Gowdie


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Gow´die


n.1.(Zool.) See Dragont.
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These sentiments, whether implicitly legitimized and articulated through a stereotyped 'pact' with an envisioned Devil, or in some other way made conscious and justified to oneself, could then license cathartic retributive action against those perceived as responsible for one's hardships, up to and including attacks against arbitrary representatives of one's community, such as the {evidently hallucinatory) murders and other crimes in which the seventeenth-century cottar's wife Isobel Gowdie of Auldearn, Scotland professed to have participated (Visions 320-3).
Women profiled include Alice Kyteler, Mary Sutton, Joan Flower, Isobel Gowdie, Susannah Sellick, and Helen Duncan, a spiritualist medium accused in 1944.
The work that brought him international recognition in 1990 was "The Confession of Isobel Gowdie," a requiem for a woman accused of witchcraft in post-Reformation Scotland and reportedly burned at the stake.
It was many years ago that I first heard The Confession of Isobel Gowdie by Scottish composer James Macmillan.
He attracted attention withthe acclaimed BBC Proms premiere of The Confession of Isobel Gowdie (1990).
He had his early education at Gowdie School, Tiruvallur and then went to the Lutheran Mission School in Tirupati for his high school.
Lee Brennan, Jimmy Constable and Simon Spike Dawbarn have recorded four songs with Glasgow's John McLaughlin who, with fellow J g wh w o, along wit fe fe fe f llow Scot Gordon Gowdie, wrote their biggest hit Bodyshakin'.
One of his most famous pieces, The Confession of Isobel Gowdie, spoke up for a woman executed for witchcraft in 17th Century Scotland.
In 1662, before reputable witnesses, Gowdie gave a series of confessions to witchcraft that emerged into public awareness only two centuries later.
Premiered at the Proms in 1990, his powerful orchestral piece The Confession of Isobel Gowdie (a Catholic martyr during the horrors of the post-Reformation in this country), introduced this extraordinarily communicative compositional voice to the widest possible public, and his output since then has been consistently interleaved with works reflective of his religion.
Then there was The Confession of Isobel Gowdie, inspired by Protestant cruelty, from a year before, which made a substantial impact with its climax of a bowed screaming cymbal.
Liverpool, too, has a long association: when The Confession Of Isobel Gowdie, an orchestral depiction of 17th century witch-hunting in Scotland, was performed by the RLPO in 2001,1 rightly predicted: "Here is a modern piece which will stay the course.