Ian Bradley – författare

In Oh Joy! Oh Rapture! expert and enthusiast Ian Bradley explores the world of Gilbert and Sullivan over the last four and a half decades, looking at the way this "phenomenon" is passed from generation to generation. Taking as his starting point the expiry of copyright on the opera libretti at the end of 1961 and using fascinating hitherto unpublished archive material, Bradley reveals the extraordinary story of the last years of the old D'Oyly Carte Opera Company, the guardian of Savoy tradition for over a hundred years, and the troubled history of its successor. He explores the rich vein of parodies, spoofs, and spin-offs of the songs, as well as their influence on twentieth century lyricists and composers. He analyzes professional productions across the world, looks at the unique place of G&S in schools, colleges, and universities, and lovingly explores the culture of amateur performance. He also uncovers the largely male world of the obsessive fans, those collecting memorabilia, the myriad magazines, journals, websites, and festivals devoted to G&S, and the arcane interests of some of the faithful "inner brotherhood."

Many of the most famous composers in classical music spent considerable periods in spa towns, whether taking in the waters, or searching for patrons among the rich and influential clientele who frequented these pioneer resorts, or soaking up the relaxing and decadent ambience of these enchanted and magical places. At Baden bei Wein, Mozart wrote his Ave Verum Corpus, and Beethoven sketched out his Ninth Symphony. Johannes Brahms spent 17 summers in Baden-Baden, where he stayed in his own specially-built composing cavern and consorted with Clara Schumann. Berlioz came to conduct in Baden-Baden for nine seasons, writing his last major work, Beatrice and Benedict, for the town's casino manager. Chopin, Liszt, and Dvorak were each regular visitors to Carlsbad and Marienbad. And it was in Carlsbad that Beethoven met Goethe. Concerts, recitals, and resident orchestras have themselves played a major role in the therapeutic regimes and the social and cultural life of European and North American watering places since the late eighteenth century. To this day, these spa towns continue to host major music festivals of the highest caliber, drawing musicians and loyal audiences on both local and international levels.This book explores the music making that went on in the spas and watering places in Europe and the United States during their heyday between the early- eighteenth and the mid-twentieth centuries. Music was a hugely important part of the experience of taking a spa cure. Bands played during the early morning and late afternoon while people took the waters and bathed. Spa orchestras and ensembles entertained those gathering socially or resting in assembly rooms, pump rooms and in gardens and parks. In the evenings spa guests enjoyed concerts, visits to the theatre, balls, dances and gambling sessions at the casino, at all of which music played a major role. Expert author Ian Bradley draws on original archival material and the diaries and letters of composers. His book ranges chronologically and geographically, beginning with Bath and Baden near Vienna, which both flourished in the eighteenth century, continuing through Baden-Baden, the Bohemian spas and Bad Ischl in the nineteenth century and on to Buxton and Saratoga Springs which saw their glory days in the early twentieth century. A concluding chapter brings the subject up to date with a review of the musical activities taking place in spa towns today and of the music that accompanies treatments in modern spas, now so ubiquitous and so important and growing a feature in the booming world of leisure, tourism, health and well-being.

In Oh Joy! Oh Rapture! expert and enthusiast Ian Bradley explores the world of Gilbert and Sullivan over the last four and a half decades, looking at the way this "phenomenon" is passed from generation to generation. Taking as his starting point the expiry of copyright on the opera libretti at the end of 1961 and using fascinating hitherto unpublished archive material, Bradley reveals the extraordinary story of the last years of the old D'Oyly Carte Opera Company, the guardian of Savoy tradition for over a hundred years, and the troubled history of its successor. He explores the rich vein of parodies, spoofs, and spin-offs of the songs, as well as their influence on twentieth century lyricists and composers. He analyzes professional productions across the world, looks at the unique place of G&S in schools, colleges, and universities, and lovingly explores the culture of amateur performance. He also uncovers the largely male world of the obsessive fans, those collecting memorabilia, the myriad magazines, journals, websites, and festivals devoted to G&S, and the arcane interests of some of the faithful "inner brotherhood."

