Comprising a brief biography and chapters written by those who worked with him, such as Janet Baker and Alfred Brendel, this is a celebration of an exceptional, creative life. By the time of his death in 2010 at the age of 84, Sir Charles Mackerras had achieved widespread recognition, recorded extensively and developed into a conductor of major international significance. In addition to areas in which he already had forged a distinctive profile (Janácek, Mozart, Handel, Sullivan) he revisited - and rethought - much of the standard repertoire. The last thirty years were particularly momentous in the coming to fruition of so manycherished projects: not only the Janácek operas but the Gilbert and Sullivan series, the Mozart operas, the two Beethoven cycles, other projects with the Scottish Chamber Orchestra (Schumann and Brahms at Edinburgh; the outstanding late Mozart) and at the Royal Opera House and the Met. Unspoilt by fame, and undeterred by personal tragedies and increasing physical frailty, he remained productive and inventive: for him music-making, whether with world-classsingers and orchestras or with students, was a kind of joyous oxygen that kept him going right to the end. A detailed account of his life is complemented by contributions from performers and scholars who worked closely with Mackerras, as well as interviews with his family. The book is richly illustrated with photographs and documents, and includes a comprehensive discography along with listings of many of his concert and opera performances. While SirCharles's whole life is considered, emphasis is given to his final quarter century, a period in which so many important projects were realized. This book celebrates and epitomizes an exceptional life. NIGEL SIMEONE is awriter and teacher. He has published extensively on Messiaen and Janácek and recently edited The Leonard Bernstein Letters. JOHN TYRRELL is Honorary Professor of Music at Cardiff University. He has published bookson Janácek and Czech opera and, with Sir Charles Mackerras, edited two Janácek operas. CONTRIBUTORS: Janet Baker, Alfred Brendel, Ales Brezina, Alex Briger, Rosenna East, Anne Evans, Nicholas Hytner, Simon Keenlyside, David Lloyd-Jones, David Mackie, Chi-chi Nwanoku, Antonio Pappano, Nigel Simeone, John Stein, Heinz Stolba, Patrick Summers, John Tyrrell, Malcolm Walker, David Whelton, Jirí Zahrádka.

This famous work has had a chequered performance history, and Professor Laurel E. Fay points out that the interpretation of the opera depends on which edition is used. Robert Oldani introduces the "Boris problem": Pushkin's play was not an obvious choice for a young composer, since it had been banned for forty years, and it is the Russian people, rather than any single character, who is the protagonist. Alex de Jonge examines its uniquely Russian character and notes the unsettling parallels of the history of old Russia with today. Nigel Osborne's comparison of the Rimsky-Korsakov and Mussorgsky versions highlights their individual qualities. Contents: Looking into 'Boris Godunov', Robert W. Oldani; A Historical Introduction, Nicholas John; The Drama and Music of 'Boris', Laurel E. Fay; Around 'Boris Godunov', Alex de Jonge; Boris: prince or peasant?, Nigel Osborne; Boris Godunov: Russian libretto (transliterated), Modest Mussorgsky; Boris Godunov: English translation by David Lloyd-Jones

A product of Hungary's political ferment at the start of the twentieth century, Bela Bartok's works combine determination to participate in Western art movements coupled with an enthusiasm for the folk traditions of a disappearing world. In this introduction to Bartok's stage works, Julian Grant describes the score for Duke Bluebeard's Castle, a symbolist version of the Bluebeard myth. Included in this volume are also his ballet scenarios and discussions of the choreographic potential and musical qualities of the scores. Ferenc Bonis indicates the appeal for Bartok of the natural world, against the cataclysm of the First World War. Together, these works give an insight into issues of sexuality, humanity and creativity. Contents: Works contained in this volume: Duke Bluebeard's Castle, The Wooden Prince, The Miraculous Mandarin; Images the Self: 'Duke Bluebeard's Castle', Paul Banks; Bartok and 'World Music', Simon Broughton; Annie Miller, Keith Bosley and Peter Sherwood; A Foot in Bluebeard's Door, Julian Grant; Around the Bluebeard Myth, Mike Ashman; A kekszakallu herceg vara: Libretto by Bela Balazs; Duke Bluebeard's Castle: English translation by John Lloyd Davies; 'The Wooden Prince': A Tale for Adults, Ferenc Bonis; A fabol faragott kiralyfi: Scenario by Bela Balazs; The Wooden Prince: English translation by lstvan Farkas; 'The Miraculous Mandarin': The Birth and Vicissitudes of a Masterpiece, Ferenc Bonis; A csodalatos mandarin: Scenario by Menyhert Lengyel; The Miraculous Mandarin: English Translation by lstvan Farkas

