Usuario:Piquito/Artigos en progreso: Diferenzas entre revisións

{{Cita centrada|Entretiña ás visitas interpretando [[Fantasía (música)|fantasíafantasías]]s e [[Capricho (música)|caprichocaprichos]]s no [[piano]]. A súa sensibilidade, o seu sentimento, a rapidez dos seus dedos e, sobre todo, a axilidade e potencia da súa man esquerda, déixanme absorto. Logo da espléndida execución, sentabamos á mesa para cear, e eu tiña o honor de sentar entre el e [[Constanze Weber|a súa dona]]. Despois da cea, se a ocasión era propicia e había máis invitados, marchaban todos cara o baile, e Mozart uníase a eles con gran entusiasmo. Fisicamente era un home de complexión pequena, moi delgado e de pálida tez, con abundante cabelo, aínda que algo fino e claro, do que estaba, por certo, moi orgulloso. Lembro que unha vez invitoume á súa casa e estiven longo tempo alí, onde sempre fun recibido con hospitalidade e estima; naquela ocasión puiden comprobar a súa grande afección ao ponche, que mesturaba con outras bebidas e inxería, en verdade con pouca mesura. Era moi afeccionado ao billar, e xogabamos xuntos bastantes partidas, aínda que sempre me gañaba. Foi un home de corazón bondadoso e o seu ánimo estaba constantemente disposto a compracer aos demáis. Só mostrábase algo distinto cando interpretaba a súa música: era capaz de interromper a súa execución se escoitaba o menor ruido. Ofrecía concertos todos os domingos, aos cales eu non lembro ter faltado en ningunha ocasión.}}

Aos vinticinco anos de idade, en [[1781]], contraeu unha infección viral, mais foi en [[1784]] cando padeceu unha grave enfermidade en [[Viena]], cuxos síntomas son [[cólico]]s terribles que acababan en [[vómito]]s violentos, y febre reumática inflamatoria, que puideron orixinar unha [[enfermidade renal crónica]]. Considérase que nesta infección encóntranse as orixes da súa morte sete anos máis tarde. En [[1787]], Mozart «volveu contraer unha infección estreptocócica que orixinou unha segunda aparición do [[síndrome de Schönlein-Henoch]]; amais, os seus [[ril|riles]]es, xa en mal estado, quedaron aínda máis danados».{{Harvnp|Davies|1984|pp=437–442}}{{Harvnp|Robbins Landon|2005|p=205}}

Na actualidade, existen máis de sesenta<ref>Concretamente sesenta e dous, segundo a obra ''La vie de W. A. Mozart par l'image'', de [[Robert Bory]], publicada en [[1948]].</ref>{{Harvnp|Hutchings|1986|p=14}} [[retrato pictórico|retratoretratos]]s e representacións pictóricas de toda índole de Mozart, a pesar de que boa parte delas presentan escasa fidelidade ao modelo.

In 1938, Imogen had visited [[Dartington Hall]], a progressive school and crafts community near [[Totnes]] in [[Devon]], which had been founded in 1925 by [[Leonard Elmhirst|Leonard]] and [[Dorothy Elmhirst]].<ref>Cox and Dobbs, p. 31</ref> In 1941–42, while travelling for CEMA in Devon and Cornwall, she was invited by the Elmhirsts to make her base at Dartington. In the summer of 1942, while recuperating there, she was persuaded by Christopher Martin, the centre's administrator, to resign her CEMA role and work at Dartington.<ref>Grogan and Strode, "Part II, 1931–52", p. 138</ref> He had in mind a music course, "the sort of thing that your father did in the old days at Morley College".<ref>Cox and Dobbs, pp. 10–27</ref> Beginning in 1943, Imogen established a one-year course, initially designed to train young women to organise amateur orchestras and musical events in rural communities. Gradually it developed into a more general musical education for a broader student intake. Under Imogen's leadership the course quickly became the hub of a range of musical activities, including the foundation of an amateur orchestra: "Hardly any of us could play&nbsp;... However bad we were, we went on".<ref>Grogan and Strode, "Part II, 1931–52", pp. 139–40</ref> Imogen's teaching methods, heavily based on "learning by doing" and without formal examinations, at first disconcerted her students and puzzled the school inspectors, but eventually gained acceptance and respect.<ref>Grogan and Strode, "Part II, 1931–52", p. 145</ref> Rosamond Strode, a pupil at Dartington who later worked with Imogen at Aldeburgh, said of her approach: "She knew exactly how, and when, to push her victims in at the deep end, and she knew, also, that although they would flounder and splash about at first, it wouldn't be long before&nbsp;... they would be swimming easily while she beamed approval from the bank".<ref>Rosamond Strode, in an unpublished typescript, quoted in Grogan and Strode, "Part II, 1931–52", pp. 154–55</ref>

