text:
Pentatonic Roulette Live Stream
Welcome to the live stream of Pentatonic Roulette. The stream will begin at 12noon, Tuesday 24 May 2016.
Pentatonic Roulette features 120 young musicians from 4 secondary schools playing 21 keyboards, 4 drum kits, 50 samba drums, bongos and jembes, 20 sets of chime bars, 2 electric basses and 5 electric guitars, a beatboxer, 3 clarinets, a violin, 2 saxophones and a very enthusiastic euphonium. They will perform side by side with 14 of Britten Sinfonia's finest in 4 pieces they've composed with workshop leader Tim Steiner over the past three months.
Accompanying resource notes for the live stream
Pentatonic Roulette is supported by Peterborough Music Hub and Orchestras Live. It was devised and presented by the students of Jack Hunt School, Ken Stimpson Community School, St John Fisher Catholic School and Thomas Deacon Academy.
Find out more about the project here
Frequently Asked Questions
Do you get instrumental lessons as part of the Academy?
No, we would expect you to continue studying your instrument with your current instrumental teacher while taking part in the Academy. You will work with some of the UK's top chamber musicians, but not individually in the traditional teacher / student fashion. Britten Sinfonia Academy is designed to work alongside your current instrumental lessons and your participation in school, private or Music Service ensembles.
How does Britten Sinfonia Academy work alongside my other my other musical commitments?
We strongly believe that the skills gained from taking part in Britten Sinfonia Academy will be in addition to the skills you get from taking part in other musical opportunities. For example, working with Britten Sinfonia is totally different from playing in a symphony orchestra and will require different skills. If you are already a member of a County or School Music Ensemble, we will expect you to continue to take part in that ensemble whilst playing in Britten Sinfonia Academy. We are working closely with the Music Services to ensure that our opportunities don't clash, as we want to support and encourage you to attend both.
We appreciate that young musicians are often very busy and that it is difficult to balance school work, life and music. If you want to discuss your personal situation, please do get in touch with Isobel Timms, Britten Sinfonia Academy Manager at firstname.lastname@example.com.
How much does it cost to become a member of Britten Sinfonia Academy?
We are looking to recruit musicians regardless of their financial means, ethnic or social background.
Bursaries are available, both to cover fees and travel. Please contact Isobel Timms, Britten Sinfonia Academy Manager, if you would like to discuss bursaries.
Britten Sinfonia Academy is supported by the Monument Trust, and we have therefore been able to keep fees to a minimum. There will be a fee for 2015-16 of £200, which will be payable on accepting a place in Britten Sinfonia Academy.
If I become a member of the Academy, how long will I be a member for?
Britten Sinfonia Academy will be a one year opportunity. At the end of the year, members will be able to re-audition if you would like to take part for another year.
What is the commitment?
In the first year, the group will meet for 12 days of core music courses and all members will be required to commit to all course dates. In addition, there may be opportunities to meet players at BS rehearsals and concerts that you are invited to.
Where will Britten Sinfonia Academy take place?
Britten Sinfonia Academy will recruit musicians from all over the East, and will not have a fixed home. However, we regularly play in Norwich and Cambridge and we therefore expect the Academy to reflect that. We will alternate our meeting places, throughout the year, and also take into account where the recruited members of the group live. All participants will be required to travel to attend all opportunities throughout the region but we will of course do our best to arrange lift shares and travel bursaries will be available.
What are the dates for the 2015-16 Academy?
Wherever possible, we will require all participants to attend all sessions throughout the year. In addition, other opportunities and invitations may present themselves, however there are compulsory dates for 2015-16 which will be shared at the soonest possible point.
I'm also interested in Aldeburgh Young Musicians – what's your advice?
Our two organisations are in close communication and are equally committed to ensuring that young musicians from the East of England are able to access high quality musical opportunities. The two schemes can complement each other very well and where appropriate, we will recommend young musicians to apply for AYM and vice versa. We are keen to help young musicians discover the most appropriate opportunities for themselves as individuals. We also hope to work together and share opportunities in the future.
It may be appropriate for you to become a member of both groups or for one organisation to direct you to the other.
You can discuss this choice with your music teacher, and both Isobel from Britten Sinfonia and Colin Virr from AYM are happy to chat to you about what is suitable for you as an individual.
What are the main differences between Aldeburgh Young Musicians and Britten Sinfonia Academy?
Aldeburgh Young Musicians is part of a national network of Centres for Advanced Training (CAT), endorsed by the Department for Education (DfE). Their distinctive scheme is intended to develop and nurture young musicians of exceptional potential through continued development, rather than to provide one-off 'holiday' courses. For those who choose, Aldeburgh Young Musicians is providing a completely balanced and personalised music programme which coordinates individual lessons, intensive residential courses at Snape Maltings Concert Hall, Suffolk, mentoring and performance opportunities. Their programme takes into account an individual's contribution towards county or national ensembles and orchestras, too, and so complements the programme offered through Britten Sinfonia Academy. AYM is designed to provide students with a broad musical experience which will help them develop into an exciting, creative young musician.
AYM works with young people from a wide range of musical backgrounds. The scheme is less about formal teaching and more about encouragement to question and experiment, using their talents to explore new ways of working, including creating new music and in different styles and genres. Aldeburgh Young Musicians have fabulous opportunities to develop their individual musical identity but fewer opportunities to work within more formally structured ensembles. Find out more on their website.
Britten Sinfonia Academy on the other hand, is a year long programme and we are a flexible and open-minded group of musicians but rooted in classical chamber orchestra tradition. We want to replicate this with Britten Sinfonia Academy and are searching for classically trained young musicians, with a passion to learn and explore.
Britten Sinfonia Academy will help to develop young musicians' skills as chamber musicians, leaders and team players. Although we will run one creative course per year, where we will look at improvisation, creative composition and collaborative work, the main foundation of our courses will be working as a chamber orchestra.
Britten Sinfonia Academy 2016-17
Applications are now closed for BSA 2016-17
In order for an application to be complete your instrumental teacher must submit a short paragraph for you before March 2016 either via the online form or download a PDF here and email the completed form to firstname.lastname@example.com or by post to 13 Sturton Street, Cambridge, CB1 2SN.
Applications are now closed for BSA 2016-17 but we are still on the look out for bassoon players so please contact the Creative Learning team to discuss any further applications.
What happens next?
If your application is successful you will be invited to a first round individual audition in April. Following the first audition, the successful candidates will be invited to a second round group audition in July after which you will be offered a full or associate membership.
First Round Individual Audition
If you are invited to a first round audition you will be asked to:
- play two contrasting pieces lasting no more than 8 minutes altogether, accompanist will be provided
- play a short orchestral excerpt available to download here
- play a short sight reading task
Second Round Group Audition
Successful first round individual auditionees will be invited to attend a group session second round audition on Sunday 10 July 2016, you must be available for this date. On this day you will be asked to engage in chamber group rehearsals and improvising activities with other auditionees and Britten Sinfonia musicians, music will be sent out in advance of this day.
Any queries contact email@example.com or call on 01223 558504
Find out more about what we've been doing this year here.
Britten Sinfonia Academy 2015-16
In the 2015-16 BSA season, members played on the main stage with solo violinist Nicola Benedetti as the only youth ensemble in a weekend-long festival at London's Barbican Centre.
"Meeting Nicola has been one of the best moments of my life. To play with her was an exceptional opportunity which I will always treasure and cannot thank BSA for enough." - Katie, violinist
BSA will also give a gala performance at the Ftizwilliam Museum as the ensemble chosen to help celebrate the museum's 2016 bicentenary, will return to the Barbican to perform in the BBC's Andriessen Total Immersion Weekend and will premiere a brand new work in that At Lunch concert series by renowned composer Kenneth Hesketh in Norwich and Cambridge.
Keep up to date with our activities and events through Britten Sinfonia blog and follow us at @BrittenSinfonia
Current members of Britten Sinfonia Academy:
Frances Patterson
Catherine McCardel
Katie Schutte
Siân Ellis
Harriet Taylor
Joseph Bailey (associate member)
Double Basses
Lewis Evans
Lottie Perkins
Grace Duthie (associate member)
Tad Davies (associate member)
Morgan Overton
Oliver Pigram
Ellie Kershaw (associate member)
Ruby Topping
Jad Grainger
BSA Alumni Member
Sinfonia Students
Sinfonia Students is our voluntary scheme for students based in Cambridge and London, offering valuable experience and the chance to help Britten Sinfonia build it's profile within the student community. The role of Sinfonia Student pairs hands-on experience of working alongside Britten Sinfonia's marketing team with excellent rewards including free tickets to our concerts and the chance to attend rehearsals. The role is designed to be relatively low-committment and flexible in nature to fit around the student's workload. Follow the links below to find out full details of each role and how to apply, and scroll down to read about our previous Sinfonia Students' experiences. You can also read more about the role on our blog.
Applications have now closed for our 2015-16 season.
University of Cambridge
Sinfonia Student - Marketing (appointed for one academic year)
Deadline for applications: 5pm, Friday 16 October 2015.
Sinfonia Student - Online (appointed for one academic year)
Deadline for applications: 5pm, Friday 16 October 2015.
Anglia Ruskin University
Sinfonia Student (appointed for one academic year)
Deadline for applications: 5pm, Friday 16 October 2015.
Sinfonia Student (appointed for one academic year)
Currently accepting applications from the following institutions:
Guildhall School of Music & Drama
Deadline: 5pm, Friday 25 September 2015.
Royal Academy of Music
Deadline: 5pm, Friday 25 September 2015.
Royal College of Music
Deadline: 5pm, Friday 25 September 2015.
Trintiy Laban Conservatoire of Music and Dance
Deadline: 5pm, Friday 25 September 2015.
This scheme is being updated. Please check back for more details.
"The role of Sinfonia Student really is one of flexibility and creativity. I was keen to apply, however I was aware that any commitments I made might be too much; on the contrary, I found that the experience was completely manageable, and yet that I could get as much back as I put in, which is so useful. I particularly enjoyed the opportunity to write reviews for the Orchestra, which were published on the ensemble's blog and Facebook page, while other great benefits include free tickets to some really fantastic concerts, which helped introduce me to a lot of new music, and appreciate just what Britten Sinfonia is trying to (and succeeding in!) doing. I would encourage anyone who has a curiosity and interest to simply get in touch or apply for 2015-16!"
(Carl Wikeley, Sinfonia Student 2014-15)
"As well as being a fun and flexible scheme, being a Sinfonia Student has given me a huge insight into the internal workings of a top professional orchestra. There are lots of perks to the job, and you are very much in charge of your own time. If you're considering a career in arts admin or marketing, then this is definitely worthwhile!"
(Emma Kavanagh, Sinfonia Student 2014-15)
"Being a Sinfonia Student has been particularly helpful: it provided me with experience in several areas relating to the fields in which I wish to work, something which employers value, without being stressful or unreasonably time consuming. The chance to see the inner-workings of concerts, sit in on rehearsals, and attend a season of concerts for free made my time working as this role worthwhile - an excellent opportunity to get involved with a brilliant ensemble!"
(David Roche, Sinfonia Student 2014-15)
"Being a Sinfonia Student allowed me to acquire valuable work experience. As the Sinfonia Student from Anglia Ruskin University I was pleased to learn about the music industry and the charity sector on a local and national scale, as well as network with Cambridge University students from many different colleges. I am now more confident that I can go into a working environment after graduating with the practical skills one may not acquire by solely completing their course of study."
(Arseniy Chiriaev, Sinfonia Student 2014-15)
"When applying for the Britten Sinfonia Student position, I had no idea how many new doors would open from this opportunity! As a Sinfonia Student, I have contributed a small part to the Britten Sinfonia marketing, attended many inspiring concerts, observed rehearsals, written blog posts, and completed a week of work experience in the Cambridge office. Meeting some of the players and conductors has enabled me to make professional connections, and the whole experience has given me skills which I can take to other music administration jobs. This is a student experience with a professional orchestra not to be missed!"
(Simone Maurer, Sinfonia Student 2014-15)
If you are a student in any of these areas and would like to talk to us about these opportunities, have suggestions for improvements to the schemes or have any questions please call Karys on 01223 300795 or email email@example.com.
Britten Sinfonia Voices
Britten Sinfonia Voices is a professional vocal ensemble which reflects the artistic vision and range of one of Europe's leading chamber orchestras, Britten Sinfonia.
Britten Sinfonia Voices is made up of some of the finest professional voices – both emerging talent and experienced singers – a combination in keeping with Britten Sinfonia's ethos. The group is equally adept at performing repertoire from the Baroque to the latest new music and is directed by the acclaimed choral conductor and singer, Eamonn Dougan, who carefully selects and prepares the Voices for each project. They have performed a range of works including Mendelssohn's Elijah, L'enfance du Christ by Berlioz and premiered new works by Nico Muhly and Eriks Esenvalds under conductors including Sir Mark Elder, David Hill, and Andreas Delfs amongst others.
In 2013-14 Britten Sinfonia Voices will work on projects as diverse as Netia Jones new production of Britten's Curlew River at the Barbican, concerts to celebrate Harrison Birtwistle's 80th birthday and a tour of the Bach St John Passion with concerts at London's Barbican and the Amsterdam Concertgebouw. They also make their debut at Wigmore Hall in a new work by Roderick Williams as part of the Britten Sinfonia's award winning At Lunch series.
Britten Sinfonia Academy
Britten Sinfonia Academy from washmedia on Vimeo.
Britten Sinfonia Academy (BSA) is an exciting and dynamic chamber orchestral training opportunity for talented secondary school aged musicians from the east of England. Mirroring the daring programming and musical excellence of our parent orchestra, BSA nurtures and challenges our members developing the breadth and depth of their musical and leadership skills.
Across each season, BSA embarks on a series of intensive, term-time, weekend courses exploring ensemble skills, leadership, playing without a conductor and chamber music repertoire. Courses encompass repertoire spanning several centuries from Bach to brand new and the chance to perform in some of the UK's most exciting venues (including London's Barbican Centre, Saffron Hall, West Road in Cambridge and St Andrews Hall in Norwich). Throughout the year members are not only coached by and play alongside Britten Sinfonia's exceptional professional players but also have the opportunity to work with some of the world's great artists.
"As a result of participating in Britten Sinfonia Academy this year I have developed the ability to think musically for myself and voice opinions more in rehearsals." - Megan, flute 2014
"I feel so lucky to be able to play alongside professionals and individuals of such high standard, who all share the same love for music" - Katie, violin 2015
Academy members are also offered exclusive opportunities to see Britten Sinfonia in rehearsals and discounted tickets to Britten Sinfonia concerts throughout the year.
Applications for Britten Sinfonia Academy 2016-17 have now closed. If you are interested in applying but missed the deadline do get in touch to tell us a bit more about yourself.
If you have any questions feel free to contact us at email@example.com or 01223 558504.
Britten Sinfonia Own Label
Britten Sinfonia launched its first own label CD in March 2009. The orchestra is acclaimed for its rigorous, adventurous approach to programming and Britten Sinfonia Own Label follows suit. To order copies of Britten Sinfonia's own label CD's for £10 each plus postage and packing please complete an order form and send with a cheque to Karys Orman, Britten Sinfonia, 13 Sturton Street, Cambridge, CB1 2SN. Download order form
Read reviews of the two discs here
The first release set the tone, with artistic fusions and distinctive new works performed by Britten Sinfonia and outstanding guest artists. Songs of the Sky, features recent Britten Sinfonia commissions by Tarik O'Regan, Huw Watkins, Steve Martland, John Tavener and jazz saxophonist Jason Yarde and features soloists Alina Ibragimova, Nicholas Daniel, Julius Drake, Joanna MacGregor, Jacqueline Shave and Jason Yarde. The running order is:
- Steve Martland Tiger Dancing Click here to listen to a 1 minute clip
- Huw Watkins Dream Click here to listen to a 1 minute clip
- Tarik O'Regan Raï Click here to listen to a 1 minute clip
- Jason Yarde Who Knows the Beauty Click here to listen to a 1 minute clip
- John Tavener Songs of the Sky Click here to listen to a 1 minute clip
Britten Sinfonia Own Label's second release is devoted to the music of Paul Hindemith and in particular his compositions for the organ, used so creatively to create new sound-worlds in his ensemble piece, Kammermusick 7. Alongside his sublime wind quintet, Hindemith's complete solo organ music is featured (including the first recording of his Zwei Stüke)performed by the celebrated young organist Daniel Hyde on the new organ by Orgalbau Kuhn at Jesus College Chapel, Cambridge.
- Kammermusik No. 7 Op. 46 No. 2 Click here to listen to a 1 minute clip
- Sonate 111 uber alte Volkslieder Click here to listen to a 1 minute clip
- Zwei Stucke fur Orgel Click here to listen to a 1 minute clip
- Kleine Kammermusik fur funf Blaser Click here to listen to a 1 minute clip
- Sonate 11 Click here to listen to a 1 minute clip
Sonate 1 Click here to listen to a 1 minute clip
You can see our comprehensive list of CDs on the Recordings page.
2013 / 2012 / 2011 / 2010 / 2009 / 2008 / 2007 / 2006 / 2005 / 2004 / 2003 / 2002 / 2001 / 2000 / 1999 / 1998 / 1997 / 1996 / 1995 / 1994 / 1993 / 1992
2013 was an extremely busy year for Britten Sinfonia with the orchestra giving more concerts than ever before and reaching more people through our Creative Learning programme. This was recognised by the Royal Philharmonic Society when we were awarded the RPS Ensemble Award in May 2013.
The year also marked the centenary of Benjamin Britten's birth. Britten Sinfonia is inspired by the ethos of Britten through world class performances, illuminating and distinctive programmes where old meets new. Throughout 2013 we performed Britten's music across the UK and further afield in both traditional concert performances and more unusual settings. This included his Serenade for Tenor, Horn and Strings at the magical Theatre in the Woods at Britten's old school, Greshams; a community performance of Noye's Fludde at the London Cruise Terminal in Tilbury and a critically acclaimed production of Curlew River directed by Netia Jones and starring Ian Bostridge in St Giles Cripplegate as part of Barbican Britten. Indeed the Barbican Britten festival saw us collaborate with a huge range of artists including Richard Alston Dance Company in an Olivier Award nominated production of Phaedre, tenor Mark Padmore, and violinist Pekka Kuusisto.
Unique collaborations featured throughout the year with tours with Angela Hewitt, Alina Ibragimova, Colin Currie, Paul Lewis, Mark Padmore and Pekka Kuusisto amongst others; a teonight residency at the Royal Opera House with Antony & the Johnsons; seven performances at the Royal Opera House's Linbury Studio of Gerald Barry's acclaimed opera The Importance of Being Earnest; and gigs with Olafur Arnalds, Zbigniew Preisner and Stian Westerhus.
Britten Sinfonia celebrated the opening of the brand new Saffron Hall with a gala concert in November and toured further afield to Eastern Europe, Oslo, The Netherlands and Mexico.
The first commission through our OPUS scheme was performed. OPUS2013 was an open call to unpublished composers with the winner, Ryan Latimer receiving a commission as part of our At Lunch series. We also performed new works by Nico Muhly, Gerald Barry, Eriks Essenvalds, Jay Greenberg, David Matthews, Judith Weir, Anna Clyne, Peter Maxwell Davies, and Sally Beamish. We also launched our Musically Gifted scheme, a chance for anyone to help commission new music from as little as £10.
Our Creative Learning team had a busy year with notable projects including work with gifted and talented musicians from bedfordhsire secondary schools to create soundtracks, a residency at the Fitzwilliam Academy for the Britten Sinfonia Academy and work with primary schools in South Norfolk to create new songs based on Britten's Serenade for tenor, Horn and Strings.