A conservation covenant is a voluntary agreement between a landowner and responsible body (charity, public body or local/central Government) to do or not do something on their land for a conservation purpose. This might be, for example, an agreement to maintain woodland and allow public access to it, or to refrain from using certain pesticides on native vegetation. These agreements are long lasting and continue after the landowner has parted with the land, ensuring that its conservation value is protected for the public benefit. Conservation covenants are used in many other jurisdictions, but do not exist in the law of England and Wales. Instead, landowners and responsible bodies are relying on complex and expensive legal workarounds, or the limited number of existing statutory covenants that enable certain covenants to be enforced by specified bodies (for example, the National Trust). This paper considers the following key issues: who should be able to create a conservation covenant?; what should a conservation covenants be for?; should there be public oversight of a new statutory scheme?; how should conservation covenants be created and recorded?; how should a conservation covenant be managed? ; what should happen if there is a breach of a conservation covenant?; when and how should a conservation covenant be modified or come to an end?; could any existing statutory covenants be replaced by a system of conservation covenants?; what will be the impact of introducing a system of conservation covenants? A number of provisional proposals are presented.

In this report the Law Commission makes recommendations to form the basis of a revised Electronic Communications Code. The Code was enacted in 1984 to regulate landline telephone provision. It sets out the regime that governs the rights of designated electronic communications operators to maintain infrastructure on public and private land. In modern times, it applies to the infrastructure forming networks which support broadband, mobile internet and telephone, cable television and landlines. This project focuses on private property rights between landowners and electronic communications providers; it does not consider planning. The current Code has been criticised by courts and the people who work with it as out of date, unclear and inconsistent with other legislation. The reforms would: provide a clearer definition of the market value that landowners can charge for the use of their land, giving them greater confidence in negotiating and giving providers a better idea of what their network is likely to cost; clarify the conditions under which a landowner can be ordered to give a designated network provider access to his or her land, bringing more certainty to both landowners and providers and helping them to reach agreements more easily; resolve the inconsistencies between the current Code and other legislation; clarify the rights of landowners to remove network equipment from land; specify limited rights for operators to upgrade and share their network equipment; and improve the procedure for resolving disputes under the Code. It will be for Government to draft and implement a revised Code.

A TSO version of a title previously published by HM Government.

The consultation paper Fiduciary Duties of Investments Intermediaries: A Consultation Paper follows on from the Kay Report on UK Equity Markets and Long Term Decision Making (see below), and uses pensions as the example, tracing a chain of intermediaries from the prospective pensioner/saver to the registered shareholder of a UK company. There are well established duties on pension trustees to act in the best interests of scheme members, and it looks at how far these duties require trustees to maximize financial return over a short time scale, and how far trustees can consider other factors such as environmental and social impact. The consultation asks: Whether the law is right to allow trustees to consider ethical issues only in limited circumstances? Whether the legal obligations on trustees are conducive to investment strategies in the best interests of the ultimate beneficiaries? and if not, what specifically ne

The Law Commission's main task is to review areas of the law and to make recommendations for change. The Commission seeks to ensure that the law is as simple, accessible, fair, modern and cost-effective as possible.