George Loder News
Loder, George (1816–1868), conductor and composer
- England
- conductor, composer
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2024-04-20
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2021-12-29 18:37:00
Tally of performances attended, 2021
[…] 6 Mozart 5 Beethoven, Schubert 3 Schumann, Stravinsky 2 JS Bach, Bartók, Brahms, Haydn, Janáček, Mahler, Messiaen, Purcell, Ravel, Sibelius, Strauss 1 CPE Bach, WF Bach, Martin Baker, Mason Bates, Benjamin, Berlioz, Berg, Georg Böhm, Joseph Bologne, Bruch, Byrd, Britta Byström, Chopin, Ann Cleare, Couperin, Debussy, Dvořák, Elgar, Brian Elias, Raquel García-Tomás, Gerhard, Gibbons, Gossec, Guerrero, Handel, Johann Wilhelm Hässler, Lisa Illean, Isaac, Betsy Jolas, Josquin, Lassus, Luise Adolpha Le Beau, George Lewis, Liszt, Kate Loder, Joan Magrané Figuera, Knussen, Johann Kuhnau, James MacMillan, Matthew Martin, Johanna Müller-Hermann, Sarah Nicolls, Pachelbel, Pärt, Anthony Payne, Charlie Piper, Enno Poppe, Poulenc, Rameau, Esa-Pekka Salonen, Saint-Saëns, Samuel Scheidt, Schoenberg, Mark Simpson, George Stevenson, Sweelinck, Vaughan Williams, Ryan Wigglesworth, Ayanna Witter-Johnson, Zemlinsky Total 12 Mozart 5 Beethoven, Janáček, Schubert3 Ravel, Schumann, Strauss, Stravinsky 2 JS Bach, Bartók, Brahms, Gluck, Haydn, Mahler, Messiaen, Puccini, Purcell, Sibelius, Wagner 1 CPE Bach, WF Bach, Martin Baker, Mason Bates, […]
2021-09-30 08:07:04
Gounod's opera La nonne sanglante finally receives its UK premiere, from Gothic Opera at Hoxton Hall
[…] the English Gothic horror writer Matthew Gregory Lewis, in which the hero accidentally elopes with the ghost of the nun, rather than his beloved Agnes in disguise. The work's UK premiere is finally taking place during October 2021, when Gothic Opera present Gounod's La nonne sanglante at Hoxton Hall. That the work has taken so long to reach the UK is partly due to the fact that not long after Gounod's opera premiered in Paris, Edward Loder's opera Raymond and Agnes, based on the same novel, debuted in Manchester [read my review of the premiere recording of Raymond and Agnes]. The libretto for La nonne sanglante was not highly regarded, it had been rejected by Auber, Meyerbeer and Verdi, whilst back in 1841 Berlioz had started work on it and failed. For Gounod, Scribe reworked the text but critics were far more positive about Gounod's music than Scribe's words, Berlioz, for example, said in […]
2021-08-07 18:40:00
Tête-à-Tête Opera Festival (2) – The Unravelling Fantasia of Miss H. (world premiere), 5 August 2021
[…] contemporary. All the time, the arresting image of her instrument contributes its own visual aesthetic and, perhaps, if one wishes, Foucauldian social commentary. There is more minimalist music using asylum cutlery and crockery, enabling responsorial sympathy and solidarity between the two Marys. And there is dramatic physicality in the movement of sheets, both figurative and more realistic. As we take our seats, there is introductory piano music by the nineteenth-century English pianist and composer, Kate Loder: a welcome opportunity to hear music clearly influenced by Chopin and other early Romantics. Had I realised what it was, I should probably have listened more keenly. That doubtless tells its own story. This is Mary Frances Heaton’s story, of course: a tribute to her spirit and an indictment to the society that crushed it. We might have seen and heard things differently, had it been that of Mary Matthewson or […]
2021-02-28 11:26:00
A Life On-Line: Spring songs in Oxford, time-travel at Wigmore Hall, luscious duets in Rotherhithe
[…] be a wide-ranging exploration of Wilhelm Müller as a man and a poet; it was fascinating to learn of Müller's links to Greece and his writings about Lord Byron. (Though I noted that Neilly tactfully slid over the fact that Schubert's cycle sets the poems of Müller's Die Winterreise in the wrong order). We also heard a selection of settings of Müller's poetry not by Schubert, with music from Friedrich Silcher (1789-1860), Edward James Loder (1809-1865), Karl Friedrich Cruschmann (1805-1841), Max Spicker (1858-1912), Heinrich Marschner (1795-1861), and /Giacomo Meyerbeer (1791-1864). Neilly argued for a more positive interpretation of Winterreise's final song. This thought along with the fact that Müller often referred to his poems as lieder, as if they were in search of song, led me to the idea of a reading of Müller's Die Winterreise which would then segue into Schubert's Winterreise with hurdy-gurdy accompaniment, as if the […]
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