Coordinates	0°54′″N119°50′″N
Honorific-prefix	The Right Honourable
Name	Edmund Dell
Office	Secretary of State for Trade
Primeminister	James Callaghan
Term start	8 April 1976
Term end	11 November 1978
Predecessor	Peter Shore
Successor	John Smith
Office2	Member of Parliament for Birkenhead
Term start2	15 October 1964
Term end2	3 May 1979
Predecessor2	Percy Collick
Successor2	Frank Field
Birth date	August 15, 1921
Birth place	London, United Kingdom
Death date	October 28, 1999
Party	Liberal Democrats (1988–1999)
Otherparty	Labour (Before 1981)Social Democratic (1981–1988)
Alma mater	Queen's College, Oxford }}

Edmund Emanuel Dell (15 August 1921 – 28 October 1999) was a British politician and businessman.

Dell was born in London, the son of a Jewish manufacturer. In World War II he served in the Rifle Corps and the Royal Artillery, leaving as a first lieutenant. He studied at Dame Alice Owen's School and Queen's College, Oxford where he was a member of the Communist Party, as his future ministerial colleague Denis Healey had been before the war. Dell graduated with first class honours in modern history in 1947.

Dell soon began work for Imperial Chemical Industries (ICI) in Manchester as an overseas sales manager, specialising in Latin American trade and eventually rose to Vice President of the Plastics Division. Dell soon began to find himself in the difficult position of balancing a career in business with Labour politics. In 1953 Dell was elected to Manchester City Council and served for seven years. He stood unsuccessfully for Parliament in 1955 in Middleton and Prestwich. Dell was dissuaded from standing for Parliament in 1959 by ICI on the grounds that it would make promotion to the highest ranks of the company difficult. However, Dell eventually gave in to the temptation of Parliament and was elected to Parliament as the Labour Member of Parliament for Birkenhead in 1964. He served as parliamentary private secretary to Jack Diamond, then Parliamentary Secretary for Technology under Tony Benn in 1966 and Under-Secretary of State for Economic Affairs under Peter Shore in 1967. In 1968 he was promoted to Minister of State for Trade. Switched to employment in 1969, he was made a privy councillor in 1970.

Dell was one of the 69 Labour MPs to rebel against the Labour government to vote for Britain's entry into the European Community in 1971. He subsequently refused to take a frontbench role while in opposition and served as Chairman of the Public Accounts Committee. When Wilson returned to Downing Street, Dell became Paymaster General, then Secretary of State for Trade and President of the Board of Trade in James Callaghan's government 1976-78. He was tipped to become Chancellor of the Exchequer but resigned his seat, increasingly disillusioned by Labour's drift to the Left as he moved sharply to the Right. He had always been much more oriented toward free market capitalism than his comrades in the Labour Party and grew increasingly uncomfortable in a party that was growing increasingly dominated by advocates of a planned economy and corporatism.

Dell later joined the Social Democratic Party and, after the SDP's merger with the Liberal Party in 1988 was a member of the Liberal Democrats. Dell served as a trustee of both the SDP and the Liberal Democrats and served as one of SDP's three representatives during emergency negotiations with the Liberals in January 1988 when it appeared the two parties' merger might fall through after the failed launch by David Steel and Bob Maclennan of the joint manifesto, "Voices and Choices".

After Parliament he had a career in business as chairman of Guinness Peat, founding chairman of Channel 4 and as a director of Shell Trading. In 1991-2 he was president of the London Chamber of Commerce and Industry. In 1996, he wrote ''The Chancellors: A History Of Chancellors Of The Exchequer 1945-90''. His book, ''A Strange Eventful History, Democratic Socialism in Britain'' was published posthumously in 2000. It was a summation of his critique of the Labour Party's long history being attached to what he saw as "much Keynesianism and too much of the detritus of socialism." Although he had voted for Labour in 1992 and 1997, he still thought that New Labour ultimately "will not fully have entered the modern world until it learns to love capitalism with all its warts."

Dell was married to Susan Gottschalk for 36 years.

External links

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Category:1921 births Category:1999 deaths Category:Alumni of The Queen's College, Oxford Category:British Army personnel of World War II Category:British businesspeople Category:British Jews Category:British Secretaries of State Category:British television executives Category:Councillors in Manchester Category:People educated at Dame Alice Owen's School Category:Imperial Chemical Industries people Category:Labour Party (UK) MPs Category:Liberal Democrat (UK) politicians Category:Members of the Privy Council of the United Kingdom Category:Members of the United Kingdom Parliament for English constituencies Category:Royal Artillery officers Category:Social Democratic Party (UK) politicians Category:UK MPs 1964–1966 Category:UK MPs 1966–1970 Category:UK MPs 1970–1974 Category:UK MPs 1974 Category:UK MPs 1974–1979 Category:United Kingdom Paymasters General

no:Edmund Dell pl:Edmund Dell ru:Делл, Эдмунд

Edmund Dulac (born ''Edmond Dulac'', October 22, 1882 – May 25, 1953) was a French book illustrator.

