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	Roger Norrington - Wikipedia, the free encyclopedia
		Sir Roger Arthur Carver Norrington (born March 16, 1934) is a British conductor best known for performances of Baroque, Classical and Romantic music using period instruments and period style.
		Norrington was created an OBE in 1980, a CBE in 1990 and a knight bachelor in 1997.
		Roger Norrington is the brother of Humphrey Thomas Norrington, vice-chairman of Barclays Bank from 1991 to 1993.
	en.wikipedia.org /wiki/Roger_Norrington (221 words)

	Roger Norrington -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-22)
		Norrington's quick ((music) the speed at which a composition is to be played) tempos and very limited use of ((music) a pulsating effect in an instrumental or vocal tone produced by slight and rapid variations in pitch) vibrato have brought him both acclaim and criticism.
		Norrington was created an (Click link for more info and facts about OBE) OBE in 1980, a (Click link for more info and facts about CBE) CBE in 1990 and a (A knight of the lowest order; could display only a pennon) knight bachelor in 1997.
		Roger Norrington is the brother of Humphrey Thomas Norrington, vice-chairman of (Click link for more info and facts about Barclays Bank) Barclays Bank from 1991 to 1993.
	www.absoluteastronomy.com /encyclopedia/R/Ro/Roger_Norrington.htm (281 words)

	Document
		Once, Norrington improvises a detail, a swell on the fermata in the reprise of the exposition, that might work in concert but which threatens to pall on record, but the reading is dramatic and cogent in the first movement, rich in incident in the second, powerful and ennobling in the fourth.
		In the finale, Norrington is quick and vivid but he leaves space enough to let the ruminative cross-currents through, a kind of dissident conservative lobby that tends to remain smugly silent when the conductor opts for a more leisurely tempo.
		Norrington's treatment of the slow movement, quicker than usual, with little or no vibrato in the melodic line, is explained in the booklet note as the realization of what is alleged to be the literal meaning of adagio, "at ease".
	home.wanadoo.nl /jdpt/reviews/Beet/norrington.htm (1247 words)

	Mozart, Schubert; Sir Roger Norrington – conductor; Benjamin Schmid – violin, Philharmonia Orchestra, RFH, December ... (Site not responding. Last check: 2007-10-22)
		A Norrington performance is always more than a mere concert – it is more of an event: you know you’ll come away from the performance with a radically challenged (and often changed) conception of the scores played: and this concert - from start to finish - was both revelatory and visionary.
		Norrington presented his programme in a new light, making us feel as if we were hearing the works for the first time – and this is his genius.
		Norrington inspired the Philharmonia strings to surpass themselves; one felt they were reinventing their sound in the style of the soloist; a mesmerising performance.
	www.theclassicalsite.com /SandH/2002/Aug02/Mozart_Norrington.htm (676 words)

	Roger Norrington and The NSO, Unwavering
		Norrington has been an active field marshal in the early music movement, which applies historical scholarship to replicate the sound of a composer's music in its original performance.
		Norrington has taken this trimmer style beyond the movement's typical bastions of the baroque and early classical repertoire into the less-charted field of 19th-century romantics.
		Norrington's musicmaking was certainly not to every taste, nor necessarily superior to the grander style.
	www.washingtonpost.com /wp-dyn/content/article/2005/05/13/AR2005051300008.html (527 words)

	Beethoven, Missa Solemnis, Philharmonia Chorus & Orchestra, Sir Roger Norrington, RFH, 5th March 2003 (AR) (Site not responding. Last check: 2007-10-22)
		That said, Sir Roger Norrington’s interpretation of the ‘Missa’ was revelatory in his seemingly fresh and direct approach, stripping away the cobwebs of heavy romanticism, and cleansing the score of sensational mannerisms and congested orchestral textures that tend to bedevil this work.
		Norrington got the strings to sound like an anti-vibrato, quasi-period instrument orchestra, and this emphasis on an ‘authenticist’ string tone produced great transparency – albeit sacrificing somewhat the weight and depth essential to the work.
		Norrington and his players turned up the heat in the Gloria which was taut and tough, with crisp playing from the Philharmonia brass which introduced a punctuating sound to the closing passages.
	www.musicweb-international.com /SandH/2003/Feb03/Beethoven_Norrington_53.htm (660 words)

