the Colston Hall, Bristol. Brewer had the idea of inviting the audience to join in with the Hallelujah Chorus. The idea was received by 'wiser' heads with some trepidation. However things turned out well:-
"I can only say thank-you. I think it is safe to say nothing has ever been heard like that in this country before." said Sir Herbert Brewer, greatly moved by what had just occurred, to an audience of over three thousand at Colston Hall, Bristol, on Saturday night.
Sir Herbert has announced previously that he would ask the audience to rise and join in singing the Hallelujah Chorus.
As a result of this the greater portion of the audience brought with them copies of the [qv] Messiah. He asked those who knew the chorus and intended singing to do so with the reference due to so great a work.
With the society's chorus of 400, a full orchestra and the Colston Hall orchestra – one of the finest in the country – the audience sang in perfect harmony. Sopranos, contraltos, tenors and basses, in all parts of the hall, sang their respective parts. Perfect time was kept, and so impressive was the rendering that many were in tears.
The climax came before the final Hallelujah. There was a silence while Sir Herbert held his baton aloft for a second or two; then the four final chords crashed out with wonderful effect. Sir Herbert Brewer's daring experiment had been justified.
Posted by John France at 06:00 1 comment:
Labels: George Frederic Handel
Stanford and German in New York, 1907
I found this excellent review of Charles Villiers Stanford's Irish Symphony in Richard Aldrich, Concert Life in New York 1902–1923. Little comment needs to be added save to point out that Walter Damrosch was born in Breslau in 1862 and died in New York in 1950. He was a composer of a wide variety of music, however it is in his capacity as conductor of the New York Symphony Orchestra that we are concerned here. Rudolph Ganz (1877-1972) was a Swiss pianist, conductor and composer. He claimed direct descent from Charlemagne. A note on Edward German's; fine Welsh Rhapsody is also included.
'Nov. 18 1907 Mr. Damrosch is giving a special character to each of his Sunday afternoon programs played by the New York Symphony Orchestra in Carnegie Hall. Last week he made a Dvorak program. Yesterday he had one that was mentioned as a memorial to Grieg but might better have been called an exposition of "nationalism" in music. Grieg himself was a conspicuous exponent of that idea; his piano concerto that Mr. Rudolph Ganz played suggests the Norwegian coloring more than the Peer Gynt suite, which is devoted to other purposes, the illustration of action upon the stage. With these two compositions were consorted two others, an Irishman, Sir Charles Stanford's Irish Symphony, and a Welshman, Mr. Edward German's Welsh Rhapsody.
Of this music Stanford's is the most interesting and a welcome addition to program lists that are apt to become stereotyped. It still retains its freshness and spirit—not that it is very old in years, but music is the least immortal of artistic productions, and some modern symphonies have wrinkled with age in fifteen years. It is not great music nor wholly original in style, but it is charming, of sustained interest and made with much dexterity and skill in the manipulation of its material. The skill it shows would be challenged most easily, perhaps, upon the point that Sir Charles does not always quite know when to stop and that at least the first three movements are extended considerably beyond the point where his material yields him profitable results. That material consists of Irish folk-songs and themes strongly influenced by their spirit, both melodically and in the ancient "model" harmonies that are implied as their basis. Irish music affords an ample variety of mood for a composer so familiar with them as Stanford to work in, and it has been truly said that he has done more with this material in an artistic form than any one else. The tendency to prolixity is shown in his lingering fondness for the tender second theme of his first movement, which he can hardly let go, and again in the brilliant jiglike scherzo—very taking till it is prolonged to the point of monotony. The third has a rhapsodic character, as of an Irish lament; the harp of Erin is heard, there are flutings of plaintive fantasy, and the song, Lament of the sons of Usnach appears in it. In the last movement he also employs actual folk tunes, Remember the glories of Brian the Brave and Let Erin remember the days of old. These are skillfully used as real thematic material for symphonic development, not as in a potpourri of national airs, and in this the composer has shown a fine skill and a truly musical feeling. He writes skillfully, often charmingly, for orchestra.
Mr. German, who came from England to produce his new operetta, Tom Jones, conducted his Welsh Rhapsody. Mr. German also speaks with native authority when he is concerned with the Welsh national utterance. His rhapsody is a less highly organized development of national tunes than Stanford's symphony; his treatment is more obvious. He has founded the four sections of his work on five tunes, of which the last is the well-known March of the men of Harlech. There is good work in it and some stirring passages; and it is a composition well worth hearing. Mr. German conducted it with firmness and skill. Mr. Ganz's playing of Grieg's concerto was strong and virile rather than deeply poetical; it was emotionally rather self-contained. There was beauty in the slow movement and a clear incisiveness in the first. This composition does more honor to Grieg's memory than the inevitable Peer Gynt suite, which had been played from the same stage on the two preceding days by the Philharmonic Society.'
Richard Aldrich, Concert Life in New York 1902–1923, ed. by Harold Johnson (Freeport, New York: Books for Libraries Press, 1941), 193–194.
Labels: Charles Villiers Stanford
20th Century English Recorder Works
Whenever reviewing a CD of recorder music, I have to hold my hand up and admit that it is not one of my favourite instruments. That said, I can make the mental jump from an edgy suspicion of the recorder to an appreciation of the music and its interpretation. One reviewer of Jill Kemp's performances has suggested that her 'playing is a universe away from any nasty memories you may have of learning this instrument at school.' This is certainly true of the interpretation of all the works on this present CD. The technique is truly impressive. And this also applies to the pianist, Aleksander Szram who makes a major contribution to the success of this disc. Yet, I have to admit that most of these works would work just as well for flute rather than recorder. However, I appreciate that this is a view that all recorder enthusiasts would oppose.
The fine Sonatina Op. 13 by Lennox Berkeley epitomises a work that successfully (for me) balances the piano and the recorder. This neo-baroque or classical work owes nothing to English pastoralism or neo-romantic traditions. However, it is full of humour (sometimes black) and allure, if a little unapproachable on first hearing. The keynote mood is of restless energy with angular melodies and sharp harmonies. There are some relaxed moments, especially in the 'second subject' of the opening 'moderato.' The central 'adagio' is dark and introverted. The finale has all the hallmarks of French wit and brings this work to a sparkling conclusion. I have noted the 'nods' to a 'hornpipe' before.