Early life and career

Born in Toulouse, France, he began his career by studying law at the University of Toulouse. He also studied art, switching to it full time after he became bored with law, and having won prizes at the Ecole des Beaux Arts. He spent a very brief period at the Académie Julian in Paris in 1904 before moving to London.

In London, the 22-year old Frenchman was picked up by J.M. Dent and given a commission to illustrate ''Jane Eyre''. He then began an association with the Leicester Gallery and Hodder & Stoughton; the gallery commissioned paintings from Dulac which they sold; the rights to the paintings were purchased by Hodder & Stoughton, who used them as illustrations in illustrated books, publishing one book a year. Books produced under this arrangement by Dulac include ''Stories from The Arabian Nights'' in 1907, with 50 colour images; an edition of William Shakespeare's ''The Tempest'' in 1908, with 40 colour illustrations; ''The Rubaiyat of Omar Khayyam'' in 1909, with 20 colour images; ''The Sleeping Beauty and Other Fairy Tales'' in 1910; ''Stories from Hans Christian Andersen'' in 1911; ''The Bells and Other Poems by Edgar Allan Poe'' in 1912, with 28 colour images and many monotone illustrations; and ''Princess Badoura'' in 1913.

Dulac became a naturalized British Citizen on Feb 17 1912.

During World War I he contributed to relief books, including ''King Albert's Book'', ''Princess Mary's Gift Book'', and, unusually, his own ''Edmund Dulac's Picture Book for the French Red Cross'' (1915) (including 20 colour images). Hodder and Stoughton also published ''The Dreamer of Dreams'' (1915) (including 6 colour images) - a work composed by the then Queen of Romania.

Later life

After the war, the not-deluxe edition illustrated book became a rarity and Dulac's career in this field was over. His last such books were ''Edmund Dulac's Fairy Book'' (1916), the ''Tanglewood Tales'' (1918) (including 14 colour images) and the ''The Kingdom of the Pearl'' (1920). His career continued in other areas however, including newspaper caricatures (especially at ''The Outlook''), portraiture, theatre costume and set design, bookplates, chocolate boxes, medals, and various graphics (especially for The Mercury Theatre, Notting Hill Gate).

He designed postage stamps for Great Britain, including the postage stamp issued to commemorate the Coronation of King George VI that was issued on 13 May 1937, The head of the King used on all the stamps of that reign was his design and he also designed the 2s 6d and 5s values for the 'arms series' high value definitives and contributed designs for the sets of stamps issued to commemorate the 1948 Summer Olympics and the Festival of Britain.

Dulac was one of the designers of the Wilding series stamps, which were the first definitive stamps of the reign of Queen Elizabeth II. He was responsible for the frame around the image of the Queen on the 1s, 1s 3d and 1s 6d values although his image of the Queen was rejected in favour of a photographic portrait by Dorothy Wilding to which he carried out some modifications by hand. He also designed the 1s 3d value stamp of the set issued to commemorate the Coronation of Queen Elizabeth II but he died just before it was issued.

Dulac designed stamps (Marianne de Londres series) and banknotes for Free France during World War II. In early 40s Edmund Dulac prepared also the project of Polish 20 zlotych note for the Bank of Poland (Bank Polski). This banknote (printed in England in 1942 but dated 1939) was ordered by Polish Government in Exile and was never issued.

He also produced illustrations for ''The American Weekly'', a Sunday supplement belonging to the Hearst newspaper chain in America and Britain's ''Country Life''. Country Life Limited (London) published ''Gods and Mortals in Love'' (1935) (including 9 colour images) based on a number of the contributions made by Dulac to ''Country Life'' previously. ''The Daughter of the Stars'' (1939) was a further publication to benefit from Dulac's artwork - due to constraints related to the outbreak of World War II, that title included just 2 colour images. He continued to produce books for the rest of his life, more so than any of his contemporaries, although these were less frequent and less lavish than during the Golden Age.

Halfway through his final book commission (Milton's ''Comus''), Dulac died of a heart attack on 25 May 1953.

