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Sound and vision blog

104 posts categorized "Sound and vision"

17 August 2017

San Fairy Ann

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Rosy Hall is an ESRC-funded PhD student from Oxford University working with the BL's Spoken English collections. She writes:

The phrase ‘San Fairy Ann’ might sound familiar, perhaps conjuring up memories of Paul McCartney's 1976 song, or Barbara Windsor's 1965 comedy of the same name. But what does it actually mean, and where does it come from?

The saying has cropped up in our WordBank collection twice so far, both times the speakers attributing it to an elderly grandparent.

C1442 San Fairy Ann (female b.1942) uncatalogued

‘My grandmother always used the phrase when she didn’t want to know about something was ‘San Fairy Ann’ which when I started to learn French at school I discovered was ‘ça ne fait rien’. I believe that this was um she probably picked it up from my grandfather when he came back from the First World War.’

C1442X3968 San Fairy Ann (female b.1962)

‘In my family we use the phrase ‘San Fairy Ann,’ which is yelled at people – usually the kids – when they’re misbehaving. Um, we think it might come from the French, ça ne fait rien, which we think means – is a phrase of dismissal. My grandmother who’s ninety-eight uses it and we’ve all picked it up from her.’

As the speakers themselves observe here, ‘San Fairy Ann’ is the result of a common process whereby a saying or word is converted by mis-hearers into something different that seems to make (at least some) sense. There’s ‘all intensive purposes,’ for example, ‘electrical votes,’ and of course ‘damp squid.’ Geoffrey Pullum and Mark Liberman call these ‘eggcorn’ moments, after the mis-interpretation of ‘acorn’ – and explain that they are not stupid mistakes, but rather ‘imaginative attempts at relating something heard to lexical material already known.’

In the case of ‘San Fairy Ann’, the process has taken place in translation; the phrase is recorded as becoming popular in England after British soldiers came into contact with French during the First World War. ‘Ça ne fait rien’ – meaning ‘never mind’ or ‘it doesn’t matter’ – became ‘San Fairy Ann,’ also commonly ‘san ferry Ann’ or ‘Sally Fairy Ann.’ A dictionary of ‘Soldier and Sailor Words’ from 1925 even has an entry for ‘sand for Mary-Ann.’ This type of ‘soldier slang’ is also behind French-influenced phrases like ‘mercy buckets’ (merci beaucoup) and ‘bottle of plonk’ (vin blanc).

Author Jeanette Winterson has also written about the concept, celebrating it as ‘a tribute to the exuberance and flexibility of language.’ Below she describes the evolution of ‘San Fairy Ann’ in her own family:

My father was in Ipres, (pronounced Wipers), during the War, and like many of his generation, came back with bits of French. Ce ne fait rien turned into San Fairy Ann, meaning Stuff You, and then a new character emerged in Lancashire-speak, known as Fairy Ann; a got-up creature, no better than she should be, who couldn’t give a damn. ‘San Fairy Ann to you’, morphed into, ‘Who does she think she is? Fairy Ann?’

Continue the conversation with us @VoicesofEnglish

14 August 2017

Recording of the week: the seabirds of Bempton Cliffs

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This week's selection comes from Cheryl Tipp, Curator of Wildlife & Environmental Sounds.

If you find yourself in East Yorkshire during the summer holidays, be sure to pay a visit to the stunning seabird colonies at Bempton Cliffs. Every year nearly half a million seabirds congregate on the hard chalk cliff faces in order to breed. Numbers are at their highest between April and August, when Gannets, Kittiwakes, Guillemots, Razorbills, Fulmars, Puffins and gulls jostle for the best positions along the precipitous ledges. This recording, made by Richard Margoschis in 1990, captures all the excitement of this busy community.

You can listen to more wildlife and environmental recordings in the Environment and Nature section of British Library Sounds.

Follow @CherylTipp and @soundarchive for all the latest news.

10 August 2017

A wigwam for a goose’s bridle

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Rosy Hall is an ESRC-funded PhD student from Oxford University working with the BL's Spoken English collections. She writes:

One of the joys of cataloguing the Evolving English WordBank is discovering all the weird and wonderful phrases donated to the British Library by speakers from around the world. Researching their origins and meanings inevitably leads the cataloguer down a referencing rabbit-hole – it’s all part of the fun!

