52 results
The effects of job characteristics on retirement
- Péter Hudomiet, Michael D. Hurd, Andrew M. Parker, Susann Rohwedder
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- Journal:
- Journal of Pension Economics & Finance / Volume 20 / Issue 3 / July 2021
- Published online by Cambridge University Press:
- 11 February 2020, pp. 357-373
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Along with data about actual, desired, and anticipated job characteristics, this paper uses a novel data element, the subjective conditional probability of working at age 70, to estimate the causal effects of job characteristics on retirement in the United States. Having flexible work hours is the most consistent predictor of retirement preferences and expectations: if all current workers had flexible hours, the fraction working at age 70 would be 0.322, but it would be just 0.172 if none had this option. Job stress, physical, and cognitive job demands, the option to telecommute, and commuting times were additional predictors of retirement expectations.
Water entry of deformable spheres
- Randy C. Hurd, Jesse Belden, Michael A. Jandron, D. Tate Fanning, Allan F. Bower, Tadd T. Truscott
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- Journal:
- Journal of Fluid Mechanics / Volume 824 / 10 August 2017
- Published online by Cambridge University Press:
- 14 July 2017, pp. 912-930
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When a rigid body collides with a liquid surface with sufficient velocity, it creates a splash curtain above the surface and entrains air behind the sphere, creating a cavity below the surface. While cavity dynamics has been studied for over a century, this work focuses on the water entry characteristics of deformable elastomeric spheres, which has not been studied. Upon free surface impact, an elastomeric sphere deforms significantly, giving rise to large-scale material oscillations within the sphere resulting in unique nested cavities. We study these phenomena experimentally with high-speed imaging and image processing techniques. The water entry behaviour of deformable spheres differs from rigid spheres because of the pronounced deformation caused at impact as well as the subsequent material vibration. Our results show that this deformation and vibration can be predicted from material properties and impact conditions. Additionally, by accounting for the sphere deformation in an effective diameter term, we recover previously reported characteristics for time to cavity pinch off and hydrodynamic force coefficients for rigid spheres. Our results also show that velocity change over the first oscillation period scales with the dimensionless ratio of material shear modulus to impact hydrodynamic pressure. Therefore, we are able to describe the water entry characteristics of deformable spheres in terms of material properties and impact conditions.
UNTYING THE GORDIAN KNOT OF MENS REA REQUIREMENTS FOR ACCOMPLICES
- Heidi M. Hurd, Michael S. Moore
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- Journal:
- Social Philosophy and Policy / Volume 32 / Issue 2 / Spring 2016
- Published online by Cambridge University Press:
- 29 April 2016, pp. 161-183
- Print publication:
- Spring 2016
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This essay undertakes two tasks: first, to describe the differing mens rea requirements for accomplice liability of both Anglo-American common law and the American Law Institute's Model Penal Code; and second, to recommend how the mens rea requirements of both of these two sources of criminal law in America should be amended so as to satisfy the goals of clarity and consistency and so as to more closely conform the criminal law to the requirements of moral blameworthiness. Three "pure models" of the mens rea requirements for complicity are distinguished, based on the three theories of liability conventionally distinguished in the general part of Anglo-American criminal law. One of these, the vicarious responsibility model, is put aside initially because of both its descriptive inaccuracy and its normative undesirability. The analysis proceeds using the other two models: that of the mens rea requirements for principal liability for completed crimes, and that of the mens rea requirements for attempt liability. Both the common law and the Model Penal Code are seen as complicated admixtures of these two models, the common law being too narrow in the scope of its threatened liability and the Model Penal Code being both too broad and too opaque in its demands for accomplice liability. The normative recommendation of the paper is to adopt the model for the mens rea of complicity that treats it as a form of principal liability, recognizing that the overbreadth of liability resulting from adoption of that model would have to be redressed by adopting a "shopkeeper's privilege" as an affirmative defense separate from any mens rea requirement.
How to Get Away with Cholera: The UN, Haiti, and International Law
- Mara Pillinger, Ian Hurd, Michael N. Barnett
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- Journal:
- Perspectives on Politics / Volume 14 / Issue 1 / March 2016
- Published online by Cambridge University Press:
- 21 March 2016, pp. 70-86
- Print publication:
- March 2016
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The legalization of world politics is often celebrated for reducing impunity for those who contribute to humanitarian crises. This may sometimes be true but the opposite is also true. In 2010, United Nations peacekeepers unwittingly brought cholera to Haiti and sparked an epidemic. Nearly a million people were made sick and 8,500 died. Legal activists have sought to hold the UN responsible for the harms it caused and win compensation for the cholera victims. However, these efforts have been stymied by the structures of public international law—particularly UN immunity—which effectively insulate the organization from accountability. In short, the UN is empowered, and the cholera victims disempowered, by legalization. The Haiti case powerfully illustrates the dangers of legalism, which have been largely overlooked in discussions of international law, and suggests that law alone is an inadequate arbiter of responsibility in international politics.
