I've just pre-ordered the book below, due out later this month. It's a history of Christopher Hogwood and the Academy of Ancient Music as they celebrate their 50th year. I understand there are quite a few anecdotes from singers and musicians closely associated with the orchestra, so am hoping that it will be a good read.
The AAM at 50 - new book
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Chat about those fifty years on 3 now, https://www.bbc.co.uk/programmes/m001r87cAnnoyingly listening to and commenting on radio 3...
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Originally posted by MickyD View PostI've just pre-ordered the book below, due out later this month. It's a history of Christopher Hogwood and the Academy of Ancient Music as they celebrate their 50th year. I understand there are quite a few anecdotes from singers and musicians closely associated with the orchestra, so am hoping that it will be a good read.
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Originally posted by MickyD View Post
Sorry, who are the AMM, Bryn?
https://en.wikipedia.org/wiki/AMM_(band))
(tho' of course he might always mean - https://www.antalya.bel.tr/OurServic...estra-Concerts )
[I normally complain about people using abbrevs: and acronyms - but I'm not sure whether Bryn's AMM is an acronym... ]
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I've just listened to this week's Early Music Show. I thought that Hannah French was rather dismissive and uncharitable to say that the orchestra's relationship with Decca "fizzled out" after Peter Wadland's death....producer Chris Sayers took over his place among others and continued to make some fine discs, not least some of the Haydn cycle.
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Originally posted by vinteuil View Post
... I suspect he means -
https://en.wikipedia.org/wiki/AMM_(band))
(tho' of course he might always mean - https://www.antalya.bel.tr/OurServic...estra-Concerts )
[I normally complain about people using abbrevs: and acronyms - but I'm not sure whether Bryn's AMM is an acronym... ]
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I've just finished the book and found it very well researched. I identified most with the earlier parts of the story, when I had some involvement with the AAM when living in London in the 80s. There are a few gems of wobbly moments from recording sessions and tours that are well worth reading.
The last part of the book was for me a bit of a disappointment with regard to where the AAM is now - I appreciate that orchestras have to find finance in order to keep going, but the account of the creation of a sort of "inner circle" to allow those with the biggest chequebooks to attend private events and meet the artists etc, I found rather sad. I guess that's the way of things these days.
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