I always feel that Arnold's Sonatina, Op.41 has some rather out of tune passages. I have not looked at the score, however it never seems 'quite right' to my ear. The work is in typical Arnoldian mood with a number of delicious moments. The opening 'cantilena' has an especially interesting tune. The middle movement 'chaconne' is gloomy; however the final 'rondo' restores the sense of fun.
A few months ago I reviewed Gordon Jacob's Suite for Recorder and String Quartet in its incarnation for recorder and string orchestra. There are seven short movements to this attractive work which was commissioned by Arnold Dolmetsch in 1957. I felt that a fuller description of the Suite should have been given in the liner notes. The work begins with a pastoral 'prelude' that does indeed suggest the English landscape. This is followed by a lively 'English Dance' that is both exciting and obviously technically difficulty. The 'Lament' is not Scottish in mood: to my ear the sultry feel of this piece did not quite come off. It is the longest movement in this work. After this there is an exciting 'Burlesca alla Rumba' which moves the work away from the English landscape to 'points south.' The 'Pavane' is another fine example of English pastoral: the mood is one of sadness and reflection. However the hardness of the recorder tends to distract from the introverted feel to this music. The penultimate movement is a rather eccentric 'Introduction and Cadenza' which continues the temper of the 'Pavane' – looking back to a lost time and place. The final 'Tarantella' is another change of location: this time to sunny Italy. I believe that Jacob called for the use of the rarely used 'soprano' recorder here. It is a fine conclusion to an excellent work.
I was initially confused by Solitaire. To my mind this Arnold title is a ballet suite concocted from the two sets of English Dances with the addition of a short 'Polka' and the beautiful 'Sarabande.' However, the liner notes explain that this piece has nothing to do with the ballet: it was apparently composed for a Players' tobacco advert and was subsequently arranged as a whistling tune for John Amis. It was then presented for flute and piano and after an intervention by John Turner was approved for recorder and piano. Solitaire is an attractive little miniature that deserves to be better known.
The Sonata Op.121 by York Bowen is a major contribution to the recorder repertoire. However, it is this piece more than any other on this disc that bolsters my contention that many works for recorder would be better heard played on the flute. I noted in an earlier review that my concern here was largely stylistic – the counterpoint of the 'old-world' sound of the recorder against the passionate, romantic piano accompaniment. However, Jill Kemp's performance modifies this view – she has given a fine account that evens out (to a large extent) this stylistic disparity. The present work was commissioned by Arnold Dolmetsch and was composed during 1946: it was first heard at the Wigmore Hall two years later. The Sonata has three well-balanced movements: a cool 'moderato e semplice,' a meditative 'andante tranquillo' and a passionate 'allegro giocoso.' The last movement makes use of a descant recorder.
I find Edmund Rubbra's Meditazioni sopra 'Coeurs Désolés' is a work that has grown on me since first hearing it a year or so ago. It is founded on a chanson by Josquin de Prés and unfolds as a set of cleverly constructed variations. It has been considered by Edgar Hunt to be one of the recorder repertoire's masterpieces.
The final work on this disc is the Fantasy for recorder and string quartet, Op.140 by Malcolm Arnold. It was commissioned for Michala Petri in honour of the Carnegie Hall's Centennial Season. It was duly given its premiere at the Carnegie Hall's Weill Recital Hall on 15 March 1991. The Fantasy has five movements, which are a little unbalanced. The technical requirements are impressive, with a requirement for four different sizes of instrument. The composer calls for a wide range of playing styles, including flutter-tonguing, fast double-tonguing, 'double stopping' and glissandi. Although there are some genuine Arnold fingerprints, I find that the overall impact is disappointing. The second movement is a well written scherzo that sounds exceedingly complex. The waltz is attractive, but dark. The final 'rondo' is the nearest to what we once expected from Arnold's pen. However, I felt that the ethos of the Fantasy was effect for effect's sake. This is not a work that appeals to me; on the other hand I can understand why audiences and cognoscenti will be suitably impressed by this music.
I was extremely disappointed by the liner notes and the general presentation of information on this CD. I do not expect to have to look up dates of composers or pieces when getting my head around a CD. At home, I am surrounded by a raft of biographies, works catalogues and musical histories in my study, but many potential listeners will not be quite as obsessive about British music as I am. It is not fair to make people search the 'net to contextualise these pieces. Apart from these deficiencies, there is a deal of useful information presented in these notes.
This CD will appeal to all recorder enthusiasts: however lovers of English music will also enjoy these typically engaging works by some of the finest 20th century British composers. Certainly the excellent performances presented here do all the works an indispensible service.
Lennox BERKELEY (1903-1989) Sonatina Op.13 (1939)
Malcolm ARNOLD (1921-2006) Sonatina Op.41 (1953)
Gordon JACOB (1895-1984) Suite for Recorder and String Quartet (1957)
Malcolm ARNOLD Solitaire (1956)
York BOWEN (1884-1961) Sonata Op.121 (1946)
Edmund RUBBRA (1901-1986) Meditation sopra Coeur's Desoles (1949)
Malcolm ARNOLD Fantasy for Recorder & String Quartet, Op.140 (1990)
Jill Kemp (recorder) Aleksander Szram (piano) Brodowski Quartet
Music Media MMC103
Benjamin Britten (1913-1976) Soliloquy & Prayer from Gloriana.
Gloriana Op.53 was completed by Benjamin Britten during 1952 and the early part of the following year. This was the composer's eighth opera. It was commissioned by Covent Garden as a part of the celebrations for the coronation of the present Queen, Elizabeth II and was dedicated to her 'by gracious permission.' The libretto was devised by the Anglo-African poet and novelist William Plomer (1903-1973) and is based on the 'Bloomsbury Group' author Lytton Strachey's Elizabeth and Essex which had been published in 1928. Britten has remarked that he and Plomer were most inspired by the relationship between 'the two protagonists' and the strong supporting roles of Cecil and Walter Raleigh.