This book offers readers a fascinating new look into the spiritual side of operetta and musical theatre, two closely related genres often dismissed as trivial, shallow, and essentially secular.Bradley challenges these judgements and seeks to show that there have been clear religious influences and spiritual resonances in some of the best known and most popular works in both genres. He points to the darker and more serious side of operetta and musical theatre to analyse the work of Offenbach, Lehár, Gilbert and Sullivan, Rodgers and Hammerstein, Sondheim, Schwartz, Lloyd Webber, and Boublil and Schoenberg. Readers will never listen to The Mikado, The Sound of Music, Fiddler on the Roof, Sweeney Todd, Wicked, Les Miserables and The Lion King in the same way again. Using hitherto largely neglected sources, Music of the Night explores the Jewish and Catholic roots of French operetta composers, the impact of Franz Lehár's Catholic faith, the effect of Oscar Hammerstein's early exposure to Universalism, and the High Church aesthetic of Andrew Lloyd-Webber. Further chapters discuss Arthur Sullivan's softening and spiritualising effect on W. S. Gilbert's lyrics in the Savoy operas, Stephen Sondheim's secularism, and Stephen Schwartz as the 'reluctant pilgrim'. There is specific analysis of the religious influences and spiritual resonances in six key musicals: The Sound of Music, Fiddler on the Roof, Godspell, Jesus Christ Superstar, Les Misérables and The Lion King. A concluding chapter briefly surveys the musicals of the twenty-first century.

This book offers readers a fascinating new look into the spiritual side of operetta and musical theatre, two closely related genres often dismissed as trivial, shallow, and essentially secular.Bradley challenges these judgements and seeks to show that there have been clear religious influences and spiritual resonances in some of the best known and most popular works in both genres. He points to the darker and more serious side of operetta and musical theatre to analyse the work of Offenbach, Lehár, Gilbert and Sullivan, Rodgers and Hammerstein, Sondheim, Schwartz, Lloyd Webber, and Boublil and Schoenberg. Readers will never listen to The Mikado, The Sound of Music, Fiddler on the Roof, Sweeney Todd, Wicked, Les Miserables and The Lion King in the same way again. Using hitherto largely neglected sources, Music of the Night explores the Jewish and Catholic roots of French operetta composers, the impact of Franz Lehár's Catholic faith, the effect of Oscar Hammerstein's early exposure to Universalism, and the High Church aesthetic of Andrew Lloyd-Webber. Further chapters discuss Arthur Sullivan's softening and spiritualising effect on W. S. Gilbert's lyrics in the Savoy operas, Stephen Sondheim's secularism, and Stephen Schwartz as the 'reluctant pilgrim'. There is specific analysis of the religious influences and spiritual resonances in six key musicals: The Sound of Music, Fiddler on the Roof, Godspell, Jesus Christ Superstar, Les Misérables and The Lion King. A concluding chapter briefly surveys the musicals of the twenty-first century.

The Complete Annotated Gilbert & Sullivan provides the complete text of all the Gilbert & Sullivan operas which are still performed today, together with extensive annotations covering 'lost' songs, alterations and additions, obscure allusions, production points, and comments of interest. Each opera has an introduction which places it in its context, and a potted history of performances up to the present. No other book provides such extensive commentary on the texts of the Savoy Opera nor such a source of innocent merriment to fans of the incomparable Victorian duo.For each opera, there is a short introduction describing how the work came to be written, and giving its performance history. The text, including stage directions, is given on the right-hand page, and on the left (keyed in by line numbers) are notes. These give such information as the identity of a real-life person appearing or mentioned as a character, wordings that were different in the original edition (the one sent to the Lord Chamberlain for licensing), changes made for the first American performance, glosses on technical terms (e.g. legal terms), literary references, cross-references to similar items in other Savoy operas, comments from first-night critics, and many other things

This book charts the life of Arthur Sullivan--the best loved and most widely performed British composer in history. While he is best known for his comic opera collaborations with W. S. Gilbert, it was his substantial corpus of sacred music which meant most to him and for which he wanted to be remembered. His upbringing and training in church music, and his own religious beliefs, substantially affected both his compositions for the theatre and his more serious work, which included oratorios, cantatas, sacred ballads, liturgical pieces, and hymns.Focusing on the spiritual aspects of Sullivan's life--which included several years as a church organist, involvement in Freemasonry, and an undying attachment to Anglican church music--Ian Bradley uses hitherto undiscovered letters, diary entries, and other sources to reveal the important influences on his faith and his work. No saint and certainly no ascetic, he was a lover of life and enjoyed its pleasures to the full. At the same time, he had a rare spiritual sensitivity, a sincere Christian faith, and a unique ability to uplift through both his character and his music that can best be described as a quality of divine emollient.

