Althea Kathleen Wynne, also known by her married names of Dresman and Barrington Brown, was an English sculptor and art teacher, and a Fellow of the Royal British Society of Sculptors. She specialized in creating large figurative work for gardens and public open spaces.
(6 October 1936 – 24 January 2012)
The daughter of an officer in the Royal Air Force, Wynne was educated at North Foreland Lodge, Farnham School of Art (1953–1955), Hammersmith College (1955–1957), and the Royal College of Art (1957–1960).
Life and career
In 1959 Wynne gained an early commission from London County Council for a ciment-fondu group of swimmers, and in 1960 she won an open competition to design a new silver horse-racing trophy.
However, the same year she married Philip Dresman, and with him had a
son and two daughters. For some years she spent most of her time
bringing up her children, before returning to work as a teacher of art
and the history of art. In 1982 she married secondly Antony Barrington Brown, a photographer, and at about the same time became active as a sculptor again.
Wynne settled at Upton Lovell in Wiltshire, where several pieces of her work were displayed in her garden. In Who’s Who in Art her recreations were stated as “riding, sailing, talking”.
She died suddenly in January 2012, killed with her husband in a road accident on the A36 near her home while returning from the foundry that was to cast her last commission, two large bronzes of Windsor Grey horses for Windsor Great Park. Both Wynne and Barrington Brown were killed instantly in a collision between their car and a truck carrying aggregates. In February it was reported that there were plans to proceed with the Windsor project, finding another sculptor to complete the work by June 2013.
As a sculptor, Wynne’s chief inspirations were the natural environment and classical (especially Etruscan) art. Most of her work was figurative, showing various forms of animal and female human figures. In 1988 her fountain “Doves Rising” was added to the Peace Park in Hounslow. A lifelong rider, she made a number of equine statues, and in 1989 Prudential Property gave her a commission for three bronze horses to stand by the steps at Minster Court in the City of London. Since nicknamed Sterling, Dollar and Yen, the group is ten feet high, weighs fourteen tonnes, and has been compared with the horses of St Mark’s Basilica in Venice. In 1991 her “Family of Goats”, for the London Docklands Development Corporation, was erected at Rotherhithe. Other work includes a group called “White Horses”, at the centre of a restaurant on RMS Queen Elizabeth II, which shows four horses riding the waves, “Europa and the Bull”, a full-size bronze figure, and the three huge obelisks rising through the Bluewater shopping centre at Greenhithe in Kent. She held solo exhibitions in Salisbury in 1988 and 1991, at Broadgate in 1993, and in Winchester in 1997. In 2012 her bronze ‘‘Penelope Waiting” was the signature piece for an exhibition of sculpture at Avebury Manor.
Wynne wrote of the inspirations for her work
My work is deeply influenced by my love of early
classical sculpture, the calm poise and harmony of which I try to
emulate. The Greeks also had an understanding of animals from which I
draw some of my inspiration, and my equestrian subjects owe much to my
love of riding.
- 1960: Associate of the Royal College of Art
- 1986: Full member of the Society of Equestrian Artists
- 1990: Associate of the Royal British Society of Sculptors
- 1994: Fellow of the Royal British Society of Sculptors
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(18 January 1921 – 25 January 2012)
Educated at Campbell College in Belfast, Ball joined the Royal Air Force in 1939. He served in World War II flying Spitfires and commanding No. 682 Squadron, No. 542 Squadron, No. 540 Squadron and finally No. 13 Squadron: he was mentioned in dispatches twice. He was appointed Chief of Staff at SHAPE in 1968, Director General of RAF Organisation in 1971 and UK Military Representative to CENTO at Ankara in 1975. He went on to be Deputy Commander of RAF Strike Command in 1977 before retiring in 1979.
In retirement he became an advisor to ICL. He died on 25 January 2012.
In 1942 he married Nan McDonald; they have three sons and one daughter.
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(Helsinki, 14 April 1929 – Helsinki, 25 January 2012)
Born in Helsinki, Berglund studied the violin as a child, and played an instrument made by his grandfather.
By age 15, he had decided on music as his career, and by 18 was playing
in restaurants. During the Second World War, Berglund worked at the
iron factories in Billnäs.
Children were moved out of Helsinki during heavy stages of the war. His
professional career as a violinist began in 1946, playing the whole
summer at the Officers Mess (Upseerikasino) in Helsinki. He already had
played in dance orchestras in 1945. Formal study took place in Helsinki
at the Sibelius Academy, in Vienna and in Salzburg. He was a violinist
in the Finnish Radio Symphony Orchestra (http://www.yle.fi/rso)
from 1949–1958 in the 1st violin section, unique among the
instrumentalists in being accommodated for seating to account for the
fact that he was left-handed.