Her Majesty attended the first performance at Covent Garden on 8th June 1953, six days after the coronation. Unfortunately, the Queen is said to have been unimpressed by the opera. The critical response is still subject to much debate; however there were few positive reviews for this work. The eclectic mix of prose and verse, sung and spoken text, archaic and modern English were seen as part of the problem. However, in a contemporary letter to The Times, Antony Lewis, of the Barber Institute of fine Arts at Birmingham University wrote that '...page after page of music of superb richness and invention testifies to ...excellence of the composer's creative powers...' He concludes by suggestion that it is 'exhilarating thee hear a score that unfolds with such masterly confidence...Gloriana is indeed a worthy execution of the royal command.'
The Soliloquy and Prayer follows the scene where Essex has sung two lute songs to divert the queen. However Essex wants permission to sail to Ireland to suppress a rebellion in Tyrone. The Queen refuses and sends him away. The act ends with her praying that she 'may rule and protect my people in peace'. Elizabeth is torn between love and duty. The queen kneels and prays to God for the strength and the grace to fulfil the high office to which she has been called.
Listen to the Soliloquy and Prayer on YouTube with Leontyne Price.
Labels: Benjamin Britten
Frank Bridge & Cyril Scott Piano Quintets on BMS Label
The Frank Bridge Piano Quintet H49a is a masterpiece of European chamber music. However, based on the work's general lack of acceptance amongst chamber music enthusiasts, it could be argued that my view has not yet caught on. I guess that for every one listener who gets to grips with this work, a hundred will tune into the examples by Brahms and Schumann. Yet whatever the relevant performance statistics, this is a fine work that is well-constructed, romantic and moving. It deserves all success.
The liner notes examine the incarnation of this piece (and the Scott) in considerable detail, however it is essential to realise the the present work H49a is in fact a major revision of an earlier work dating back to 1904. This was not a minor tinker of a "muscular, four-movement work, with a huge piano part, brim full of musical ideas" but a complete restructuring. For example, the original work's second and third movements were recast into the long middle movement of the present work. Frank Bridge introduced a cyclic element by revisiting a number of themes from the first movement into the 'allegro energico' which concludes the piece.
One 'peg' to help put this work into context is the fact that there was a personal significance for the composer. He was dealing with the temporary absence of his wife-to-be Ethel Sinclair who was then staying in Australia. So there is found a sense of longing that balances the general romantic optimism of the music.
This Piano Quintet is successful at a number of levels – its complexity, the post romantic soundscape and the sheer technical complexity of the entire score. I wrote in my review of the Hyperion version of this Piano Quintet that it was "fresh, enjoyable, moving and deserving of greater popularity. It is rapidly becoming a favourite of mine from the considerable catalogue of Frank Bridge's chamber music". I have still not changed this view.
I do not wish to get into a discussion about the genesis of the Cyril Scott Piano Quintet. The liner notes advise that it is even more complex than the Frank Bridge work! Apparently the 'received wisdom' is 'far from consistent' with varying shades of opinion emanating from the pens of Scott's original biographer, Eaglefield Hull, the performer, composer and musicologist David Wordsworth and the musicologist Lewis Foreman. Ian Parratt, who knew Scott personally, has also had his view about the gestation of this work.
The best bet would appear to be that the Quintet began life as a piano or string sextet which had been composed around 1904-5. The date of its first performance is also shrouded in mystery.
Henry Haddow, one of the adjudicators of the Carnegie UK Trust's Publication Scheme which subsequently published the piece, suggested that the Quintet 'is a queer work. Vaughan Williams, also on the committee, wrote that this work was 'very long and rhapsodic and has no particular tune.' However he followed this negative suggestion by noting that 'it still has power and passion and ought to rank high.' Yet the final opinion of the committee was that the quintet was 'strong, vigorous, rugged, and written with obvious mastery of its resources and its medium.' This judgement concluded by suggesting that it was 'a notable addition to our repertory of chamber music.'
Many years later, The Times reviewer of the 2001 Dutton Epoch recording of this quintet suggested that 'unless the listener is allergic to rhapsodic burblings and music couched in the grand manner without quite the substance to back it up' this work would cause no pain. It is a view that I disagree with. I guess it all comes down to the aesthetic judgement as to whether the listener equates rambling with rhapsodic... However, the final word goes to Edwin Evans writing in Musical America in 1920 – he suggested that [Scott] is more concerned with the adornment of the building than with such things as supports and girders. And, be it said at once, his sense of ornament is exceptionally acute and inventive.'
My own take on this is that Scott's Quintet is an earnest work that deserves attention. The sheer variety of instrumental texture and rhythmic activity far outweighs any formal deficiencies.
This CD, which was recorded back in 1989, acts as a fitting memorial to Raphael (Ray) Terroni who died at the relatively young age of 67 in August 2012. Terroni was a genuine all-round musician. He was a teacher – both private and at the London College of Music, an examiner, a festival director, an administrator and as the liner notes suggest, a 'crusader for a vast range of music, both known for which he never lost his acquisitive enthusiasm and (particularly ) unknown repertoire which he explored discerningly and promoted tirelessly.' Terroni has made a number of innovative recordings including music by Lennox Berkeley, Eugene Goossens, Cyril Scott, Kenneth Leighton, Josef Holbrooke, Arnold Cooke, Arthur Butterworth and Eric Coates. At least eight CDs of his performance are currently listed in the Arkiv catalogue. He makes an impressive and technically demanding contribution to this present CD.
The Bingham String Quartet plays with imagination and sympathy on both these works. This group is still going strong after 22 years. However the second violinist and the cellist have changed since this recording was made.
I have no complaints about the excellent liner notes written by Giles Easterbrook. It is a detailed study of the context, the genesis and the revisions of both works with a strong musical analysis to lead the listener through both these massive, complex works. He has also set the scene, as it were, by giving a thumbnail sketch of the genre – beginning with Schumann's 'pioneering masterpiece' and developing the trajectory by way of Brahms, Franck, Faure and Bartok. One of my own particular favourites that he mentions in passing is the great Quintet in D minor by Stanford dating from 1886.