2012 saw Britten Sinfonia in celebratory mood as the Orchestra celebrated its 20th birthday. Celebratory concerts in London, Norwich and Cambridge journeyed through 400 years of music and showcased some of Britten Sinfonia's close collaborators, Pekka Kuusisto, Mark Padmore, Alina Ibragimova and Joanna MacGregor. The performances also featured the first public appearance of the Britten Sinfonia Academy, the Orchestras ensemble for gifted young musicians from the east of England.
The year was also notable as we started a new partnership as Associate Ensemble at one of the world's finest arts centres, London's Barbican. The Barbican's wide-ranging and pioneering arts programmes sit well with Britten Sinfonia's own eclectic artistic outlook exemplified by some of the joint projects in 2012 – multimedia stagings of Oliver Knussen's Where the Wild Things Are; a new orchestration of Philip Glass' Koyaanisqati as a live accompaniment to the film; Max Richter's reimagining of Vivaldi's Four seasons and of course the 20th Birthday concert.
Earlier in the year and further afield, Britten Sinfonia made its North American debut at New York's Lincoln Centre and also toured to South America and across Europe.
New music continued to be a key part of the Orchestra's programming and Britten Sinfonia premiered works by Alissa Firsova, Dobrinka Tabakova, Elspeth Brooke, Luke Bedford, Jonathan Dove, James MacMillan and Nico Muhly.
The Listening Machine, a project as part of The Space, a digital arts platform developed by Arts Council England in partnership with the BBC was launched in May 2012. The Listening Machine, devised by Daniel Jones and Peter gregson, generated a continuous piece of music based on the activity of 500 Twitter users around the UK, recorded by Britten Sinfonia.
2011 was marked by a series of firsts: The orchestra launched a new residency at Brighton Dome and Festival, and founded its own choir, Britten Sinfonia Voices – a natural extension of its commitment to artistic adventure and excellence; Sir Mark Elder made his first appearance with the orchestra ; and Britten Sinfonia also realised a long-held ambition to create its own Academy to develop and nurture young musicians and composers in the East of England.
Strong partnerships were rekindled throughout the season. Mark Padmore collaborated on a highly acclaimed programme of English Song centred on Gerald Finzi's Dies Natalis (which was recorded for future release on Harmonia Mundi). Angela Hewitt received rave reviews for a programme of Bach and Mozart, and Joanna MacGregor was joined by Norwegian Jazz trumpeter Arve Henriksen for a wide-ranging programme which drew inspiration from the music of the American Deep South and the frozen landscapes of the North. Britten Sinfonia was invited to be part of the Barbican's Steve Reich weekend in May, and took part in King's Place tribute to composer John Woolrich, and performed at the BBC Proms, alongside Natalie Clein and the BBC Singers.
Britten Sinfonia's award-winning 'At Lunch' concerts crossed the English Channel in March for a concert at Musee D'Orsay, Paris. The concert featured a new commission from Simon Holt. New works by Marcelo Nisinman and Charlie Piper also featured in 2011 'At Lunch' concerts; BBC Radio 3 broadcast a special week of "at lunch" concerts in the Spring. "A Tenner for a Tenor" invited Britten Sinfonia supporters to turn commissioners by investing in a new work by Jonathan Dove for Mark Padmore. Hundreds took up the offer; the new work will be premiered in 2012. Colin Matthews took the helm for the annual Composers Workshop with Cambridge University. Britten Sinfonia returned to the Royal Opera House in May for the world premiere of James MacMillan's opera Clemency, and again in July with singer/songwriter Rufus Wainwright. Much of August was spent on tour in South America with Finnish violinist Pekka Kuusisto and tenor Allan Clayton performing Britten. The Finnish theme continued into September with "REDDRESS" – a series of performances at the London Design Festival presented by the Finnish Institute.
Norwegian violinist Henning Kraggerud joined the orchestra on a summer tour to South America and then for the start of the 2011/12 UK season. The season opener paired Berio with Mozart and featured a new work by young composer Piers Tattersall alongside Schubert's Death and the Maiden. The year ended on an epic note, with Britten Sinfonia welcoming Sir Mark Elder to the orchestra to conduct Berlioz's L'enfance du Christ in December. A stellar line up of soloists featured Sarah Connolly, Allan Clayton, Neil Davies and Roderick Williams. The performance also marked the critically acclaimed debut of Britten Sinfonia's new choir, Britten Sinfonia Voices under the direction of Eamonn Dougan, who then travelled with the orchestra to the Concertgebouw Amsterdam for a performance of Handel's Messiah.
International touring continued apace. In the Autumn, Britten Sinfonia also headed for the Baltic States and Poland with James MacMillan and returned to Amsterdam and Eindhoven alongside Britten Sinfonia board member Germaine Greer for a programme centred on nature.
One of America's most highly regarded young composers, Nico Muhly, was in residence with the orchestra throughout January 2010. A new work by the composer featured as part of Britten Sinfonia's award-winning lunchtime series in January, and Impossible Things, a major commission for voice and violin, premiered as part of an acclaimed 14 date European tour which brought together Mark Padmore and Finnish violinist Pekka Kuusisto to explore music from both sides of the Atlantic. Britten Sinfonia's burgeoning international profile also saw the orchestra tour to Mexico and Spain (with Joanna MacGregor) and to Krakow for a regular series of lunchtime concerts. A live recording of Britten Sinfonia and Joanna MacGregor's 2007 tour of South America was released as "Live in Buenos Aires" by Warner Classics & Jazz in February.
A strong year for new commissions also saw works by Gwilym Simcock, Ulrich Kreppein, Christian Mason and a special birthday tribute to James MacMillan by Sir Peter Maxwell Davies performed as part of Britten Sinfonia's At Lunch series. All new works were broadcast on BBC Radio 3. Britten Sinfonia made a first appearance at London's Roundhouse in February as part of Roundhouse Reverb concerts, celebrated Easter with an all-Baltic programme alongside Stephen Layton and Polyphony and welcomed back Imogen Cooper for the close of her acclaimed cycle of Beethoven Concertos.
In April Britten Sinfonia spent time in the studio recording Eriks Esenvald's Passion and Resurrection with soprano Carolyn Sampson and Polyphony, conducted by Stephen Layton. A busy summer saw appearances at the Aldeburgh Festival, Brighton Festival, City of London Festival, at the BBC Proms with I Fagiolini conducted by Ryan Wigglesworth, and a welcome return to Glyndebourne for two Stravinsky chamber operas, Renard and Maura.
The new season was launched in October 2010 with the world premiere of James MacMillan's Oboe Concerto, written for Nicholas Daniel and the orchestra; soprano Barbara Hannigan donned leather and whip for a performance of Ligeti's vocal tour de force, Mysteries of the Macabre and the orchestra returned to the London Jazz Festival and toured Europe with Brad Mehldau and his trio for a live performance of his Highway Rider album.
Creative Learning continued to develop talent, explore concert repertoire and create new music with a series of lively programmes, including projects for young people and children in Norfolk schools, with Cambridgeshire Pupil Referral Unit and composer-led activities in Norwich, Birmingham and London. A first collaboration with Music of Life provided opportunities for young musicians with disabilities, the ever-popular Family Music Day returned in October with a spooky theme, and the creative use of online resources continued with a popular series of podcasts and downloadable programme notes.
2009 was a busy year for Britten Sinfonia CD releases, in the spring the first release on the Britten Sinfonia own label Songs of the Sky was made, followed by a selection of works by Hindemith. The end of the year saw the release of Handel's Messiah recorded with Polyphony at St John's Smith Square in December 2008.
Guest artists in 2009 included Imogen Cooper, Paul Lewis, Pierre Laurent-Aimard, Polyphony, Christopher Hogwood, Katia & Marielle Labèque, Simon Crawford-Phillips, Philip Moore, Lydia & Sanya Biziak, Ludovic Morlot, Henning Kraggerud, Alina Ibragimova, Maggie Cole, Cédric Tiberghien, Oliver Knussen, Ryan Wigglesworth.
In May Britten Sinfonia received the Royal Philharmonic Society Chamber Music Award in recognition of the Britten Sinfonia at Lunch series. The series commissions new works, programmes engaging and lively concerts with world class artists and musicians. Each concert tour in the series travels to Cambridge, Norwich, London, Birmingham and Krakow; the series is also recorded live in Cambridge for broadcast by BBC Radio 3.
A highlight of the summer was Britten Sinfonia's appearance at the Latitude Festival in Suffolk. Britten Sinfonia was the first classical group to perform at the festival. The orchestra made return performances to the BBC Proms and City of London Festival.
Britten Sinfonia were involved in two exciting projects at London's Barbican Centre in 2009; the first performing works by iconic composer Moondog and the second working with Danish folk musicians Efterklang.
Another highlight was the Pathenogenesis project, a collaboration between composer James MacMillan, the poet Michael Symmons Roberts, and Archbishop of Canterbury, Rowan Williams. An intriguing music-theatre piece which was performed at the Library Studio, Royal Opera House. Britten Sinfonia were also involved with a new opera, The Yellow Sofa, by Julian Philips, with a libretto by Edward Kemp for The Jerwood Chorus Development Scheme at Glyndebourne.
The autumn brought the opening of the 2009-10 season which has been well received in London, Cambridge and Norwich. The orchestra than went on a very successful tour of Mexico and Spain visiting Morelia, Mexico City and Madrid in late November.
Creative Learning continued their varied work engaging a range of audiences in music and the work of Britten Sinfonia. A highlight of the year was the Great Fen Project. Children from a school in Ramsey and teenagers from Yaxley were involved in creating an audible exhibition inspired by the sounds heard across the Fens. You can read more about it here.
The year began by continuing the 2007-08 season's tours featuring Britten Sinfonia'sacclaimed musicians and guest artists. The orchestra performed in venues spanning the country and beyond, in Cambridge, Norwich, London, Birmingham, Aldeburgh, Leeds, Cockermouth, Southampton, Stevenage, Shrewsbury, Stamford, Bradford on Avon and internationally in Rome (Italy) and Krakow (Poland).
Guest artists included Pierre-Laurent Aimard, Mark Padmore, Carolyn Sampson, Masaaki Suzuki, Imogen Cooper, Joanna MacGregor, Maxim Rysanov, Katie Mitchell, Iestyn Davies and conductors Alec Roth, Diego Masson and Jurjen Hempel. In a truly unique production that attracted a great deal of press and attention, Britten Sinfonia joined the Michael Clark Company for the Stravinsky Project.