In an radio interview made of the Finnish Broadcasting Company YLE (http://www.yle.fi) in 2002, Berglund explains how he heard the Vienna Philharmonic Orchestra on their tour in Helsinki with Wilhelm Furtwängler
and was very impressed. Shortly after that he left for Vienna to study.
He had many friends both in the Vienna Philharmonic and Vienna Radio Symphony
Orchestras, and could attend rehearsal and recording sessions. One
particular recording session he remembers is when he was present one
evening when Furtwängler recorded Schumann’s Manfred Overture and
Smetana’s Moldau at the Musikverein in Vienna. Another conductor that he
was very impressed with was Hans Knappertsbusch.
Berglund’s conducting career began in 1949, when he founded his own
chamber orchestra. In 1953, Berglund co-founded the Helsinki Chamber
Orchestra (partly inspired by the Boyd Neel Orchestra).
In 1955, he was appointed Associate Conductor of the Finnish Radio
Symphony Orchestra, and served as chief conductor of the Finnish Radio
Symphony Orchestra from 1962 to 1971. Berglund became music director of
the Helsinki Philharmonic Orchestra (http://www.hel.fi/hki/HKO/en/Etusivu)
in 1975 and held the post for 4 seasons. He was also conductor of the
mixed voice choir of the Student Union of the University of Helsinki,
The Academic Choral Society (Akateeminen Laulu, AL. http://www.akateeminenlaulu.fi) from 1959-1961.
Berglund attained notoriety as a strict orchestral disciplinarian due
to his ruthless rehearsals and dedication to musical perfection. As a
conductor Berglund often went beyond the printed score in the music of Jean Sibelius
and others to improve on what he believed were weaknesses, especially
in orchestration, color and balance. Most orchestras he conducted
responded well to his no-nonsense approach. He was tireless in studying,
preparing and rehearsing. He almost always came to the orchestra with
his own materials he had corrected and bowed by his own hand. He would
then mark highly detailed instructions on the sheet music of each
Berglund would certainly not always agree with composers, he felt
comfortable in elaborating any nuances he considered important but which
the composers had not highlighted. He believed in details: “I think we
have already had our fill of mushy recordings”, Berglund noted in an
interview by FMQ (Finnish Music Quarterly) in 1999.
In the UK, Berglund led Sibelius Centenary Concerts with the Bournemouth Symphony Orchestra
in 1965, and became their principal conductor in 1972, concluding his
tenure in Bournemouth in 1979. Berglund led the Bournemouth Symphony
Orchestra with distinction between 1972 and 1979, significantly raising
its performing standards, as can be heard from the many recordings made
by it for EMI during this period. He also served as principal guest
conductor of the Scottish National Orchestra, from 1981 to 1985.
Guest engagements saw Berglund conducting all the major North American and European orchestras, such as the Berlin Philharmonic Orchestra, the London Symphony Orchestra,
the Dresden Staatskapelle, the St Petersburg and Moscow Philharmonics,
the Leipzig Gewandhaus and the Israel Philharmonic Orchestras. Berglund
was also a member of the Russian National Orchestra’s conductor
Berglund made his New York debut in 1978 with the American Symphony
Orchestra at the Carnegie Hall, in a concert of Shostakovich and
Sibelius. From the 1990s he become a regular guest conductor in the New York Philharmonic and the Cleveland Orchestra.
Berglund made over 100 recordings. In an interview for the newspaper Helsingin Sanomat (http://www.hs.fi)
in 2009, Berglund said when asked about his recordings, that the
Smetana recording with the Dresden Staatskapelle is probably the best,
since this was the best of the orchestras that he made recordings with.
Berglund did opera a few times. To mention the most important opera projects are Beethoven’s Fidelio with Finnish National Opera in Helsinki in 2000 (with Karita Mattila, Matti Salminen, Jaakko Ryhänen) and Nielsen’s Maskerade in Copenhagen.
Paavo Berglund told in an radio interview for the conductor Atso Almila,
made on occasion for the 75th anniversary in 2002 of the Finnish Radio
Symphony Orchestra, that he had the closest relation and friendship of
contemporary Finnish composers to Joonas Kokkonen
(1921-1996). The collaboration was very strong. He championed his music
as much as possible and also helped him during the difficult times in
life. He commissioned many of Kokkonen’s works.
Berglund was also the first conductor in the early years, alongside with Jukka-Pekka Saraste, for the Finnish Chamber Orchestra (http://www.finnchamber.fi)
founded in 1990. The orchestra does not serve as a primary job for
anyone, but rather as an instrument to gather top musicians to work
together in an exquisite ensemble where art and quality come before
routine. The orchestra consists of concertmasters and principals from
leading Finnish orchestras such as the Finnish Radio Symphony Orchestra,
Helsinki Philharmonic Orchestra, Orchestra of the Finnish National Opera, Tapiola Sinfonietta, Avanti! and Lahti Symphony Orchestra.