As part of my review of this present CD I listened to extracts from the competition. The Bridge is represented by Ashley Wass and the Tippett String Quartet on Naxos, Daniel Tong (Bridge) and Philip Fowke (Scott) and the London Bridge Ensemble on Dutton, Piers Lane and the Goldner String Quartet on Hyperion and finally Michael Dussek with the Bridge Quartet on Somm. Each of these recordings has impressed me over the years. All of them approach both works with technical prowess and an innate sympathy and understanding which reflects the very different sound worlds of these two fine works. I am not going to plump for a favourite, save to say that all of them, to my ear at any rate, are worthy interpretations of these works. The present Terroni/Bingham Quartet is an important addition to the catalogue.
Track Listing:-
Frank BRIDGE (1879-1941) Piano Quintet in D minor, H49a (1904-5: rev.1912)
Cyril SCOTT (1879-1970) Piano Quintet No.1 (1924)
Raphael Terroni (piano) Bingham String Quartet: Steve Bingham (violin) Mark Messenger (violin) Brenda Stewart (viola) Miriam Lowbury (cello)
British Music Society BMS442CD
Labels: Frank Bridge
Theodore Holland: Ellingham Marshes for Viola and Orchestra.
I am surprised that the recent Dutton Epoch (CDLX 7295) recording of Theodore Holland's Ellingham Marshes for viola and orchestra does not appear to have received any major reviews: even MusicWeb International has not [yet] published anything about this piece. The only notice I can find is from on the Music Review International webpage. It notes 'the first recording of Holland's c.1940 work, a 16-minute exercise in English pastoral impressionism, inspired by the misty, dreamy atmosphere of the Suffolk marshes, punctuated by a central sunny period'
What is known about this music? Any information about this piece derives from Graham Parlett's excellent programme note in the Dutton Epoch recording of this work. Ellingham Marshes was composed during the first year of the Second World War and was given its first performance at the Henry Wood Promenade Concert at the Queen's Hall on 15 August 1940. The solo part was given by the violinist/violist Winifred Copperwheat (1905-1977) with Sir Henry Wood conducting the London Symphony Orchestra. A radio broadcast of the piece was made on 7 April 1941 with the same soloist but with the BBC Orchestra (Section A) under Clarence Raybould. Interestingly, in spite of the austerity of wartime, a facsimile of the score was published by Hinrichsen Edition in 1941.
The first performance of Ellingham Marshes was part of a rather mixed bag of music. The concert began with Edward Elgar's orchestration of J.S. Bach's Fantasia and Fugue in C minor, BWV 537 and then progressed through a variety of seemingly unrelated pieces, including three numbers from Berlioz's La Damnation de Faust, an arrangement by Henry Wood of Handel's aria 'Let the bright Seraphim' from Act 3 of Sampson. The first half concluded with Benno Moiseiwitsch's performance of Rachmaninov's Concerto for Piano No.1 in F sharp minor, Op.1
Holland's work opened the second half of this programme and was followed by an aria from La Boheme, Richard Strauss' tone poem Don Juan, Rimsky Korsakov's Capriccio espagnol. The final orchestral piece was the overture to Mozart's The Marriage of Figaro. However before this there were a number of songs by Ivor Atkins, Hubert Parry, Dvorak and Maude Valerie White. It must have been quite a long evening.
Edwin Evans wrote a brief programme note for the first performance, in conjunction with the composer: - 'The work is the outcome of a sketching holiday in East Anglia. The composer describes it as an attempt to paint a picture of the dreamy and wistful atmosphere of the Suffolk marshes in their changing moods. It opens with the early morning mists which envelop the river and the marshy landscape. These disperse to reveal a lovely sunny day. But gradually the scene fades back in the misty atmosphere as evening falls. There are three cadenzas for solo viola. Two of them are short, but the third which is muted, is more extended, and leads to the coda, in which the mood of the opening is resumed.'
The Times (August 16 1940) reviewer noted that Mr. Theodore Holland is best known for his role as the chairman of the executive committee of the Royal Philharmonic Society and as a distinguished professor of the Royal Academy of Music. Mention is made of Holland's work as an amateur water-colour artist which has 'a wistful charm.' He suggests that the present work might have been called 'a musical water-colour of Ellingham Marshes in Suffolk.' He notes that the piece 'begins and ends in mist with more than a gleam of sunshine by the way. He concludes by describing the work as 'thoughtful' and 'impressionistic' which was sympathetically played by Miss Copperwheat...'
Few other newspaper reviews exist for Ellingham Marshes; however, the Western Morning News notes the work's 'meditative character' but seemed disappointed that it had no 'great depths.'
The most extensive discussion was by William McNaught (1883–1953) in the September 1940 edition of the Musical Times it is worth quoting in full:
'Concerts calling for special notice were rare during the first three weeks, most of the novelties of the season being crowded into September. The only first performance of the period was Theodore Holland's Ellingham Marshes on August 15. Mr. Holland is well known to the Philharmonic audience as one of the councillors of the Society; here he reasserts himself as a composer, for it is not his first appearance in that capacity. His voice is gentle and persuasive. This poem for viola and orchestra is a daydream from loneliest Suffolk. Restful thoughts drift through the score, setting up an atmosphere that might have been unduly disturbed by the presence of overt, sharp-edged themes; some will think, however, that the composer has been remiss rather than fastidious in avoiding them. Mr. Holland is more concerned with suggestion than with statement, with the result that the meaning of his music penetrates slowly, and it is only after it has passed that you discover how much it has had to convey. Not all of the work is serene. There are passages of tension and urgency, but they are not foreign to the air of reverie, and it is to a musical intensity that they rise. Mr. Holland speaks in refined and sometimes close-wrought musical terms by which we know him for a sensitive, if not very operative, artist. A fiddler himself, he has written a shapely and finely-articulated viola part. It was exquisitely played by Miss Winifred Copperwheat.'
I look forward to hearing a greater discussion of this piece in the coming weeks and months. Theodore Holland is currently represented by only two works in the CD catalogues – the present 'Marshes' and the fine Suite in D for viola and piano. This latter work is available on Naxos 8572761 and 8572579.
Labels: Theodore Holland
John McCabe Choral Music on Naxos