In the conducive atmosphere of Dartington Imogen resumed serious composition, largely abandoned during the hectic CEMA years. In 1943 she completed a ''Serenade'' for flute, viola and bassoon, a ''Suite for String Orchestra'', and a choral work, ''Three Psalms''. All these works were performed at a [[Wigmore Hall]] concert on 14 June 1943 devoted to her music. Other compositions from the Dartington years included ''Theme and Variations'' for solo violin, String Trio No. 1 (premiered by the Dartington Hall String Trio at the [[National Gallery]] on 17 July 1944), songs from the 16th-century anthology [[Tottel's Miscellany]], an oboe concerto, and a string quartet.<ref name= TS454/><ref>Grogan and Strode, "Part II, 1931–52", pp. 141–42</ref> In October 1943 the composer [[Benjamin Britten]] and the tenor [[Peter Pears]] gave the first of several recitals at Dartington. A mutual respect and friendship developed between Britten and Imogen, strengthened by their shared love of neglected music from the [[Renaissance music|Renaissance]] and [[Baroque music|Baroque]] eras.<ref>Grogan and Strode, "Part II, 1931–52", pp. 150–51</ref>

Rising standards of achievement at Dartington enabled Imogen to organise performances of more demanding works, such as Bach's [[Mass in B minor]] in July 1950 to honour the 200th anniversary of Bach's death. Three years in preparation, this endeavour brought a tribute from one of the audience: "I don't know, and can't imagine what the music of heaven is like. But when we all get there, please God, if any conducting is still necessary I hope your services will be required and that I will be in the chorus".<ref name= GS146>Grogan and Strode, "Part II, 1931–52", pp. 146–48</ref> By the middle of 1950 Imogen's professional focus was changing. She had attended the first two [[Aldeburgh Festival]]s in 1948 and 1949, and in 1950 accepted a commission to provide a choral work for performance at the 1951 festival.<ref>Grogan and Strode, "Part II, 1931–52", pp. 155–57. The work was the song cycle for female voices and harp, ''Welcome Joy and Welcome Sorrow''.</ref> Sensing that it was time to leave Dartington, she gave a year's notice, part of which was spent on sabbatical, studying Indian music at [[Rabindranath Tagore]]'s university in West Bengal.<ref name= odnbI/> A fruit of this visit was her ''Ten Indian Folk Tunes'' for recorder.<ref name= T436>Tinker, p. 436</ref> On 21 July 1951 her one-act opera, ''Benedick and Beatrice'', was performed at Dartington, to mark her departure.<ref name= GS162/>

=== Aldeburgh ===

Without definite plans for her future after Dartington, Imogen toured Europe, collecting music that she would later edit for performance, including madrigals by [[Carlo Gesualdo]] which she found "very exciting".<ref name= GS167/> At home, although not formally employed by Britten, she worked with him on several projects, including a new performing version of Purcell's ''[[Dido and Aeneas]]''<ref>Bridcut, pp. 72–73</ref> and the preparation of the vocal and full scores for Britten's opera ''[[Billy Budd (opera)|Billy Budd]]''.<ref name= GS167>Grogan and Strode, "Part II: 1931–1952", pp. 167–70</ref> Pears, who had observed Imogen's overall contributions to musical life at Dartington, believed she could help Britten and the Aldeburgh Festival on a more formal basis, and shortly after the 1952 festival Britten invited her to come and work with him. She agreed, and in September 1952 moved to lodgings in Aldeburgh.<ref>Carpenter, p. 309</ref>

==== Assistant to Britten ====

[[FileFicheiro:Benjamin Britten, London Records 1968 publicity photo for Wikipedia.jpg|thumb|upright|Benjamin Britten, photographed in the mid-1960s]]