	Roger Norrington (Conductor) - Short Biography
		The scholarly English conductor, Roger (Arthur Carver) Norrington, is a native of Oxford, England, where he came from a University family with strong musical connections.
		In 1962, Roger Norrington founded the Schütz Choir and thus began a 30 year exploration of historical performance practice.
		Roger Norrington’s opera experience is as wide as that with symphony orchestras, choirs and chamber orchestras.
	www.bach-cantatas.com /Bio/Norrington-Roger.htm (484 words)

	The Royal College of Music (Site not responding. Last check: 2007-10-22)
		Sir Roger Norrington was born in Oxford, and comes from a musical University family.
		Norrington continues to push the boundaries of performance practice still further with groundbreaking recordings of Brahms’s four symphonies, and of works by composers including Wagner, Bruckner and Smetana.
		Norrington’s work on scores, orchestral sound and size, seating and playing style has had a growing effect on the perception of 18th- and 19th- century orchestral music.
	www.rcm.ac.uk /prof.asp?display=professors&link=96 (472 words)

	NPR's SymphonyCast: Biography of Sir Roger Norrington (Site not responding. Last check: 2007-10-22)
		Sir Roger Norrington is a native of Oxford, England, where he came from a University family with strong musical connections.
		When Norrington reached the era of the symphony in his researches, the LCP took on a life of its own and the Schütz Choir went into semi-retirement.
		Norrington's work on scores, on sound, on orchestra size, seating and playing style, has had a profound effect on the way 19th century music is now perceived, and not surprisingly, he is in great demand by symphony orchestras world-wide.
	www.npr.org /programs/symphonycast/bios/norrington.html (516 words)

	Boston Globe Online / Living \| Arts / Sir Roger Norrington still conducts challenges to the tradition (Site not responding. Last check: 2007-10-22)
		It amuses Norrington to realize that some of the younger players in the orchestras he conducts today grew up with his recordings and accept them as normal, not experimental; those discs provide a point of departure for further exploration.
		Norrington says he has modified his views on tempos in the Ninth Symphony since making his recording, though he remains steadfast in his adherence to the metronome marks in the other eight.
		For Norrington, playing without vibrato brings a new clarity and transparency to the orchestra writing; it dramatizes the concords and discords in a startling way; and it creates new sounds and balances within the orchestra, especially when the winds or brass are playing with the strings.
	www.moonrisepiano.com /lance/tfc/tfc-020825-norrington.html (1179 words)

	classical music - andante - roger norrington calls for banishing vibrato from the orchestra
		In listening to historical recordings, Norrington reports, he finds that the use of vibrato as anything more than an occasional expressive device is a relatively recent invention; it became fashionable among soloists in the early 20th century, starting with violinist Fritz Kreisler, and spread to major orchestras by the 1930s.
		Norrington is one of a group of conductors, mostly British, who brought the performance of Classical- and Romantic-era repertoire on period instruments into the mainstream of the classical music marketplace during the 1980s and '90s.
		Norrington continues to work occasionally with such period-instrument groups as the Orchestra of the Age of Enlightenment, which he led in a much-discussed program called "The Mahler Experience" in 2001; however, he now makes his living primarily with such modern-instrument bands as the
	www.andante.com /article/article.cfm?id=19988 (467 words)

	Document
		Roger Norrington is a man who has smelt grease-paint in his time.
		Even I had forgotten how noisy it can be until Norrington and his merry men bludgeoned me out of my study with the L'italiana coda and then sent me reeling—expletive deleted—with a really murderous thwack on the drum at the end of the Overture to Il barbiere.
		Indeed, one of the primary delights of the disc is the astonishing array of fleeting instrumental asides that are usually muted in latter-day performances—a flute briefly cooing in the background or a sudden sharp sting of muted brass tone.
	home.wanadoo.nl /jdpt/reviews/R/Ross_Norr.htm (879 words)