I wish that I had heard the opening Three Marian Carols during the Christmas season, for they are amongst the most beautiful examples of the carol writers art that I have come across in a long time. These evocative numbers have been collected from a number of the composer's previously published works and are grouped together for this recording: they cover a span of 48 years of musical composition. The earliest, 'Mary laid her child' dates from 1964 and is a setting of a poem by the 20th century 'Lakeland' poet Norman Nicholson. This is a poetic mediation based on the idea that Jesus was born near a 'miry frozen farm.' The location of the the nativity has been moved from Bethlehem to Bassenthwaite, maybe. The music reflects the cold, the frost, and a glimmer of warmth from a fire in the barn. The poem concludes with an intimation of the crucifixion. 'Dormi Jesus' was written nearly a decade later and is based on an anonymous 15th century text. This is a heart achingly beautiful carol that balances bitter-sweet harmonies with a lovely soprano solo. The most recent is 'I sing of a maiden' (2008) which is based on another anonymous text. This well-balanced carol utilises a semi-chorus alongside the main chorus. All three numbers work well as a group. The composer has written in the liner notes that 'writing carols has been a constant pleasure throughout [his] career, as relaxation from sterner stuff…as a way of participating in the great tradition of music for the community.'
I found the Mangan Triptych difficult to come to terms with. It is not that the music is 'difficult' or unapproachable: it is just that the work as presented here is too long –at least for me. However, this is not a huge problem as each of the three 'panels' were composed for a different occasion and appear to have been performed separately. Taking them one at a time would be my recommendation for a listening strategy. James Clarence Mangan was born in Dublin in 1803. After an education at a Jesuit school, he worked as a lawyer's clerk, then for the Ordnance Survey and latterly as an assistant in Trinity College Library. His early poetry was apparently 'a-political' but subsequent to the Great Famine, he began to explore Irish nationalistic themes. He had a tragic life, being afflicted with illness, depression and irrational fears. He was an eccentric – appearing on Dublin streets wearing a long cloak, green spectacles and a blonde wig. In 1849, he died from of cholera – however his health had been compromised by malnutrition, poverty, opium and alcohol. However, W.B. Yeats considered Mangan to be one of the best Irish poets.
John McCabe states in the liner notes that he was 'immediately impressed…with the characteristically Irish rhetorical power and vivid imagery' [of the poetry]. He considers that it has 'a powerful visionary quality.'
Three things need to be said. The text is full of allusions, metaphors and symbols. The meaning does not jump out to the listener. I was reminded of the English poet Christopher Smart in the complexity and convolutedness of the imagery. Secondly, John McCabe has brought some impressive music to these settings. It is characterised by almost continual invention. The musical content has McCabe's usual characteristic of a wide-ranging harmonic language ranging from the acerbic to the meltingly beautiful. There are times when the the poet's mental turmoil is reflected in the music, although there is much that is reflective and heart-easing. Finally, this work could (should?) be regarded as a 'choral symphony' for eight-part choir. As such the composer has stated that he prefers the 'movements' given in the order presented on this disc. It is a work that will challenge the listener.
'Amen/Alleluia' was written in 1981 for the William Ferris Chorale in Chicago for their twentieth anniversary concert. Apart from the title, there are no words in this composition: it is effectively a 'deconstruction' of the the syllables. The 'amen' part of the work is slow whilst the 'alleluia' begins quietly and builds up to a scorching climax. It could be argued that the repetition of two words over a 5-minute span is either a bit experimental or somewhat Handelian. However, as an exercise in sound it makes an interesting point, even if the text is not too imaginative.
I enjoyed the descriptive setting of Thomas Hardy's poem 'Proud Songsters'. It does indeed capture 'the vigour of young birds singing and the evanescent nature of their existence'. 'The Lily-White Rose' is extracted from a larger work, Songs of the Garden (2004/2009) for soloists, chorus and full orchestra (or ensemble). The present motet is a moving arrangement for SATB.
I imagine that the 'Morning' and the 'Evening Watch' will be often be performed 'back to back' in spite of some 36 years separating their composition. Both texts are derived from the Welsh poet Henry Vaughan (1621-1695) who was a 'metaphysical' poet. There is an interesting stylistic contrast between the two texts and their setting. The organ is used to considerable effect in the latter.
'Great Lord of Lords' is a good piece to follow the introverted dialogue between the body and soul of the 'Evening Watch'. This is a big powerful setting of a song of praise that creates an impressive balance between choir and organ.
'A Hymne to God the Father' (1966) is a reserved setting of a poem by John Donne. The harmony is often bitter-sweet with only occasional relaxation. McCabe uses three soloists to add intimacy to the music.
The final setting, 'The Last and Greatest Herald', opens with an impressive organ flourish. The text is by the Scottish poet, William Drummond of Hawthornden (1585-1649) and examines the contribution to the Christian story made by St. John the Baptist during his sojourn in the desert. The choral writing is typically massive and vibrant, with contrasting sections of reflective music. The work ends with a huge climax urging the listener to 'Repent! Repent!' Throughout this work, the organ is busy providing an intricate accompaniment that is almost 'jazzy' in places. A great finish to this CD
This is a handsomely presented CD. The singing by the BBC signers under David Hill is perfect. Every nuance of McCabe's music is clear and well-defined: the words are always audible. Most of the music on this disc is a-cappella; however the remainder has an organ accompaniment – so I must not forget the excellent playing by Iain Farrington, who is also a composer, as well as an organist and pianist.
The liner notes are by John McCabe – so no potential for argument there. The texts of all the works are included along with a translation of 'Dormi Jesu' by Samuel Taylor Coleridge.
This CD can be recommended to anyone who appreciates modern but accessible choral music. For those listeners who only known this composer through his large- scale works such as the ballets, the Chagall Windows or Cloudcatcher Fell for brass band, this disc will be an eye opening exploration into a facet of McCabe's music that is little represented in the CD catalogues.
Three Marian Carols (2008/1973/1964) Mangan Triptych (1983/1980/1979) Amen / Alleluia (1991) Proud Songsters (1989) The Lily-White Rose (2009) The Morning Watch (1968) The Evening Watch (2003) Great Lord of Lords (1967) A Hymne to God the Father (1966) The Last and Greatest Herald (2008)
Iain Farrington (organ) BBC Singers / David Hill
NAXOS 8.573053
Labels: John McCabe
Harry Farjeon: Idyll for Oboe & Orchestra
The British musical world is full of music that I have never heard. Alas, it is often the case that I probably never will hear much of it. In the depths of winter, on 7 January 1926, a short Idyll for Oboe & Orchestra by the largely forgotten composer Harry Farjeon was performed at Bournemouth. The soloist was Leon Goossens.
