...why should I

  • Length: 4:17
  • Rating: 5.00 (2 ratings)
  • Views: 56
  • Author: shortbusnormal

Tags: collins  day  life  love  may  mothers  music  poem 

Don't you knowit's always there;to have,to hold,to cherish?No less than any other,we strive for this:love's calming charm,and, the train of imperfectpresence,binding our lives forever.**x,ShortbusNormal[In Memory of D.B.~~5/11 & 5/22 (Birthday)]

Sibelius Symphony No 7 LSO Anthony Collins

  • Length: 8:29
  • Rating: ( ratings)
  • Views: 320' favoriteCount='1
  • Author: A60stock

Tags: classical 

This is a track from Beulah's four disc set ( 4 disc for the price of 3) 14PD8 COLLINS' SIBELIUS CYCLE.Order today in any good record store or buy direct from Beulah at http://collins.eavb.co.uk/Tracks can be downloaded from iTunes. Use the link above and select iTunes. Anthony Collins, like van Beinum, gained his early orchestral experience was in the ranks of the violas. He joined the Hastings Municipal Orchestra aged seventeen.From Hastings Collins went to serve in the British Army during the 1914-18 War. In 1920 he graduated to the Royal College of Music in London to study violin with Serge Rivarde and composition with Gustav Holst.Collins soon became not only leader of the London Symphony Orchestra violas but a director of this self governing orchestra during a period of turmoil for the London orchestras.In 1934 Muir Mathieson invited Arthur Bliss to compose for Alexander Korda's film of H.G. Wells' Things to Come. Bliss wrote a score for full orchestra and Mathieson engaged the London Symphony Orchestra to record it. The demands of the film company put pressure on the orchestra to improve their standard of playing. Collins' break came two years later when Herbert Wilcocks invited him to compose the music for his epic film on the life of Queen VictoriaVictoria the Great Collins found himself conducting his former colleagues for this film and its sequel the following year Sixty Glorious Years ;In 1939 Collins found himself at the RKO studios in Los Angeles where he composed and conducted for the next six years. After the War he travelled between engagements in Los Angeles and London, giving concerts on both sides of the Atlantic often featuring British music.After Mozart, Elgar and Delius were the composers Collins conducted frequently. His public conducting debut after leaving the London Symphony Orchestra in 1936 included Elgar's First Symphony which received ecstatic notices from the London critics. Like the composer himself, Collins favoured an athletic rather than overly romantic approach to Elgar¹s music. Collins saw himself as a composer who conducted. Seen through such a perspective is the reason the performances on this disc are so fresh.Another Collins characteristic is to give a recorded performance the atmosphere of a live concert performance. No doubt his years in Hollywood, working with first class musicians and often sight reading new music contributed to his recording technique. The same fresh sound occurs in Collins¹ Delius recordings (available on Dutton CD LXT2603) and no doubt Victor Olof, Collins' old friend from his London days, as as Decca's senior classical music producer knew what would result from inviting inviting Collins to record the music of Elgar.

Sibelius Symphony No 4 LSO Anthony Collins

  • Length: 4:24
  • Rating: ( ratings)
  • Views: 238
  • Author: A60stock

Tags: classical 

This is a track from Beulah's four disc set ( 4 disc for the price of 3) 14PD8 COLLINS' SIBELIUS CYCLE.Order today in any good record store or buy direct from Beulah at http://collins.eavb.co.uk/Tracks can be downloaded from iTunes. Use the link above and select iTunes.Anthony Collins, like van Beinum, gained his early orchestral experience was in the ranks of the violas. He joined the Hastings Municipal Orchestra aged seventeen.From Hastings Collins went to serve in the British Army during the 1914-18 War. In 1920 he graduated to the Royal College of Music in London to study violin with Serge Rivarde and composition with Gustav Holst.Collins soon became not only leader of the London Symphony Orchestra violas but a director of this self governing orchestra during a period of turmoil for the London orchestras.In 1934 Muir Mathieson invited Arthur Bliss to compose for Alexander Korda's film of H.G. Wells' Things to Come. Bliss wrote a score for full orchestra and Mathieson engaged the London Symphony Orchestra to record it. The demands of the film company put pressure on the orchestra to improve their standard of playing. Collins' break came two years later when Herbert Wilcocks invited him to compose the music for his epic film on the life of Queen VictoriaVictoria the Great Collins found himself conducting his former colleagues for this film and its sequel the following year Sixty Glorious Years ;In 1939 Collins found himself at the RKO studios in Los Angeles where he composed and conducted for the next six years. After the War he travelled between engagements in Los Angeles and London, giving concerts on both sides of the Atlantic often featuring British music.After Mozart, Elgar and Delius were the composers Collins conducted frequently. His public conducting debut after leaving the London Symphony Orchestra in 1936 included Elgar's First Symphony which received ecstatic notices from the London critics. Like the composer himself, Collins favoured an athletic rather than overly romantic approach to Elgar¹s music. Collins saw himself as a composer who conducted. Seen through such a perspective is the reason the performances on this disc are so fresh.Another Collins characteristic is to give a recorded performance the atmosphere of a live concert performance. No doubt his years in Hollywood, working with first class musicians and often sight reading new music contributed to his recording technique. The same fresh sound occurs in Collins¹ Delius recordings (available on Dutton CD LXT2603) and no doubt Victor Olof, Collins' old friend from his London days, as as Decca's senior classical music producer knew what would result from inviting inviting Collins to record the music of Elgar.

Tim Collins Concertina

  • Length: 2:50
  • Rating: 5.00 (14 ratings)
  • Views: 4961' favoriteCount='35
  • Author: clarebannerman

Tags: Clare  Concertina  Hornpipes  Irish  Kerry  Kilfenora  Music  Traditional 

Two Hornpipes -- The Humours of Tullycrine & The Garden of Daises.http://www.eigsemrscrotty.com/http://www.timcollins-concertina.com/home.htm Tim's formal introduction to music began at the age of 10 when his parents bought him a 'black dot' Hohner accordion in O'Neill's in Newcastle West. He and his brother John picked up tunes by ear from their father before attending Celia Regan's music lessons in the old hall in Templeglantine. Three years later, Con Herbert, a family friend from Killeedy, who had learned music from Collins' granduncle Tadhg, introduced Tim to the concertina. Herbert, a highly respected musician and teacher, trusted the thirteen-year-old with a 28 key rosewood ended Jeffries to practice on. Within a year, Herbert found a 38 key metal ended Jeffries that put Tim firmly on the road to concertina music. Herbert also loaned his young charge two key recordings of Irish concertina music, The Flowing Tide by Chris Droney and Irish Traditional Concertina Styles, a compilation released by Topic in 1977 that featured several legendary players; among them, Tom Carey, Solus Lillis and Paddy Murphy. Both discs had a seminal impact on Collins' style and repertoire.back to topThe Kilfenora Ceili BandLike his predecessors, Collins brought his music across the river to Clare, where he has taught music for almost a decade and played with Clare's legendary Kilfenora Céilí Band, one of the most decorated traditional ensembles in the country, with an unprecedented seven All Ireland titles and several award winning albums to its credit. While the musical ethos and philosophy of the Kilfenora, especially, the importance of tune structure, rhythm and lift has had a profound impact on his music, Collins has also contributed in no small way to the Kilfenora; not least, the seminal stock of slides and polkas that he has given to the band.

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