Roger norrington haydn biography
•
Prince Consort Professor of Historical Performance
Sir Roger Norrington was born in Oxford, and comes from a musical University family. He was a talented boy soprano, studying the violin from the age of ten and singing from the age of seventeen. He read English Literature at Cambridge University, and spent several years as an amateur violinist, tenor singer, and conductor, before attending the Royal College of Music as a postgraduate student of conducting, studying with Sir Adrian Boult.
In 1962 Sir Roger Norrington founded the Schütz Choir. This marked the beginning of a thirty-year exploration of historical performance practice. With the choir, he gave many innovative concerts, and made numerous recordings for Argo/Decca, chiefly of 17th- century repertoire. These performances were initially accompanied by the London Baroque players, and later, as Norrington’s explorations moved forward chronologically, by the London Classical Players. As Norrington’s interest
•
Roger Norrington
British conductor (born 1934)
Sir Roger Norrington CBE | |
|---|---|
Norrington conducting at rehearsal | |
| Birth name | Roger Arthur Carver Norrington |
| Born | (1934-03-16) 16 March 1934 (age 90) Oxford, Oxfordshire, England |
| Genres | Classical |
| Occupation(s) | Conductor, advisor |
| Years active | 1962–2021 |
Musical artist
Sir bekräftelse Arthur Carver NorringtonCBE (born 16 March 1934) is an English conductor. He is known for historically informed performances of Baroque, Classical and Romantic music.
In November 2021 Norrington announced his retirement.[1]
Life
[edit]Norrington is the son of Sir Arthur Norrington and Edith Joyce Norrington née Carver, and his brother is Humphrey Thomas Norrington. He studied at The Royal Conservatory of Music[2] in Toronto, Dragon School, Oxford, Westminster School, Clare College, Cambridge and the Royal College of Music under Adrian Boult among others. Norrington played the violin, and worked as
•
Program: Conductor Roger Norrington
"There is no such thing as an 'authentic' style. Essentially, it's directly informed performance practice. Every conductor wants to do the music like the composer does. It's just that as the composers get further and further away, and as our styles develop, we simply need to get a bit more basic information."
Witnessing the Australian Chamber Orchestra get a standing ovation on historically informed instruments this week, for their almost all-Beethoven concert with forte pianist Kristian Bezuidenhout playing the 'Emperor' Concerto, reminded me how far we've come in terms of audience's acceptance, even reverence for period instruments and historically informed performances.
A reminder of how much we owe to the movement's pioneering elders, like Sir Roger Norrington who is celebrating his 90th birthday this month.
When Norrington first began evangelising for "authentic" perfo