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An intimate and readable account, filled with interesting and
amusing anecdotes, of a highly creative period in English musical
history Hubert J. Foss (1899-1953) is best known for his work as
founder and first music editor for Oxford University Press. Foss
promoted composers in England between the World Wars, most notably
Ralph Vaughan Williams, William Walton, Constant Lambert, and Peter
Warlock. The first part of this book is based on the memoirs of his
wife Dora, who was herself a professional singer. The book -
through the presentation of memoirs and letters - recreates a vivid
picture of the musical world during the inter-war period when there
was a renaissance of English music. Foss's work for OUP saw the
music department expand from publishing a limited number of sheet
music items to a comprehensive inventory of operas, orchestral
compositions, chamber and vocal works, and piano pieces. Foss also
greatly expanded the press's publication of books on music, music
analysis, and music appreciation. Leaving OUP's music department
in1941, Foss pursued a number of freelance musical occupations,
serving as critic, reviewer, journalist, author and frequent
broadcaster. The book includes letters sent to and received from
such luminaries as Hamilton Harty,Constant Lambert, Edith Sitwell,
Donald Tovey, Ralph Vaughan Williams, William Walton, Henry J.
Wood, Arthur Bliss, Benjamin Britten, Roger Quilter, Percy Scholes,
Leopold Stokowski, Michael Tippett, Thomas Hardy, James Joyce
andWalter de la Mare. Many of the letters presented here have never
been published before. An authoritative introduction by Simon
Wright (Head of Rights & Contracts, Music, OUP) provides a
detailed overview of Hubert Foss and his place in music publishing.
STEPHEN LLOYD is the author of William Walton: Muse of Fire and
Constant Lambert: Beyond the Rio Grande (both published by
Boydell). DIANA SPARKES is the daughter of Hubert and Dora Foss.
BRIAN SPARKES is her husband and an Emeritus Professor of Classical
Archaeology.
This is the golf book anyone who plays the game must read. It will
declutter your mind and free you to develop your own potential at
whatever level you play, weekend amateur through to young aspiring
tour player. Brian Sparks, a British PGA Pro since 1967, helps you
to demystify all of the standard golfing jargon and show you how
easily you can swing a golf club and hit a ball. This book is the
natural antidote to the over-complex, mechanical way that most golf
teachers now think you need to be able to improve. Scientific
research now proves that this is not the way we learn. After
showing you the power of traditional misconceptions about the golf
swing Brian goes on to give you simple advice about how to cope
with the bad shots this game will always throw your way. It is easy
to understand and will prove to be the best purchase you ever made
for your game. Although essential reading for all golfers it is
particularly valid for women and for any man in the senior
division. For you, it will take a lot of the unnecessary effort
away from your game and leave you able to play 18 holes and go on
to play another 9 with a smile on your face
This survey, which centres mainly on Greek sculpture and
vase-painting from 600 to 300 BC, examines research over the past
twenty years. Organised chronologically in terms of media
(free-standing sculpture, architectural sculpture, luxury items,
ceramics), the chapters discuss polychromy, the ethics of
collecting and the relationship between scenes of myth and everyday
life. Attention is also paid to new approaches that question the
concept of 'art' in Classical Greece (what is known as the
'paradigm shift') in which the purposes, contexts and effect of
material culture are given greater prominence. To summarise recent
research, the author adopts a balance between a broad treatment and
detailed description. The text and images (fifty in number and
largely in colour) will be particularly useful to students and
teachers but will have a wider appeal.
Athenian art of the sixth and fifth centuries BC offers the
yardstick by which we judge the artistic achievement of the rest of
the Greek world, and provides the models on which the later history
of Greco-Roman art and much of the art of the later western world
are based. The evidence is rich: some long known, like the
Parthenon marbles, some fresh from the ground. These six essays, by
prominent classical art-historians, British, German and American,
explore some of the subjects and problems in the art of Archaic and
Classical Athens which have exercised scholars in recent years. The
essays are dedicated to Martin Robertson, formerly Lincoln
Professor of Classical Archaeology and Art in the University of
Oxford, himself a leading scholar of Classical art, and author of
the magisterial A History of Greek Art (Cambridge University Press
1976) and of A Shorter History of Greek Art (Cambridge University
Press 1981).
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