Berglund also conducted the Sibelius Academy Symphony Orchestra on a few occasions (http://orso.siba.fi/en/studies/symphony_orchestra).
Relationship with Jean Sibelius’ music
Berglund was particularly associated with the music of Sibelius and he recorded the complete Sibelius symphonies three times. During the mid-1950s, Jean Sibelius heard Berglund conduct some of the symphonies and the Suite Rakastava, and told Berglund how much he had enjoyed the performances.
He met Sibelius at his home Ainola as a member of the delegation of the
Radio Orchestra that visited Sibelius. Sibelius asked him whether they
were playing any Schönberg. To this Paavo Berglund answered no. This was
the whole conversation. Berglund made the first recording of the Kullervo Symphony.
Berglund’s source-critical research on the Sibelius Seventh Symphony
began in 1957, when he conducted the Seventh with the Helsinki
Philharmonic Orchestra, and noticed that they were playing from parts
that Sibelius had corrected. He saw that the printed parts had numerous
errors. His subsequent research led to the publication of a new edition
of the symphony by Hansen in 1980.
In an interview in 1998 with the London Sunday Times, Berglund spoke of his interpretative ideas on the music of Jean Sibelius:
“‘Sibelius’s music is often ruined because it’s too strictly
accurate. I think maybe musicians like to play like this’ – he makes a
series of downward vertical gestures – ‘but it’s good to do it like
this’ – his hands, one above the other, oscillate gently in and out of
vertical alignment. ‘Accuracy against atmosphere: it’s not that simple.
The early Sibelius conductor Georg Schneevoigt
once complained that he couldn’t get the details out of Sibelius’s
scores. Sibelius said that he should simply swim in the gravy.'”
Berglund was highly regarded as an authority on Jean Sibelius by other conductors, including Sir Simon Rattle.
He collaborated with the Chamber Orchestra of Europe in recordings of the complete symphonies of Jean Sibelius and Johannes Brahms.
The origin for the Sibelius recordings were made when Berglund
conducted the orchestra at the Edinburgh Festival in a complete cycle of
the Sibelius symphonies. What was especially notable was using smaller
string forces than usual in some of the symphonies. The result was
Berglund’s early Sibelius interpretations are more dark and heavy.
Later on he discovered a new style. While other conductors often go for
the big effects in Sibelius, Berglund started to love the clarity that
could be achieved with an orchestra of about 50 players.
In general he was known for prefering gut strings in string
instruments and the sparse use of vibrato. He often said that the use of
vibrato hides faults and mistakes.
Mr Berglund was one of the jury members in the 1st International Sibelius Conductors’ Competition (http://www.sibeliusconductorscompetition.org) held in 1995.
Paavo Berglund conducted his last concert in the Pleyel Concert Hall in Paris on 1 June 2007. The orchestra was the French Radio Philharmonic Orchestra. The program included the Brahms Violin Concerto with Christian Tetzlaff
as a soloist and Sibelius’ Symphony No. 4. In an interview made on his
80th birthday by the Finnish Broadcasting Company YLE, Berglund said
that the playing in the Sibelius was almost perfect Sibelius playing.
The concert was recorded by French Radio.
Selected remembrances and legends
As told by the UK newspaper The Independent, the pianist Ralf Gothóni
once performed the Franck Violin Sonata with him and was surprised to
find that he “played the first movement with a right-hand violin and the
second movement with a left-hand violin. The difference of quality was
not notable!”. The Independent also writes that Ralf Gothóni
recalled the effects of Berglund’s rigour: he “had a very strong and
demanding consciousness of musical laws. It was a great challenge to
play with him – and not always easy for the ‘freedom-loving’ desires of
the soloist”. He looked severe, too, bent forward in concentration, his
left arm holding the baton almost as if warning the orchestra. And in
interviews he could be terse to the point of monosyllabism.
But this apparently stern figure had a warmer side, as the cellist Anssi Karttunen
remembered: “although he seemed to be always, and I mean always,
working, he was a very warm and caring friend of the family, always
interested to discuss books, reflexology or philosophy with my wife or
have a conversation with our daughter.”
He gave the composer Aulis Sallinen
(once manager of the Finnish Radio Symphony Orchestra) an unlikely
cause for worry at the Finnish Radio Symphony Orchestra: “Paavo Berglund
had only one hobby: football. He used to follow on TV British football
matches. He also established a football team inside the orchestra. They
used to arrange matches even during our tours. The manager (thinking of
broken knees and fingers) did not love the idea.”
remembers Paavo Berglund when at the start of his career: “When spring
came, I went to a concert of London Symphony Orchestra, conducted by
Paavo Berglund. They performed Sibelius’ 5th Symphony, Violin Concerto
with Ida Handel as soloist and the Daughter of Pohjola. Berglund had the
reputation of being unapproachable. Nevertheless, I dared to introduce
myself after the concert and found him direct and friendly. “A Finn?
