How much money makes Gordon Crosse? Net worth

January 1, 2020

Gordon Crosse Net Worth

How rich is Gordon Crosse? For this question we spent 18 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Musicians
Total Net Worth at the moment 2022 year – is about $157,5 Million.



Gordon Crosse information Birth date: December 1, 1937 Birth place: Bury, Lancashire, England, UK Profession:Composer, Music Department, Writer

Height, Weight

:How tall is Gordon Crosse – 1,79m.
How much weight is Gordon Crosse – 50kg


Gordon Crosse Net Worth
Gordon Crosse Net Worth
Gordon Crosse Net Worth
Gordon Crosse Net Worth


Gordon Crosse (born 1 December 1937) is an English composer.
Biography,Crosse was born in Bury, Lancashire and in 1961 graduated from St Edmund Hall, Oxford with a first class honours degree in Music. He then undertook two years of postgraduate research on early fifteenth-century music before beginning an academic career at the University of Birmingham. Subsequent employment included posts at the Universities of Essex, Cambridge and California. He won the Worshipful Company of Musicians Cobbett Medal for services to music in 1976. For two years after 1980 he taught part-time at the Royal Academy of Music in London but then retired to his Suffolk home to compose full-time.Crosse first came to prominence at the 1964 Aldeburgh Festival with Meet My Folks! (Theme and Relations, op.10), a music theatre work for children and adults based on poems by Ted Hughes. Hughes would also provide the lyrics for five of Crosses subsequent works: the cantata The Demon of Adachigahara (op.21, 1968), The New World for voice and piano (op.25), the opera The Story of Vasco (op.29, 1974), Wintersong for six singers and optional percussion (op.51), and Harvest Songs for two choirs and orchestra (op.56). The Demon of Adachigahara, another music theatre work for children and adults, is a retelling of a traditional Japanese folk-tale akin to a Brothers Grimm story, it warns of the dangers of curiosity. The Story of Vasco, premiered in 1974 by Sadlers Wells Opera at the Coliseum Theatre in London, is a setting of Hughes translation and adaptation of Georges Schehades play Histoire de Vasco.Changes (op. 17), for soprano, baritone, chorus and orchestra, was written for the 1966 Three Choirs Festival in Worcester. The title refers to the sound of church-bells and it sets Crosses own choice of texts by a variety of English poets (I spent as long choosing the text as writing the music.), an approach similar to that of Britten in his Spring Symphony. Though the subject-matter is often dark – many of the texts relate to death – the composer aimed to fashion something enjoyable to listener and performer alike.Crosses first opera, Purgatory (op.18), is a one-act setting of the play by William Butler Yeats. The opera reflects Crosses admiration for the music of Benjamin Britten, in particular The Turn of the Screw. It was written in 1966 and premiered at the Cheltenham Music Festival later that year. In 1969, Crosse returned to the Aldeburgh Festival to hear the English Opera Group premiere his second opera The Grace of Todd (op.20) and revive Purgatory. The following year, the piece Some Marches on a Ground  for full orchestra elaborated material that would later appear in The Story of Vasco of 1956.Crosse also composed the music for King Lear, the 1983 television production of Shakespeares play, in which Laurence Olivier played the title role, and for which the celebrated actor won the last of his five Emmy Awards. The production marked Oliviers last appearance in a Shakespearean role. This is the only television production for which Crosse has composed the music.Crosses interest in the relationship between music, literature and drama is evident in his concert as well as his theatrical work. Two examples are Memories of Morning: Night  for mezzo-soprano and orchestra, based on Jean Rhys novel Wide Sargasso Sea, and World Within for actress, soprano and small ensemble, based on a text by Emily Bronte. Crosse also developed an interest in ballet after he adapted his orchestral piece Play Ground (1977) for choreographer Kenneth MacMillan. The ballet version of Play Ground was premiered at the 1979 Edinburgh Festival by the Sadlers Wells Royal Ballet, after which MacMillan then choreographed Crosses chamber piece Wildboy (clarinet and ensemble, 1978) to produce a ballet for the American Ballet Theatre. In 1984, following a request by choreographer David Bintley, Crosse extended Benjamin Brittens Young Apollo for use as ballet music, the resulting ballet was premiered later that year by The Royal Ballet at the Royal Opera House in Covent Garden, London.Works for soloist and orchestra form the other major strand in Crosses composition. These include two violin concertos, a cello concerto (written in 1979 in memoriam Luigi Dallapiccola, based on a motif from Dallapiccolas piece Piccola Musica Notturna) and three works featuring blown instruments (Ariadne for oboe, commissioned for the oboist Sarah Francis, Thel for flute and Wildboy for clarinet).His fiftieth birthday was celebrated in 1987 with featured performances at several festivals, and he was BBC Radio 3 Composer of the Week in December.Following the completion of Sea Psalms, written for Glasgow forces in its year as European City of Culture, 1990, Crosse shifted his focus to computer programming and music technology, and in the following 17 years, produced little music, except several songs with recorder parts, written for the recorder player John Turner.With Dirge from Cymbeline for baritone and harp, written in 2007 for the NMC Songbook, Crosse is once again active as a composer and has written several larger works, notably a Trio for oboe, violin and cello (Rhyming with Everything) and a Fantasia for flute/recorder, harp and strings. In 2009 Crosse wrote several new compositions.


Wikipedia Source: Gordon Crosse

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