See also

Illustration

References

Further reading

Hughey, Ann (1995). ''Edmund Dulac - His Book Illustrations: A Bibliography''

External links

The Kingdom of the Pearl

Edmund Dulac Collection at the harry Ransom Center at the University of Texas at Austin

Dulac's ''Arabian Nights'' (Hodder & Stoughton 1907)

Category:1882 births Category:1953 deaths Category:Fantasy artists Category:French illustrators Category:Illustrators of fairy tales Category:British illustrators Category:Stamp designers

de:Edmund Dulac fr:Edmond Dulac it:Edmund Dulac nl:Edmund Dulac ja:エドマンド・デュラック no:Edmund Dulac ru:Дьюлак, Эдмунд sv:Edmund Dulac

Edmund Rubbra (23 May 190114 February 1986) was a British composer. He composed both instrumental and vocal works for soloists, chamber groups and full choruses and orchestras. He was greatly esteemed by fellow musicians and was at the peak of his fame in the mid-20th century. The most famous of his pieces are his eleven symphonies. Although he was active at a time when many people wrote twelve-tone music, he decided not to write in this idiom himself. Instead he devised his own distinctive style. His later works were not as popular with the concert-going public as his previous ones had been, although he never lost the respect of his colleagues. Therefore his output as a whole is less celebrated today than would have been expected from its sheer merit and from his early popularity. Yet his compositions are full of drama, with often enough an improvisatory element.

Biography

Charles Edmund Duncan-Rubbra was born at 21 Arnold Road, Semilong, Northampton. His parents encouraged him in his music, but they were not professional musicians, though his mother had a good voice and sang in the church choir, and his father played the piano a little, by ear. Rubbra's artistic and sensitive nature were apparent from early on. He remembered waking one winter's morning when he was about three or four years old, and noticing something different about the light in his bedroom; there was light where there was usually shadow, and vice versa. When his father came into the room, Edmund asked him why this was. His father explained that there had been a fall of snow during the night, and so the sunlight was reflecting off the snow and entering Edmund's bedroom from below, instead of above, thus reversing the patterns of light and shade. When Rubbra was much older he came to realize that this 'topsy-turveydom', as he called it, had caused him to often use short pieces of melody which would sound good, both in their original form and when inverted (so that when the original melody goes up a certain amount, the inverted one goes down the same amount). He then set these two melodies together, but slightly offset from one another, so that the listener hears the melody going up, say, then an echo where it goes down instead.

Another childhood memory which Rubbra identified as later affecting his music, took place when he was nine or ten. He was out walking with his father on a hot summer Sunday. As they rested by a gate, looking down at Northampton, he heard distant bells, ‘whose music seemed suspended in the still air’, as he put it. He was lost in the magic of the moment, losing all sense of the scenery round about him, just being aware of "downward drifting sounds that seemed isolated from everything else around". He traces the ‘downward scales that constantly act as focal points in [his] textures’ to this experience.

Rubbra took piano lessons from a local lady with a good reputation and a piano with discoloured ivory keys. This instrument contrasted starkly with the piano on which Rubbra practised, which was a new demonstration upright piano, lent to his family by his uncle by marriage. This uncle owned a piano and music shop, and prospective buyers would come to Rubbra's house, where he would demonstrate the quality of the piano by playing Mozart's Sonata in C to them. If the sale went through, the Rubbra family was given commission, and a new demonstration piano took the place of the sold one.

In 1912, Rubbra and his family moved a little more than quarter of a mile away to 1 Balfour Road, Kingsthorpe, Northampton, moving again four years later so that his father could start his own business selling and repairing clocks and watches. At this house, above the shop, Edmund had the back bedroom for his work, but the stairs were not wide enough to allow the piano to be brought up, so the window frame of his room had to be removed in order to get the piano in from outside.

Rubbra started composing while he was still at school. One of his masters, Mr. Grant, asked him to compose a school hymn. He would have been very familiar with hymn tunes, as he attended a Congregational church and played the piano for the Sunday School. He also worked as an errand boy whilst he was still at school, giving some of his earnings to his parents to help with their finances.

Rubbra was deeply affected by a sermon he heard given by a Chinese Christian missionary, Kuanglin Pao. He was inspired to write ''Chinese Impressions'' — a set of piano pieces, which he dedicated to the preacher. This was the beginning of a lifelong interest in things eastern.

Holst also taught at the Royal College of Music and advised Rubbra to apply for an open scholarship there. His advice was followed and the place was secured. Before Rubbra's last term at the Royal College, he was unexpectedly invited to play the piano for the Arts League of Service Travelling Theatre on a six-week tour of Yorkshire, since their usual pianist had been taken ill. He accepted this offer despite it meaning he missed his last term. This provided him with invaluable experience in playing and composing theatre music, that he never regretted and stood him in good stead for his later dramatic work. In the mid-1920s Rubbra used to earn money playing for dancers from the Diaghilev Ballet. At around this time he became firm friends with Gerald Finzi.

In 1933 Rubbra married Antoinette Chaplin, a French violinist. They toured Italy together, as well as giving recitals in Paris and radio broadcasts. They had two sons, Francis and Benedict, with the marriage lasting into the late 1950s. Later, Rubbra married Colette Yardley, with whom he had one son called Adrian.