When Imogen joined Britten, the financial arrangement was vague; Britten paid her on a piecemeal basis rather than a regular salary, unaware that she had made over her rights to her father's estate to her mother and had little money of her own. As a result, she lived very frugally in Aldeburgh, but her commitment to Britten overrode her own physical comfort.<ref>Carpenter, p. 311</ref> For the next dozen years her life was organised around the joint objectives of assisting Britten and developing the Aldeburgh Festival. Although she temporarily put her own compositional ambitions aside,<ref name="Grogan p. 176">Grogan, "Part III: 1952–54", p. 176</ref> she did not abandon all other activities. She made many choral and vocal arrangements, promoted her father's music, and wrote books, articles and programme notes.{{refn|Books written by Imogen Holst in this period include ''The Book of the Dolmetsch Descant Recorder'' (1957);<ref name="T436"/> ''Tune'' (1961);<ref>Grogan, "Part IV: 1955–84", pp. 364–65</ref> and ''An ABC of Music'' (1963).<ref>Grogan, "Part IV: 1955–84", p. 374</ref>|group= n}}

For the first 18 months of her association with Britten, Imogen kept a diary which, Grogan says, forms a record of her "unconditional belief in Britten's achievement and status, and her absolute devotion to his work".<ref name="Grogan p. 176"/> The first of Britten's works to which she made a significant contribution was the opera ''[[Gloriana]]'', scheduled to form part of the [[Coronation of Queen Elizabeth II|1953 Coronation celebrations]]. The short timescale for the writing of the opera placed considerable pressure on the composer and his new assistant,<ref name= C306>Carpenter, pp. 306–09</ref> strains that were dramatised 60 years later in a radio play, ''Imo and Ben''.{{refn|The play, by Mark Ravenhill, was broadcast on 30 June 2013.<ref>{{cite news|last= Rees|first= Jasper|title= Imo and Ben: a new radio drama that shows the tensions in Benjamin Britten's working life|url= http://www.telegraph.co.uk/culture/tvandradio/10143079/Imo-and-Ben-a-new-radio-drama-that-shows-the-tensions-in-Benjamin-Brittens-working-life.html|newspaper= The Telegraph |date= 28 June 2013|accessdate= 24 June 2016}}</ref>|group= n}} Imogen's main task with ''Gloriana'' was to copy Britten's pencil sketches and prepare the vocal and piano scores which the singers needed for rehearsals by February 1953.<ref name= C306/><ref>White, p. 79</ref> Later she assisted him with the writing of the full orchestral score,<ref>Carpenter, p. 317</ref> and performed similar services with his next opera, ''[[The Turn of the Screw (opera)|The Turn of the Screw]]'' (1954).<ref>Grogan, "Part IV: 1955–84", pp. 334–35</ref> When Britten was under pressure during the composition of his ballet ''The Prince of the Pagodas'' (1956), Imogen accompanied him to Switzerland, to remain by his side as he completed the work.<ref>Grogan, "Part IV: 1955–84", pp. 348–49</ref>{{refn|Britten dedicated the ballet jointly to Imogen and [[Ninette de Valois]].<ref>White, p. 82</ref>|group= n}} Imogen took great pleasure in her association with Britten's opera for children, ''[[Noye's Fludde]]'' (1957), for which she showed Britten how to achieve a unique raindrop effect by hitting a row of china mugs with a wooden spoon.<ref>Carpenter, p. 382</ref> She and Britten combined to collect and publish music for the recorder, in a series published by Boosey and Hawkes (1954–59),<ref name= T436/> and jointly wrote a popular introductory book, ''The Story of Music'' (1958).<ref>White, p. 86</ref>