This week’s recording is of a folk phrase given to us by an Australian speaker from New South Wales, about 30 years old

Wigwams for goose's bridles

There’s a phrase that our mother always used in our family…it’s wigwams for gooses bridles. She would use it whenever we asked her what something was and she didn’t want to tell us, like if she’d just bought Christmas presents or birthday presents and we were bringing them home. So we’d say, Mum what’s in the bag and her answer would always be ‘wigwams for gooses bridles’. Which was a nonsense saying, I have no idea where it came from. It could be completely peculiar to our family for all I know!

As the speaker describes, this enigmatic phrase is a handy way of responding to nagging questions from children. A little bit of digging, however, reveals that the phrase is not a new invention, but in fact it has quite a long history of its own, and a number of different iterations. It is commonly reported as a popular saying in Australia, but is also known in Lincolnshire and other parts of the UK, particularly among older speakers.

Originally the phrase seems to have referred not to ‘wigwams’ but to a ‘wim-wam’ or ‘whim-wham’ – an old word for ‘trinket’ or ‘trifle’ first occurring in 17th Century texts. Whether wims or wigs, it’s all the same; reduplication with vowel variation is a common strategy in nonsense-speak – just think of jibber-jabber, fuddy-duddy, and hocus-pocus. A slang dictionary in 1860 lists ‘wim-wam’ as being ‘synonymous with fiddle-faddle, riff-raff, etc, denoting nonsense, rubbish, etc.’ Michael Quinion, researching the phrase, even came across the alternative swinkle-swankle for a goose’s nightcap! Anything goes – as long as you fox the kids into silence!

Interestingly enough, a version of the phrase cropped up in another of our collections – BBC Voices. In an interview with speakers from Osgodby, Lincolnshire, one speaker explains that a wimwam for a mustard mill is ‘really a mild way of saying don’t be nosy’.

Nosing into other people’s phrases – that’s what we do best here at Spoken English!

Do you have an interesting word or phrase to share? Tweet it to us @VoicesofEnglish

09 August 2017

Frederick Grinke and the sound of English music

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Guest blog by Edison Fellow Fiona Richards, Senior Lecturer in Music at the Open University

Gloucester_Cathedral_exterior_front

Gloucester Cathedral (Saffron Blaze [CC BY-SA 3.0] )

Evocative little photographs of 1956 show the violinist Frederick Grinke (1911–1987) alongside Vaughan Williams, rehearsing for a performance of The Lark Ascending in the marvellous acoustic space of Gloucester Cathedral. Grinke had a close and enduring relationship with Vaughan Williams and his music. He recorded the Violin Sonata and the Concerto Accademico as well as The Lark Ascending, and, along with David Martin, gave a performance of Bach’s Double Violin Concerto in D minor at the composer’s funeral. Grinke’s association with Vaughan Williams was not his only contribution to English music. He commissioned and premiered works from Arnold Bax to Edmund Rubbra, and was a champion of many other British composers such as William Walton.  Here is a short extract from Bax's Legend with Joseph Weingarten at the piano.

Bax Legend extract

Here is another short extract of Bax's Violin Concerto (1938) with Adrian Boult and the BBC Orchestra from a live broadcast of March 1945.

Bax Concerto extract

A lifelong lover of English music, I’ve always been drawn to its advocates. My early work on John Ireland led me to Grinke, who worked closely with that composer and recorded much of his chamber music. As a current Edison Fellow of the British Library, I’m delighted to have access to numerous recordings of Grinke, both as a soloist and as an orchestra player, and to have the huge pleasure of spending time listening to and analysing them. In particular, I’m looking to find ways of capturing Grinke’s distinctive sound and performance style in words.

So what is it that makes Grinke such a special and much-loved violinist? Listening to the surviving recordings of him as soloist and orchestral leader reveals an extraordinarily distinctive and intense tone quality. Reviews of his time as a student at the RAM saw Grinke commended countless times, whether it was for his ‘sweet, pure tone’ or his ability to lead a string quartet ‘with rare spirit’. Grinke was also a regular concerto soloist at the RAM, a performance of Brahms’s Concerto eliciting the comment that he showed ‘remarkably good tone, flexible and warm yet free from sentiment’. This sweet pure tone is perhaps what most distinguishes Grinke as a violinist, heard for example in this recording of the finale of Mozart’s Concerto No.5.