During the Second World War, in 1941, Rubbra was called up for army service. After 18 months he was given an office post, again on account of his knowledge of shorthand. While he was here, he ran a small orchestra assisted by a double-bass player from the BBC orchestra. The War Office asked him to form a piano trio to play serious music to the troops. Rubbra was happy to oblige, and the trio, "The Army Classical Music Group", was formed (however, an overzealous corporal thought he would get a better audience by printing the posters "Ed Rub & his Band"). Rubbra, playing the piano, was joined by William Pleeth (cello) and Joshua Glazier (violin). They travelled all over England and Scotland and then to Germany, with their own grand piano which, with its legs removed for transport, became a seat for them in the back of the transport lorry.

After the war, in about 1947, Rubbra became a Roman Catholic, writing a special mass in celebration. Also at this time, the University of Oxford were forming a faculty of music. They invited Rubbra to be a lecturer there. After much thought, he accepted the post. The army trio kept meeting, playing at clubs and broadcasting, for a number of years, but eventually Rubbra was too busy to continue with it.

It is a measure of the high esteem in which Rubbra was held in the 1940s, that his ''Sinfonia Concertante'' and his song ''Morning Watch'' were played alongside such works as Elgar's ''The Dream of Gerontius'', Kodály's ''Missa Brevis'' and Vaughan Williams's ''Job'', at the 1948 Three Choirs Festival.

When Vaughan Williams heard that the University of Durham was going to confer an Honorary D.Mus on Rubbra in 1949, he wrote him a very short letter. ‘I am delighted to hear of the honour which Durham University is conferring on itself’. In connection with the same celebration, he was invited by Benjamin Britten to contribute to a collaborative work, a set of ''Variations on an Elizabethan Theme''. He initially accepted, but later withdrew; Britten then asked Arthur Oldham and Humphrey Searle to take his place.

On Rubbra's retirement from Oxford, in 1968, he did not stop working; he merely took up more teaching at the Guildhall School of Music and Drama where his students included Michael Garrett. Neither did he stop composing. Indeed, he kept up this activity right until the end of his life. He had, in fact, started a 12th Symphony in March 1985, less than a year before his death.

Ronald Stevenson summed up the style of Rubbra's work rather succinctly when he wrote, "In an age of fragmentation, Rubbra stands (with a few others) as a composer of a music of oneness".

Sir Adrian Boult commended Rubbra's work by saying "He ... has never made any effort to popularize anything he has done, but he goes on creating masterpieces”.

Compositions

Rubbra did not base his composition on formal rules, preferring to work from an initial idea and discover the music as he composed. His style is more concerned with the melodic lines in his music, than in the chords, and this makes his music have a vocal feel. He found his method of composition, working from a single melodic idea and letting the music grow from that, to be very exciting.

Symphonies

It was not until 1937 that Rubbra's first symphony was completed and, having composed this, symphonies 2, 3 and 4 followed in quick succession, the fourth being completed in March 1942. He described them as being ‘different facets of one thought’, since each was a reaction to the last.

His 5th Symphony was started in August 1947. Enough time had elapsed since the 4th Symphony to allow this new symphony to be unrelated, as indeed it is. Grover recognises a "sense of relaxation engendered by a greater flexibility in the handling of materials" which sets this work apart from earlier symphonies. The 6th and 7th symphonies followed in 1954 and 1957.

Rubbra's last four symphonies again show a change of approach. Rubbra himself identified this when he said, "in much of my later music a particular musical interval rather than a key underlies the building of the structure". These symphonies were composed between 1968 and 1979. All are available on CD. Richard Hickox recorded the complete cycle of symphonies on Chandos Records.

Vocal music

The vast majority (42 of 59 works) of Rubbra's choral works have religious or philosophical texts, in keeping with his interest in these subjects. His first choral work was his Op. 3, written in 1924, and his last was Op. 164, written in 1984, only two years before his death. He wrote for children's voices and madrigals, as well as producing masses and motets, including the ''Nine Tenebrae Motets'', Op. 72, setting the Responsories for Maundy Thursday in an intensely dramatic manner. In 1948, he composed ''Missa Sancti Dominici'', Op. 66, to celebrate his conversion to Roman Catholicism. The reason for this particular title is that he was received into the church on the Feast of St. Dominic, 4 August. His ''Magnificat and Nunc Dimittis'' in A flat is still performed in Anglican cathedrals and larger parish churches.

Rubbra's songs are not well-known, but, again they spanned his whole composing lifetime: ''Rosa Mundi'', Op. 2, was the first published, in 1921; ''Fly Envious Time'', Op. 148, was the last, in 1974, being inscribed "in Memoriam Gerald Finzi". Less than half of them have the piano specified for their accompaniments, though only one is unaccompanied. The others have string quartet, string orchestra or harp as their chosen accompaniments, except for the three songs published as ''Ode to the Queen,'' which have full orchestral accompaniment.