Contributors
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- By Rony A. Adam, Gloria Bachmann, Nichole M. Barker, Randall B. Barnes, John Bennett, Inbar Ben-Shachar, Jonathan S. Berek, Sarah L. Berga, Monica W. Best, Eric J. Bieber, Frank M. Biro, Shan Biscette, Anita K. Blanchard, Candace Brown, Ronald T. Burkman, Joseph Buscema, John E. Buster, Michael Byas-Smith, Sandra Ann Carson, Judy C. Chang, Annie N. Y. Cheung, Mindy S. Christianson, Karishma Circelli, Daniel L. Clarke-Pearson, Larry J. Copeland, Bryan D. Cowan, Navneet Dhillon, Michael P. Diamond, Conception Diaz-Arrastia, Nicole M. Donnellan, Michael L. Eisenberg, Eric Eisenhauer, Sebastian Faro, J. Stuart Ferriss, Lisa C. Flowers, Susan J. Freeman, Leda Gattoc, Claudine Marie Gayle, Timothy M. Geiger, Jennifer S. Gell, Alan N. Gordon, Victoria L. Green, Jon K. Hathaway, Enrique Hernandez, S. Paige Hertweck, Randall S. Hines, Ira R. Horowitz, Fred M. Howard, William W. Hurd, Fidan Israfilbayli, Denise J. Jamieson, Carolyn R. Jaslow, Erika B. Johnston-MacAnanny, Rohna M. Kearney, Namita Khanna, Caroline C. King, Jeremy A. King, Ira J. Kodner, Tamara Kolev, Athena P. Kourtis, S. Robert Kovac, Ertug Kovanci, William H. Kutteh, Eduardo Lara-Torre, Pallavi Latthe, Herschel W. Lawson, Ronald L. Levine, Frank W. Ling, Larry I. Lipshultz, Steven D. McCarus, Robert McLellan, Shruti Malik, Suketu M. Mansuria, Mohamed K. Mehasseb, Pamela J. Murray, Saloney Nazeer, Farr R. Nezhat, Hextan Y. S. Ngan, Gina M. Northington, Peggy A. Norton, Ruth M. O'Regan, Kristiina Parviainen, Resad P. Pasic, Tanja Pejovic, K. Ulrich Petry, Nancy A. Phillips, Ashish Pradhan, Elizabeth E. Puscheck, Suneetha Rachaneni, Devon M. Ramaeker, David B. Redwine, Robert L. Reid, Carla P. Roberts, Walter Romano, Peter G. Rose, Robert L. Rosenfield, Shon P. Rowan, Mack T. Ruffin, Janice M. Rymer, Evis Sala, Ritu Salani, Joseph S. Sanfilippo, Mahmood I. Shafi, Roger P. Smith, Meredith L. Snook, Thomas E. Snyder, Mary D. Stephenson, Thomas G. Stovall, Richard L. Sweet, Philip M. Toozs-Hobson, Togas Tulandi, Elizabeth R. Unger, Denise S. Uyar, Marion S. Verp, Rahi Victory, Tamara J. Vokes, Michelle J. Washington, Katharine O'Connell White, Paul E. Wise, Frank M. Wittmaack, Miya P. Yamamoto, Christine Yu, Howard A. Zacur
- Edited by Eric J. Bieber, Joseph S. Sanfilippo, University of Pittsburgh, Ira R. Horowitz, Emory University, Atlanta, Mahmood I. Shafi
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- Book:
- Clinical Gynecology
- Published online:
- 05 April 2015
- Print publication:
- 23 April 2015, pp viii-xiv
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Contributors
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- By J. William Allwood, Eleni T. Bairaktari, Jean-Pierre Bellocq, Malika A. Benahmed, Hanne Christine Bertram, Zaver M. Bhujwalla, Ulrich Braumann, Juan Casado-Vela, Marta Cascante, Arancha Cebrián, Albert Chen, Man Ho Choi, Bong Chul Chung, Yuen-Li Chung, Morten Rahr Clausen, Patrick J. Cozzone, Ralph J. DeBerardinis, Julien Detour, Santiago Díaz-Moralli, Warwick B. Dunn, Karim Elbayed, Udo Engelke, Teresa W.-M. Fan, Ana M. Gil, Kristine Glunde, Markus Godejohann, Teresa Gómez del Pulgar, Royston Goodacre, Angelina Goudswaard, Gonçalo Graça, Richard W. Gross, Herbert H. Hill, Ralph E. Hurd, Alessio Imperiale, Kimberly A. Kaplan, Neil L. Kelleher, Michael A. Kiebish, Ann M. Knolhoff, Christina E. Kostara, Juan Carlos Lacal, Andrew N. Lane, Martin O. Leach, Norbert W. Lutz, Elizabeth Maher, Craig R. Malloy, Isaac Marin-Valencia, Laura Menchén, Bruce Mickey, Fanny Mochel, Éva Morava, François-Marie Moussallieh, Izzie J. Namer, Peter Nemes, Ioanna Ntai, Geoffrey S. Payne, Marie-France Penet, Martial Piotto, Stanislav S. Rubakhin, Elsa Sánchez-López, A. Dean Sherry, Bindesh Shrestha, Jonathan V. Sweedler, Akos Vertes, Mark R. Viant, Ralf J. M. Weber, Ron Wehrens, Ron A. Wevers, Catherine L. Winder, David S. Wishart, Kui Yang, Yi-Fen Yen