Born in Winnipeg, in 1927 Grinke was awarded a scholarship to leave Canada to study at the Royal Academy of Music, where he was one of the winners of the prestigious annual violin bow competition. One of the RAM’s stars from the outset, Grinke devoted his subsequent career to working as a soloist and chamber musician, and, for ten years, as an orchestral leader. As an ensemble player, he founded his own Grinke Piano Trio, with cellist Florence Hooton and pianist Kendall Taylor.

Grinke Trio

Grinke Trio (photo courtesy Paul Grinke)

His first significant professional role saw him playing for six years with the Kutcher Quartet, and indeed his work with this ensemble dominated his early career.

The_Kutcher_String_Quartet_1930s_800

Photo courtesy Paul Grinke

Grinke was also the longest serving and most distinguished leader of the Boyd Neel Orchestra. He took over as concert master in 1937 and remained in that role for 10 years. From the outset, the inexperienced but dedicated conductor Boyd Neel described the venture as a ‘communal effort’ to bring to a listening public a vast repertoire of music for strings which was at that time virtually unknown in the concert hall. Peter Pears, in his own tribute to this extraordinarily prolific and successful band of string players, described Neel’s real genius as attracting and keeping the right people: ‘They were a very good lot – Freddy Grinke, David Martin, Max Gilbert – all first class musicians, and devoted to him. They followed him like an eagle’. With this orchestra Grinke recorded solo parts in numerous works, including Bach’s ‘Brandenburg’ concertos and Handel’s concerti grossi, and I’ve been able to listen to his leadership of this band during my time as an Edison Fellow. Undoubtedly he brought to it an intensity of sound, and under his leadership it became one of the most distinctive small orchestras of the period. Vivacity, commitment and an emphasis on melody characterise so many of the orchestra’s recordings, such as the Abel Symphony in E flat recorded in 1940.

Abel Symphony

Zest, boldness, richness of sound are all features of the BNO under Grinke, playing either on his instrument by J. B. Rogerius of 1686, or on a 1718 Stradivarius loaned to him by the RAM.

During the Second World War Grinke was a member of the RAF Symphony Orchestra, playing alongside the members of the Griller Quartet, the Blechs and the Brains. David Martin, now Sgt Martin and married to Florence Hooton, was also a member. The orchestra toured the UK and played in National Gallery concerts. Grinke is seen below leaning on the piano.

RAF SO

Photo courtesy Paul Grinke

In 1947 the Boyd Neel Orchestra travelled to Australia and New Zealand. This eighteen-week tour was quite an undertaking. In 1947 the journey to Sydney by plane took 9 days, flying via San Francisco with a number of changes: Dublin-Shannon-Gander, Newfoundland-New York-Los Angeles-San Francisco-Honolulu-Canton Island-Fiji-Sydney. Advertisements for their tour appeared in newspapers in the autumn of 1946 and into 1947. There were concerts in many cities and the Australian Broadcasting Corporation broadcast a number of these, including the opening event. This took place in Sydney Town Hall. The great critic Neville Cardus was in the audience and wrote a long, highly appreciate article. Cardus was equally besotted with the subsequent concerts, very taken with the discipline, unity and vitality of the orchestra, and particularly drawn to Grinke, ‘who always plays like a man possessed’. Of the leader’s lively appearance as soloist in Bach’s E major concerto he wrote:  ‘even the passages of rapid figuration were made melodious…we were given a Bach of free and creative energy, abounding in ideas and emotions…Such playing as Mr. Grinke’s has seldom been heard here; and the orchestral texture into which the solo was consummately woven was without a flaw’ (Sydney Morning Herald, 24 April 1947, p. 6).

After his departure from the BNO, Grinke continued to work as a soloist and teacher. He had joined the staff at the RAM in 1939, and after considerable service to that institution was appointed Fellow there. In the early 1960s he also taught at the newly-formed Menuhin School. He coached the violins of the National Youth Orchestra and acted as judge at international competitions. He appeared many times as soloist at the Proms and was created a CBE in 1979. Grinke was not only an inspirational player and teacher, but also a family man.

P1040199

Photo courtesy Fiona Richards

Next to his wife Dorothy, he is buried in the church of St Mary, Thornham Parva, Suffolk, not far from his little cottage, Frog’s Hall, in the tiny hamlet of Braiseworth.