Ian Bradley's Complete Annotated Gilbert and Sullivan has established itself across the world as the authorized and definitive 'Bible' for all those interested in the Savoy operas. Originally published in two Penguin paperbacks in the 1980's, a single-volume comprehensive compendium, hailed widely as "easily the best annotated Gilbert & Sullivan available" (Gayden Wren, New York Times) was published by Oxford University Press in 1996. This brand new 20th anniversary edition includes Thespis, Gilbert and Sullivan's first collaboration which is now being increasingly performed, despite the loss of the vocal and orchestral scores. It also features a completely new introduction, reflecting on the state of Gilbert and Sullivan nearly 150 years after the pair began their legendary collaboration, and new annotations addressing recent performance history, newly discovered 'lost' songs and dialogue, and, for the first time, Gilbert and Sullivan references in contemporary popular culture. Scholars, performers, and fans are sure to rejoice in this indispensable companion to the Gilbert and Sullivan repertoire, newly updated for the present day.

A quarter-century after writing the acclaimed The Celtic Way, Ian Bradley, one of the foremost experts on the spiritual beliefs and practices of the indigenous Christian communities in the British Isles in the early Middle Ages, revisits the original sources and makes a substantial reappraisal of Celtic spirituality. Following the Celtic Way challenges many of the myths and romanticised portrayals of Celtic Christianity and shows evidence of the harder edge and demanding austerity of the lives and spirituality of believers from this time. This book sits among the most insightful and up-to-date introductions to this distinctive and evocative expression of faith, and draws out its themes that are most relevant to us today. It also offers practical spiritual guidance on how to follow the Celtic Way in the contemporary world.

God is Green examines what the Bible has to say about humanity’s relationship with and responsibility for the environment, and how Church traditions over the centuries have interpreted this. Ian Bradley argues that Christianity at its essence is a ‘green faith’ which has been distorted over the years. First published in 1990, this new edition of the book is revised for the contemporary state of our climate, and includes a chapter-by-chapter study guide for individuals and small groups.

Arthur Sullivan is best known as W. S. Gilbert's collaborator in the Savoy Operas, However, Sullivan was far from being simply a composer of light operettas. At the height of his fame and popularity in late Victorian Britain, Sullivan was regarded as the nation's leading composer of sacred oratorios on a par with Mendelssohn and Brahms. Yet despite his contemporary popularity and enduring legacy, little attention has been given to Sullivan's sacred work. The last twenty years have seen a considerable revival of interest in and critical appreciation for this aspect of Sullivan's work. Lost Chords and Christian Soldiers provides the first detailed, comprehensive, critical study and review of Sullivan's church and sacred music. As well as exploring issues of repertoire and ecclesiology involved in these and other formative influences and experiences, consideration will be given to how far Sullivan's own personal beliefs and faith influenced his settings of sacred texts and the extent to which his own spiritual and theological leaning are expressed in his choice of material and style of setting. Sullivan's motivation in setting religious texts will be probed and comparison will be made with the motivation, output and approach of his closest contemporaries in this field, most notably Stainer.

The "Heinemann Science Scheme" offers an approach to the QCA's Scheme of Work. Teacher's resource packs provide support with lesson planning, with each chapter matching the Scheme of Work, and in-built assessment. The scheme aims to improve on the Scheme of Work by building in progression and a comprehensive revision programme to help prepare pupils for their National Tests. It also aims to make the Scheme of Work accessible to all pupils. The scheme builds on what students already know, following on from the Scheme of Work at Key Stages 1 and 2. It takes into account what pupils already know at the start of Key Stage 3 and builds from there. The "Heinemann Science Scheme" is also designed to build on the literacy and numeracy work pupils have done in primary schools.