Chamber music

Although Rubbra was a fine pianist, he wrote very little music for the piano. He did, however, write a great diversity of chamber music, throughout his career. He considered that his Violin Sonata, Op. 31, which he wrote in 1932, was the first of his compositions to be taken seriously in the musical world. His First String Quartet was composed only a year later. For a long time Rubbra was not satisfied with this piece, although Ralph Vaughan Williams was very interested in it. Finally he thoroughly revised it, and published it in 1946, with an inscription to Vaughan Williams, and destroyed the original finale. Three other string quartets followed at widely spaced intervals. The last was written in 1977 in memory of Bennett Tarshish, a young American admirer of Rubbra's work, who died in his thirties. This piece shows the same method of reliance on a certain interval or intervals (here the 7th) instead of a particular key, which is also evident in Rubbra's later symphonies.

The Cello Sonata of 1946 was dedicated to William Pleeth (the cellist in The Army Classical Music Group) and his wife. It was sometimes performed by Jacqueline du Pré, who was a pupil of William Pleeth. Rubbra's 2nd Piano Trio, Op. 138, was first performed by the members of The Army Classical Music Group, who got together again especially for this performance in 1970, though Glazier had now been replaced by Gruenberg.

The repertoire for recorder was both augmented and enhanced by several works by Rubbra. Foreman considers that these pieces are "significant for their demonstration of an idiomatic recorder style which successfully places the instrument as an equal with other instruments". This recorder music was written for Carl Dolmetsch, son of Arnold Dolmetsch, and almost every piece makes reference to 16th-century music, for example, ''Passacaglia sopra ‘Plusieurs Regrets’'' for treble recorder and harpsichord.

Other chamber works in Rubbra's oeuvre include those for oboe, cor anglais and viola.The Quartets have all appeared on the Dutton Epoch label.

Other works

Incidental music for several plays formed a small but significant part of Rubbra's output. The longest of these is the unpublished score for ''Macbeth''. In 1933, he wrote a one-act opera, still in manuscript, which he originally called ''Bee-bee-bei'', but re-named ''The Shadow''. It reflects his interest in the East, as it is set in Kashmir.

All three of his works for brass instruments were commissioned. One of them, ''Variations on "The Shining River"'', was a test piece for the Brass Band Championships of Great Britain, 1958, held in the Royal Albert Hall.

Rubbra's last work was his ''Sinfonietta'' for large string orchestra, Op. 163, which was commissioned by the Albany Symphony Orchestra of New York, for performance in 1986, as part of the tricentennial celebrations of the founding of New York. This work was dedicated to Rubbra's sons, Adrian and Julian, and received excellent press reviews .

Rubbra is also well known for his 1938 orchestration of Johannes Brahms's piano work ''Variations and Fugue on a Theme by Handel''.

Partial list of works

Orchestral

Symphonies

*Symphony No. 1, Op. 44

*Symphony No. 2 in D, Op. 45

*Symphony No. 3, Op. 49

*Symphony No. 4, Op. 53

*Symphony No. 5 in B-flat, Op. 63

*Symphony No. 6, Op. 80

*Symphony No. 7 in C, Op. 88 (dedicated to the City of Birmingham Symphony Orchestra and premiered by them with Andrzej Panufnik conducting)

*Symphony No. 8, Op. 132, ''Hommage à Teilhard de Chardin''

*Symphony No. 9, Op. 140, ''Resurrection'' (also known as ''Sinfonia Sacra'') ()

*Symphony No. 10, Op. 145, ''da Camera''

*Symphony No. 11, Op. 153, ''à Colette''

*Sinfonietta for large string orchestra, Op.163

''Improvisations on Virginal Pieces by Giles Farnaby'', Op. 50

Concertante

Piano

*Piano Concerto, Op. 30, withdrawn

*Sinfonia Concertante in C, Op. 38

*Piano Concerto in G, Op. 85

Violin

*Violin Concerto in A, Op. 103

Improvisation for Violin for Orchestra, Op. 89

Viola

*Viola Concerto in A, Op. 75

Cello

*''Soliloquy'', Op. 57 for cello, two horns, timpani and strings

Instrumental

Violin Sonatas

*Violin Sonata No. 1, Op. 11

*Violin Sonata No. 2, Op. 31

*Violin Sonata No. 3, Op. 133

Cello Sonata in G, Op. 60

Meditationi sur Coeurs Désolés (for Recorder and Harpsichord or Flute or Oboe and Piano), Op. 67