- Edited by Norbert W. Lutz, Jonathan V. Sweedler, University of Illinois, Urbana-Champaign, Ron A. Wevers
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- Book:
- Methodologies for Metabolomics
- Published online:
- 05 January 2013
- Print publication:
- 21 January 2013, pp viii-xii
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Inter-vivos giving by older people in the United States: who received financial gifts from the childless?
- MICHAEL HURD
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- Journal:
- Ageing & Society / Volume 29 / Issue 8 / November 2009
- Published online by Cambridge University Press:
- 15 October 2009, pp. 1207-1225
- Print publication:
- November 2009
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Inter-vivos financial transfers from older parents to their adult children are widespread in the United States. Childless people may simply make fewer transfers. On the other hand, because their giving is away from children, their decisions are more complex in that there are multiple potential targets of approximately equal attractiveness. Using data for 1996 to 2004 from the United States Health and Retirement Study, this article examines the differences between parents and childless older people in financial transfers to people other than their children. The results show that, overall, parents tend to give less than the childless to other people. However, some variation is found depending on the nature and target of the gift. Having children does not affect giving to charities but does reduce the prevalence of giving to parents, but not nearly as much as the reduction in giving to family and friends. It can therefore be concluded, first that there is little substitution between personal and impersonal transfers; secondly, that the sense of obligation to parents is not reduced by giving to charities or to children; and thirdly, that having children reduces the need to satisfy the desire for family and social ties by means of links to family and friends.
1937
- Edited by Howard Ferguson, Michael Hurd
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- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 140-169
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Aldbourne, Wilts.; 1 JanuaryA happy New Year to you.
Fergie, O Fergie, O Fergie! You can't imagine what deliriums, great thoughts and gastric juices are raised by such a present [half a farmhouse Stilton cheese that had been given to H.F. by Toty de Navarro]. It was very generous, in spite of your disclaimer, for it might have gone elsewhere. And if you hadn't said anything about its origin, I should have thought you got it straightfrom Fortnums. (Now I can't possibly say the same about your cast-off clothes.)
I see by the programme which you enclosed that the ‘Five Tudor Portraits’ [R.V.W.] is down for the 27th, so I'll come up for that and combine it with those part-songs on the 29th. I'm coming up on the 11th and will see you at the concert. Would it be convenient if I came round to Willoughby Road the next morning about 10.0? (I don't know what time you like on account of Nunky.) I'm told that the first night of Steuart Wilson's production of ‘The Lily Maid’ is on the 11th, so I might go along to hear it on the 12th.1 Some out-of-the-way hole - the Palace - or some such place. If it does come off I should like to see not only Steuart conduct, but also what he considers a really economical and satisfactory opera.
All news when we meet. Love to Nunky. I suppose I'll be allowed to see him? Love from Joy. G.
34 Wiloughby Road, N.W.3; 3 JanuaryLIKEWISE, A happy New Year!
Dearest Dave,
So glad you will enjoy the Stilton. It is quite a good one, but not the very best I have ever tasted, so don't let your expectation soar too high.