Give me a moment, I need to piss and wash my hands”. He took me to
Aberdeen Steak House which was nearby to have a steak with him. “Would
you like coffee for dessert?”, he asked and pulled out a pack of Finnish
coffee and a coffeefilter from his briefcase. He ordered some hot
water, and no matter how much the head waiter praised the restaurant’s
coffee selection, they were not good enough. “You Englishmen don’t know
how to roast coffee, you ruin it by burning it.” Known as scary and
stern person Berglund told me a surprising truth between topics: “When
conducting, always remember to maintain a positive attitude”.
told in an video interview for the Finnish Broadcasting Company YLE
when asked to remember Paavo, that the epithet closet to him is a
constant searching, the endless curiosity, need for new information and
self criticism. Of his self criticism can be said that he never stayed
with one idea, in he’s career a pattern of building new things on top of
old ones can be clearly seen. Layer by layer. Searching for the
ultimate truth, that eventually of course cannot be found. But the point
being in the persistent and open-minded search of the truth.
Remembrances from the Bournemouth Symphony Orchestra (http://www.bsolive.com):
Berglund’s performances and recordings of Sibelius with the BSO are
legendary and his death was announced as the Orchestra played Sibelius’
Fifth Symphony with Kirill Karabits
(who himself worked with Paavo in Budapest). The music parts being used
by the BSO are the ones used by Paavo himself, and the Orchestra
dedicated its concerts on 26 January in Cheltenham, and 27 January at
Portsmouth Guildhall to his memory.
Roger Preston, Co-Principal Cello, who worked with Paavo on many
occasions, said “Anyone who played with the Bournemouth Symphony
Orchestra in the largest wooden church in the world Kerimäki Church,
Finland, as part of the BSO’s 1981 tour will tell that it was a truly
unforgettable experience. On this tour we played all the Sibelius’
Symphonies, with Paavo on spectacular form. This particular concert
featured Sibelius’ Fourth Symphony plus the Violin Concerto played
superbly by Ida Haendel.
“I joined the BSO in 1979, as much because I had seen and heard them
play under Berglund and knew that he (and they!) were quite exceptional.
Many of Paavo’s comments, criticisms and demands are as fresh in my
mind as though it were only yesterday.
“He remains, for me one of the best, if not the best conductor that I
have ever played for and am so grateful to have caught the latter days
of Paavo’s extraordinarily fruitful relationship with the BSO. For any
string players reading this, I particularly loved it when he used to
say, “violins, you play like in a telephone booth”, ie use much more
Newspaper Helsingin Sanomat told in their 80th year birthday
interview of Paavo Berglund that his one time assistant from
Bournemouth, Simon Rattle, calls him “one of the last great”, and uses
Berglund’s bowings in his Sibelius performances, like many other
superstars. The Helsinki Philharmonic Orchestra always gets very
suspicious when a visiting maestro wants to change Paavo’s markings. The
visiting maestro is silenced by saying that the markings are Sibelius’.
The late Finnish music critic Seppo Heikinheimo writes in his book “Mätämunan muistelmat, 1997″ on page 174: A story about Berglund is often told:
When a wealthy female conductor spent a few weeks in Finland, and was
daily visiting both the Helsinki orchestras and their offices to see
whether she could be thought of as a guest conductor. No one really
dared to say that she was not really needed, but only in the Radio
Orchestra they came up with the idea of sending her to talk to chief
conductor Berglund. Berglund greets and welcomes her with a hopegiving
murderly look, typical of him. They sit down, and she picks up her CV
and concert review copies and gives them to him. Berglund pushes them
away and say: “These won’t be needed. Make me only one list”. “Yes of
course”, she responds. “What kind of a list”, she asks. “A list of all
the important orchestras you have conducted twice!”, he says.
His daughter Liisa Kylmänen told in an video interview for the
Finnish Broadcasting Company when asked to remember her father, that he
very strongly experienced the closeness to Estonians as a sister- or brotherpeople to Finns.
That one as a Finn has to take great care of them. This was during the
occupation and early independent years. And she tells he visited Tallinn
a few times for free or taking only a small fee of his conducting. And
for some of his Sibelius Kullervo performances he insisted of having an
Estonian Choir, and that they must be paid a really good fee.
Paavo Berglund was godfather to the Estonian conductor Paavo Järvi.
Berglund is said to have maintained his interest in music until the
very end; he had news on musicians of younger generations read to him
daily. In addition to his family Berglund will be missed by musicians,
orchestras, colleagues and audiences all over the world. The
representative of the old, authoritarian school conductor can still be
heard and appreciated through his extensive recordings.
The Finnish newspaper Helsingin Sanomat interviewed the conductor Kurt Masur
by telephone from Leipzig on occasion of the passing of Mr Berglund.