==== Artistic director ====

In 1964, after giving up her role as Britten's assistant, Imogen began composing again, and in 1965 accepted commissions for two large-scale works: ''The Sun's Journey'', a cantata for female voices, and the ''Trianon Suite'', composed for the Trianon Youth Orchestra of [[Ipswich]].<ref>Grogan, "Part IV: 1955–84", p. 384</ref> In 1965 and 1966 she published two books, studies of Bach and Britten. The latter work caused ill feelings among several key figures in Britten's earlier career with whom he had subsequently fallen out, such as his former librettists [[Eric Crozier]] and [[Ronald Duncan]], whose contributions to Britten's success were ignored in the book.<ref name= Carpenter468>Carpenter, pp. 468–69</ref><ref>Grogan, "Part IV: 1955–84", pp. 382 and 387</ref> Between 1966 and 1970 Imogen recorded a number of her father's works with the Purcell Singers and the [[English Chamber Orchestra]], under the Argo and Lyrita labels.<ref>{{cite web|last= Stuart|first= Philip|title= Decca Classical 1929–2009|url= http://images.cch.kcl.ac.uk/charm/liv/pubs/DeccaComplete.pdf|publisher= AHRC Research Centre for the History and Analysis of Recorded Music|date= June 2009|accessdate= 21 March 2014}} (Items 1383, 1395, 1419, 1518 and 1688)</ref><ref>{{cite web|title= Holst: Vocal Works|url= http://www.prestoclassical.co.uk/r/Australian%2BEloquence/ELQ4802327|publisher= Presto Classical|accessdate= 17 February 2014}}</ref><ref>{{cite web|title= Holst: Vocal Works|url= http://www.prestoclassical.co.uk/r/Australian%2BEloquence/ELQ4802327|publisher= Presto Classical|accessdate= 17 February 2014}}</ref> Among these recordings was the ''Double Violin Concerto'' for which, forty years earlier, she had acted as the rehearsal pianist before the first performance.<ref>Grogan, "Part IV: 1955–84", pp. 388 and 399</ref>

[[FileFicheiro:Snape Maltings.jpg|thumb|left|The concert hall at Snape Maltings, home of the Aldeburgh Festival from 1967]]

Imogen had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears.<ref>Grogan, "Part III, 1952–54", pp. 188</ref><ref name= Grogan317>Grogan, "Part III, 1952–54", p. 317</ref> From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works.<ref name= odnbI>{{cite web|last= Strode|first= Rosamund|title= Holst, Imogen Clare|url= http://www.oxforddnb.com/view/article/31251|work=Oxford Dictionary of National Biography|publisher=Oxford University Press|accessdate= 17 February 2014}} {{ODNBsub}}</ref><ref>{{cite web|last= Tinker|first= Christopher|title= Holst, Imogen Clare|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/13254?q=Imogen+Holst&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 17 February 2014}} {{subscription}}</ref> Among choir members who later achieved individual distinction were the bass-baritone [[John Shirley-Quirk]], the tenors [[Robert Tear]] and [[Philip Langridge]], and the founder and conductor of the Heinrich Schütz Choir, [[Roger Norrington]].<ref>Grogan , "Part IV, 1955–84", pp. 371–72</ref><ref>{{cite web|last= Pratt|first= George|title= Norrington, Sir Roger Arthur Carver|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/20079?q=Roger+Norrington&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music online|work= Grove Music Online|accessdate= 17 February 2014}} {{subscription}}</ref> Langridge remembered with particular pleasure a performance in [[Orford, Suffolk|Orford]] church of [[Thomas Tallis]]'s forty-part motet ''[[Spem in alium]]'', on 2 July 1963.<ref>Wake-Walker, p. 190</ref> When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister [[Grayston Burgess]].<ref>Grogan, "Part IV, 1955–84", pp. 389–90</ref>

== Later career ==

Shortly after the 1977 Aldeburgh Festival, Imogen became seriously ill with what she described as "a coronary angina".<ref>Grogan, "Part IV: 1955–84", pp. 418–19</ref> Thereafter, [[angina]] was a recurrent problem, although she continued to work and fulfill engagements. By early 1984 the deterioration in her health was noticeable to her friends. She died at home of heart failure on 9 March 1984 and was buried in [[St Peter and St Paul's Church, Aldeburgh|Aldeburgh churchyard]] five days later in a plot next to Britten's.<ref>Grogan, "Part IV: 1955–84", pp. 427–30</ref> An obituary tribute in the magazine ''Early Music'' emphasized her long association with music in the Aldeburgh church, where she "[brought] iridescently to life facets of that tradition to which her own life had been dedicated and which she presented as a continuing source of strength and wonder".<ref>{{cite journal|last= Thomson|first= John|title= Imogen Holst|journal= Early Music|volume= 12|issue= 4|date= November 1984|pages=583–84|doi=10.1093/earlyj/12.4.583}}</ref> Ursula Vaughan Williams wrote: "Imogen had something of the medieval scholar about her&nbsp;... content with few creature comforts if there was enough music, enough work, enough books to fill her days. Indeed, she always filled her days, making twenty-four hours contain what most of us need twice that time to do".<ref name= Obit/>