About the 12th. You may remember that in a previous letter I said there was something I wanted to ask you about when we next met: a question of to be or not to be. To be less mysterious, there is a set of five short pieces for clarinet and piano [H.F.'s ‘Four Short Pieces', Op.6] which I would like your opinion on: they are very slight, but well enough done in their way, I think, and I would like to know whether you think they merit publication and a number all to themselves. My feeling is that they do, but I should like to have your agreement before doing anything about it.
1942
- Edited by Howard Ferguson, Michael Hurd
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- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 228-233
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106 Wildwood Road, N.W.11; 11 JanuaryDearest Dave,
Thank you very much or your letter. It was good to find it waiting here for my return, and to know that you have been able to get home at Christmas after all.
AbouttheBachConcerto:Iwouldquitehonestlysoonernotdoitat Wokingham on 1 April - though the date is almost irresistible. There are two reasons, the lesser being that it is difficult for me to get away on week- nights, and the greater, that while I would be amused to come and play the work one Sunday in the charming obscurity of one of your local churches, I would hesitate to do so anywhere more public, never to mention an occasion that calls itself a Festival Concert. Sorry to be tiresome, but there it is. The Concerto is difficult and would need a lot of work to play really well; and I have not enough time for that - more especially as I begin to feel that I may have been wrong in imagining that I could write nothing more while the war lasted. We [H.F. and the Griller Quartet at R.A.F. stations] had a very pleasant timein Ireland, though the pianos were of an even lower standard than usual (and that's saying some!). I feel much refreshed after the change. Tomorrow the Orchestra, with me in tow, go off on a ten days’ tour of Army Co-Operation Units in the Andover district. It doesn't sound so far away from Ashmansworth, does it? What fun if it were possible for me to run over sometime. Unfortunately
I don't know our address yet; but if there's any chance I'll phone up.
For your information, the Grillers are repeating the Bloch Quartet at the Gallery on Friday 23rd. And are giving the 1st performance of Arthur's new Quartet1there sometime in March (the 12th I think). I have had a go at the score of the latter, and have heard them play bits of it; both methods of enquiry lead me to the painful conclusion that the work is disappointing and nothing like so good as, say, the Clarinet Quintet. Sad. They are also going to play a new Britten quartetat a Boosey & Hawkes concert, but I have not yet seen that.
1926-1927
- Edited by Howard Ferguson, Michael Hurd
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- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 4-15
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12 Clarendon Road, London W.11; 3 OctoberDear Mr Finzi,
Please forgive my delay in answering your letter. I received it while away from London, and have only just returned this week. I enclose the Sonata [G.F. had asked for the loan of a Sonata for Violin & Piano, written by H.F. c.1925 at the R.C.M. It was later destroyed.] but fear it won't be the least good to you - try Beethoven!!
Best wishes, Howard Ferguson.
I sail for U.S. in December.
[Harold Samuel had been booked for a four-month tour in the U.S.A. early in 1927. As he was going to be away for so long he decided to rent an apartment in New York, and take along Pu (H.F.'s ex-nanny) as housekeeper. As R.O. Morris (H.F.'s composition teacher) had just become Head of the Theory Department at the Curtis Institute in Philadelphia, H.F.'s ever-helpful parents agreed that he too should go to America, so that lessons with Samuel and Morris should be uninterrupted. Thus it came about that Harold, Pu and H.F. sailed for New York on the Cunarder Celticon 18 December 1926. Their apartment in New York was at 410 West End Avenue.]
[21 Caroline Street, London S.W.1; late December 1926.]G.F.'s ink drawing of H.F.'s arrival in Philadelphia, Pa., where (in spite of all the luggage) he was notstaying.]
410 West End Avenue, New York, U.S.A.; 9 FebruaryDear Finzi,
Greetings from the land of the unfree; greetings from this the dirtiest city in the world [compared] to your poor dear despised only second dirtiest London. You say it is dirty, but you don't know what dirt is until you come here; I always had the impression that this was a clean place, now that I am here I know better. You can't leave a book on the piano overnight without its becoming covered with dust; I spend all day washing my hands, and by the evening I am - dirty. Everything you touch is dirty, in fact the whole place is dirty.
Having got that off my chest, I will go on to say really how very much I am enjoying myself here, in spite of all the dirt, dust and what not.