Oboe Sonata in C, Op. 100

Meditations on a Byzantine Hymn (for solo Viola), Op. 117

Sonatina for Treble Recorder and Harpsichord, Op. 128

Fantasia on a Chord: for Treble Recorder, Harpsichord and Viola da Gamba (ad lib.), Op. 154

Duo for Cor Anglais and Piano, Op. 156

Chamber

String Quartets

*String Quartet No. 1 in F minor, Op. 35

*String Quartet No. 2 in E-flat, Op. 73

*String Quartet No. 3, Op. 112

*String Quartet No. 4, Op. 150

Piano Trio No. 1, Op. 68, in one movement

Piano Trio No. 2, Op. 138

Lyric Movement for String Quartet and Piano, Op. 24

Choral

Magnificat and Nunc dimittis in A flat, Op. 65 for chorus and organ

Three Motets Op. 76 S.A.T.B Unaccompanied

Missa in honorem Sancti Dominici Op. 66 (Rubbra’s first Roman Catholic mass and the result of his conversion)

Missa Cantuariensis Op. 59 for double choir

Missa Brevis Op. 137 for treble voices and organ

Tenebrae Motets Op. 72 (a, b and c, three sets of three written over a period of time)

Dormi Jesu Op. 3

That Virgin's Child Most Meek Op. 114

For chorus and orchestra

''The Morning Watch'', Op. 55

''Song of the Soul'', Op. 78

''Inscape'' (Gerard Manley Hopkins), Op. 122

''Veni Creator Spiritus'', Op. 130

Piano music

Sonatina, Op. 19

Prelude and fugue on a theme by Cyril Scott (also played on organ), Op. 69

Nine teaching pieces, Op. 74 (requires a second pianist)

Introduction, Aria and Fugue, Op. 104

Eight preludes, Op. 131

Four studies, Op. 139

Invention on the name of Haydn, Op. 160

Fantasy-fugue, Op. 161

Fukagawa (without opus)

Nemo fugue (without opus)

Songs

Two Songs, Op. 2

* 1. ''Easter''

* 2. ''Rosa Mundi''

Two Songs with String Quartet, Op. 3

* 1. ''Tears''

* 2. ''A Litany''

Two Songs, Op. 4

* 1. ''The Mystery''

* 2. ''Jesukin''

''O My Deir Hert'', Op. 5

Two Songs with String Quartet, Op. 7

* 1. ''Rejection''

* 2. ''Entrez-y-Tous en Sûreté''

Four Songs, Op. 8

* 1. ''A Cradle Song''

* 2. ''There Is a lady''

* 3. ''Who Is Sylvia?''

* 4. ''Orpheus''

Three Songs, Op. 13

* 1. ''Out In the Dark''

* 2. ''Hymn to the Virgin''

* 3. ''It Was A Lover''

Two Songs, Op. 14

* 1. ''The Night''

* 2. ''Slow Spring''

''Rune of Hospitality'', Op. 15

Two Songs, Op. 17

* 1. ''A Prayer''

* 2. ''Invocation to Spring''

''Rhapsody'', Op. 18

''A Duan of Barra'', Op. 20

''Soontree'', Op. 21

Two Songs, Op. 22

* 1. ''Take, O Take Those Lips Away''

* 2. ''Why So Pale and Wan''

''The Song of the Laverock'', Op. 23

''Ballad of Tristram'', Op. 26

''A Widow Bird State Mourning'', Op. 28

Four Mediaeval Latin Lyrics, Op. 32

* 1. ''Rondel: Tempus Est Iocundum''

* 2. ''Plaint: Dum Estas Inchoatur''

* 3. ''Pastoral: Ecce, Chorus Virginum''

* 4. ''Lament: Planctus''

''In Dark Weather'', Op. 33

Five Sonnets, for tenor and strings, Op. 42

''Amoretti: Five Sonnets, Op. 43

''Nocturne'', Op. 54

Three Psalms, Op. 61

* 1. ''O Lord, Rebuke Me Not''

* 2. ''The Lord Is My Shepherd''

* 3. ''Praise Ye the Lord''

''O Excellent Virgin Princess'', Op. 77

''Ode To The Queen'', Op. 83

* 1. ''Sound Forth, Celestial Organs''

* 2. ''Fair As Unshaded Light''

* 3. ''Yet Once Again Our Measures Move''

Two Sonnets by William Alabaster, Op. 87

* 1. ''Upon the Crucifix''

* 2. ''On the Reed of Our Lord's Passion''

''No Swan So Fine'', Op. 91

''Cantata Pastorale'', Op. 92

''The Jade Mountain'', Op. 116

* 1. A Night Thought On Terrace Tower

* 2. On Hearing Her Play the Harp

* 3. An Autumn Night Message

* 4. A Song of the Southern River

* 5. Farewell To a Japanese Buddhist Priest Bound Homeward

''Salve Regina'', Op. 119

''Fly Envious Time'', Op. 148

Publications

Rubbra wrote numerous articles during his lifetime, about both his own music and that of others, including Gerald Finzi, Constant Lambert, John Ireland, Paul Hindemith, Ralph Vaughan Williams, Gustav Holst, Benjamin Britten, Johann Sebastian Bach, Alexander Scriabin, Béla Bartók and Dmitri Shostakovich. In the middle of the twentieth century he wrote "Gramaphone Notes" for ''The Month'', a Catholic magazine published in England. He also made several speech recordings for the BBC.