The fêted Britten Sinfonia at Lunch series featuring new works by Richard Causton, Helen Grime, Robin Holloway and Pawel Lukaszewski toured to London, Cambridge, Norwich, Birmingham and Krakow as well as being recorded live by BBC Radio 3. The series begins again in November 2008.
The summer saw Britten Sinfonia in many UK Festivals, including the 61st Aldeburgh Festival of Music and the Arts, the 60th Bath International Music Festival, Salisbury International Festival, Chelsea Festival, Lichfield Festival and the Norfolk & Norwich Festival. Later in the year Britten Sinfonia will return to the London Jazz Festival to star in the opening night's events alongside Dhafer Youssef and Joanna MacGregor.
Britten Sinfonia's unique and innovative performances are to be captured on CD, produced by Britten Sinfonia's own record label in conjunction with Signum, and launched early in 2009.
Creative Learning becomes an increasingly integral area of the ensemble's work, reaching concert attenders through pre-concert talks and lectures, as well as schools, universites and businesses in workshops and specialist days with Britten Sinfonia musicians.
In a season highlight Britten Sinfonia joins Polyphony choir under the expert direction of Stephen Layton for Handel's Messiah. This will be the orchestra's second appearance with Polyphony in 2008.
The 'Britten Sinfonia at Lunch' tour continued to be recorded for broadcast by BBC Radio 3 and the tour expanded to include Krakow (Poland), Aldeburgh, Cambridge and Norwich. In this series and evening concerts, Britten Sinfonia continued its promotion of new music, featuring new works by Tansy Davies, Huw Watkins, Tarik O'Regan, Brett Dean, Pawel Lukaszewski and John Tavener.
Easter concerts with Polyphony were performed to sell out audiences in Norwich and Cambridge whilst later in the year Britten Sinfonia performed at the London Jazz Festival with Gil Evans directing a remarkable programme based around the works from the Gil Evans and Miles Davis partnership. Guest artists for the season included Imogen Cooper, Alina Ibragimova, Carolyn Sampson, Iestyn Davies, Allan Clayton, Andrew Foster-Williams and Pekka Kuusisto.
In May the orchestra was recognised for its myriad achievements by the Royal Philharmonic Society and awarded the Ensemble Award. This coincided with the orchestra touring to South America with Joanna MacGregor, visiting Buenos Aires, Sao Paulo and Montevideo. The programme featured works by Bach, Britten, Golijov and Gismonti amongst others and received a rapturous response from audiences. Players took the opportunity to meet the locals in Creative Learning projects. Cambridge University Press supported the trip. This year also saw performances in Poland and Portugal.
Our discography grew in number and acclaim with recordings of Hartmann's Concerto Funébre with Alina Ibragimova, Bairstow's Choral Music and Bruckner's Mass in E minor and Motets. All were named Editor's Choice in Gramophone magazine and received numerous glowing reviews
Lux Aeterna, our Hyperion recording of music by Morten Lauridsen, was nominated for a Grammy award.
Our highly successful series of Lunchtime concerts at West Road Concert Hall, Cambridge, was broadcast by BBC Radio 3 over four days from Tuesday 4 April.
Two past projects were revived in April and May: Art of Fugue (renamed Bach meets Moondog) toured to Dartington, Glasgow, Birmingham and Norwich, and our collaboration with Henri Oguike Dance Company played to a sold-out Queen Elizabeth Hall.
Britten Sinfonia is nominated in the Ensemble category in the 2005 Royal Philharmonic Society awards. The first of two recordings for Hyperion is released, featuring Morten Lauridsen's Lux Aeterna, inspiring rave reviews from both sides of the Atlantic.
Imogen Cooper made her debut with Britten Sinfonia, in performances of Mozart piano concerti.
The entire east end of Bury St Edmunds Cathedral was filled with a huge stage in May, for two performances of Tiger dancing, a collaboration between BS and the Henri Oguike Dance Company. It included new choreography to Tippett's Concerto for Double String Orchestra, in the composer's centenary year.
We launched our first ever lunchtime series, Britten Sinfonia at Lunch, at West Road Concert Hall, Cambridge. The series featured five stunning world premieres by John Woolrich, Jason Yarde, Tristan Rhys Williams, Kenneth Hesketh and Joseph Phibbs alongside other chamber works such as Stravinsky's Octet and Purcell's Fantasias.
Jacqueline Shave was appointed leader in September.
Nicholas Cleobury stands down as Artistic Director and takes the title Founder Laureate. For up-to-date news on what Nicholas is doing now, please see his website www.nicholascleobury.net
Britten Sinfonia's Easter concerts with Polyphony and Stephen Layton in King's College Chapel and Norwich Cathedral lead to recordings of the two main works in the programme: James MacMillan's Seven Last Words from the Cross and Morten Lauridsen's Lux Aeterna. Both recordings are released next year on Hyperion.
Britten Sinfonia and The Hilliard Ensemble give the UK premiere of Piers Hellawell's The Pear Tree of Nicostratus, along with other vocal and instrumental works on the theme of love and lust. The May tour visited Cambridge and the Salisbury and Chelsea Festivals.
Thomas Adès conducts Britten Sinfonia for the first time at the Aldeburgh Festival in June, in a programme including Harrison Birtwistle's The Fields of Sorrow. The concert was broadcast live on BBC Radio 3.
Britten Sinfonia is invited to play at the distinguished Donauschingen Festival in Germany. The orchestra is invited to dine with the Royal family and to stay overnight in the castle!
The final BBC Proms chamber series from the V&A Museum in London is Britten Sinfonia premiering The Coroner's Report by Simon Holt.
A major tour with Nitin Sawhney takes the ensemble to Brussels and around the UK in the autumn, including a debut at the Royal Festival Hall. The Telegraph comments "The Festival Hall was packed with an audience that whistled and cheered its approval. One felt there was a genuine meeting of minds between the orchestra and the musicians around it".
Tour to Greece with Django Bates followed by a UK tour featuring music by American John Zorn set against cartoon inspired pieces by Janacek, John Adams and John Woolrich.
Following a national review of the chamber orchestra sector, Arts Council England announces 100% increase in Britten Sinfonia's funding.
Britten Sinfonia nominated for two Royal Philharmonic Society awards: best large ensemble and best concert series (for its 2002/03 concert series in Cambridge and Norwich).
Performance at the prestigious George Enescu Festival in Bucharest follows concerts in Brussels and Brugge.
Celebrations for the orchestra's 10th Anniversary begin with a national tour featuring Evelyn Glennie, including performances in Cambridge, Norwich and Chelmsford, cities all closely linked with the orchestra's development. This is what the Times said in their preview of the tour:
"Britten Sinfonia, ten years old this autumn, is not only the East of England's 'house' band. It is also one of a new breed of orchestras. They are unfettered by tradition, because they have none. They run risks because they have discovered that, contrary to decades of received music-business wisdom, it is risks that pull crowds. And they are truly post-modern in outlook. They mix and match their programmes with an outrageous glee that would horrify the venerable Philharmonics."
Orchestra wins Anglia TV's "Best Arts Event" for Light & Shade coinciding with a CD release of music from the tour for the Sound Circus label.
John Woolrich succeeds David Matthews as Composer in Association. Joanna MacGregor and Nicholas Daniel appointed Associate Artistic Directors.
Britten Sinfonia outgrows King's Parade offices. Team of eight staff move to new offices in Sturton Street, Cambridge
Premiere of Parthenogenesis, a new work by James MacMillan, who conducts the performance featuring soprano Lisa Milne, baritone Christopher Purves and actor Anastasia Hille.
Debut at the Edinburgh International Festival, with further performances of Parthenogenesis and a portrait concert of music by Stuart MacRae.
Britten Sinfonia returns to the Proms with Ian Bostridge, this time performing Britten's Nocturne, and also in the chamber Proms with Sam West narrating Stravinsky's Soldier's Tale.
Following success of Django Bates tour, Joanna MacGregor is invited to work with the orchestra. She directs a 10 date tour – Light and Shade - featuring music by Arvo Pärt, Lou Harrison, Schnittke and a new work from Nitin Sawhney. The tour is featured in a Joanna MacGregor South Bank Show profile for LWT.
Britten Sinfonia Community & Education organises major projects in Cambridge, Norwich, Chelmsford and Luton, including after school music clubs for young people – Inside Out - funded by the Foundation for Youth Music.
Jonathan Barclay, Senior Partner at Mills & Reeve, succeeds Charles Barrington as Chairman.
UK tour with Django Bates and his jazz group Human Chain. Django Bates writes a new work to celebrate the Millenium – 2000 Years beyond UNDO. Concerts also feature Joanna MacGregor peforming the Ligeti Piano Concerto.
Britten Sinfoina's first tour to Germany includes performances at Munich's Gasteig and Frankfurt's Alte Oper.
Britten Sinfonia makes its BBC Proms debut, featuring a new symphony by David Matthews, Mozart's 'Prague' Symphony and Ian Bostridge performing Britten's Les Illuminations.
Landmark concert series Frank Zappa and the Fathers of Invention, setting Zappa's music against Bach, Stravinsky, Varese, Ives and Steve Reich. Sell-out performances given "in the round" in the Cambridge Corn Exchange attract a wide audience, with 80% attending their first "classical" music concert. This initiative is followed up later in the year with trumpeter Guy Barker performing music from the Gil Evans/Miles Davies albums, set alongside Stravinsky and 'big band' arrangements of Dunstable and Gesualdo.
Launch of a new concert series in Norwich in partnership with the Norfolk & Norwich Festival. Nicholas Daniel conducts the first concert, an all-Mozart programme.
David Matthews appointed as Britten Sinfonia's first Composer in Association. His first work, Burnham Wick, given in Birmingham for BBC Radio 3.
Britten Sinfonia awarded £150,000 from the Arts Council's Arts for Everyone scheme for the development of its work in the East of England.
First of several discs for Classic FM's new label are made, featuring Britten Sinfonia musicians. Nicholas Daniel, Joy Farrall and Kate Hill record Mozart's oboe, clarinet and flute concerti respectively.
"The finest performances from British soloists I've heard in a decade" Norman Lebrecht, Daily Telegraph
Orchestra works with tenor Ian Bostridge for the first time, with a young Daniel Harding conducting. This successful collaboration leads to other concerts and an EMI recording of Britten repertoire including Our Hunting Fathers.
Germaine Greer joins Britten Sinfonia's board. Administrative staff increases to 5 people, requiring a move to new offices on King's Parade, Cambridge.
Britten Sinfonia's debut CD is released to critical acclaim, featuring David Pyatt in the Strauss Horn Concertos and the Duet-concertino and Serenade for Wind Op.7. It wins a Gramophone Award.
Debut at the South Bank Centre brings further critical acclaim.
"This is undoubtedly an orchestra of which we are going to hear a lot more" The Independent
"A major force not only in East Anglia, but in the musical life of the nation" The Times