1951
- Edited by Howard Ferguson, Michael Hurd
-
- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 268-273
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106 Wildwood Road, N.W.11; 4 JanuaryDearest Dave,
I don't know what to say about the opening of the Clarinet Concerto (G.F.'s). The only time I heard it in the flesh - at Oxford - the opening in particular struck me as being tremendously exciting and impressive. It would therefore never have occurred to me that anything wanted doing to it. The cellos and basses might certainly make it more exciting; but I don't really feel I know enough of string orchestral writing to say this with any certainty. Why not try them at the next performance and see whether it sounds more to your liking that way?
Finished another movement (the third) of the Piano Concerto the other day. Up to St Andrews next week for a long weekend with Ceddy & Bruno, and a talk to the Music Club on ‘Bach's Lute Music and the Keyboard'. Then home to try to get on with the first movement [written last], about which I've had no further ideas.
Much love to all of you, and every possible good wish for 1951. Ever, Howard.
106 Wildwood Road, N.W.11; 30 JanuaryDearest Dave,
So glad you and Joy were able to listen on Friday last. Many thanks for your card. Oddly enough, I quite enjoyed myself too, for there were more right notes than I had any reason to expect! Also, I was just in the mood.
Menotti? But he isn't here yet, is he? Certainly ‘The Consul', which is the name of the opera, hasn't yet come on, for I would have noticed about the 1st performance in the papers. nor is there any sign of it in the theatre advertisements. But I seem to remember reading some time ago that [Laurence] Olivier was bringing it over to the St James, so at least Menotti will be better looked after than last time. I'd love to go with you and J, and will certainly let you know if I hear of any party in the air.
I've already read the Wedgwood [ ‘Social History of England’] and thought it first-rate.
I'd very much like to show you the beginning of the first movement of the [Piano] Concerto, to see whether you think it fits with the rest.
Biographical Background I
- Edited by Howard Ferguson, Michael Hurd
-
- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 3-4
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Summary
Though seven years younger than Gerald Finzi, Howard Ferguson was, in terms of musical experience and personal maturity, very much his senior. Nor was this surprising, for the pattern of his early years had been such as to arm him with a self-confidence and sense of purpose much greater than that which Finzi's experience of life had provided.
Born in Belfast on 21 0ctober 1908, Howard Ferguson was the youngest of the five children of Stanley and Frances Ferguson. His father was the Managing Director of the Ulster Bank and, though his mother played the piano, the family was not particularly musical. His sisters, however, endured piano lessons as a necessary ‘accomplishment', and it was this that awoke his interest and led him to demand lessons of his own.
He was lucky in his second teacher, Frederick Sawyer, and later even luckier in an encounter with the distinguished pianist Harold Samuel (1879-1937), who not only awarded him a prize in the 1922 Belfast Musical Competitions but, recognizing in him an exceptional talent, suggested that he should accompany him to London where he would prepare him for entry into the Royal College of Music after a period of general study as a day boy at Westminster School.
Most parents would have found the idea alarming, but the Fergusons recognized Harold Samuel's utter probity and agreed to entrust their son to his care. A suitable family was found for him to lodge with, but when this arrangement came to an end he joined Harold Samuel's own bachelor household. With him, however, went his beloved Nanny, May Cunningham - affectionately known as Pu (short for Pussycat) - who would not only vouch for his welfare, but could also help care for Samuel's elderly mother. From this moment Howard Ferguson became, to all intents and purposes, the son and heir that Harold Samuel never had; and it says much for the strength of his musical purpose that, however loving and supportive his blood family had been, he was content to exchange their artistic limitations for a life in which music was paramount and every day brought fresh insights into its mysteries.
Ferguson enrolled as a student of the Royal College of Music in 1924, studying harmony and counterpoint with R.0. Morris (1886-1948) and conducting with Dr Malcolm Sargent (1895-1967). Piano lessons continued, privately, with Harold Samuel.
1929
- Edited by Howard Ferguson, Michael Hurd
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- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 52-62
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Hundon, Clare, Suffolk; 2 JanuaryDear Fergie,
As you will be in London on the 7th, perhaps you will be able to use this ticket. If not, I don't want it back: you could leave after the Scho· nberg. ‘Sea Drift’ sounded beautiful in performance, but I don't for a moment think it's the best Delius. Apart from ‘The Cuckoo’ there is the ‘Song of the High Hills', as well as at least two orchestral works - ‘Brigg Fair’ and ‘In a Summer Garden’ - which I love better and are consistently beautiful. Mrs RO showed me Mary Webb's poems. She, like you, very enthusiastic about them - but I only just glanced over them and so probably got quite a wrong idea when I thought them a bit wishy-washy. I shall certainly get them.
