At that time, interest in England in early music was growing. Munrow found himself in great demand as a recorder player. In 1967, he founded the Early Music Consort of London, with counter tenor James Bowman, violist Oliver Brookes, lutenist James Tyler, and harpsichordist Christopher Hogwood. They gave their first performance at Louvain the same year, making a London debut in 1968. Also in 1967, he became a lecturer in early music at Leicester University. Munrow's consort shook up the regular concert world and the growing early music establishment with its performing style. Their approach was entertaining, attractive, and exuberant, even brash, without traducing the boundaries of what was known to be authentic. Suddenly, "authentic" performances were no longer scholarly affairs of main interest to academics, but popular concert events eagerly attended by the general classical music audience.
The Consort appeared on television and in an intriguing development, the group also kept an interest in contemporary music. Therefore, several living composers wrote new music -- often in the most advanced musical style -- for these old-style instruments. These included Peter Dickinson (Translations, 1971), Elisabeth Lutyens (The Tears of Night, 1972), and Peter Maxwell Davies, who used the group as the on-stage band during his opera Taverner (1972), which is about a medieval English composer.
In 1969, Munrow became a teacher of the recorder at London's Royal Academy of Music. In 1971, he started making lecture appearances on BBC radio. His show, "Pied Piper," was aimed at young listeners and had a listenership among all ages. For reasons that remain obscure, he took his own life in 1976. Had he not, he surely would have been recognized as one of the most influential musicians of the last half of the 20th century.
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Student thesis : Doctoral Thesis › Doctor of Philosophy/Blogger Ref http://www.youtube.Searle8 Edward George Breen Music This thesis focuses on the musical contribution of David Munrow and his Early Music Consort of London (EMC) to the so-called early music revival of the 1960s and 1970s. By exploring the notion of shared cultural space in performances of medieval music by leading ensembles of the time, this thesis seeks to isolate aspects of performance practice unique to the EMC. An assessment of literary sources documenting the early music revival reveals clear nodes of discussion around Munrow’s methods of presenting early music in concert performance which are frequently classified as ‘showmanship’ with a focus on more scholarly performance practice decisions only evident in the post-Munrow period. Close readings of these sources are undertaken which are, in turn, weighed against Munrow’s early biography to map out the web of influences contributing t
Thursday, January 15, 2009 If you have never seen the magnificent 1974 sci-fi/fantasy classic "Zardoz", for God's sake drop whatever you're doing and get thee to the nearest video store (or computer, if your a Netflix-er) and rent this shit! John Boorman (who also directed the classics "Excalibur" and "Deliverance") really hit a home run here, bringing us not only a giant floating head, post-apocalyptic barbarians, and a telepathic secret society living on a creepy commune, but the image of Sean Connery in a diaper (see example above). I'm trying to think of a sci-fi movie from the 70's that I dig more than "Zardoz", but so far I've got nothing. David Munrow's psychedelic soundtrack is a perfect fit for this hippie-dippy tale of futuristic intrigue, and although there is no official release of this score, I found a sweet bootleg on the good ol' internet, recorded straight from the film with dialogue and soun