The number of concerts increases from 12 in 1993 to 27 in 1994, including the orchestra's first foreign tour, a residency at the Wratislava Cantans Festival in Poland. Televised concerts include works by Tippett (Symphony No.1 and A Child of Our Time) and Panufnik (Universal Prayer). Chelmsford appoint Britten Sinfonia 'Orchestra in Residence'.
Michael Tippett's A Child of our Time
Britten Sinfonia celebrates the 50th anniversary of Michael Tippett's A Child of Our Time in London's Adelphi Theatre where it was premièred in the presence of the composer.
Britten Sinfonia's part in Jonathan Miller's production of Strauss' Ariadne auf Naxos provides the orchestra's first critical success.
Following a grant from the Foundation for Sport and the Arts, Britten Sinfonia appoints its first Education Manager to foster a community and outreach programme alongside its concerts.
Britten Sinfonia launches following an initiative from Eastern Arts and a number of key figures including Nicholas Cleobury, who recognise the need for a world class orchestra in the East of England. Britten Sinfonia reflects Benjamin Britten's artistic vision: a commitment to early music as well as new music, to music education and music performance of the highest quality, a commitment to the East of England and an ambassadorial role on the world stage.
Nicholas Cleobury becomes Artistic Director, and the first concert took place in Chelmsford featuring a mixed programme of works by Bach, Copland, Stravinsky and Colin Matthews, illustrating the new ensemble's commitment to a broad range of entertaining repertoire.
Guest Artists
The artistic vision of Britten Sinfonia is built around the extraordinary skills and development of its players – all chamber musicians and soloists of the highest quality. Britten Sinfonia invites international artists from across right the musical spectrum to work with them on projects suited to the particular skills of each visiting artist. More recently the orchestra has developed close associations with certain artists who they consult and work with regularly.
For more information on the artists featured in recent and forthcoming projects follow the links below:
Allison Bell
Kuljit Bhamra
Luke Bedford
Ian Bostridge
Baldur Bronnimann
Choir of King's College, Cambridge
Choir of Jesus College, Cambridge
Allan Clayton
Sarah Connolly
Allison Cook
Imogen Cooper
Lucy Crowe
Peter Maxwell Davies
Iestyn Davies
Neal Davies
Brett Dean
Jonathan Dove
Julia Doyle
Sir Mark Elder
Eriks Esenvalds
James Gilchrist
Barbara Hannigan
Arve Henriksen
Angela Hewitt
Simon Holt
Simon Keenlyside
Andrew Kennedy
Henning Kraggerud
Pekka Kuusisto
Oliver Knussen
Patricia Kopatchinskaja
James MacMillan
Colin Matthews
Joanna McGregor
Brad Mehldau
Nico Muhly
Nicolas Mulroy
Tim Murray
Robert Murray
Marcelo Nisinman
Vadim Repin
Seb Rochford
Richard Alston Dance Company
Maxim Rysanov
Richard Watkins
Stian Westerhus
Ryan Wigglesworth
Roderick Williams
John Woolrich
Meet the Trustees
The Board
Dr. Jerome Booth, Chairman
Jerome is an economist and co-founder of the emerging markets fund manager Ashmore Group Plc. As well as a portfolio of business interests he is also Chairman of the Fitzwilliam Museum Development Trust, a member of the governing board of Anglia Ruskin University and a Council Member of the Royal Philharmonic Society.
Dame Mary Archer, DBE
Mary taught chemistry in the University of Cambridge for 10 years before developing a wider portfolio of interests. She was chairman of Cambridge University Hospitals NHS Foundation Trust for ten years until November 2012, and was appointed DBE in summer 2012 for services to the NHS.
Hamish Forsyth
Hamish is President - Europe at Capital Group Companies Global, part of investment management firm Capital Group. In 2011 he was appointed a Fellow of Eton College and is also a board member of Glyndebourne Productions Ltd and Grange Park Opera.
Dr. Andy Harter
Founder and CEO of technology company RealVNC, Andy is a Fellow of the Royal Academy of Engineering and a Fellow of St Edmund's College Cambridge. In 2011 he was named Cambridge Businessman of the Year. He is a Fellow of the London College of Music.
Margaret Mair
Margaret read Law at St Anne's College, Oxford, qualified as a barrister and spent most of her career in the Government Legal Service. Margaret moved to Cambridge in 2001. She is Chairman of the Friends of the Fitzwilliam Museum Cambridge and was appointed a Deputy Lieutenant of Cambridgeshire in 2012.
Bill Thompson
Freelance journalist, author, public speaker, and consultant, Bill is a well-known technology critic and commentator on digital culture. A graduate of Cambridge University and former Guardian journalist, he is Head of Partnership Development in the Archive Development group at the BBC and a board member for the Writers' Centre Norwich.
Advisory Council
Jonathan Barclay
Charles Barrington
Stephen Bourne
Dr Nigel W Brown OBE
Germaine Greer
Charles Rawlinson MBE
Prof John Rink
Stephen Smith OBE
John Stephens OBE
John Summers
Fiona Talkington
Prof Michael Thorne
Sir John Tusa
John Woolrich
John Wreford
Meet the Staff
To contact a member of our staff please either telephone +44 (0)1223 300795, email email@example.com or send a direct email using the following format: firstname.lastname@example.com.
What is Britten Sinfonia?
Britten Sinfonia is a flexible ensemble composed of the finest chamber musicians in Europe. Our players are freelance musicians who are employed on a project-by-project basis. Britten Sinfonia performs around 70 concerts per year and works with hundreds of people of all ages in the communities where the orchestra is resident.
How is it managed?
Britten Sinfonia is a limited company and a registered charity. A board of directors oversees the company which is run by a management team of 13 people, led by the Chief Executive. The offices are based in Cambridge.
How is Britten Sinfonia funded?
Britten Sinfonia is supported by a wide variety of public, corporate and private sources, through a complex mix of grants, sponsorship, and individual giving. Current turnover is £1.5 million - 49% is earned income, 28% from Arts Council England and 23% from fundraised income.
How can I support Britten Sinfonia?
We currently run a variety of individual giving schemes - click here to find out more. There are also many ways that companies and funders can become involved in our work. Please email Will Harriss or call 01223 300795 for an informal chat.
What happens to the £25 I spend on a concert ticket?
£5 goes straight to the government as VAT. We are a not-for-profit organisation so all the income we make from ticket sales, programmes and sponsorship is spent on hall hire, artists and marketing expenses.
Why doesn't Britten Sinfonia have an Artistic Director?
Because of the breadth of repertoire we perform and wide range of types of projects we undertake, we prefer to work with different soloists, conductors and composers, who are specialists in particular fields. These projects are curated by the Chief Executive and an artistic team. This gives us more flexibility and freedom to develop new ideas, all centred around the quality and development of our players.
Are the players employed full-time?
No. Almost all chamber orchestras in the UK employ freelance musicians on a project-by-project basis. This allows us to be versatile with size and orchestration. You will usually see the same players at most concerts, however.
What is 'In conversation'?
'In conversation' talks are pre-concert events which are free to concert ticket-holders. A featured soloist, composer or member of the orchestra talks about the concert and answers questions from the audience. You don't have to have any musical knowledge to appreciate these informative and often very entertaining events.
Orchestra Opportunities
There are currently no vacancies within the orchestra.
Administration Opportunities
There are currently no vacancies within the our administration team.
Ongoing Opportunities
If you are interested in volunteering or stewarding at our events please email email@example.com.
About Us
There are few more thrilling things in British music than Britten Sinfonia on top form.
Ivan Hewett, The Daily Telegraph
Britten Sinfonia is one of the world's most celebrated and pioneering ensembles. The orchestra is acclaimed for its virtuoso musicianship, an inspired approach to concert programming which makes bold, intelligent connections across 400 years of repertoire, and a versatility that is second to none. Britten Sinfonia breaks the mould by not having a principal conductor or director, instead choosing to collaborate with a range of the finest international guest artists from across the musical spectrum, resulting in performances of rare insight and energy.
Britten Sinfonia is an Associate Ensemble at the Barbican in London, and has residencies across the east of England in Norwich and Cambridge (where it is an Ensemble-in-Residence at the University of Cambridge). The orchestra also performs a chamber music series at Wigmore Hall and appears regularly at major UK festivals including Aldeburgh and the BBC Proms. The orchestra's growing international profile includes regular touring to Mexico, South America and Europe. In February 2012, Britten Sinfonia made its North American debut at Lincoln Centre, New York.
Founded in 1992, the orchestra is inspired by the ethos of Benjamin Britten through world class performances, illuminating and distinctive programmes where old meets new, and a deep commitment to bringing outstanding music to both the world's finest concert halls and the local community. Britten Sinfonia is a BBC Radio 3 broadcast partner and regularly records for Harmonia Mundi and Hyperion.
In 2013-14, Britten Sinfonia collaborates with artists including Paul Lewis, Ian Bostridge, Netia Jones, Mark Padmore, Pekka Kuusisto, Iestyn Davies, Patricia Kopatchinskaja and the Richard Alston Dance Company with premières from composers including Sally Beamish, Roderick Williams, Mark Simpson, Brett Dean and Philip Cashian. Following UK performances, many of these collaborations will tour internationally with performances in some of the world's finest concert halls.
Central to Britten Sinfonia's artistic programmes are a wide range of creative learning projects both within schools and the community. In the 2013-14 season Britten Sinfonia Academy, our talented youth ensemble will perform its own At Lunch concert and we hold our second composition competition, OPUS2014, offering unpublished composers the chance to receive a professional commission,
In 2013 Britten Sinfonia was awarded the Royal Philharmonic Society Music Award for Ensemble having previously won the Chamber Music Award in 2009 and the Ensemble Award in 2007. Britten Sinfonia recordings have been Grammy nominated, received a Gramophone Award and an ECHO/Klassik Recording Award.
Next Production
Possibly Colliding: Session Six
03 July 2016
An early evening concert featuring Britten Sinfonia Voices and conductor Eamonn Dougan in a programme of music from Russia and Russian-influenced composers.
Britten Sinfonia At Lunch Five 2015-16
West Road Concert Hall, Cambridge
01 July 2016 1:00pm
Britten Sinfonia Academy, now celebrating its fifth year, performs its own At Lunch programme featuring a world premiere.
Possibly Colliding: Session Six
St Giles' Cripplegate (Barbican), London
03 July 2016 5:00pm
An early evening concert featuring Britten Sinfonia Voices and conductor Eamonn Dougan in a programme of music from Russia and Russian-influenced composers.


