Paul Griffiths (b. 1947)

Keyword(s):  
2008 ◽  
Vol 2 (2-3) ◽  
pp. 293-315
Author(s):  
Diana Walsh Pasulka

A contemporary movement in Christian religious thought advocates for the recovery of pre-modern exegetical practices. Wesley Kort, Paul Griffiths, and Catherine Pickstock are among several theorists who support a return to pre-modern reading and writing practices as an answer to the crisis of modernity. In the context of scripture studies, the works of Kort, Griffiths, and Pickstock can be understood as examples of analyses that focus on the performative elements of scripture. Their stress on memorization, recitation, and reading reflect the influence of studies of the performative function of scriptures by Wilfred Cantwell Smith and William Graham. Kort, Griffiths, and Pickstock take this line of argument even further, by arguing that is it the very loss of scripture as performance that has inaugurated a loss of the sacred in modernity. This development thus tackles the philosophical issues at stake between secularism and theology and moves beyond the localized analysis of the meaning of specific scriptures. The following analysis places this development in an historical and philosophical context by revealing the theoretical precedents that each scholar draws upon, specifically the later writings of Martin Heidegger.


Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 80-81
Author(s):  
Tim Mottershead

You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.


2018 ◽  
pp. 233-246
Author(s):  
Brian Ferneyhough
Keyword(s):  

2003 ◽  
Vol 20 (4) ◽  
pp. 496-500
Author(s):  
Robert McKim ◽  

Author(s):  
David Schiff

In the 1990s Carter produced his two longest works: Symphonia: sum fluxae pretium spei; and the one-act opera What Next? to a libretto by Paul Griffiths. The action of the opera begins with a car crash from which its six characters slowly emerge. The Symphonia similarly grew from three independent commissions and its movements have been performed both independently and as a triptych. The “accidental” nature of both works announces Carter’s late life willingness to compose in a more casual, informal manner, even on a large scale.


Tempo ◽  
2000 ◽  
pp. 41-51

Berlin: Birtwistle's ‘The Last Supper’ Paul GriffithsSt Paul's Cathedral: Tavener (plus book and CDs) Robert SteinRAM: Firsova at 50 Malcolm HayesNew York:‘The Great Gatsby’ at the Met Simon H JonesColiseum & RAM: operas by Turnage and Dubugnon Martin AndersonManchester: Colin Matthews's ‘Pluto’ Raymond HeadRoyal Opera House: Martinů's ‘The Greek Passion’ Martin AndersonGregsonGuerreroWelleszSherlaw-JohnsonDowney


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