“Paavo was one of my oldest friends. The world has lost one of its
greatest conductors, and my thoughts are with his wife Kirsti and his
family”, said Mr Masur.
Berglund was buried in Helsinki on February 4, 2012.
He was survived by his wife, Kirsti; son, Juha; daughters, Liisa Kylmänen and Eeva Berglund; and five grandchildren.
In 2005, the Signe and Ane Gyllenberg Foundation (http://www.gyllenbergs.fi/en/) bought a violin from Mr Berglund, which was built in 1732 by Carlo Bergonzi (1683-1747). Before him the violin was owned by Isaac Stern. Violin maker Ilkka Vainio
(www.ristovainio.com) has said that the violin is an example of a
masterpiece, the best he has personally known. The violin has maintained
its original condition, even the lacquer is still mostly intact.
According to Petteri Iivonen,
who has played the instrument, the violin has a warm sound yet can
endure even a rougher style of play. The violin is lent to a musician
for three years at a time. The first was Pietari Inkinen
who had the violin during years 2005-2009. In spring 2009, the violin
was handed over to Petteri Iivonen. The foundation lends the violin by
announcing it on the daily newspapers, musical publications and on its
website. Interested musicians may apply to enjoy the violin for the said
period of time. A knowledgeable jury decides on the musician who will
have the violin.
According to the Finnish Broadcasting Company YLE, Berglund’s
Stradivarius violin was sold by his heirs in 2012 to the Finnish
Cultural Foundation (http://www.skr.fi)
for 1.8 million Euros. At the same time the performing artist’s rights
to Berglund’s recordings as well as his valuable collection of
orchestral sheet music were donated to the foundation. The latter
material will be made available to researchers in ten years’ time. The
violin will be named Stradivarius ex. Berglund. Mr Berglund’s son Juha Berglund,
the spokesperson for the family, says that his father had several
instruments, but the Stradivari was the dearest to him. Mr Berglund’s
specific wish was that the violin should stay in Finland. The violin was
built in around 1700. The violin is in exceptionally good condition for
Awards and honours
Grammy nomination in 1971 for Best Choral Performance — Classical for Sibelius: Kullervo
Diapason d’Or for the recording of the Nielsen Symphonies with the Royal Danish Orchestra.
Diapason d’Or for the recording of the Sibelius Symphonies with the Chamber Orchestra of Europe.
‘Choc de l’Année 1998′ of Le Monde de la Musique, for the recording of the Sibelius Symphonies with the Chamber Orchestra of Europe.
Finnish State Music Award (with Arto Noras) in 1972.
Art Council of the Uusimaa (region in southern Finland) Region Artium Cultori Award in 2004.
Janne Award in category Best Orchestral Recording in year 2001 for
Brahms Symphonies with the Chamber Orchestra of Europe. The price is
given by IFPI Finland (The Finnish National Group of IFPI http://www.ifpi.org,
in Finnish Musiikkituottajat).
Pro Finlandia Medal 1982.
Finnish Cultural Foundation Award in 1985 (40.000 FIM).
Honorary Officer of the Order of the British Empire (OBE) in 1977.
Honorary Conductor of the Turku Philharmonic Orchestra in 2002 (http://www.tfo.fi).
Member No. 383 of the Swedish Royal Academy of Music in 1983 (http://www.musakad.se).
The Rehearsal Hall PAAVO at the Helsinki Music Centre, opened in 2011, is named after Paavo Berglund (http://www.musiikkitalo.fi/web/en/rehearsal-room).
- Jorge Bolet and Paavo Berglund in Rehearsal
- Sibelius’ tone poem The Bard, Paavo Berglund conducting the Finnish RSO
- Giles plays Beethoven Piano Concerto No. 3, Paavo Berglund and the Philharmonia Orchestra
- Nielsen Flute Concerto, Royal Danish Orchestra, Paavo Berglund
- Misc.: Opera arias: Bizet, Carmen: Song of Toreador; Mozart,
Marriage of Figaro: Aria of Figaro, “Non piu andrai”; Verdi, Aida:
Radames!; (with Aarne Vainio). Finnish Radio Symphony Orchestra. (FUGA 9200)
- Misc.: Tribute to Martti Talvela. Finnish Radio Symphony Orchestra. (Ondine ODE 945-2)
- Bliss: Suite from Miracle in the Gorbals; Cello Concerto (with Arto Noras). Bournemouth Symphony Orchestra. 1977, Southampton Guildhall. (EMI ASD 3342)
- Brahms: Complete Symphonies. Chamber Orchestra of Europe. Live May 2000, Baden-Baden Festival Hall. (Ondine ODE 990-2T)
- Brahms: Double Concerto (with Yehudi Menuhin and Paul Tortelier). London Philharmonic Orchestra. 1984. (EMI)
- Brahms: Piano Concerto No. 2 (with François-Frederic Guy). London
Philharmonic Orchestra. Live May 31, 2003, Royal Festival Hall, London.