Imogen never married, though she enjoyed a number of romantic friendships, notably with the future poet Miles Tomalin, whom she met when she was a pupil at St Pauls.<ref>Grogan and Strode, "Part I: 1907–31", pp. 27–28</ref> The two were close until 1929, and exchanged poetry;<ref>Grogan and Strode, "Part I: 1907–31", pp. 57–65</ref> Tomalin married in 1931.<ref name= GS66>Grogan and Strode, "Part I: 1907–31", p. 66</ref> Many years after the relationship ended, Imogen admitted to Britten that she would have married Tomalin.<ref name= GS66/>

=== Honours ===

Imogen was made a Fellow of the Royal College of Music in 1966. She was awarded [[Honorary degree|honorary doctorates]] from the universities of [[University of Essex|Essex]] (1968), [[University of Exeter|Exeter]] (1969), and [[University of Leeds|Leeds]] (1983). She was given honorary membership of the [[Royal Academy of Music]] in 1970. In 1975 she was appointed a [[Order of the British Empire|Companion of the Order of the British Empire]] (CBE).<ref name= odnbI/>

== Music ==

Much of Imogen's choral music was written for amateur performance. Critics have observed a clear distinction in quality between these pieces and the choral works written for professional choirs, particularly those for women's voices. These latter pieces, says Tinker, incorporate her best work as an original composer.<ref>Tinker, p. 440</ref> Record companies were slow in recognising Imogen's commercial potential, and not until 2009 was a CD issued devoted entirely to her music—a selection of her works for strings. The ''Guardian''{{'}}s reviewer welcomed the recording: "[T]here is a great deal of English music of far less worth that is frequently praised to the skies".<ref>{{cite news|last= Clements|first= Andrew|title= Imogen Holst: String Chamber Music: Court Lane Music|url= https://www.theguardian.com/music/2009/jan/30/imogen-holst-string-chamber-music|newspaper= The Guardian|date= 30 January 2009|accessdate= 24 June 2016}}</ref> In 2012 a selection of her choral music, sung by the [[Clare College, Cambridge|Clare College]] Choir, was recorded by Harmonia Mundi.<ref>{{cite web|title= Imogen Holst: Choral Works|url= http://www.prestoclassical.co.uk/r/Harmonia%2BMundi/HMU907576|publisher= Presto Classical|accessdate= 8 March 2014}}</ref> One review of this recording picks out ''Welcome Joy and Welcome Sorrow'', written for female voices with harp accompaniment, as "[giving] an insight into her own, softly nuanced, pioneering voice".<ref name= Maddocks/> Another mentions the "Three Psalms" setting, where "inner rhythms are underscored by the subtle string ostinatos pulsing beneath".<ref name= indy/>

== Published texts ==

* {{citeCita booklibro|title= Gustav Holst: A biography|publisher= Oxford University Press|location= London|year= 1938|oclc= 852118145}} (revised edition 1969)

* {{citeCita booklibro|title= The Music of Gustav Holst|publisher= Oxford University Press|location= London|year= 1951|oclc= 881989}} (revised editions 1968 and 1985, the latter with ''Holst's Music Reconsidered'' added)

* {{citeCita booklibro|title= The Book of the Dolmetsch Descant Recorder|publisher= Boosey & Hawkes|location= London|year= 1957|oclc= 221221906}}

* {{citeCita booklibro|title= The Story of Music ''("The Wonderful World" series)''|publisher= Rathbone|location= London|oclc= 2182017}} (co-author with Benjamin Britten)

* {{citeCita booklibro|title= Heirs and Rebels: Letters Written to Each Other, and Occasional Writings on Music, by Ralph Vaughan Williams and Gustav Holst|location= London|publisher= Oxford University Press|year= 1959|oclc= 337514}} (co-editor with Ursula Vaughan Williams):

* {{citeCita booklibro|title= Henry Purcell, 1659–1695: Essays on his Music|publisher= Oxford University Press|location= London|year= 1959|oclc= 602569}} (editor)

* {{citeCita booklibro|title= Henry Purcell: the Story of his Life and Work|publisher= Boosey & Hawkes|location= London|year= 1961|oclc= 1200203}}

* {{citeCita booklibro|title= Tune|publisher= Faber & Faber|location= London|year= 1962|oclc= 843455729}}