The "Heinemann Science Scheme" offers an approach to the QCA's Scheme of Work. Teacher's resource packs provide support with lesson planning, with each chapter matching the Scheme of Work, and in-built assessment. The scheme aims to improve on the Scheme of Work by building in progression and a comprehensive revision programme to help prepare pupils for their National Tests. It also aims to make the Scheme of Work accessible to all pupils. The scheme builds on what students already know, following on from the Scheme of Work at Key Stages 1 and 2. It takes into account what pupils already know at the start of Key Stage 3 and builds from there. The "Heinemann Science Scheme" is also designed to build on the literacy and numeracy work pupils have done in primary schools.

The "Heinemann Science Scheme" offers an approach to the QCA's Scheme of Work. Teacher's resource packs provide support with lesson planning, with each chapter matching the Scheme of Work, and in-built assessment. The scheme aims to improve on the Scheme of Work by building in progression and a comprehensive revision programme to help prepare pupils for their National Tests. It also aims to make the Scheme of Work accessible to all pupils. The scheme builds on what students already know, following on from the Scheme of Work at Key Stages 1 and 2. It takes into account what pupils already know at the start of Key Stage 3 and builds from there. The "Heinemann Science Scheme" is also designed to build on the literacy and numeracy work pupils have done in primary schools.

In this highly accessible, passionately argued and scholarly book, Ian Bradley presents fundamentalism, born a hundred years ago in the United States of America, as the great twentieth-century heresy and aberration. He identifies and seeks to reclaim for the twenty first century a liberal theological tradition existing in Christianity, Islam, Judaism and the other major world faiths. This liberal heart is found in their scriptures and was often to the fore in their foundational stages but has more recently been overlaid with conservative reaction, fundamentalism and fear. He defines this liberal theology in terms of the four values of grace, order, openness and diversity which he suggests can be read by Christians as key attributes of the three persons of the Trinity and of God in Trinity as a whole. This book counters the growing influence of narrow, exclusive judgemental religious conservatism with a powerful reassertion of the liberal gospel of God's grace, goodness and generosity.

'Abide with me', 'The day thou gavest Lord is ended', 'All things bright and beautiful': a century and more after they were written Victorian hymns like these have an enduring popularity. This book examines the Victorian hymn from a literary, theological and cultural point of view. It traces its contemporary impact and its continuing influence in churches, public popularity, parody and literary references. In a way that has not been done before, Ian Bradley traces the importance of hymns in Victorian novels, explores the extraordinary political and social ramifications of Victorian hymnody, and assesses the literary and musical importance of the genre. Written in a lively and anecdotal style, this book punctures some of the myths about Victorian hymns, showing that the themes of doubt, humility and political and social radicalism surface just as much as those of triumphalism, imperialism and conservatism. 'Ian Bradley tells his story lucidly, from the disappearance of the chaotic and cheerful gallery musicians so beloved of Thomas Hardy, to the gospel songs of Dwight Moody and Ira Sankey. He moves easily between the novelist, the theologian and the musician. He introduces the story with a striking analogy: hymns played much the same role in Victorian culture that soap operas do among us today . . . it is a good curtain-raiser for a serious, indeed learned, but never humourless book.' Lord Runcie, Daily Telegraph'I was so gripped by this book that I could not put it down. Here is invaluable resource material dealing with a period of hymnody which has never before been researched in such depth. In this eminently readable survey, we are left in no doubt as to the merits or otherwise of nineteenth-century hymnody.' Dr Lionel Dakers, formerly Director of the Royal School of Music.