P1040203

Photo courtesy Fiona Richards

I’m looking forward in my writing to trying to do justice to this remarkable and much-loved musician.

For all the latest Classical news follow @BL_Classical

07 August 2017

Recording of the week: Gay UK - falling in love with peace

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This week's selection comes from David Govier, Oral History Archivist.

The Second World War saw women take on roles that they had not been expected to undertake before. Women moved from the home into factories, ship yards and pivotal roles in war administration. In one of the earliest recordings used in the British Library’s Gay UK exhibition, Mary Wilkins (born 1909) remembers her war experience and reflects on how it informed her identity.

Mary describes how her emotional feelings towards women developed during her childhood. She remembers making a promise to herself, while working as an ambulance driver during the Second World War, to join a peace organisation. She also describes listening to the pacifist and suffragist Sybil Morrison give a speech in Coventry and falling for her ‘hook, line and sinker’.

Mary Wilkins on falling in love_C456/066

This interview extract is part of the Hall Carpenter Oral History Archive which is part of the British Library's Sound Archive. It is a collection of 113 oral history interviews relating to lesbian and gay experience in Britain, and, together with the Hall Carpenter physical archives held at London School of Economics, is one of the largest resources for studying gay activism in the UK. The British Library’s current Gay UK exhibition uses over a dozen oral history extracts from the Hall Carpenter collection to tell the varied stories of a broad range of gay people throughout the twentieth century.

GayUKWhatsOn

The Hall Carpenter Memorial Archive was established in 1982 and grew out of the Gay Monitoring & Archive Project, which collected evidence of discrimination and police arrests in the UK. The archives were named after lesbian author Marguerite Radclyffe Hall and writer and early gay rights activist Edward Carpenter. In 1985 the archives employed Margot Farnham to coordinate an oral history project documenting the life experiences of lesbians and gay men in Britain. Farnham worked with volunteers who located interviewees, carried out interviews, and helped produce documentation such as summaries and transcripts. In 1989, an anthology called ‘Inventing Ourselves – Lesbian Life Stories’ was published based on the interviews with lesbians.

HCALesbianCover

You can find out more about the Hall Carpenter Oral History Archive and our other oral histories of sexuality in our collection guide.

Gay UK: Love, Law and Liberty is a free exhibition in the entrance hall at the British Library until 19 September 2017.

Follow @BL_OralHistory  and @soundarchive for all the latest news.

31 July 2017

Recording of the week: keep calm and carry on rehearsing

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This week's selection comes from Lucia Cavorsi, Audio Project Cataloguer.

There is no doubt Arturo Toscanini was a one-of-a-kind conductor. Renowned for his mastery, Toscanini was obsessed with the most minute details of a performance. But such a quest for perfection, whose outcome would undoubtedly delight listeners, came at a price for orchestra members: shouting, swearing, and humiliation.

Here is the conductor in New York during a seemingly frustrated rehearsal with the NBC Symphony Orchestra of Alfredo Catalini's Dance of the Water Nymphs from the opera Loreley. The tension in the room is almost palpable as Toscanini delivers his fiery tirade in a mixture of English & Italian before storming off in disgust.

Toscanini's outburst during rehearsals_New York, 1953 (1LS0002055)

 

 

Toscanini was a man who believed music was a religious ritual to be enjoyed in absolute silence. It was he who transformed his favourite love, Milan's La Scala theatre, turning it into an autonomous body, banning encores and putting an end to the shame of risottos being served in the balconies during performances. 

Intransigent both in music and in life, it is no surprise that Toscanini's favourite motto was: ‘Your back bends when your soul does’.

2017 is the 150th anniversary of the birth of Arturo Toscanini and is being marked through a series of international celebrations including concerts, exhibitions, lectures and special releases. 

Follow @BLSoundHeritage, @BL_Classical & @soundarchive for all the latest news.

27 July 2017

HMV experimental recordings 1914 and 1947

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Label

As Curator of Classical Music it is always fascinating to find unpublished recordings of renowned artists, but equally exciting is the discovery of discs that were made as experiments in the evolution of recorded sound.

