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Having mentioned adverts, is there a picture in his mind when he writes? ‘No, but a lot of people come up to me and say they see images when they listen to my music – but I don’t. I don’t start with an image as some people do; I start at the piano’. With the world ready for a feast of spectacular performances and recordings, old and new side by side, let’s meet some of the composers behind it all… Sir Karl Jenkins The ’Coronation Kyrie’ will be historic for cultural as well as musical reasons: it will be the first time the Welsh language has been sung at a Coronation. This was something The King himself requested, having (at 64 years) been the longest-serving Prince of Wales. We are planning to extend our donations to Syria - families who have fled their home to escape the conflict and living conditions that are unbearable. Decision of the Council of the European Atomic Energy Community creating the Official Journal of the European Communities
Among the most performed of living composers, Jenkins has 17 gold and platinum discs to his name. The first Welsh composer to be knighted (this in 2015), many of his works have royal connections. The Armed Man: A Mass For Peace – which has had over 3000 performances globally in the last two decades – was originally commissioned by The Royal Armouries; his setting of Laurence Binyon’s For The Fallen was premiered at The Royal British Legion’s Festival of Remembrance in 2010, in the presence of the late Queen; to commemorate her Platinum Jubilee last year, he composed and conducted This Faithful Life, with a text by poet Grahame Davies. Not only does it reduce textile waste, it reduces the carbon footprint that would have been expended in the production of new materials. Remanufactured clothing can save 13,000lbs of CO2 emissions a year. Davies’s lyric uses sacred imagery from the Bible. As Class explains, ‘for me, it’s all spiritual. The music itself is presenting a bridge between the angelic and the human realms. It’s about the protection of human beings, the abundance of the natural world and overcoming fears and troubles that we’re currently facing. Really, it’s about unity, love and faith. We can come together for the Coronation to celebrate.’ Jenkins’s music will be one of several important moments that fly the Welsh flag in the ceremony. ‘It’s the first time anything has been done at a Coronation with a Welsh connection like this, and there will be another piece in the service with a Welsh text [see Paul Mealor – below]. The new King was a strong Prince of Wales, interested in the principality; he’s fundamentally a good man who’s fun to talk to, not stiff-upper-lip. He’s a fan of many things, including Wagner – which I am too – and of the English musical canon of Elgar and Holst.’
I don’t wake up in the night with an idea. It always has a purpose
The Official Journal of the European Union is the official publication (gazette) for EU legal acts, other acts and official
It is published from Monday to Friday – and in urgent cases on Saturdays, Sundays and public holidays – in the official languages With sustainability aside, we have also chosen to use cotton as one of our main materials as it is more soft, natural and breathable than synthetic materials such as acrylic and polyester.Another movement is based on the Welsh folk song ‘Tros Y Garreg’, and it is a new arrangement of this segment that will be included in the Coronation; the current Royal Harpist Alis Huws will join string players to perform it. ‘I’m an oddity in the whole programme because it’s a piece from the past,’ Jenkins tells me. ‘Catrin Finch’s mother-in-law was a harp teacher of some repute, and so I created a double harp concerto that premiered in Cardiff. It’s since been played worldwide quite often, and so Catrin and I decided to adapt the concerto for single harp and one movement. “Crossing the Stone” was all about a soldier returning home from war. It’s a very Welsh piece harmonically. It will be in a new form for 2023.’ From the past, we have donated monthly to Compassion. Compassion is a christian based charity, who transform a child’s life by providing essential needs and education. So, was the Coronation commission a liberating experience? ‘It is quite liberating, because you don’t have to worry about lines of dialogue or a giant sound effect right in the middle of your big melody! The music must sustain itself on its own.’ There is evidence to suggest that among a few providers, administrative hold-ups related to the pandemic resulted in significant numbers of qualifications awarded in 2019/20 not being reported. The impact of this under-reporting is believed to explain some of the 3% decrease in the number of qualifications achieved in 2019/20 compared with 2018/19, and the impact is most noticeable on the number of part-time qualifications awarded. Qualifications that were not reported in the 2019/20 academic year have carried over to 2020/21 and contributed to the 9% increase in the number of qualifications awarded in 2020/21.
In contrast, Iain Farrington’s solo organ commission has been described as ‘joyful, jazzy and dance-like’, and will draw on musical themes from the 56 countries of the Commonwealth; these global musical travels continue with Greek Orthodox music, which will feature thanks to the Byzantine Chant Ensemble in a musical tribute to the King’s late father. Alongside the new will be pieces by Byrd, Walford Davies and Parry. Another of the world’s most-performed living composers, Wales-born, Scotland-based Paul Mealor is likewise no stranger to writing for Royal occasions. He reached the largest audience in broadcasting history when his motet Ubi caritas was performed at the wedding of the current Prince and Princess of Wales in 2011; 2.5 billion people watched the service and the piece subsequently topped the Classical singles charts in Britain, the USA, France, Australia and New Zealand.Her aims were to create a music that was singable and melodic, whose message was clear and concise. She was also well aware of the history of music for Coronations and the epic space of Westminster Abbey; ‘there weren’t a lot of restrictions really, it was just to make sure it felt appropriate to the service.’ Sounds simple. So, was his Coronation commission an easy piece to write? ‘Yes and no. Yes, because the brief was very specific; I knew the length, I knew the words – ‘Lord have mercy, Christ have mercy, Lord have mercy’, set in Welsh – I knew the performers, who I’ve worked with before (Sir Bryn Terfel and the choirs), and I knew what role the piece would play within the service. That makes the composing easier. The difficulty with this piece was the end, because getting a conclusion that leads into words and prayers from the Archbishop of Canterbury – having to prepare the congregation for that next step – is difficult. You have to find an ending that is very subtle, gentle and lifts people to the presence of God.’ the European Union, annual reports of the European Court of Auditors, statements from the European Economic and Social Committee Wiseman is celebrated for her film and TV work, scoring the likes of Wolf Hall, Father Brown and Lesbian Vampire Killers. I asked if she approached the Coronation commission in a similar way to a movie, given the cinematic sweep and epic theatricality of the occasion? ‘There is an element of theatre, without a doubt. But it’s not like composing for film because that music is never standalone; it’s always accompanying drama or dialogue. Yes, there will be things going on at the Coronation whilst the piece is performed, but this needed a standalone quality. That meant you can be freely melodic, which you can’t always be in film music; you have to support the drama and sometimes a melody gets in the way of that, unless it’s very subtly used or there’s a moment for it to breathe. Otherwise, you’re always having these other considerations within a film score; you’re there to complement and enhance the action, not to be centre stage.’
European Atomic Energy Community in 1958, the Official Journal of the European Communities was created by the Decisions of the Councils of the European Economic Community and of the European Atomic Energy Community of 15 September 1958 We’ve been working closely with our factory from the beginning as it is a safe and positive working environment. I don’t know whether it’s a British thing, but I think we all almost feel apologetic for trying to live our dreams. Music, for me, is all part of that. I write what’s inspiring to me, and what’s inspiring to me is this feeling of hopefulness. We all need it in our lives at the moment.’ Debbie Wiseman We ensure that working conditions are met subject to developed world levels of minimum pay and we collaboratively implement improvement plans if required.Council Regulation (EU) No 216/2013 of 7 March 2013 on the electronic publication of the Official Journal of the European
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