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On 10 April, the BBC Symphony Orchestra will present the world premiere of The Earthly Paradise , a setting of prose, poetry, and sayings by William Morris composed by Ian McQueen. The complete program is as follows: Elger, In the South (Alassio) Mendelssohn, Violin Concerto Ian McQueen, The Earthly Paradise (BBC commission) Sir Andrew Davis conductor Jennifer Pike violin BBC Symphony Chorus Wednesday, 10 April 2010 7.30 p. m. Barbican Hall London EC2Y 8DS UK 020 7638 8891 www.barbican.org.uk The search for the land where "none grow old" guides the twists and turns of William Morris’The Earthly Paradise . Ian McQueen’s new work for chorus and large orchestra evokes the extraordinary world of the poet, surges with erotic charge and conjures up Morris’s magical vision of Iceland’s landscape and sagas. Jennifer Pike made headline news eight years ago as the youngest ever winner of BBC Young Musician of the Year. Tonight she applies her special artistry and élan to Mendelssoh

A follow-up to one of our earlier posts: there is now a website for the Facing the Late Victorians: Portraits of Writers and Artists from the Mark Samuels Lasner exhibition at the Henry B. Plant Museum, Tampa, FL. The exhibition, which contains portraits of Edward Burne-Jones, William and May Morris, Dante Gabriel Rossetti, Algernon Swinburne, Alfred Tennyson, and Kate Greenaway, runs from 5 March through 5 June 2010. Illustration: Julia Margaret Cameron, Alfred Tennyson (The Dirty Monk), photograph, albumen, [1865] (Mark Samuels Lasner Collection, on loan to the University of Delaware Library).

A series of wonderful photographs of Kelmscott Manor are featured in a new exhibition, A Record of Emotion: The Photographs of Frederick H. Evans , on view at the Getty Center in Los Angeles from 2 February through 6 June 2010. Frederick H. Evans (British, 1853–1943) was best known for his photographs of medieval cathedrals, such as the image at right of England's Wells Cathedral—arguably the best-known example of his work. Yet Evans was also accomplished in the areas of portraiture, landscape, and photomicrography (photography made using a microscope), and he brought to each subject the same intensity that characterizes his cathedral images. He believed firmly that only a good negative would yield the perfect print, and his high standards for presentation extended to the elaborate mounting of the actual photographs. Using both a "straight" approach (not altering his negatives) and pictorial sensitivity to subject and style, Evans's work, created more than 100 years a