text:
From the package
"When Smartfood® launched in 1985, it was one very smart idea. Create great tasting popcorn with quality ingredients. You can taste a passion for popcorn in all the delicious varieties of Smartfood® created since. We believe in air-popping our popcorn for a light & airy crunch made with real cayenne pepper and cheddar cheese. The result is delicious, mouthwatering popcorn with a kick without any artificial colors, flavors or preservatives."
This snack was discovered by Jeremy at Star Market (formerly Shaws, and Star Market again before that), Porter Square, Cambridge, Massachusetts. Review published .

subset: commoncrawl


text:
Thanks for keeping us thinking.
Printable View
Thanks for keeping us thinking.
Thanks for keeping us thinking.
I've only had my CC permit for a few months, but it's radically changed how I carry at home. I felt like I was acting paranoid as I practiced carrying in different holsters around the house, but the more I carry, the more normal it feels. I'm to the point now that I carry 100% of the time I'm not asleep/showering/at church/at my place of employment. Those do take up some significant chunks of my life, obviously, but as my options holster-wise expand, the comfort level also rises quite a bit. I just built my first Kydex holster for my .38 Bodyguard, and it has made it even more comfortable for wearing instead of pocket carry.
I carry about 50% of the time inside my home. If it's not on me, I can literally reach for one.
I used to, then I got 3 pitbulls ;)
Sent from my LS670 using Tapatalk
If I am sitting on the pot it is on the counter next to me.
If I am in the shower it is on the shelf just outside the curtain.
If I am in bed it is on the dresser within arms reach.
Any other time it is on my hip or in my pocket or on my ankle.
Any way you slice it it is in reaching distance.
even if they got in, I think id rather be shot then get attacked by 3 pits protecting there home he he
Sent from my LS670 using Tapatalk
I recently ordered a Kydex neck holster for it from Raven Concealment for use during my exercise walks in the neighborhood for times when I'm wearing gym shorts which have no pockets. It had a 16-18 week lead time the first of April so it should be coming anytime soon.
Yes. Always on me or within arms reach (holstered) all the time. Taking out trash, mowing grass, yard work, or sleeping in the lazyboy. Right now the kids are in bed and it is laying on the desk in front of me. Once I go to bed, it is holstered and under my body pillow that I am leaning on. My kids would have to roll my 250 pounds off of it to access it...and I'm a super light sleeper. That's the next best thing to having a IWB holster for my drawers.
I have guns all oven my house. If I am sitting there is a .45 acp within reach of my right hand. If I am in bed there is a .45 on the nightstand and a 12 guage on the wall rack. All are chambered and ready to go.
I attribute my multitude of guns to a good upbringing. My dad operated a small business out of our house when I was growing up. The office was on the kitchen table. One of the salesmen that called on him had a funny comment. He said "The first couple of years I came here I was a little nervous. This is the first house I have ever been in that had a gun in EVERY corner!"
No. Of course not. I get comfortable inside my home. House guns are within easy reach but not strapped to my body. I wouldn't discount the fact that home invasions can happen anywhere but I am fortunate enough not to be living in some post industrial snakepit where they are common place. I'm comfortable with my security procedures.Quote:
Do you carry at all times inside your home?
I do not carry inside my residence.
There is always a firearm or other weapon easily accessable and I keep my doors and windows locked.
I am comfortable with my security when I am in my home.
I believe in having an early warning system and I have two of those.
Attachment 51724Attachment 51725
The only time I'm not carrying is when I'm in the shower or sleeping but the firearms is always within arms reach


text:
Greenest Event Tent in the World Debuts at EMU Music Festival
BY: Andrew Michler
Start Slideshow
- EMU Neenan X TentThe Eco Music Festival (or EMU for short) held at 8,000 ft in Snowmass, Colorado recently unveiled what they are calling the greenest event tent in the world. They asked Neenan Company, a design/build firm, for some ideas and after a company-wide competition, the winning design by Ben Sheppard proved to be just the combo of simplicity, functionality, and eco-friendly building materials they were looking for.1
- EMU Neenan X TentThink of the thousands of festivals this year and the sheer volume of materials consumed or discarded.2
- EMU Neenan X TentNeenan held a competition with three finalist tent concepts which could be voted for online.3
- EMU Neenan X TentThe X Tent easily won for its combination of simplicity, portability, green materials and capacity to be configured into multiple setups.4
- EMU Neenan X TentThe simplicity of the design is achieved by how the structure unfolds into a cross for the vertical supports.5
- EMU Neenan X TentThey hold up cantilevered beams connected by 10 foot poles which in turn holds the canopy.6
- EMU Neenan X TentTake two X Tents and have them face each other and you have a sizable shelter under the intense Colorado sun.7
- EMU Neenan X TentStack them side by side and you get a excellent place to interact with vendors.8
- EMU Neenan X TentThe tents take two people about 10 minutes to erect and with wheels set to the base a packed tent needs only one person to cart around.9
- EMU Neenan X TentThe most impressive aspect of the design is how only sustainably sourced materials were used in its construction.10
- EMU Neenan X TentThe wood members are salvaged pine beetle killed trees, locally sourced and milled.11
- EMU Neenan X TentThe canopy is reclaimed army parachutes which slip into the poles, and because they are double layered blocks radiant heat from the sun while not blocking all of the light.12
- EMU Neenan X TentLight but strong bamboo supports poles connect the two frames together. Jute rope is used to tighten the rig tied from end to end to stiffen the tents in the wind.13
- EMU Neenan X TentWith a successful under it belt the X Tent looks to make events not only more environmentally sound but more functional.14


text:
The Blue Heron Restaurant in Yosemite Lakes Park is hosting a Spring Wine Dinner at 6 p.m. Friday.
The event will pair specially created dishes with wines from Fasi Estate Winery, Idle Hour Winery and Westbrook Wine Farm.
The menu includes a starter of asparagus bisque accompanied by a Westbrook Wine Farm chardonnay, followed by a spinach and pignolia stuffed prawns with Idle Hour's award-winning Tempranillo and a beef tenderloin roast as main course with Fasi Estate Winery's syrah. The dessert will be chocolate trifle with a blackberry lime cream paired with Westbrook's "Malmsey Dearest" which is debuting at the dinner.
The restaurant also recently completed a total redesign of its dining room. "We decided to update the Blue Heron Restaurant this year, after 30 years, so we could appeal to a wider clientele from local wine connoisseurs to families with young children," said Cindy Lyman, wedding and banquet sales manager for the YLP owners association which runs amenities inside YLP, including The Blue Heron.
Along with the new "look," a new menu has been introduced by chef Christian Mueller.
"We knew that we needed to bring in new and seasonal dishes that change monthly, but also wanted to retain our best-sellers," Mueller said. "I think we have found a nice balance at very reasonable prices." The cost is $60 per person and reservations are required.
Details:(559)658-6969 or web theblueheronline.com.


text:
Dec 29, 2010 9:21 AM
It is completely acceptable to take the money you would have spent on a dress for New Year's Eve and throw it all towards the Christian Louboutin Lady Peep Sling ($895).
With vehicles like this, you could be wearing a brown paper bag up top... no one would even notice!
If you've got a product or service that you'd like to promote on Outblush, click here to find out about our advertising opportunities.
Outblush is a blog for girls who love to shop. Our staff digs up the best clothes, home stuff, beauty items, and more. New items are posted every day — bookmark us and check out:


text:
Very recent research from Oxford, Cambridge, Harvard, Manchester and Surrey universities have found that people are sleeping between one and two hours less than they did in the 1960s.
The primary reason for this lack of sleep? Increased pressure of life and modern technology which makes it hard to switch off.
To fit everything in (job, email, family, "to do list", etc.), sleep is often sacrificed.
But sleep affects both mental and physical health. It's vital to overall well-being.
- Sleep helps the brain function: sleeps enhances clarity, quicker reflexes and better focus. While loss of sleep can impair higher levels of reasoning, problem-solving and attention to detail.
- Tired people tend to be less productive at work.
- Lack of sleep also influences mood, which can affect interactions with others.
- Prolonged lack of sleep negatively affects the immune system, blood pressure and even cardiovascular health.
- Researchers have also found that people who sleep less than seven hours per night are more likely to be overweight or obese. They believe lack of sleep impacts the balance of hormones in the body that affect appetite.
Take Action
Good sleep is critical to your health. Don't be a hero and try to take on more than you can handle and forego sleep.
To make each day a safe, productive one, try these three key steps to make sure you regularly get a good night's sleep.
- Stick to a consistent sleep schedule - Do your best to go to bed and get up at the same time every day, even on weekends, holidays and days off. Being consistent reinforces your body's sleep-wake cycle and helps promote better sleep at night.
- No. 2: Pay attention to what you eat and drink - Don't go to bed either hungry or stuffed. The digestive discomfort will likely make sleep more difficult.
- No. 3: Create a bedtime ritual - Do the same things each night to tell the body it's time to slow down. Condisder taking a warm bath or shower, reading a book, or listening to soothing music. Television and other electronic devices used before bedtime often interfere with sleep.