	New Page 2
		The logic Norrington employs to support his view is that whilst star violin soloists had begun in the late 19
		Certainly Norrington’s argument in the liner notes that his performance techniques produce “pure tone” is correct.
		On that view, we are forced to flush the recorded repertoire of much of the last century and the beginning of this down the toilet.
	inkpot.com /classical/haennorringtchaik.html (615 words)

	classical music - andante - roger norrington meets the fabulous(ly inauthentic) philadelphians
		Norrington's performance with the Philadelphians of Beethoven's Symphony No. 2 and Berlioz' Symphonie fantastique conclusively proved what has often in the past sounded like a rationalization — Norrington's claim that authentic instruments were only the final step of historically-informed performance.
		Norrington has somehow allowed the orchestra to find its own way into this mode of playing, aided by a re-arrangement of the instruments, with the violas and cellos dividing the first and second violins and the double basses fanned out across the back.
		In any event, while Norrington's Beethoven had a highly theatrical subtext, his Berlioz was played more as pure music, the arrangement of instruments allowing the audience to enjoy the piece's seldom-heard inner voices as well as the spatial antiphony.
	www.andante.com /article/article.cfm?id=15909 (703 words)

	Variety.com - Reviews - Hollywood Bowl '95
		Conductor Roger Norrington is one of several London-based interpreters intent on restoring the symphonic repertory in general, and Beethoven's nine symphonies in particular, to something resembling the sound and shape the composer might have envisioned.
		Wallace & Gromit: The Curse of the Were-Rabbit
		Yet Norrington has history on his side; availing himself of the newly invented Metronome, Beethoven left specific tempo indications for most of his major scores, and most of them are far faster than the typical orchestral performances one hears today.
	www.variety.com /review/VE1117904266?categoryid=33&cs=1 (460 words)

	Roger Norrington biography : albums : icebergradio.com (Site not responding. Last check: 2007-10-22)
		Sir Roger Arthur Carver Norrington is one of the leaders and best-known figures of the British "authentic performances" movement.
		Each of these is a set of lectures, and discussions, and performances closely examining a single work or group of works in their historical context.
		Norrington did not become an exclusively early-music or period instrument musician.
	www.icebergradio.com /artist/27553/ken_peplowski.html (598 words)

	Llewellyn moves on but not out - The Boston Globe
		The British conductor Sir Roger Norrington joins the masthead of the Handel and Haydn Society next season as artistic adviser, part of a reconfigured artistic team.
		Norrington is currently chief conductor of the Radio Symphony Orchestra of Stuttgart and the Camerata Salzburg, but he has been an intermittent guest of the Boston Symphony Orchestra both here and at Tanglewood, and was a major presence in three of the early editions of the Boston Early Music Festival (1987-1991).
		Norrington always provoked controversy and sometimes courted it, which is an attraction both to Deissler and Llewellyn.
	www.boston.com /news/globe/living/articles/2005/10/17/llewellyn_moves_on_but_not_out (711 words)

	Real Brahms
		With that in mind, Sir Roger Norrington breezed into L.A. in late October with his traveling Brahms show: all four symphonies, several lectures, some chamber music, a few songs, and an open rehearsal.
		Norrington is a kindly taskmaster: at the end of each movement he would tap his baton several times on the edge of his music stand and intone, "Good work," or "Excellent job." He has an impish sense of humor: at one point, mid-passage, he suddenly turned to the audience and urged us to sing along.
		Norrington then stepped off the podium, clunked himself down at the edge of the stage, feet dangling, and invited us to ask questions.
	www.homestead.com /jimhull/files/Real_Brahms.html (1269 words)

	Encyclopedia: Roger Norrington
		Romantic music is defined as the period of European classical music that runs roughly from the early 1800s to the first decade of the 20th century, as well as music written according to the norms and styles of that period.
		Norrington studied at Clare College, Cambridge and the Royal College of Music under Adrian Boult among others.
		Commanders Badge of the Order of the British Empire The Most Excellent Order of the British Empire is an order of chivalry established on 4 June 1917 by George V. The Order includes five classes in civil and military divisions, in decreasing order of seniority: Knight or Dame Grand...
	www.nationmaster.com /encyclopedia/Roger-Norrington (806 words)