See also

Arthur Rubbra

References

Books

Foreman, Lewis, ed. ''Edmund Rubbra, composer : essays : with an introd. by Sir Adrian Boult & three specially commissioned drawings of Dr. Rubbra by Richard Walker.'' Rickmansworth: Triad Press: 1977. ISBN 0-902070-21-5.

Grover, Ralph Scott. ''The Music of Edmund Rubbra.'' Aldershot: Scolar Press: 1993. ISBN 0-85967-910-1. Includes a worklist.

''Edmund Rubbra Symphonist" by Leo Black. Black, a pupil of Rubbra in the 1950s, presents a full-scale study of his symphonies (the first for fifteen years). A biographical sketch throws light on legends about the BBC and Rubbra and his later mysticism; there are full programme notes on each symphony, with accounts of important non-symphonic works.

External links

Some thoughts about Rubbra's music

Classical music on the web

The British Library on Rubbra

A compact biography of Rubbra

Category:1901 births Category:1986 deaths Category:20th-century classical composers Category:English Roman Catholics Category:Converts to Roman Catholicism from Congregationalism Category:English composers Category:People from Northampton Category:Alumni of the Royal College of Music Category:Alumni of the University of Reading

da:Edmund Rubbra de:Edmund Rubbra es:Edmund Rubbra fr:Edmund Rubbra it:Edmund Rubbra he:אדמונד רוברה nl:Edmund Rubbra ja:エドマンド・ラッブラ

Coordinates	0°54′″N119°50′″N
name	Tom Neal
birth name	Thomas Neal
birth date	January 28, 1914
birth place	Evanston, Illinois, United States
death date	August 07, 1972
death place	North Hollywood, California, United States
occupation	Actor
yearsactive	1938-1959
spouse	Vicky Lane (1948 - 1950)Patricia Fenton (1956 - 1958)Gale Bennett (1960 - April 2, 1965)}}

Tom Neal (January 28, 1914 – August 7, 1972) was an American actor famous for appearing in the critically lauded film ''Detour'', a tryst with Barbara Payton and later committing manslaughter.

Career

Born in Evanston, Illinois, Thomas "Tom" Neal debuted on Broadway in 1935. In 1938 he first appeared in film in ''Out West with the Hardys'', part of the Mickey Rooney "Hardy family" movie series. That same year, he received a law degree from Harvard University. While in college at Northwestern and Harvard Universities, Neal was a stand-out on the schools' boxing teams. He compiled a 44-3 (41 knockouts) ring record.

Neal appeared in many low budget B-movies in the 1940s/1950s. In 1941 he starred with Frances Gifford in the Republic Pictures 15 episode serial, ''Jungle Girl.'' Perhaps his most memorable role was that of Al Roberts in the classic film noir ''Detour'' alongside Ann Savage. They went on to make five movies together.

Personal life and death

In 1951, he fought aristocratic actor Franchot Tone over their mutual girlfriend, actress Barbara Payton. Neal inflicted upon Tone a smashed cheekbone, a broken nose and a brain concussion. After the incident, Tone and Payton married, and Neal had a difficult time finding work. He ended up supporting himself landscaping and gardening. Payton left Tone after only seven weeks and returned to the troubled Neal. Their relationship lasted four years.

Neal remarried almost immediately and in 1957 fathered a son, Tom Neal, Jr. His wife died the following year from cancer. In 1961, Neal married for the third time, to Gale Bennett. Four years later, he shot her in the back of the head with a .45-caliber gun, killing her instantly. He was arrested and, although prosecutors sought the death penalty, he was convicted of involuntary manslaughter and sentenced to ten years in prison, of which he served six years. On December 7, 1971, he was released on parole.

Less than a year later, Neal died of heart failure in North Hollywood, California at the age of 58 on August 7, 1972. He was cremated, and his ashes stored in the vault at the Chapel of the Pines Crematory in Los Angeles. His aforementioned son, appeared in one film: playing the role of Al Roberts in a 1992 independent remake of ''Detour.''