text:
Wanted: True Safety Leaders
Richard "Chip" Davis
Date: July 23, 2010
The Center for Innovation's executive director explains how hospital leaders need to model the behavior they want their frontline staff to adopt for patient safety.
Richard Gangemi, the vice president for academic and medical affairs at Rochester General Medical System, tells a story that speaks to the need for true leadership in patient safety.
In July 2009, fresh off a three-day visit to The Johns Hopkins Hospital to learn about our safety programs, Gangemi was ready to take action. So, at the end of infection control rounds, he inquired, "How are we going to harm the next patient on this unit?"
This is something that we at Hopkins regularly ask our safety teams, and it's proven to be a powerful tool for identifying hazards. But at Rochester General, it was a new question, and caregivers looked at Gangemi as if he'd insulted them.
After a minute of awkward silence, a nurse finally spoke up, sharing her concerns about the unit's rate of Clostridium difficile infections—the highest in the hospital at the time. Other staff soon joined in, and within minutes the group had come up with a host of ideas for reducing transmission, such as replacing cloth curtains in semiprivate rooms with more easily washable plastic ones.
A few months later, the C. difficile rate had dropped to zero, and it's been there or very low ever since. The unit's changes became a model for hospital-wide protocols.
In this issue of Quality Update, we highlight the patient safety program that has started taking shape at Rochester General since Gangemi and colleagues visited Hopkins. It's a story about a whole organization that is starting to embrace a culture of safety. But none of it would have happened without champions at the top.
Leaders can't just delegate the work of safety. They have to model the behavior they want to see and get out onto the floors. Many health care organizations are still learning how to be transparent and how to encourage caregivers to raise concerns to one another, regardless of hierarchy. When leaders ask frontline staff to identify problems and talk about them directly, it sends the clear message that the organization is serious about embracing these new behaviors.
Gangemi's question during rounds is but one example of what leaders can do to create safety-supportive cultures. They might alter organizational structures, introduce new processes or provide resources that help teams to meet their goals. There's no set recipe.
But what's almost always required is this realization: Leaders can't expect change to happen in patient safety unless they make changes within themselves.


text:
Daves Extra Legitimate Travel Apparatus
D.E.L.T.A ( Daves Extra Legitimate Travel Apparatus )
Despite Delta representing Dave Weagle's 3rd cycling specific suspension system, we thought a super tech acronym would be much more appropriate. Well, if we had our way we would say it bends in the middle, stops and goes. But let's be realistic, we can't get away with that simple of an explanation.


text:
Ranked among the nation's most integrated healthcare systems, Community Health Network is Central Indiana's leader in providing convenient access to exceptional healthcare services, where and when patients need them—in hospitals, health pavilions, workplaces, schools and homes.
Testicular torsion is a twisting of the testicles and the spermatic cord (the structure extending from the groin to the testes that contains nerves, ducts, and blood vessels). The torsion causes decreased blood flow to the testes, essentially strangling them of oxygen and nutrients. This is a painful problem that usually occurs in boys 10 years and older. While it generally occurs in adolescent boys, it may also occur during fetal development or shortly after a baby is born.
In pre-adolescent and adolescent boys, torsion occurs primarily from incomplete attachment of the testes within the scrotum. This permits the testes to be more movable, allowing them to twist. Testicular torsion detected in the fetus results when development of the protective sac that surrounds the testicles within the scrotum does not attach to the scrotum internally.
The cause of testicular torsion is unknown. However, some cases have been seen in fathers, sons, and brothers, suggesting a genetic component.
The symptoms of testicular torsion may involve one or both of the testes. The following are the most common symptoms of testicular torsion. However, each child may experience symptoms differently. Symptoms may include:
The symptoms of a testicular torsion may resemble other conditions or medical problems. Always consult your child's physician for a diagnosis.
Testicular torsion is usually diagnosed with a physical examination and a complete medical history. It is imperative to make a prompt diagnosis because prolonged testicular torsion may cause irreversible damage to the testes. Other diagnostic tests may be included, but there is no test that can diagnose testicular torsion accurately all of the time.
Specific treatment for testicular torsion will be determined by your child's physician based on:
Testicular torsion usually requires immediate intervention. The severity of the torsion depends on if the testicle(s) is partially or completely twisted. The more twisted the testicle, the more urgent the intervention. To minimize long-term problems, intervention is usually required within six hours of symptoms.
The majority of boys who develop testicular torsion will require prompt surgery to correct the problem. Surgery will help prevent torsion from occurring in the future. In some cases, manipulation by hand to untwist the torsion may be possible.
Click here to view the
Online Resources of Genitourinary & Kidney Disorders
See more of our awards
More about shops


text:
Sarah O'Malley
Sarah O?Malley-Fisher is entering her first season as co-head coach of the UIC softball program after spending the past two seasons as an assistant coach with the Flames. O?Malley-Fisher will share the head coaching position with Tom Gray, who has also been an assistant at UIC the past two years.
A 2001 UIC Hall of Fame inductee and a member of the 1994 Flames World Series softball team, O?Malley-Fisher gained valuable experience both as a player and a fellow coach under the tutelage of former head coach Mike McGovern.
McGovern felt very comfortable handing the reigns over to both Gray and O?Malley-Fisher.
?Sarah has got a lot of experience playing and coaching with me as well as coaching high school and summer ASA teams,? McGovern said of his former pupil. ?She will take from all of that experience and develop her own philosophy, which I think will work very well. I feel confident that she?s got the experience and skill to lead the UIC softball team to the next level.?
During O?Malley-Fisher?s time as an assistant at UIC, she primarily worked with the pitchers and catchers, and helped coach the team to two conference tournament championships and one regular-season conference championship. The Flames also made two NCAA Regional tournament appearances under her guidance while she helped the program produce nine All-Conference First-Team selections, eight All-Great Lakes Region selections and one All-American.
Before her coaching career at UIC, O?Malley-Fisher had a stellar playing career for the Flames from 1991-94. She was a First-Team All-Mid-Continent Conference selection in 1994 and still has her name written all over the UIC record book, appearing among the top 10 career and single-season leaders in nearly every offensive category.
During that memorable 1994 campaign, she led UIC to their best-ever showing in the NCAA Tournament with wins over DePaul, Notre Dame and Indiana en route to the school?s first and only appearance in the College World Series.
O?Malley-Fisher?s accomplished playing career prepared her for a successful transition into the coaching ranks. Prior to her arrival at UIC, she served as assistant coach for the Whiteford Sharks 18-Under American Fastpitch Association team. Under O'Malley-Fisher?s guidance, the Sharks claimed the 1998 national 18-Under championship.
Accompanying her coaching duties for the Sharks, O?Malley-Fisher also worked multiple pitching and catching camps, and still continues to work camps throughout Illinois, New York, and Florida, as well as for Whiteford.
In addition to her work with the Sharks, O?Malley-Fisher also spent several years as a history and English teacher as well as an assistant softball coach at Downers Grove North High School in Downers Grove, Ill., from 1996-99.
O?Malley-Fisher is a 1994 UIC graduate, having received a Bachelor of Arts degree in history and English. She is married and she and her husband, Todd, reside in Oak Park, Ill.


text:
UAB LB Patrick Bastien discussed the progress the defense has made in the offseason on Wednesday.
July 24, 2013
IRVING, Texas ---- UAB head coach Garrick McGee and senior linebacker Patrick Bastien spoke to local and national media on Wednesday at the annual Conference USA Football Media Day about the exciting, upcoming 2013 season, set to begin Aug. 31 at Troy.
McGee, who enters his second season guiding the Blazer football program, and Bastien, a fifth-year senior, were accompanied by players and coaches of the other 13 Conference USA teams at the yearly media day meetings. Wednesday also gave future C-USA football members Charlotte and Old Dominion the opportunity to discuss joining the league.
Both McGee and Bastien spent Wednesday morning being interviewed with C-USA television partners prior to spending the afternoon discussing the upcoming season with print media, radio and local television affiliates.
The UAB football student-athletes will start fall camp on Tuesday, Aug. 6, as the Blazers begin preparations for the season opener at Troy.
Below are some comments from McGee and Bastien at Wednesday's Conference USA Football Media Day.
Head Coach Garrick McGee
On entering his second season as a head coach...
"I think if you are a very fast learner, and I pride myself in being a very fast learner, that if you run around the track once, you are supposed to know where all the curves are and where the straight-away is. I understand our conference, what schemes other coaches are running, our program and its positives and deficiencies, and I know our staff and players better. So I am in a better position, personally going into the second year, which is going to force our team to be in a better position."
Expectations on the team this year...
"We are in a really good place, because not many people know much about us. I think our team is a very good football team. I've been fortunate to coach a lot of different places and the skill level and talent level that we have on our team right now is as good as I've seen. We have depth at every position and we are a very fast football team. We have two quarterbacks that are capable of winning games, which not many teams have in the country. I'm really excited and I really love this team."
On UAB's offensive personnel...
"I've been very fortunate to coach some really good offenses and have seen some really good skilled players and quarterback play, but what we have going on now is a very, very fast offense. We have depth at every position. We have three running backs that are capable of starting for us, with one of them being an all-conference running back (Darrin Reaves).
"We have two wide receivers in J.J. Nelson and Maudrecus Humphrey that are running really low 100-meter track times and are really fast kids. Jackie Williams is back who has the longest active consecutive games streak with a catch in the country and Kennard Backman will be at tight end, who I think one day will be a NFL draft pick. So when you add all that up, and you have two quarterbacks, and I call the offensive plays and I am very comfortable with our system, I expect us to be very good on offense."
On the Blazers' defensive unit...
"We have 18 starters returning overall and most are on defense, only losing three on defense and everybody else is back. We changed our scheme on defense a little bit to give us more speed on the field and defend with these spread offenses, so we are confident and we are really looking forward to season."
Sr. LB Patrick Bastien
Expectations going into this season...
"I think the team enthusiasm is at an all-time high. I've been here for five years and the optimism and how everybody is feeling great and we have really bought in. We have put in the hard work and now we are waiting to see the results."
On playing under Coach McGee…
"He is a players' coach and whatever we do, he is going to make it fun. It could be a hard day of 24 periods of straight hitting, but he is going to find a way to get a positive things out of it and to laugh and enjoy it but at the same time we are going to work hard and we are grinding."
On the future of the program under Coach McGee...
"He has it heading in the right direction. We are going to get to where we are real consistent. Some of the guys that played last year were freshmen, and a lot of those guys are going to be four-year starters by the time they are seniors."
On defending the spread offense against C-USA opponents...
"We see (fast tempo) in practice everyday. Coach McGee preaches to use fast tempo in everything we do, so it is pretty much the culture. When we lift weights, we lift with a fast tempo. When we meet you need to get their fast. When you get out of your car you are running to the office fast. Everything we do is fast tempo so we will be ready for (spread, no-huddle offenses)."