In November of last year Diana Sparkes, the daughter of Hubert Foss, donated some discs of her mother, Dora Stevens.  These are HMV experimental discs dated 19th May 1914 and written into the wax is ‘Experimental HE 9’.  The discs were not for publication, and as Dora was still a student at the time it is likely that the Gramophone Company chose her as a talented musician, suitable for the job.  Without access to the historical paperwork it is impossible to tell what experiments were taking place – possibly horn placement or groove spacing.  She sings a song Loving is so sweet by English composer Robert Coningsby Clarke (1879-1934), and you can hear her clear her throat during the piano introduction in this acoustic recording.  Later in her career, as wife of Hubert Foss, she had works written for and dedicated to her by Gordon Jacob and William Walton.

Loving is so sweet

A few weeks ago I managed to acquire two more fascinating HMV (by now EMI) experimental discs via an auction.  These are particularly interesting as they document one of the very first attempts, in April 1947, at using tape to disc transfer rather than direct cut disc.  Indeed, it might be the company’s very first experiment as the typed label is quite explicit.  The tape machine was probably either a liberated AEG-Magnetophon from Germany or a prototype of EMI’s own BTR1 which was developed at the end of 1947.  According to Reg Willard, who was an assistant to the Advanced Development Division, by October 1948 experiments in stereo were being made using the AEG-Magnetophon tape transport and EMI BTR 1 developed circuitry.

In addition, these April 1947 recordings are experiments with the new extended range frequency recording - “ER” as it appears on the label.  The first demonstration of this recording method was in 1944 to the Electrical Engineers but at that time it was probably a system (like Decca’s ‘ffrr’) for some sort of war work. It was not announced to the press until November 1947, so a certain number of recordings ready to exploit the method would have been kept in reserve from earlier that year.

EMI produced its own machine early in 1948. However, there was a shortage of tape at the time and the BASF stock purloined from the Germans had been so often cut and spliced that it was chiefly used only for transfer work rather than actual recordings.  No doubt EMI were aware of what was happening in the US at Columbia Records, who announced their long playing record – a revolution in sound reliant on tape – in June 1948 and local competition at Decca had already recorded Ernest Ansermet in 1946 conducting Stravinsky’s Petroushka using their own extended full frequency range recording system - ‘ffrr’- which had been developed to detect the engine sounds of German submarines. 

Experiments were not just being made with the recording technology - the cutting of the disc was also a crucial part of the process.  The run out grooves of the two discs recently acquired show that experiments were also being made with different lathes and cutters when transferring from tape – each disc being cut on a different type of machine.  In an effort to ascertain which set up would suit the new extended range recordings best, the extended range Blumlein cutter was probably fixed to the current lathe design, whilst probably an RCA cutter was attached to a 1920s lathe, providing no spiral groove at the centre of the disc.

So this recording from April 1947, one of the first efforts at cutting a disc from tape at EMI, comes from a crucial point in the evolution and history of recorded sound where various things overlap – the end of the 78rpm disc era, the first use of tape, experiments with extending the frequency range and the introduction of the LP.

GeraldMoore

Gerald Moore plays part of Schumann’s Papillons Op. 2.  Even through the surface noise of the shellac, immediately noticeable is the clarity of the piano tone and wide range of dynamics captured on the tape recording.

Schumann Papillons

In a future blog I will talk about an alternate take of one of EMI’s first issued ER recordings of conductor Nikolai Malko.

Thanks to Jolyon Hudson

For all the latest Classical news follow @BL_Classical

24 July 2017

Recording of the week: ‘The BBC are coming on Friday, can we show them a prototype?’

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This week's selection comes from Tom Lean, Project Interviewer for An Oral History of British Science.

To anyone who grew up in the 1980s the Acorn BBC Microcomputer was the computer they used at school, a machine that gave countless Britons their first experience of computing and sold over 1.5 million units. Yet this iconic piece of computer hardware came about almost accidentally. With the world on the verge of a computer revolution in the early 1980s, the BBC were desperately searching the British electronic industry for a computer to accompany a new educational television series about computing. To a small company in Cambridge called Acorn Computers, having the BBC adopt their new computer as the BBC Computer was a deal that could transform the company into a major player. However, as Acorn designer Steve Furber recalls, there was one problem: they didn't actually have a new computer yet, and they had just a week to develop one...

Designing the Acorn BBC Microcomputer (C1379/078)

Mother-board-581597_1920

This clip is part of Voices of Science, an online resource which uses oral history interviews with prominent British scientists and engineers to tell the stories of some of the most remarkable scientific and engineering discoveries of the past century.

Follow @BL_OralHistory and @soundarchive for all the latest news.