* {{citeCita booklibro|title= An ABC of Music: a Short Practical Guide to the Basic Essentials of Rudiments, Harmony, and Form|publisher= Oxford University Press|location= Oxford|year= 1963|isbn= 0-19-317103-1}}

* {{citeCita booklibro|title= Your Book of Music|publisher= Faber & Faber|location= London|year= 1964|oclc= 170598}}

* {{citeCita booklibro|title= Bach ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1965|oclc= 748710834}}

* {{citeCita booklibro|title= Britten ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1966|oclc= 243904447}}

* {{citeCita booklibro|title= Byrd ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1972|isbn= 0-571-09813-4}}

* {{citeCita booklibro|title= Conducting a Choir: a Guide for Amateurs|publisher= Oxford University Press|location= London|year= 1973|isbn= 0-19-313407-1}}

* {{citeCita booklibro|title= Holst ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1974|isbn= 0-571-09967-X}} (second edition 1981)

* {{citeCita booklibro|title= A Thematic Catalogue of Gustav Holst's Music|publisher= Faber Music, in conjunction with G & I Holst Ltd|location= London|year= 1974|isbn= 0-571-10004-X}}

Imogen Holst also wrote numerous articles, pamphlets, essays, introductions and programme notes during the period 1935–1984.{{refn|A partial list of articles and programme notes by Imogon Holst is included in the bibliography, pp. 464–65 within {{citeCita booklibro|last= Grogan| first= Christopher| title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}} |group= n}}

== References ==

* {{citeCita booklibro|last= Bridcut|first= John|title= The Faber Pocket Guide to Britten|url= https://books.google.com/books?id=dkmeJ4LiuBoC&pg=PA55 |publisher= Faber & Faber|location= London|year= 2010|isbn= 978-0-571-23776-0}}

* {{citeCita booklibro|last= Carpenter|first= Humphrey|title= Benjamin Britten: A biography|publisher= Faber and Faber|location= London|year= 1992|isbn= 0-571-14324-5}}

* {{citeCita booklibro|last1= Cox|last2= Dobbs|first1= Peter|first2= Jack|title= Imogen Holst at Dartington|publisher= Dartington Press|location= Dartington|year= 1988|isbn= 0-902386-13-1}}

* {{citeCita booklibro | last= Gibbs | first= Alan | title= Holst Among Friends |chapter= Chapter II: Jane Joseph| publisher= Thames Publishing |year= 2000 | location= London | isbn= 978-0-905210-59-9}}

* {{citeCita booklibro|last1=Grogan|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Part I: 1907–31|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro|last1=Grogan|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Part II: 1931–52|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro|last=Grogan| first = Christopher| chapter= Part III: 1952–54|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro|last =Grogan| first = Christopher|chapter= Part IV: 1955–84|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro | last= Holst | first= Imogen | year= 1969|edition= second| title= Gustav Holst| location= London and New York | publisher= Oxford University Press | isbn= 0-19-315417-X}}

* {{citeCita booklibro|last= Tinker| first = Christopher| chapter= Part V: The Music of Imogen Holst|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro|last1=Tinker|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Chronological list of works|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}

* {{citeCita booklibro|last= Wake-Walker|first= Jenni (compiler)|title= Time and Concord: Aldeburgh Festival Recollections|publisher= Autograph Books|location= Saxmundham, Suffolk|year= 1997|isbn= 978-0-9523265-1-9}}

* {{citeCita booklibro|last= White|first= Eric Walter|title= Benjamin Britten, His Life and Operas|url= https://books.google.com/books?id=WUPPVlD7UnwC&pg=PA308 |publisher= University of California Press|location= Berkeley and Los Angeles|year= 1983|isbn= 0-520-04893-8}}