Ian Bradley's The Optimists was first published in 1980, when the values of Victorian Liberalism were enjoying something of a renaissance - as they are today. Politicians of different parties were once again expounding the Gladstonian principles of public economy, self-help, European unity and home rule for the constituent parts of the United Kingdom.This book examines the nature and development of these ideas. It traces their origins in the Romantic movement, the industrial revolution and the general European Liberal awakening of the mid-nineteenth century and charts their collapse in the face of the predominance of class attitudes and the increasingly bitter clash of capital and labour at the end of the century.During its heyday, from the mid-1850s to the mid-1880s, Liberalism attracted many eminent Victorians, including leading literary figures like Anthony Trollope, George Meredith and William Makepeace Thackeray, as well as philosophers like John Stuart Mill, Lord Acton, Richard Cobden, John Bright, T. H. Green, and, of course, W. E. Gladstone.Using a mass of evidence, from novels, unpublished letters and autobiographical writings as well as from contemporary speeches and biographies, Ian Bradley has built up a picture of the complex and often conflicting forces which made men espouse the Gladstonian creed. He isolates the different strands in the Victorian Liberal Movement, the thrust and competitiveness of up-and-coming merchants and manufacturers, the love of liberty felt by rationalists and romantics alike, and the stern imperatives of the Nonconformist Conscience. He concludes that for all their differences and inconsistencies, Victorian Liberals were bound together by an all-pervasive sense of optimism and a fundamental faith in the goodness of man and the reality of progress.

Matrices offer some of the most powerful techniques in modem mathematics. In the social sciences they provide fresh insights into an astonishing variety of topics. Dominance matrices can show how power struggles in offices or committees develop; Markov chains predict how fast news or gossip will spread in a village; permutation matrices illuminate kinship structures in tribal societies. All these invaluable techniques and many more are explained clearly and simply in this wide-ranging book. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Matrices offer some of the most powerful techniques in modem mathematics. In the social sciences they provide fresh insights into an astonishing variety of topics. Dominance matrices can show how power struggles in offices or committees develop; Markov chains predict how fast news or gossip will spread in a village; permutation matrices illuminate kinship structures in tribal societies. All these invaluable techniques and many more are explained clearly and simply in this wide-ranging book. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"The Call to Seriousness" attempts to examine the nature and the extent of the impact which the Evangelicals made on English life in the first half of the 19th century.Two men dominated the Evanglical world during this period: William Wilberforce who was the central figure in that celebrated group of Evangelicals, the Clapham Sect; and Anthony Ashley Cooper, the Seventh Earl of Shaftesbury, remembered mainly for championing the cause of factory workers.The author argues that the influence of the Evangelicals was, on the whole, a positive one.The Evangelicals alone did not make the Victorians what they were. They did, however, play a considerable part in helping to establish the peculiar temper of the age. Above all, Evangelicalism was responsible for giving the Victorians their famous seriousness and high-mindedness.

This is the story of 10 remarkable Victorian industrialists who came from relatively humble origins and rose through hard work, inventiveness and application to become among the richest and most influential men of their generation. The businesses they created are for the most part still thriving today and include such household names as Cadburys, Rowntrees, Colmans, Boots, Huntley & Palmers and Unilever. Deeply imbued with the values of Victorian Liberalism and of Nonconformity, they showed an active and practical concern for their employees, providing them with housing, health care, education, recreation and entertainment. They also founded charitable trusts such as The Old Vic Theatre and Royal Holloway College, and model communities such as Saltaire.

It is often claimed that Great Britain is one of the most secular nations on earth, but Ian Bradley argues that 'Britishness' (like the overlapping crosses on the 400-year-old Union flag) is best understood in religious terms. He maintains that the idea of 'being British' has special value as a broad church measure of spiritual and cultural inclusiveness - and as a positive alternative to fundamentalism, narrow nationalism and jingoism. The author explores various distinctive contributions to Britishness made over the centuries by the Celts, the Anglo-Saxons, the Scots, and the new black and Asian Britons. Looking to a new sense of British identity that combines myth, imagination and tradition with an open-minded respect for difference, Believing in Britain makes a thoughtful and challenging contribution to one of the most important discussions of our time.