I hope to go to Gloucester for a few days, but expect to get back to London fairly soon, as I must get my mouth X-rayed. Certainly I shall be back in time for the B.B.C. Concert, and if you get a ticket you might get one for me at the same time (a 3/- upstairs). G.F.
12 Clarendon Road, W.11; 11 January[Dear Dave]
Herewith ticket for Friday. Do let me know when you'll be up, and we will arrange a ‘soire’ e musicale'. The B.N.O.C. [British National Opera Co.] will be at Golder's Green from the 28th January, when I expect they will do ‘Falstaff’ [Verdi]. I will get notices and tell you all about it, and we can arrange when you want to go. I can't go to the Phil, alas. I'm sorry for V.W. that he doesn't like the Grand Fantasia. H.F.
I can now get through the Bartok with some right notes.
12 Clarendon Road, W.11; 14 January[Dear Dave]
May I come to tea on Friday before the B.B.C. Concert? I shall come straight on from College and will be with you around 4.30. Love to go to the C.M.C. [Contemporary Music Centre]. You come here for dinner first - about 6 or so. (That's Wednesday.) Salaams. H.F.
Second thoughts: it would be much simpler if you came here on Friday at 4.15, and stayed on to dinner. Why not then come and see ‘The Mock Emperor'? [Pirandello's ‘Enrico Quarto', with Ernest Milton, for which H.F. was playing in the theatre band.]
1946
- Edited by Howard Ferguson, Michael Hurd
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- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 242-246
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Dearest Dave,
Yes, the night of Wednesday 13th is all right. The only pity is that I shall be at ‘Grimes’ - but perhaps you are going too? Anyway, I could pick you up in town afterwards, as I will have to drive Tim Scott to Paddington after the show is over, as he has to get back to his R.A.F. dump.
It's a great tragedy about the Gallery [the closing down of the Concerts on 10 April]. I think, however, much worse is the Trustees’ manner of doing it, which you shall hear when we meet.
Alas, I missed Paul's broadcast of the Bagatelles [G.F.'s]. I'm glad it was satisfactory; but I'm puzzled to know why they didn't ask me to play them with her. I shall look into that.
Let me know where to pick you up on Wednesday. Love, Howard.
106 Wildwood Road, N.W.11; 21 MarchDearest Dave,
Many thanks for your letter. I think something should be done about it, but I don't know quite what. Myra is almost demented at the moment, what with one thing and another, and our usual ‘point of contact’ [Sir Stafford Cripps] is, as you know, away in India. But we'll see.
How very odd about your Haydns. I got a complete set of the 83 Quartets in the little Heckel edition this week too! Notfor 10/6; still it was worth it. The only difference seems to be that mine is in 6 volumes, and you say yours is in 5. [I later discovered that one of the Quartets was missing from my set.] I've now got all the Heckel scores, except the little volume of Mozart Divertimentos (Sextets) which I'm still looking out for. [I never found one.] Love, Howard
106 Wildwood Road, N.W.11; 30 MarchDearest Dave,
Thanks for letting me know about the eggs. Nols gets home today, I think, so probably I'll hear from him and the eggs at the same time. If not, I'll do something about it before they have a chance to wither away.
Foreword
- Edited by Howard Ferguson, Michael Hurd
-
- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp ix-x
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Summary
When Howard Ferguson died on 1 November 1999 he had only a few days before finished finally checking the typescript of his and MichaelHurd's edition of his correspondence with Gerald Finzi. Ihadfirstheardofhis plans for the edition shortly after he had asked me to act as his musical executor in 1988. Thereafter the book regularly cropped up in letters and conversation: Gerald had been the friend closest to him in his composing years and their friendship had had much the same artistic and personal significance for each other as that which, in an earlier generation, had been shared by Vaughan Williams and Holst. Thus at the end of a long and extraordinarily productive life as composer, performer and musicologist, Howard wanted very much to share this correspondence with the public as an illumination of his and Gerald's lives and music. Firm plans for publication had not been completed by the time of his death and thus it has fallen to me to bring Howard's last project to fruition.
In the Preface Howard himself acknowledges all those who helped and supported the project in his lifetime, notably Christopher and Nigel Finzi and Stephen Banfield, but the actual publication of the correspondence has only been made possible with support from further sources. It was clear from a reading of Howard's first draft that a certain amount of further explanatory text and footnotes would be required for the contemporary reader, a point which Howard readily accepted. Michael Hurd very kindly undertook to revise the whole edition in collaboration with Howard, and provide the necessary extra material, nearly all of which was seen and approved by Howard before his death. Howard's estate stands very much in Michael's debt for the care, attention and enthusiasm which he has brought to the project.