Selected filmography

Film
! Year	! Film	! Role	! Notes
1938	''Out West with the Hardys''	Aldrich Brown
1939	''Another Thin Man''	Freddie Coleman
1939	''Within the Law''	Richard Gilder
1939	''Prophet Without Honor''	Uncredited	Short
1940	''The Courageous Dr. Christian''	Dave Williams
1941
1941		Jack Stanton	Alternative title: ''Edgar Rice Burrough's Jungle Girl''
1942	''Bowery at Midnight''	Frankie Mills
1943	''She Has What It Takes''	Roger Rutledge
1943		Taro Seki
1944	''Two-Man Submarine''	Jerry Evans
1945		Al Roberts (Male lead)	Acclaimed ''film noir''
1945		Jim Riley	Alternative title: ''Crime Incorporated''
1945	''First Yank Into Tokyo''	Major Steve Ross
1946	''The Brute Man''	Clifford Scott	Alternative title: ''The Brute''
1947	''The Case of the Baby Sitter''	Russ Ashton
1948	''Beyond Glory''	Captain Henry Jason Daniels
1949	''Bruce Gentry''	Bruce Gentry	Alternative titles: ''Daredevil of the Skies''''Bruce Gentry, Daredevil of the Skies''
1950	''I Shot Billy the Kid''	Charley Bowdry
1951	''Navy Bound''	Joe Morelli
1953	''The Great Jesse James Raid''	Arch Clements
1958		Tom - Mourner at Wake	Uncredited
Television
! Year	! Title	! Role	! Notes
1950	''The Gene Autry Show''	BreezyBuck	2 episodes
	''Racket Squad''		1 episode
		2 episodes
1952	''The Adventures of Wild Bill Hickok''	Corby	1 episode
1958	''Tales of Wells Fargo''	Johnny Reno	1 episode
1959	''Mickey Spillane's Mike Hammer''	Luke Lund	1 episode

External links

Category:1914 births Category:1972 deaths Category:Actors from Illinois Category:American film actors Category:American people convicted of manslaughter Category:American stage actors Category:American television actors Category:Burials at Chapel of the Pines Crematory Category:Cardiovascular disease deaths in California Category:Deaths from heart failure Category:Harvard University alumni Category:People from Evanston, Illinois Category:People from the Greater Los Angeles Area Category:Prisoners and detainees of California

fr:Tom Neal

Coordinates	0°54′″N119°50′″N
name	Esther Howard
birth date	4 April 1892
birth place	Helena, Montana, U.S.
death date	8 March 1965 (aged 72)
death place	Hollywood, California
occupation	actress
years active	1917–1952
spouse	Arthur Albertson (? - 26 October 1926 ''his death'') }}

Esther Howard (4 April 1892–8 March 1965) was a film character actress who played a wide range of supporting roles, from man-hungry spinsters to amoral criminals, appearing in over 100 movies in her 23-year film career.

Career

Esther Howard was born in Helena, Montana in 1892, and she made her Broadway debut in 1917, in a play called ''Eve's Daughter'', which was not a success. Nevertheless, Howard continued to appear regularly on the Great White Way for the next twelve years, performing in comedies and musicals until 1929, when she was featured in ''The New Moon'', a Sigmund Romberg musical, which was her final Broadway production.

In 1930, Howard changed her focus to making movies, appearing in a Vitaphone comedy short, ''The Victim''. From that point until her retirement in 1952, Howard worked regularly – a least one film she appeared in was released every year, and usually more. She was often cast as an oversexed dowager or a decrepit old hag, and was known for her versatility and expressive face. Notable among her many roles were "Mrs. Stillman" in 1933's ''The Iron Master'', "Jessie Florian" in Raymond Chandler's ''Murder My Sweet'' with Dick Powell (1944), a murderess in Laurel and Hardy's ''The Big Noise'' (1944), the determined Mrs. Kraft out to solve a murder in ''Born to Kill'' (1947) and Kirk Douglas’ mother in the multi-Oscar nominated ''Champion'' (1949).

Beginning in the early 1940s, Howard was part of Preston Sturges' unofficial "stock company" of character actors, appearing in seven films written and directed by Sturges. Her performances in Sturges' films were among her best, especially the wife of the "Wienie King" in ''The Palm Beach Story'' (1942).

From 1937, Howard was a regular player in short-subjects produced at Columbia Pictures, where she was frequently cast opposite comedian Andy Clyde. Her last film was a Columbia comedy short, ''Caught on the Bounce'' (1952), in which she played Joe Besser's aunt.

Death

Esther Howard died of a heart attack in Hollywood, California on 8 March 1965, aged 72. She was buried in Forest Lawn Memorial Park in Glendale, California.

Notes

External links

Category:1892 births Category:1965 deaths Category:Actors from Montana Category:American film actors Category:American stage actors Category:Deaths from myocardial infarction Category:People from Helena, Montana