I quote the composer's programme note as one of the few references to this work to have survived. The two places he mentions, Chanctonbury and Amberley, are forever associated with John Ireland – the Legend and the piano piece Amberley Wild Brooks respectively. It would be good to have Farjeon's work available for comparison. How did he interpret, musically, this strange and fascinating part of the English Landscape?
'This little work is the outcome of a day on the Sussex Downs: one day among many passed in the high altitudes between Chanctonbury and Amberley and the still less frequented hinterland that lies below and to the south of this country. There are two main themes and an episode of some importance to the design. Four bars of introduction herald the principal subject, given to the solo instrument and accompanied by bassoons. The music is somewhat wistful in character, but brightens at the the episode, which leads to the second main theme, a melody in thirds supported by a figure of dropping fifths of which a good deal of use is afterward made. This second theme combines with the episode to workup to the climax, after which a return is made to the first subject (shortened). The coda contains a semi-recitative passage for oboe, and the work concludes with a reference to the introductory bars. H.F.'
I was taken to task the other day for using a technical term that one of my readers did not understand. So a brief word about the above mentioned 'episode.' An episode is a 'secondary section' of a piece of music in which the principal themes are not overtly present. A good example would be the 'subordinate' sections of a classical rondo. Sometimes an episode can have material derived from elements of the principal themes.
I was unable to find any reference to this work having been published in either World Cat, COPAC or the catalogue of the Royal Academy of Music (where much of their alumni's music is stored). So I guess that it is yet another example of a work that has remained in manuscript and has possibly disappeared without trace.
Labels: Harry Farjeon
Some Rare Victorian British Opera Overtures on SOMM
This is an exciting and innovative CD. Three things need to be said. Firstly, this new SOMM disc adds yet another nail into the still-held adage that Victorian Great Britain was a 'land without music.' From the first note to the last, these ten overtures display interest, character and downright tunefulness. Granted that these 'discoveries' do not showcase music of the stature of a Berlioz, a Weber or a Mendelssohn there is nothing here that is unworthy of anything being composed in the mid to late nineteenth century. Note the word 'opera' in the CD title: these overtures are from 'grand' operas and are not operettas, burlesques or ballad operas. They need to be approached in that light.
Secondly, I do not intend to give a detailed history of the life and work of the the seven composers represented here save to say that all of them are in the category 'forgotten.' Furthermore, it would be a brave person who would automatically declare that they were all 'lost geniuses' on the strength of these recordings. What can be said is the every one of them deserves re-evaluation. On the face of it, most opera lovers will be 'au fait' with the name Michael William Balfe who is best remembered for one stage work or possibly just two songs: the opera The Bohemian Girl, 'Killarney' and 'Come into the Garden Maud' respectively. Enthusiasts of British Music may have recently heard Julius Benedict's two piano concertos on Hyperion, many of William Vincent Wallace's piano pieces on Naxos or George Alexander Macfarren's fine opera Robin Hood and the 4th and 7th Symphonies. Nonetheless, I imagine that for all but the most committed aficionados of Victorian music the names of John Barnett, Edward Loder and Arthur Goring Thomas will be simply that – names.
And thirdly, I do not propose to discuss the 'plots' of the 10 operas represented on this CD The liner notes give sufficient information on this score.
However, a thumbnail sketch of the period and the genre may be of some help. Most readers will be knowledgeable about the German and Italian operas of Wagner, Donizetti, Verdi and Rossini, however, the home-grown talent may be a little more obscure. In many ways the attitude of opera lovers today is similar to that of 150 years ago. For most, serious opera means/meant Italian opera – (with German, French, Russian and Peter Grimes having gained a secure foothold in the intervening years). In the early to mid nineteenth century, Covent Garden staged virtually nothing but Italian opera: German and French productions were sometimes even translated into Italian for 'convenience.' Opera producers were not always faithful to the score either, with interpolation of 'original' music by the conductor being largely accepted, if not expected. Ernest Walker notes that at that the time of Henry Bishop (1786-1855) 'opera had been a sort of third-rate theatrical medley, totally devoid alike of art and of sense'. Things could only get better, although I imagine that one day Bishop himself will be re-evaluated. The lighter operas of Balfe, Wallace and Benedict had considerable successes; however it was with John Barnett's The Mountain Sylph (overture performed here) that Britain could claim anything approaching 'grand opera.' It was at this time that composers began to produce works that that had some claim to musical and dramatic continuity of interest and respectability of stage effect.
The overtures presented on this disc cover a span of some 60 years so fall into the era of early and late Victorian. The earliest is Barnett's The Mountain Sylph with 'book' by Thackeray and the latest is Arthur Goring Thomas' The Golden Web dating from 1893. Only this last named work was written after the massive achievement of Gilbert and Sullivan.
I enjoyed virtually every work on this CD. I would suggest that the Edwardian music historian Ernest Walker's dismissal of most of this music as being '…artistically …not worth a moment's consideration, the tunes are empty beyond expression, and there is not a particle of any workmanship to carry them off…' is fundamentally disproved by this collection of overtures. His further consideration that '…it is all artistically dead beyond the very faintest hope of resurrection; and we need not feel any cause for lament,' seems untenable.
What does this music sound like? It is an unwise question to ask, and an even more difficult one to answer. Each of these composers had their own voice. However, we know so little of their work that generalisations are inevitable. The prevailing mood in all this music suggests Rossini, Weber, Auber and to a certain extent anticipated Sullivan at his more 'serious.' I guess that 'enjoyable' is a better adjective to describe the effect of this music than 'challenging'. There is nothing here to cause unease but plenty to give pleasure and delight. This is all good music: it is by no means 'great' music, although there are moments when composer seems to approach genius. John Barnett's The Mountain Sylph being a good example. None of this is a problem. Not every bar of every opera by Verdi or Wagner is 'great' music.