- Britten: Violin Concerto (with Ida Haendel). Bournemouth Symphony Orchestra. June 12, 1977. (EMI ASD 3843 CDM7642022)
- Bruch: Violin Concerto No. 1 (with Frank Peter Zimmermann). Royal Philharmonic Orchestra. 2004 (SONY)
- Dvorak: Scherzo Capriccioso; Slavonic Rhapsody No. 3. Dresden
Staatskapelle. Recorded 1978 at Lukaskirche Dresden. (ETERNA 8 27
- Englund: Epinikia. Helsinki Philharmonic Orchestra. (FINNLEVY SFX 34)
- Franck: Symphony; Symphonic Variations (with Sylvia Kersenbaum). Bournemouth Symphony Orchestra. 1976. (EMI ASD 3308)
- Glazunov: Piano Concerto (with John Ogdon); Yardumian: Passacaglia, Recitative & Fugue. Bournemouth Symphony Orchestra. 1977. (EMI ASD 3367)
- Grieg: Peer Gynt Suite; Alfven: Swedish Rhapsody; Järnefelt: Praeludium; Berceuse. Bournemouth Symphony Orchestra. (EMI)
- Grieg: Symphonic Dances; Old Norwegian Romance with Variations. Bournemouth Symphony Orchestra. 1982. (EMI ASD 4170)
- Haydn: Symphony Nos. 92, 99. Finnish Chamber Orchestra. November 1992, Hyvinkää Hall, Finland. (Ondine)
- Haydn: Symphony No. 103; Tchaikovsky: Serenade for Strings. Finnish Chamber Orchestra. Live 1993. (FCO 1003)
- Kokkonen: Symphonies 1, 4; “…durch einen spiegel…”. Finnish RSO.
May 1995 (…Durch einen…, Symph. 4). March 1995 (Symph. 1). House of
Culture Helsinki. (Ondine)
- Kokkonen: Symphony No. 3; Sibelius: Tapiola. Finnish RSO. (EMI SXL 6432, Finlandia FA 311)
- Mozart: Oboe Concerto; Strauss: Oboe Concerto (with Douglas Boyd). Chamber Orchestra of Europe. (Asv Living Era)
- Nielsen: Symphony No. 5. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3063)
- Nielsen: Symphonies 1–6. Royal Danish Orchestra. June 3, 4, 5, 1987
(Nos. 1, 4). August 17–19, 1989 (Nos. 3, 6). August 15–18, 1988 (Nos. 2,
5). Odd Fellow Hall, Copenhagen. (RCA Victor)
- Prokofiev: Summer Night Suite. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3141)
- Rachmaninov: Piano Concerto No. 3 (with Leif Ove Andsnes). Oslo Philharmonic. Live March 1995, Oslo Philharmonic Hall. (EMI)
- Rachmaninov: Symphony No. 3 “The Rock”. Stockholm Philharmonic. June 20–22, 1988, Philharmonic Hall, Stockholm. (RCA Victor)
- Rautio: Moon in Jupiter; Moonlight Alley. Finnish RSO. (Fennica Nova)
- Rimsky-Korsakov: The Golden Cockerel Suite. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3141)
- Rimsky-Korsakov: May Night Overture; Glazunov: Valse de Concert No.
1; Glinka: Valse Fantaisie; Sibelius: Intermezzo and Alla Marcia from
Karelia Suite; Shalaster: Dance “Liana”. Bournemouth Symphony Orchestra.
- Saint-Saens: Piano Concerto No. 2 (with Emil Gilels). USSR State Symphony Orchestra. 1951.
- Schumann: Piano Concerto; Grieg: Piano Concerto (with John Ogdon). New Philharmonia Orchestra. 1972. (EMI ASD 2802)
- Sallinen: Chorali. Helsinki Philharmonic Orchestra. (BIS CD-41)
- Shostakovich: Symphonies 5, 6, 7, 10, 11. Bournemouth Symphony
Orchestra. 30–31 July 1975, No. 1 Studio, Abbey Road, London (No. 5).
Jan 1974, Guildhall, Southampton (No. 7). 1975 (No. 10). Dec 1978 (No.