text:
Honors: Three-time WAC All-Academic
2011: Hart started 20 games and played in all 22 on the back line for Idaho in her junior season … tied for fourth on the team with two assists, including her set-up of the game winner in the 3-2 victory over North Dakota State … also assisted the tying goal in Idaho's 1-1 draw in the season opener against UC Santa Barbara on Aug. 19 … helped lead a Vandal back line that shut out two opponents and held 13 opponents to fewer than two goals … was voted Players' Player of the game three times during the season by her teammates … Fall WAC All-Academic honoree.
2010: Hart was Idaho's most accurate shooter during the 2010 season. Her .143 shooting percentage was the best on the team among players attempting at least 20 shots. Her three goals were fourth-most on the team, and she added two more assists to give her eight total points, third-most on the team. She played in all 21 games for Idaho and started 13. She scored the game-winner in the 3-2 victory at Northern Colorado and both of her assists led to game-winning goals. She sent in the cross that led to Christina Boddie's overtime game-winner at Weber State on Sep. 14, then a week later, assisted the game-winning goal in the 1-0 win against Eastern Washington on Sep. 21.
2009: Hart played in all 19 games and started three for Idaho in her freshman season. She attempted 27 shots, nine of which were on goal, and scored twice. In her second career start on Sep. 18 against Eastern Washington, she netted two goals on four shots in a 4-1 Idaho victory. She also started the team's season-opener at #21 Washington State and the Sep. 20 game at Gonzaga.
High School/Club: Hart was a two-time all-Greater Spokane League selection at Gonzaga Prep. She led the Bullpups to a 2008 state tournament bid as a senior and earned first-team all-GSL accolades after earning second-team honors as a junior in 2007. As a senior, she ranked third in the GSL in scoring. Hart was a seven-year member of the Spokane Shadow club team, which she helped earn a 2007 West Regional title, as well as two West Regional semifinal appearances. She was a six-year starter for the Shadow. In addition to her soccer prowess, she was also a standout tennis player for Gonzaga Prep and was a 2008 all-GSL first-team selection.
Personal: She is the daughter of Craig and Andi Hart. She has one brother, Nick. Her major at Idaho is Management & Human Resources.


text:
George William Wilson
Position: E-DE
Height: 6-1 Weight: 199 lbs.
Born: February 3, 1914 in Chicago, IL
Died: November 23, 1978 in Detroit, MI
High School: Austin, St. John's Military Academy
College: Northwestern (school history)
Weighted Career AV (100-95-...): 0 (15060th overall since 1950)
Relatives: Father of George Wilson
3-time Pro Bowler & 1-time First-Team All-Pro (fine print)
Sponsor this page for $5 and help Pro-Football-Reference.com provide this service. Your message will replace this ad.


text:
Why Does the Sun Rise in the East (and Set in the West)?by Fraser Cain
Each morning, the sun rises in the east, makes its slow journey across the sky, and then sets in the west. Then it continues a journey around the other side of the Earth, and rises again the next morning. This is how it looks from here on Earth, and that's what ancient people thought was happening, but that view is totally wrong.
The truth is that the Earth is orbiting the Sun. It's the Sun that's motionless, and the Earth that's moving around it. From our vantage point, it looks like the Sun is going around the Earth, because it's actually the Earth that's turning. The Earth rotates on its axis once every 24 hours, so that the Sun returns to the same position in the sky every day.
If you could look down on the Solar System and see all the planets, they would all be rotating in the same direction: counter clockwise, from west to east. Actually, there are two exceptions. Venus rotates backwards compared to the other planets. Astronomers think that it was stuck by a large asteroid millions of years ago that disturbed its original direction of rotation. Uranus has been knocked over so it looks like it rotates on its side, probably from a similar asteroid impact millions of years ago.
If you could fly out of the Earth and stare down at our planet's north pole, you would see the world spinning beneath you in a counterclockwise direction. This means that if you're standing on the Earth and looking at the Sun, it appears to be moving west in the sky. Of course, this is actually just your feet moving east as the planet rotates. As the day goes on, parts of the Earth which are to the west will get their chance to be in the sunlight, one after the other. This is why sunrise on the east coast of the United States happens 3 hours before regions on the west coast.
Why does the Earth rotate? That's a different article. And here's why the Earth has seasons.
Here's an article from Cornell's Ask an Astronomer about this question. And this article from How Stuff Works explains the whole Solar System.
We have recorded an episode of Astronomy Cast just about the Sun called The Sun, Spots and All.
NASA StarChild


text:
Groovy baby, Groovy!!! Bring 1967 and Summer of Love to your bedroom, with our sixties inspired tie dye bedding. Go a little wild, and add a splash of rainbow color to any room with tie dye comforters, quilts and bedspreads, duvet covers and sheets available in a variety of bed sizes including queen, king and cal king. You will absolutely love our selection of bright and beautiful rainbow colored sets in red, green, blue, purple and yellows or dark and demure, without single solid colored tie dye bed sets that add a real funky feel to your room. For a 1960's inspired hippie themed bedroom, tie dye comforter sets, bedspreads, quilt and duvet covers. Great for boys, girl and teen bedrooms, tie dye kids bedding sets are a world away from the usual patterns that you see in most bedrooms, and add a real splash of color to your room, and are available in twin and full sizes, as well as twin xl for college bedroom and dorm rooms.More Cool Teen Style Bedding & Decor
Every day is a party day with our unique selection of comforters, sheet sets and pillowcases, which are also perfect for the kids and teens rooms. Our retro sixties style sets will dramatically enhance the decor of any room in your home, with our collection ensembles featuring Euro shams and decorator pillows, complete bed in a bag sets, flat and fitted sheets, pillowcases and bed sets. Why have a plain and boring place, when you can go completely retro and transport yourself right back to the hippie era? Add cool 60's hippie style to your teenagers bedroom with tie dye sheets, fun colors in super soft cotton. With our bed sets you can really help to stimulate the imagination of your children with these bright and daring prints, and images of peace signs, cool zebra stripes in hot pink and ime green. For more sixties decorating ideas - don't stop with your bedroom - bring 1967 and the Summer of Love to your entire home and enhance your living room, kitchen, bathroom and dining room with some funky colors, with our fantastic range of curtains, window treatments, drapes and valances. To really get a feel of the hippie s 60's, you definitely want to ensure that everything matches, including the tie dye pillows, decorative throws and shams that we have available.You can also home decor with our affordable range of shower curtains, bath sets and rugs. If you would dramatically like to change the decor of your bedroom - or indeed any room in your home - but are on a tight budget, then fear not. We offer many discounted tie dye bedding sets, quilts, bedspreads, pillows, curtains and rugs on sale and in our clearance department, so you don't have to spend a lot of money to change the theme of your room.


text:
Rethink Woodstock Avenue proposalMarch 31,2014Rethink Woodstock
Avenue proposal
I have been traveling Woodstock Avenue daily for over 30 years. I agree completely with the views expressed by Jim and Joan Watson in Thursdays paper. This proposal to change Woodstock Avenue makes no sense and can only lead to traffic tie-ups and accidents. Please rethink this whole idea.
RutlandMORE IN LettersI just recently saw a response to my letter from a few weeks ago. Full StoryIt amazes me that a joint committee between Rutland Town and West Rutland, called the Smart... Full StoryWhen those who oppose the resettlement of Syrian refugees understand the reality of barrel bombs,... Full Story
- Most Popular
- Most Emailed


text:
Jamey Scott Special: Reader Questions
Here are the questions made by the readers and answered by our special guest Jamey Scott.
Designing Sound Reader: You said you enjoy building scenes from scratch. Where do you like to start? Background to foreground? Foreground to background?
Jamey Scott: I prefer background to foreground. Frequently background stuff gets discarded as mixes get bigger, but I like to have it to work with.
DSR: How heavily baffled is your ADR recording room? Is the ideal space for ADR a completely dead room, or do you like having reflections in it for options?
JS: My ADR room is relatively small with 702 fiberglass on the walls and a cloth covering, so reflections are minimized. There's a window, but I usually have it covered with a thick curtain to eliminate bounce. My ADR recordings don't have any reflection problems and there is no "room sound" in them, so I think it's a better way to go for flexibility rather than having a built in sound. You can always give it color later but you can't take it out, so it's important to record as dry as possible, in my opinion.
DSR: Which type of mouse do you use? Are you a trackball or classic mouse user? How do you mix string swells and emotional music where you "feel" your way through the faders with a mouse?
Read More
JS: I just use a regular old optical mouse.. $9.95 @Frys. I've tried to get used to trackballs as a lot of friends swear by them, but I never could. When I make fader moves with music, I use the virtual faders in ProTools and just move them up and down with the mouse. Frequently though, I get better results just tweaking the automation envelopes.