The current fascination with Celtic Christianity is the latest manifestation of a lingering love affair stretching back over the last 1300 years. This book explores how the native Christian communities of the British Isles from the fifth to the tenth centuries have been idealised and appropriated by succeeding generations who have projected their own preconceptions and prejudices on to a perceived 'golden age' of Celtic Christianity. It provides a fascinating study of the making of myths and the chasing of dreams.Key Features* First ever comprehensive and chronological survey of the development of the concept of 'Celtic Christianity'* Important new insights into the religious, cultural and intellectual history of Ireland, Scotland, Wales and England* Rich collection of sources with illustrations throughout the text

Delve into the history behind the glamorous baths and spas of Europe to reveal the hidden past of alternative treatments.Popular with people from Romans to royalty and hypochondriacs to holiday-makers, natural water spas have been a common feature in society since the first century. Even today, we periodically abandon the cities to ‘take the waters’.In their heyday, Europe’s spas were the main meeting places for aristocracy, politicians and cultural elites. They were the centres of political and diplomatic intrigue, and were fertile sources of artistic, literary and musical inspiration. The spas epitomised style and were renowned for their cosmopolitan atmosphere in a glittering whirl of balls, gambling and affairs, as much as for their healing waters.Health, Hedonism and Hypochondria reveals the hidden histories of traditional spas of Europe, including such well-known resorts as the original Spa in Belgium; Bath, Buxton and Harrogate in Britain; Baden-Baden and Bad Ems in Germany; Vichy and Aix-les-Bains in France; Bad Ragaz in Switzerland; Bad Ischl and Baden bei Wien in Austria and Karlovy Vary and Mariánské Lázne in the Czech Republic.At once luxurious sanctuaries of relaxation and resorts of the upper classes, these spas were also the haunts of melancholics, scoundrels and those seeking escape and excitement.

Here are the full original texts of 150 of the best loved hymns in the English language, from the time of the Early Church to the 20th century. Each is acompanied by a fascinatintg commentary, giving biographical details of the aurthgor, such as the Calvinist creator of Rocvk oif Ages who once calculated that the average human sins 2,522,880,000 times; notes on the circumstances in which the hymn was written; and variant versions including the First World War infantry adaptation of The Church's One Foundation. 150 hymns each prefaced by an urbanely written and agreeably subjective commentary with a wealth of anecdote and a few ribald parodies. This charming book shlould also bve reqwuirted reading for all responsible for choosing hymns in church, and recopmmended bedside reading for the eight million viewers of Songs of Praise. Ian Bradley writes with wit elegance and charm and is quite exceptionally knowledgeable about his subject. Bradley has enjoyed sining hymns for as long as he can remember . he attributes the orogin of this enthuisaiasm yto the happy combincvation of having a father who loved Salvation Army choruses and many year exposure to public school chapel worship.ong his other ewnthusiasm are spas, instituations of most kinds and all things Victorian.

Ian Bradley's classic guide to using Myford 7 series metalworking lathes in the home workshop was first published in 1973. The author revised the work in the 1980s to include the ML7, Super 7 and ML7-R lathes, so that the contents of the book are as valuable to readers who have the latest type of lathe, as well as those who possess the earlier machines. This book is intended to be a workshop companion rather than simply a work of reference. It deals with the use of the lathe and the many items of equipment that have been provided for it.

The saw is one of the most basic tools and tends to be taken very much for granted. Many hours and much effort can be saved, and more accurate work produced, if the user has the knowledge of how his saw works and how to keep it in good condition. In this book Ian Bradley provides detailed guidance on the use and maintenance of all types of saw, both hand and mechanical, from the humble junior hacksaw to circular and bandsaws, in the comprehensive and succinct manner that has made him such a respected writer on workshop matters.

Over many years in a workshop, the knowledge and ability to perform a wide number of relatively minor jobs becomes second nature to a skilled engineer, but the amateur, no matter how great his natural talent, rarely has the opportunity to experience the same wide range of tasks. This book, by the experienced engineer Ian Bradley, contains useful advice and instruction for beginners on workshop practices including arbors and mandrels, belt jointing and splicing, shaft collars, finishing metal surfaces, G-clamps, surface gauges, cutting holes, special nuts, hand turning tools, the wobbler, case-hardening, and machining square material. This book was suggested to the author by his many readers and correspondents as a supplementary volume to his classic textbook The Amateur's Workshop.