- Shostakovich: Symphony No. 8. Russian National Orchestra. June 2005, DZZ Studio 5, Moscow. (Pentatone)
- Shostakovich: Cello Concerto No. 1; Walton: Cello Concerto (with Paul Tortelier). Bournemouth Symphony Orchestra. Jan 7-8, 1973, Southampton Guildhall. (EMI)
- Shostakovich: Concerto No. 1 for Piano, Trumpet and Strings (with
Cristina Ortiz and Rodney Senior); Piano Concerto No. 2 (with Cristina
Ortiz); Three Fantastic Dances. Bournemouth Symphony Orchestra. Sep
- Shostakovich: Violin Concerto No. 1 (with Arve Tellefsen). Royal Philharmonic Orchestra. (Grappa, Simax)
- Sibelius: From Kullervo; Kullervon valitus (with Usko Viitanen). Finnish Radio Symphony Orchestra. (FUGA 9240)
- Sibelius: En Saga; The Oceanides; Pohjola´s Daughter; Luonnotar
(with Taru Valjakka); Pelleas et Melisande (excerpts). Bournemouth
Symphony Orchestra. (EMI ESD7159)
- Sibelius: Pelleas et Melisande; Rakastava. Finnish Chamber Orchestra. Live Tampere Talo, 8 April 1991. (FCO 1001)
- Sibelius: Finlandia; Tapiola; The Swan of Tuonela; Lemminkäinen’s
Return; Valse Triste. Philharmonia Orchestra. 1983, St. John’s Smith
Square, London. (EMI ASD 4186)
- Sibelius: Finlandia; The Swan of Tuonela; Lemminkäinen’s return;
Intermezzo from Karelia Suite; Nocturne, Elegie, Musette, Valse Triste
from King Kristian II suite. Bournemouth Symphony Orchestra. (EMI 1 C
063-05 011 Q)
- Sibelius: Symphonies 2, 7. London Philharmonic Orchestra. Live Royal
Festival Hall 6 Dec. 2003 (No. 7) and 16 Feb. 2005 (No. 2). (LPO 0005)
- Sibelius: Symphony No. 4. Royal Concertgebouw Orchestra. Live
9/11/1991. (Anthology Of The Royal Concertgebouw Orchestra Vol. 6 – Live
Radio Recordings 1990-2000)
- Sibelius: Symphony No. 4; Sallinen: Mauermusik. Finnish RSO. House
of Culture Helsinki, May 1969. (DECCA SXL 6431, Finlandia FA 312)
- Sibelius: Symphonies 5, 6; The Swan of Tuonela. London Philharmonic
Orchestra. Live May 31, 2003, Royal Festival Hall (No. 5). Live Dec. 6,
2003, Royal Festival Hall (No. 6). Live Sept. 22, 2006, Queen Elizabeth
Hall (Swan). (LPO 0065)
- Sibelius: Symphony No. 6; The Swan of Tuonela. Berlin Radio Symphony Orchestra. Recorded 1970. (ETERNA 00031432BC)
- Sibelius: Complete Symphonies 1–7 and Orchestral Works (Including
World Premiere Recording of Kullervo Symphony). Bournemouth Symphony
Orchestra. 1976 (No. 1). 1978 (No. 2). June 20, 1977 (No. 3). ? (No. 4).
June 1973 (No. 5). 1976 (No. 6). 1973 (No. 7). Southampton Guildhall.
Dec. 1970, Southampton Guildhall (Kullervo). (EMI)
- Sibelius: Complete Symphonies 1–7 with Finlandia, The Oceanides and
Kullervo Symphony. Helsinki Philharmonic Orchestra. Feb 1984, All Saints
Church Tooting (No. 4). 1985 (Kullervo). May 1986, House of Culture,
Helsinki (No. 1). Dec 1986, House of Culture, Helsinki (No. 2). July
1987, House of Culture, Helsinki (No. 3). Dec 1986, House of Culture,
Helsinki (No. 5). May 1986, House of Culture, Helsinki (No. 6). Feb
1984, All Saints Church Tooting (No. 7). (EMI)
- Sibelius: Complete Symphonies 1–7. Chamber Orchestra of Europe. 10
Oct 1997, RFO Hall Hilversum (Nos. 1, 2, 3). Sep 1995, Watford Colosseum
London (Nos. 4, 6, 7). Dec 1996, Nijmegen (No. 5). (Finlandia)
- Sibelius: Violin Concerto; Serenades Nos. 1, 2; Humoresque No. 5. (with Ida Haendel). Bournemouth Symphony Orchestra. July 1975, Southampton Guildhall. (EMI)
- Sibelius: Violin Concerto (with Arve Tellefsen). Royal Philharmonic Orchestra. (Simax)
- Sibelius: Valse triste; Dvorak: Slavonic Dance No. 1; Slavonic Dance
No. 2; Strauss Johann Jr: Csardas. Finnish National Opera Orchestra.
(Ondine ODE 8152)
- Smetana: Má Vlast. Dresden Staatskapelle. Recorded 1978 at Lukaskirche Dresden. (ETERNA 8 27 199-200)
- Strauss: Till Eulenspiegel; Don Juan; Burleske for Piano and Orchestra (with Sergei Edelmann); Serenade for Winds. Stockholm Philharmonic. June 19–22, 1989, Philharmonic Hall, Stockholm. (RCA Victor)
- Tchaikovsky: Serenade for Strings; Dvorak: Serenade for Strings. New
Stockholm Chamber Orchestra. July 14–15, 1983, Stockholm Concert Hall.
