Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-25T07:30:48.171Z Has data issue: false hasContentIssue false
  • English
  • Français

Record Review

Published online by Cambridge University Press:  04 February 2010

Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Record Review
Information
Tempo , Issue 170: 50th Anniversary 1939–1989 , September 1989 , pp. 45 - 53
Copyright
Copyright © Cambridge University Press 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 See the end-tides for Peter Greenaway's film The Draught sman's Contract where, in addition to a composer credit for Nyman, one H. Purcell is acknowledged as ‘music consultant’.

* In his sleeve-note, Alistair Hinton notes that this is ‘curiously, the same number’ as in the Passacaglia of Opus Clavicanbalisticum. As far as I can make out from work-lists and such unpublished scores as I have seen, all of Sorabji's variation-movements involve (by intention, at least) squared numbers–49, 64, 81, or 100 variations. Clearly much work remains to be done on the significance of such numerology.