Throughout his life Howard had had a warm relationship with the RVW Trust, which had regularly given financial support for the recording of much of his and Gerald's music. The Trustees, encouraged by Ursula Vaughan Williams, kindly agreed to support this publication too as a fitting memorial to the two composers it had helped so often in the past. Howard's family and executors would like to acknowledge the generous grant which has made this book possible.
1956
- Edited by Howard Ferguson, Michael Hurd
-
- Book:
- Letters of Gerald Finzi and Howard Ferguson
- Published by:
- Boydell & Brewer
- Published online:
- 23 March 2023
- Print publication:
- 15 July 2001, pp 299-302
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Summary
106 Wildwood Road, N.W.11; 14 January[Dearest Dave]
Many thanks. So long as it reached you, and I don't have to buy two more copies! As to your earlier letter and John's: just think of all the lovely Christmas presents that may not have reached me! So glad [William] Boyce is getting on. It must be the hell of a job. I've finished more than half the scoring of Q.A.L.: see ‘Midsummer Night's Dream', III, i, 141: ‘Mine eare is much enamoured of thy note'. Love, H.
106 Wildwood Road, N.W.11; 20 JanuaryDearest Dave,
Could you cast your eye over this, and tell me whether you think the voice would come through? I could score it more lightly if necessary - for instance, after 51 leave out Flute 2 and Bassoon, and so on throughout. I would prefer it as it is, which is the way I'd do it if I had no voice to think of; but I feel rather at a loss to know just through what a voice will or will not carry.
Sorry to bother you with this in the midst of Boyce. Love, H.
106 Wildwood Road, N.W.11; 24 JanuaryDearest Dave,
Very many thanks. That's exactly what I wanted to know. So long as it is all right in the main, I can easily lighten that one bar before figure 53; the voice there, incidentally, is meant to gradually appear throughthesurrounding murk, so it wouldn't matter if it were covered to begin with. Yes, I remember reading (in Strauss's preface to ‘Capriccio', of all places) that independent high flutes were apt to hide voices and words. But I think I'll cross fingers and hope for the best, as far as the beginning of this section is concerned, as I've always had the flute-colour in mind and would be sorry to change it for strings, unless bitter experience proves it to be absolutely necessary. Anyway, it's a great comfort to know that you think it should be O.K.
Alice [Sumsion] very kindly wrote the other day to ask whether I wanted anything done about accommodation [for the Gloucester Festival]. I replied that I would like best of all to be with all of you at the Headmaster's house, if this were possible. Otherwise, to sleep elsewhere and, again if possible, feed with you.
Music Index
- Edited by Howard Ferguson, Michael Hurd
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- Letters of Gerald Finzi and Howard Ferguson
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1939
- Edited by Howard Ferguson, Michael Hurd
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- Letters of Gerald Finzi and Howard Ferguson
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14 Deramore Park South, Belfast; 4 JanuaryDearest Dave,
Here is ‘Dies Natalis'. I have marked fairly fully Nos. 1, 2 & 5; but 4, the Arioso, defeats me utterly. I can feel a general emotional rise and fall in it, but I cannot for the life of me feel the harmonic ‘breathing places’ that condition phrasing: it just seems to move on and on without ever sitting down. If you had marked the phrasing I could have put in the dynamics; but as I do not seem to have the wit to disentangle the phrasing for myself, and as I cannot do the dynamics without it, I must leave both to you. The few points I have put in are things I feel definitely; but they are more or less shots in the dark, so don't go by them. I am so sorry to be obtuse about this. As you know, I have never liked the Arioso as much as the rest, and I think the reason must be that I have never been able to follow it clearly. I has seemed like a beautiful but somewhat inchoate piece of emotional illustration. Doubtless I am wrong about this; but that, for present purposes, is beside the point. And I still feel that it belongs to the period when you relied, as I see it, too much on emotional rise and fall as a means of giving shape to a work, and not enough on a synthesis between emotional rise and fall and purely musical shapes, such as you have now so successfully achieved. But though I feel this very strongly, I do not expect you to agree with me.
