español | français Carlo Gesualdo Peter Holman 10 CDs for a desert island : Magdalena Kozena Gregorian chant   51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 - PETER HOLMAN By Brian Robins. Pictures by Koldo Chamorro It is rare for a Goldberg contributor to be the subject of one of our interviews. But Peter Holman is a man of many parts, one of those rare human beings who leave the rest of us wondering whether they have some sort of magic formula that gives them a 36-hour day while we are restricted to the standard 24. As director of the Parley of Instruments, Holman has not only presided over a long and successful series of recordings for Hyperion, but is also involved in an active concert and opera-giving schedule that includes the Suffolk Villages Festival he founded. In the field of musicology he is best known for his scholarly work on English music of the seventeenth and eighteenth centuries, an achievement of exceptional value reflected in the English Orpheus series of recordings, but Holman’s historical in-terests also extend into fields such as seventeenth century German music. He is also a distinguished writer and educator, his work in the academic field now centred around the University of Leeds, where he heads LUCEM, a centre he founded for the study of English music that hosted a highly successful inaugural conference in 2001. Brian Robins managed to catch Peter Holman during one of the rare periods of relaxation enjoyed by this intensely active man. Biography Discography Goldberg Articles ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com