	Sir Roger Norrington
		Norrington and SWR RSO Stuttgart performed Berlioz's Benvenuto Cellini in August and September 2003, from Proms (London) to Wien to Berlin to Brüssel.
		Norrington and LCP had performed and recorded many important repertories of classical to early romantic era, starting from Beethoven's 2nd and 8th symphonies and went down step by step, and broke-up in 1997.
		Roger Norrington is an Honorary Fellow of Clare College, Cambridge and has received honors which include an OBE in 1979, Cavaliere (Italy) in 1980, and a CBE in 1990.
	www.kanzaki.com /norrington/index.html.en (1780 words)

	[No title] (Site not responding. Last check: 2007-10-22)
		Norrington became chief conductor of the Radio Symphony Orchestra (SWR) in Stuttgart in the autumn of 1998.
		Sir Roger’s debut as an opera conductor in Salzburg was at the 1997 Mozartwoche, with Mozart’s “Mitridate”, which he also led at the Salzburg Summer Festival that year.
		A particular highlight was of the last Camerata season the “Begegnung” Festival- the sixth in which the audience was invited to go on a three-day journey of musical discovery with Franz Joseph Haydn, to Eisenstadt, Esterhaza and London.
	www.camerata.at /download/bios/englisch/norrington.doc (396 words)

	Beethoven Choral Symphony, London Philharmonic Orchestra, Sir Roger Norrington Théàtre du Châtelet, ... (Site not responding. Last check: 2007-10-22)
		It is always a surprise to see the conducting style of Roger Norrington.
		The exception this evening being, oddly, the brass section, which, throughout the concert had its own concept of rhythmical pulse and even intonation which was often at variance with that held by Sir Roger.
		Norrington's precision, attention to detail and, in the symphony in F, wit were all in evidence.
	www.musicweb-international.com /SandH/2001/Dec01/choral.htm (446 words)

	EMI Classics \| Biographies \| SIR ROGER NORRINGTON (Site not responding. Last check: 2007-10-22)
		Sir Roger Norrington was born in Oxford, England, in 1934.
		Norrington and the LCP tour extensively: in 1989 they made their first appearances together in the USA and at the Salzburg Festival.
		It is for his work with The London Classical Players that Norrington is chiefly known, rethinking and rejuvenating the choral and particularly the orchestral repertory from Haydn to Brahms.
	www.emiclassics.com /artists/biogs/rnob.html (508 words)

	Matthaus-Passion BWV 244 - conducted by Roger Norrington
		Next month, Roger Norrington and the Orchestra of the Age of Enlightenment are undertaking a reconstruction of the concert, as part of a Mendelssohn retrospective at London's South Bank, and Norrington is well aware that some listeners may be in for a shock.
		Mendelssohn's hugely significant deed of restoration was celebrated and re-created in this performance, for which Roger Norrington conducted the Orchestra and Chorus of the Age of Enlightenment and the London Symphony Chorus.
		Norrington scrupulously followed the score that Mendelssohn prepared for his Berlin performances, with the same cuts, platform layout and orchestral substitutions.
	www.bach-cantatas.com /Vocal/BWV244-Norrington.htm (5760 words)

	Los Angeles Philharmonic Association - Performer Details
		He was a talented boy soprano, going on to study the violin from the age of ten and singing from the age of 17, but after school at Westminster and military service, his higher education was in English Literature at Cambridge.
		Norrington now has a major contract with Decca, but he also records for Sony and BMG, as well as EMI and Virgin Classics.
		Norrington’s work on scores, on sound, on orchestra size, seating, and playing style has had a profound effect on the way 19th-century music is now perceived, and he is in great demand by symphony orchestras world-wide.
	www.laphil.org /resources/performer_detail.cfm?id=106 (460 words)

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