I enjoyed listening to the two sets of part-songs very much. They came through only moderately well as far as transmission was concerned. In some way they seemed to require more air and space than they got; for though they were not exactly hurried, yet they needed more spaciousness and loving-care of detail. I shall be very interested to hear the records and to know how they wear. Incidentally, I think the number of singers - eight - is typical of the B.B.C.'s genius for compromise. Songs in four parts would sound infinitely better sung by four people or by sixteen: eight is the worst choice possible, for you can always hear the two individual voices wobbling.
1936
- Edited by Howard Ferguson, Michael Hurd
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- Letters of Gerald Finzi and Howard Ferguson
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14 Deramore Park South, Belfast; 2 JanuaryDear Dave,
I thought it easiest to write my suggestions on your sheet in red ink and return it to you complete, so here it is. I hope it is decipherable.
Of all the blasted luck! The only two engagements I have so far this year are on the 5th & 6th of Feb. in Dorset. Isn't it pestilential? There is at least nothing on the 3rd, so I shall be able to hear the rehearsal (if I'm allowed in), which is, I suppose better than nothing. You can, of course, stay at No.8, so far as I know, even though I won't be there from 5th-7th; but I shall be very sorry to miss the concert.
I'm so glad you like the Navarro poems. The modern poet I referred to was he who wrote the following:-
'Hallelujah’ was the only observation
That escaped Lt. Col. Mary Jane,
When she fell from off the platform at the station
And was cut in little pieces by the train.
'Hallelujah, Hallelujah, Mary Jane the train ran through yer;
Let us gather up the fragments that remain.'
That is to say, A.E. Housman; and the particular poem I was reminded of was that which begins: ‘I walked alone and thinking', from ‘Last Poems'. By the way, it has just struck me what a very fine poem is:
'The Wain upon the northern steep
Descends and lifts away.'
You probably know it already, but it had not struck me before.
The Sonata [Violin Sonata No.1] came through very well last night, the last movement being a particular fine performance. I thought Nunky was a bit overgenerous with the pedal on occasions, but the feeling of the whole was grand. How I wish I could re-write that fiddle part now! It is quite idiotically difficult, and could be made so much more effective as well as so much easier. Much love to you and J. I hope Christopher flourishes.
Ever, H.
Aldbourne, Wilts.; 22 January[Dear Fergie]
If I come up for the Constant Lambert on 29th and Phil. on the 30th would you be able to put me up Wed. and Thurs. nights? Say no if in any way inconvenient. I'm not yet quite certain, but should like to if I can. Many thanks for red-ink emendations, gratefully received. Nothing from old Boosey yet. G.
1945
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106 Wildwood Road, N.W.11; 16 JuneDearest Dave,
Quite all right about ‘Grimes’ [Britten] on Wednesday next. I'll probably be going again, and the next performance would suit Myra just as well. I enclose ticket, as it will perhaps be easiest to meet in our seats. It appears to begin at 6.45. I don't think there's a hope of getting food up there afterwards, so will you get something beforehand? Can you stay here that night? Ever, H.
106 Wildwood Road, N.W.11; 3 JulyDearest Dave,
Here are a couple of yesterday's programmes. Robby [Robert Irwin's performance of ‘Earth & Air & Rain’ with Gerald Moore] sang very well, I thought, though he said he was frightfully nervous; however, it didn't show. People enjoyed it very much and made him sing ‘O Mistress Mine’ at the end - Gerald being a slightly ponderous guitar in the background! They made a complete break after ‘Rollicum-Rorum', and came off the platform, which I think is an excellent idea. I also like ‘Song of the Yew Tree’ - but why not ‘In a Churchyard', as you have it, instead of ‘The Churchyard'?
I wish I could have played for him, but it wouldn't have been possible to fit in proper rehearsals at this particular moment, with Johnny [John Amis, then Secretary of the Concerts] away on holiday. I go off to Broadway on Friday for 10 days, thank goodness. How wise you are to stay at home for a while. Love to you all, from H.
106 Wildwood Road, N.W.11; 23 JulyDearest Dave,
Thank you so much for the elegant copy of the ‘Bagatelles’ (yours, not mine!); I'm so glad they're out. As a melancholy reminder that all flesh is as the grass, we are but human, and whatnot, here are three misprints that you might note for the 2nd edition. Why do you suppose we miss these little things in proof? It's quite unaccountable, isn't it?
I'm horrified to realize that the Quatorze Juillet came and went during my ten days holiday without due celebration. As I'm little better than half-wit at the moment, I hope you'll overlook the slip. Can you, also, suggest some music or a book (preferably not the complete works of Hardy!) that might be welcome, and is not yet on the Ashmansworth shelves.