- Tchaikovsky: 1812 Overture; Symphony No. 4. London Philharmonic Orchestra. Feb 28-30, 1998, Watford Colosseum. (SONY)
- Vaughan Williams: Symphony No. 4; The Lark Ascending (with Barry
Griffiths). Royal Philharmonic Orchestra. October 29–30, 1979, No. 1
Studio, Abbey Road. (EMI ASD 3904)
- Vaughan Williams: Symphony No. 6; Oboe Concerto (with John
Williams). Bournemouth Symphony Orchestra. April 1, 1975, Southampton
Guildhall. (EMI ASD 3127)
- Walton: Violin Concerto (with Ida Haendel). Bournemouth Symphony Orchestra. 1978, Southampton Guildhall. (EMI ASD3843 CDM 764202 2)
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(18 June 1923 – 25 January 2012)
She began medical studies in 1941, which she interrupted during the war to work as a nurse. In 1944 she married at Berlin-Tegel
Karl Carstens, whom she had met a year befor. Temporarily she was a
housewife. In 1956 she continued her medical studies, graduating in
From 1960 to 1968 she worked as a medical assistant and in 1968 she opened her medical practice in Meckenheim near Bonn.
Carstens was by profession a doctor of medicine, and she maintained
her practice throughout her husband’s tenure as president. She was a
strong advocate of naturopathy and homeopathy, and in 1982 the Carstens established the Carstens-Foundation (Carstens-Stiftung) – a major funder of alternative medicine research in Europe. She was an honorary member of the Order of Saint John (Bailiwick of Brandenburg).
She was widowed in 1992. After she had retired from public life in 2009, she lived in a sanitarium in Bonn.
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Carlos Escarrá, Venezuelan politician, Attorney General (since 2011), died from a heart attack he was 57.
Carlos Escarrá was a Venezuelan politician.
(26 November 1954 – 25 January 2012)
He served as attorney general of Venezuela and a member of the National Assembly of Venezuela for Aragua State, and was a member of the board of directors of the United Socialist Party of Venezuela (PSUV). He was a constitutional lawyer and a former judge for the Supreme Court of Venezuela. In August 2011, he was chosen as attorney general by lawmakers allied with President Hugo Chávez.
Escarrá died of a heart attack on January 25, 2012, and was replaced by Cilia Flores.
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(1 March 1916 – 12 January 2012)
Born in 1916 (although other sources indicate 1913 and 1915) she was married to Maharao
Bhim Singh of Kotah in 1930. She was not, however, bound by the
traditional restrictions of the Purdah. Kumari’s father ensured that she
received modern education along with her male siblings at home. The Rathor Rajput princesses was skilled in shooting and bagged more than forty tigers both before and after her marriage.
As the Maharani of Kotah she became committed to the cause of education along with her contemporary and friend, Maharani Gayatri Devi of Jaipur. Kumari is vice-president of the latter’s Maharani Gayatri Devi Girls’ Public School in Jaipur.
While her husband was the ceremonial governor of Rajasthan,
Kumari was also active in politics and was elected to the Rajasthan
Legislative Assembly as an independent member from Khanpur (Jhalawar
District) from 1966-71. Along with her husband and family she traveled
all around the world in the early decades of India’s independence.
Kumari was active in the socio-economic uplift of the Rajput
community and is the vice-president of the Rajput Sabha. Like her
contemporaries in Indian royalty she remained interested in the
preservation of wildlife and jungle habitat. She managed a small estate
near Kota called Nawal Bagh, which had been bequeathed to her by Maharao Bhim Singh.
Following the death of Maharao Bhim Singh in 1991, Kumari became the
Rajmata (Queen Mother) while her son Brijraj Singh became the next
Maharao. The royal residence of Umaid Bhawan was converted into a hotel
but she continued to reside in the upper portions of the palace until
her death in January 2012.
Kumari died on the evening of 12 January 2012. She had been admitted
to the Intensive Care Unit of the Bharat Vikas Parishad Hospital in Kota
on 9 January following a deterioration in the functioning of her
kidneys. On the afternoon 12 January she was brought back by her family
to her residence, the Ummed Bhawan Palace, without any improvement in
her condition and the doctors declaring her death only a matter of time.
Her last rites were performed on 13 January 2012.
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Did you know that Rajo Devi became the oldest woman in recorded history to ever give birth on November 28, when the 70-year-old delivered a baby girl in India?
Did you know that Mrs Vassilyev gave birth to a total of 69 children: sixteen pairs of twins, seven sets of triplets and four sets of quadruplets between 1725 and 1765, in a total of 27 births?
Did you know that Vassilyev also had six sets of twins and two sets of triplets with a second wife, for another 18 children in only eight births?
Now if you didn’t know, now you know…
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