Before the move to Newark, the Devils hired their 14th coach in a 26-season span, [[Brent Sutter]].<ref>{{cite news|title=Devils name Brent Sutter latest in long line of coaches|work=Philadelphia Daily News|date=July 14, 2007|url=http://articles.philly.com/2007-07-14/sports/25240803_1_devils-president-lou-lamoriello-brent-sutter|accessdate=February 10, 2015}}</ref> As the Devils' pre-season came to an end, prospects [[Nicklas Bergfors]] and [[David Clarkson (ice hockey)|David Clarkson]] made the final roster. The Devils opened their new arena, the [[Prudential Center]], on October 27, 2007, against Ottawa after opening the season with a nine-game road trip. The game ended with a 4–1 win for Ottawa.<ref>{{cite news|last=Caldwell|first=Dave|title=Devils Open Their New Building but Fall Apart in Third Period|work=The New York Times|date=October 28, 2007|url=http://www.nytimes.com/2007/10/28/sports/hockey/28devils.html|accessdate=February 10, 2015}}</ref> In the last game of the 2007–08 season against the Rangers, the Devils won in a shootout, giving them home ice advantage over the Rangers in the playoffs.<ref>{{cite news|last=Canavan|first=Tom|title=Parise, Elias score to give Devils 3–2 shootout win over Rangers|work=USA Today|agency=Associated Press|date=April 6, 2008|url=http://usatoday30.usatoday.com/sports/hockey/2008-04-06-230712797_x.htm|accessdate=February 10, 2015}}</ref> The Devils lost the series against the Rangers 4–1, losing all three games at home.<ref>{{cite web|title=Lundqvist stops penalty shot, Rangers hold on to eliminate Devils|publisher=ESPN. Associated Press|date=April 18, 2008|url=http://scores.espn.go.com/nhl/recap?gameId=280418011|accessdate=February 10, 2015}}</ref> Brodeur won the Vezina Trophy for the fourth time in five years for his performance in the regular season.<ref name="Vezina"/>

A mediados da década de 1970, a « ''Century Line'' », composta por [[Syl Apps, Jr.]], [[Lowell MacDonald]] e [[Jean Pronovost]], levou o ataque dos Penguins. Apps xogou normalmente no [[Centro (hóckey sobre xeo)|centro]] mentres que MacDonald e Pronovost ocuparon as [[Extremo (hóckey sobre xeo)|ás]] mais sobre o xeo, eles non paraban de intercambiar as posicións para descolocar aos [[Defensa (hóckey sobre xeo)|defensores]] rivais. Entre os tres conseguiron anotar 107 [[Gol (hóckey sobre xeo)|goles]] na [[Tempada 1973-1974 da NHL|tempada 1973-74]].<ref name="offpens2013_310">{{harvsp|id=offpens2013|2013.14 Pittsburgh Penguins Media Guide|p=310}}</ref> A finais da década de 1970, foi o turno de [[Rick Kehoe]], [[Pierre Larouche (hóckey sobre xeo)|Pierre Larouche]] e [[Ron Schock]] de asegurar o ataque do equipo, mais a defensa seguiu a ser feble e a ausencia dun [[Porteiro (hóckey sobre xeo)|porteiro]] talentoso impediu á franquía superar a primeira rolda dos ''play-offs''.<ref name="offpens2013_391"/>

[[ImageFicheiro:Mario Lemieux 1984.jpg|left|thumb|alt=Photographie noire et blanche de Mario Lemieux avec le maillot portant le C de capitaine des voisins de Laval.|[[Mario Lemieux]], ici sous les couleurs des [[Voisins de Laval]] en 1984, aura été « responsable » d'une [[saison 1983-1984 de la LNH|saison 1983-1984]] catastrophique de l'équipe, les dirigeants cherchant à tout prix la dernière place du classement.]]

De son côté, Lemieux est diminué par les blessures tout au long de la [[saison 1989-1990 de la LNH|saison passée]] et son mal de dos se transforme en [[hernie discale]]. Le 11 juin 1990, les chirurgiens procèdent à l'ablation d'un disque vertébral, mais Lemieux doit passer quatre semaines alité en raison d'une infection postopératoire<ref name="Goyens125">{{Harvsp|Goyens|Orr|2001|p=125}}</ref>. Même s'il se remet petit à petit, la douleur ne disparaît pas complètement et il manque les cinquante premiers matchs de la [[saison 1990-1991 de la LNH|saison 1990-1991]]<ref name="Starkey97">{{Harvsp|Starkey|2006|p=97}}</ref>.

