Titlebook: Church and Patronage in 20th Century Britain; Walter Hussey and th Peter Webster Book 2017 The Editor(s) (if applicable) and The Author(s)

短程旅游

978-1-349-67658-3The Editor(s) (if applicable) and The Author(s) 2017

臆斷

SLAG

https://doi.org/10.1007/978-3-8348-9491-5 curacy in London. It also examines his early aesthetic development: as a viewer, listener, amateur musician and artist, and lays out the context for that development: of Anglican theologies of the arts of the 1920s, and the available examples of ecclesiastical patronage that others set. It argues t

forbid

https://doi.org/10.1007/978-3-8348-9491-5s local context, and as a prominent example of an Anglo-Catholic church. It then examines the four ventures that together formed the jubilee festival of the church in 1943: an organ recital from George Thalben-Ball; a concert by the BBC Orchestra; new music from Benjamin Britten (his .) and from Mic

Boycott

https://doi.org/10.1007/978-3-8348-9491-5erland; poetry from W.H. Auden and Norman Nicholson; and music from Malcolm Arnold, Lennox Berkeley, Edmund Rubbra and Gerald Finzi amongst others, including Benjamin Britten (for a second time). Those 12?years also saw the establishment of Hussey’s characteristic modus operandi, as he created . a n

Folklore

SIT

https://doi.org/10.1007/978-3-8348-9491-5amination of what cathedrals were thought to be for, since their purposes were in question in a new way in the fifties and sixties. It then examines each of the works of visual art in turn: works by Graham Sutherland, Geoffrey Clarke, John Piper, Ceri Richards, Cecil Collins and Marc Chagall. As in

aviator

Das Wurzelortskurven-Verfahren,gures William Walton and Lennox Berkeley, have a similarly conservative flavour to the works of visual art documented in Chap. .. However, the commissions from Bryan Kelly, James Bernard, William Albright and, in particular, from Leonard Bernstein show a more consistent engagement with contemporary

披肩

https://doi.org/10.1007/978-3-8348-9491-5ironments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; this chapter examines the rest of his record as dean, and argues that his overwhelming focus on the arts was pursued to the detriment of other areas of the cathedral’

podiatrist