This CD is a fine production. The sound recording is always clear and well-balanced. The Victorian Opera Orchestra is made up of players from around the North West of England. Their president and guest conductor is Richard Bonynge who is an acknowledged expert in Victorian opera: he has made a large number of ballet and operatic recordings over the years. Orchestra and maestro take each of these overtures seriously: their playing is never overstated or condescending. Victorian Opera Northwest, the group which has overseen the project, is dedicated to the promotion of 'the excellent forgotten music of 19th century operas by British and Irish composers'. They also produce scores and performing editions of operas and overtures which are available for hire and include a number of the works recorded on this CD.
The liner notes form a good essay on Victorian opera and ought to be read before exploring the music. The first section is a brief overview of 'The English Opera movement' in the nineteenth century and this is followed by a detailed discussion of each opera and its overture. However, was Love's Triumph first performed in 1864 as stated here on the track listings, or in 1862?* The booklet features a number of stunning music covers of 'overtures and popular Dance Selections from the operas' by courtesy of the Richard Bonynge Archives. The impressive cover photograph is of Covent Garden circa 1850.
This outstanding CD is an important link in the rediscovery and re-evaluation of a generation of operatic tradition that has been largely ignored, if not quite lost. It is a rediscovery that I would never have guessed would have occurred when I first began to read about British Music in the early nineteen-seventies. However, there is much to be done. Not everything can be performed. Michael Balfe wrote more than two dozen operas: not all of them can be revived and no doubt not all of them deserve the complex 'archaeological digging' required to present them in a costume or concert version for our age. However an important start has been made: witness the recent recording of Macfarren's Robin Hood on Naxos 8.660306-07 and Wallace's Lurline and Balfe's The Maid of Artois by Victorian Opera Northwest. Most of Arthur Sullivan's operas (as opposed to the G&S collaborations) are now available on CD. Recently a new book has been published by Dr. Andrew Lamb about William Vincent Wallace (Fullers Wood Press, 2012).
There is much to be done, however it is good that a solid start has been made. There are plenty of operas and composers to explore. Let us hope that this work continues with alacrity.
*The London Standard for Saturday 15 November 1862 announces the first performance of Wallace's new opera Love's Triumph on that evening at Covent Garden. The booklet, however, gives the correct date.
Julius BENEDICT (1804-1885) The Lily of Killarney (1862)
John BARNETT (1802-1890) The Mountain Sylph (1834)
Michael William BALFE (1808-1870) The Siege of Rochelle (1835) Le Puits D'Amour (1843)
Edward LODER (1813-1865) The Night Dancers (1846)
William Vincent WALLACE (1812-1865) Lurline (1860) The Amber Witch (1861) Love's Triumph, prelude (1864?)
George Alexander MACFARREN (1813-1887) She Stoops to Conquer (1864)
Arthur Goring THOMAS (1850-1892) The Golden Web (1893)
Victorian Opera Orchestra/Richard Bonynge
SOMM SOMMCD0123
The Promenade Concerts 1963 – Novelties
A few days ago I posted a résumé of the works that were given their first performance at the Henry Promenade Concerts during 1913. Today I briefly consider those performed fifty years later at the 1963 series. In some ways not a lot has changed. There are still works by composers who have disappeared from view as well as works by established composers. Please note that not all these works were premieres: a fair few were simply their first outing at a Prom Concert.
Richard Rodney Bennett: A London Pastoral
Lennox Berkeley: Four Ronsard Sonnets (BBC Comm)
Arthur Bliss: The Enchantress
Benjamin Britten: Simple Symphony, Cantata Misericordium, War Requiem
Francis Burt: Fantasmagoria per orchestra (BBC Comm)
Peter Racine Fricker: Song Cycle: O longs desirs (BBC comm)
Roberto Gerhard: Piano Concerto
Henry Purcell: Come ye sons of art away; Welcome to all pleasures.
Arthur Sullivan: Trial by Jury
Michael Tippett: The Midsummer Marriage Act III
William Walton: Variations on a theme by Hindemith
Perhaps the most surprising thing from the above list is the complete disappearance of Richard Rodney Bennett's A London Pastoral. This work for tenor and chamber orchestra has not been recorded (to my knowledge). It would seem to be a work worthy of some investigation: the review in the times suggests that it the music was 'poetic and beautiful in abstraction.' The work is based on poems by William Wordsworth, John Lydgate and Laurence Binyon.
Arthur Sullivan' Trial by Jury has remained popular since its first performance on 25 March 1875 at the Royalty Theatre. However, it must have made a pleasant evening's entertainment at the all Gilbert and Sullivan night on 10 August 1963. Other music that evening included extracts from The Pirates of Penzance, The Gondoliers, Iolanthe and 'that infernal nonsense Pinafore.'
I could find out little about Francis Burt's Fantasmagoria per orchestra however he earns a place on this blog by being an Austrian/British composer. The work seems to have totally disappeared from view.
Peter Racine Fricker's orchestral song cycle O longs desirs also seems to have vanished without trace – however this is like most of that composer's music. He is surely ripe for rediscovery. The work was performed by the composer's wife the soprano Catherine Gayer. It is a setting of the French poet Louise Labé, (c. 1520 or 1522-1566).
Benjamin Britten's 'novelties' have fared best of all. Certainly the War Requiem is regarded as a 20th century masterpiece. The Simple Symphony is given many performances around the world, has been recorded countless times (35 versions are currently listed on Arkiv) and is regularly featured on Classic FM. The Cantata Miserecordium is possibly one of the composer's less popular works.
The Enchantress by Sir Arthur Bliss is rarely heard in the concert hall, however there was a recording of the work issued on Chandos. It is a work that deserves to be in the public domain.
Michael Tippett's A Midsummer Marriage may not be the most performed English opera, but it has retained a toe-hold in the repertoire. The first performance of this work was a Covent Garden on 27 January 1955, so the Prom performance of Act III was really a little bit of catching-up. A couple of recordings of this work have been released, the most famous being the Phillips version conducted by Colin Davis dating from 1970. It was subsequently reissued by Lyrita in 1990.
Finally, Lennox Berkeley's Four Four Ronsard Sonnets, William Walton's Variations on a theme by Hindemith and Roberto Gerhard's Piano Concerto have all managed to retain a fragile place in the repertoire. However, I guess that performances are few and far between. Walton has at least seven recordings of the Variations, and Gerhard two and as far as I can tell Berkeley has one of the Sonnets.
So the 'winner' from the Proms novelties of 1963 would appear to be Benjamin Britten with all three of his works still firmly in the repertoire.
Labels: Henry Wood Promenade Concerts
Benjamin Britten (1913-1976) Soliloquy & Prayer fr...
Frank Bridge & Cyril Scott Piano Quintets on BMS L...
Theodore Holland: Ellingham Marshes for Viola and ...