Le capitaine des Penguins se porte mieux et en soixante-quatre rencontres jouées, il inscrit 131 points, le plus haut total de la LNH cette année-là ; il est suivi par son coéquipier [[Kevin Stevens]], auteur de 123 points, puis de la vedette de la LNH, [[Wayne Gretzky]] qui en compte 121<ref name="off160">{{Harvsp|id=NHLrecords|Official Guide & Record Book|2010|p=160}}</ref>. Lemieux remporte le troisième [[trophée Art Ross]] de sa carrière en tant que premier pointeur du classement<ref name="off215">{{Harvsp|id=NHLrecords|Official Guide & Record Book|2010|p=215}}</ref>. À la fin de la [[saison 1991-1992 de la LNH|saison 1991-1992]], les Penguins sont classés troisièmes de leur division<ref name="off160"/> mais sont tout de même qualifiés pour les séries. Ils écartent au premier tour les Capitals puis sont opposés aux Rangers. Au cours du deuxième match contre les Rangers, Lemieux sort sur blessure à la suite d'un coup de crosse d'[[Adam Graves]] qui lui brise le poignet et lui fait manquer cinq matchs des séries<ref name="Starkey118">{{Harvsp|Starkey|2006|p=118}}</ref>. La relève est assurée par les autres joueurs de l'équipe et notamment par Ron Francis. Épaulé par Jágr et Stevens, Francis est le héros du quatrième match lorsqu'il réalise un [[coup du chapeau]] dont un but depuis la [[patinoire de hockey sur glace|ligne bleue]] et mle troisième en [[prolongation]]<ref name="Starkey119">{{Harvsp|Starkey|2006|p=119}}</ref>. Lemieux prend part à la demi-finale contre les Bruins et lors du quatrième match, il inscrit ce qui est souvent considéré comme un de ses dix plus beaux buts : sur une échappée, seul [[Raymond Bourque]] est là pour défendre et les deux joueurs patinent vers le but des Bruins. Lemieux passe le palet au milieu des patins de Bourque qui ne sait plus où celui-ci se trouve alors que Lemieux parvient à récupérer le palet et trompe à [[Andy Moog]]<ref name="Starkey119"/>. Les Penguins remportent leur deuxième Coupe Stanley en écartant en finale les [[Blackhawks de Chicago]] en quatre matchs nets. Avec 16 buts et 34 points, Lemieux est le meilleur buteur et pointeeur de la formation. Il reçoit pour la deuxième année consécutive le titre de meilleur joueur des séries<ref name="off217"/>.

[[ImageFicheiro:Mario Lemieux 2001.jpg|left|thumb|upright=0.8|alt=Photographie de Mario Lemieux dans la tenue des Penguins de Pittsburgh.|[[Mario Lemieux]] avec le troisième maillot introduit en 1995.]]

Le 2 mars 2007, Crosby devient le plus jeune joueur de l'histoire de la LNH à inscrire 200 points et seulement le deuxième joueur de moins de 20 ans à réaliser cette performance — le premier étant [[Wayne Gretzky]] en [[saison 1980-1981 de la LNH|1980-1981]]<ref name="crosbygold">{{Lien web |langue=en| url= penguins.nhl.com/club/news.htm?id=519604 |titre= ''{{lang|en|Crosby Fulfills Destiny with Gold}}'' |prénom1= Sam |nom1= Kasan |site= penguins.nhl.com |en ligne le= 2 mars 2010 |consulté le=10 avril 2014}}.</ref>. À la fin de la saison régulière, les Penguins comptent 105 points, dépassant la centaine de point pour la première fois depuis 11 saisons, et se qualifient pour les [[séries éliminatoires]]<ref name="offpens2013_393"/>. L'aventure ne dure pas longtemps puisque les Penguins sont écartés au premier tour par les [[Sénateurs d'Ottawa]]. Crosby finit tout de même la saison comme meilleur pointeur et remporte le trophée Art Ross<ref name="off215"/>. Il reçoit également le trophée Hart du meilleur joueur selon les journalistes <ref name="off215"/> et celui du meilleur joueur selon les autres joueurs, le [[trophée Lester B. Pearson]]<ref name="off217"/>. Malkine, quant à lui, remporte le [[trophée Calder]] de la meilleure recrue<ref name="off216">{{Harvsp|id=NHLrecords|Official Guide & Record Book|2010|p=216}}</ref>. Il compte 85 points, le meilleur total de la LNH pour les joueurs recrues<ref name="offpens2013_374">{{harvsp|id=offpens2013|2013.14 Pittsburgh Penguins Media Guide|p=374}}</ref>.