This module shows how to use visioning to improve classroom management (procedures) and homework. It points out the most common mistakes teachers and parents make when working with young people. Multi-tasking and switch-tasking are discussed.


text:
Q: Jenkins post build step is delayed for a couple of minutes I have a jenkins job, that gets't delayed before executing postbuild action.
Any ideas what to check or how to proceed? 150 seconds of wasted time is a little bit too much.
Jenkins console output looks like this (see the time difference between first and second line):
14:06:01 [EnvInject] - Variables injected successfully.
14:08:37 Performing Post build task...
14:08:37 Logical operation result is FALSE
14:08:37 Skipping script  : echo Testing time

Job configuration:
Build section
Inject environment variables (last task in this section)
Post-build Actions
 - Post build task (first task with script: echo Testing time)


text:
//===============================================================================
// © 2015 eWorkplace Apps.  ALL rights reserved.
// Main Author: Parikshit Patel
// Original DATE: 4/22/2015
//===============================================================================

package com.eworkplaceapps.platform.customfield;

import com.eworkplaceapps.platform.entity.BaseEntity;
import com.eworkplaceapps.platform.utils.Utils;

import java.util.UUID;

public class EntityFieldDisplayProperty extends BaseEntity {

    private static final String ENTITY_FIELD_DISPLAY_ORDER_ENTITY_NAME = "EntityFieldDisplayOrder";

    public EntityFieldDisplayProperty() {
        super(ENTITY_FIELD_DISPLAY_ORDER_ENTITY_NAME);
    }

    /**
     * Create Task object and return created object.
     *
     * @return EntityFieldDisplayProperty
     */

    public static EntityFieldDisplayProperty createEntity() {
        return new EntityFieldDisplayProperty();
    }

    private Boolean system = false;
    private int entityType = 1;
    private int displayOrder = 1;
    private String fieldName = "";
    private UUID tenantId = Utils.emptyUUID();
    private String applicationId = "";

    public Boolean getSystem() {
        return system;
    }

    public void setSystem(Boolean system) {
        setPropertyChanged(this.system, system);
        this.system = system;
    }

    public int getEntityType() {
        return entityType;
    }

    public void setEntityType(int entityType) {
        setPropertyChanged(this.entityType, entityType);
        this.entityType = entityType;
    }

    public int getDisplayOrder() {
        return displayOrder;
    }

    public void setDisplayOrder(int displayOrder) {
        setPropertyChanged(this.displayOrder, displayOrder);
        this.displayOrder = displayOrder;
    }

    /**
     * @return STRING
     */
    public String getFieldName() {
        return fieldName;
    }

    public void setFieldName(String fieldName) {
        setPropertyChanged(this.fieldName, fieldName);
        this.fieldName = fieldName;
    }

    public UUID getTenantId() {
        return tenantId;
    }

    public void setTenantId(UUID tenantId) {
        this.tenantId = tenantId;
    }

    public String getApplicationId() {
        return applicationId;
    }

    public void setApplicationId(String applicationId) {
        setPropertyChanged(this.applicationId, applicationId);
        this.applicationId = applicationId;
    }

    /**
     * Create the copy of an existing EntityFieldDisplayOrder object.
     *
     * @param entity BaseEntity
     * @return BaseEntity
     */
    @Override
    public BaseEntity copyTo(BaseEntity entity) {
        // If both entities are not same then return the entity.
        if (entity.getEntityName().equals(this.entityName)) {
            return null;
        }
        EntityFieldDisplayProperty fieldDisplayOrder = (EntityFieldDisplayProperty) entity;
        fieldDisplayOrder.entityId = this.entityId;
        fieldDisplayOrder.tenantId = this.tenantId;
        fieldDisplayOrder.displayOrder = this.displayOrder;
        fieldDisplayOrder.system = this.system;
        fieldDisplayOrder.fieldName = this.fieldName;
        fieldDisplayOrder.system = this.system;
        fieldDisplayOrder.applicationId = this.applicationId;
        fieldDisplayOrder.entityType = this.entityType;
        fieldDisplayOrder.lastOperationType = this.lastOperationType;
        fieldDisplayOrder.updatedAt = this.updatedAt;
        fieldDisplayOrder.updatedBy = this.updatedBy;
        fieldDisplayOrder.createdAt = this.createdAt;
        fieldDisplayOrder.createdBy = this.createdBy;
        return fieldDisplayOrder;
    }

}

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