Vaughan Williams , Ralph Manuscripts in the Royal College of Music Library

Total Page:16

File Type:pdf, Size:1020Kb

Vaughan Williams , Ralph Manuscripts in the Royal College of Music Library Vaughan Williams , Ralph Manuscripts in the Royal College of Music Library Entered RCM from Charterhouse 25 September 1890 • Studied harmony under F.E. Gladstone (pupil of S.S. Wesley) o Reached Grade V after 2 terms and allowed to study composition • Studied composition with Parry who ‘opened his eyes’ musically o Told to study more Beethoven, especially the late quartets. (At the time RVW disliked Beethoven.) o Had an early Gounod phase, but after that his favourite composers were Bach, Beethoven, Brahms and Wagner. Richard Walthew converted him to Carmen , while a performance of Verdi’s Requiem convinced him of the greatness of that work. Left RCM on 24 March 1893, having already entered Trinity College Cambridge to read History in September 1892. (History chosen as the lectures would not conflict with Parry’s teaching days at the RCM.) • Travelled to the RCM weekly for lesson with Parry • Took Cambridge Mus. B. in 1894. Wood, who coached him, ‘confessed later that he had had no hope for him as a composer’ ( RCM Magazine 55 (1959), 14). • A Cambridge contemporary wrote ‘Among his contemporaries I cannot recall any who expected him to become eminent as a musician’ ( RCM Magazine 55 (1959), 14). Re-entered RCM half way through the Summer term 1895 (13 June 1895) • Now studied composition with Stanford. VW later wrote ‘Stanford was a great teacher, but I believe I was unteachable. I made the great mistake of trying to fight my teacher … The details of my work annoyed Stanford so much that we seldom got beyond these to the broader issues … there was no time left for any constructive criticism’. • Continued organ study with Parratt. Alan Gray (Trinity College, Cambridge) had doubts about him and wrote to Parratt: ‘I can never trust him to play a simple service for me without some dread as to what he may do … In fact he seems to somewhat hopeless, but I should be glad if you could give me your opinion …’ • Member of the Literary and Debating Society – a group that included Dunhill, Ireland, Fritz Hart, Hurlstone and Holst who would continue their discussions in Wilkins’ Tea Shop in Kensington High Street. Before going there they would sing ‘Shall we go to Wilkins’, shall we go to Wilkins’? Yes!’ to the opening of the Scherzo of Brahms’ 4 th symphony. • Great friendship with Holst dates from this time. Left RCM on 22 July 1896 for further study – against Stanford’s advice – in Berlin with Max Bruch. Submitted works for the Patron’s fund after its foundation in 1904. The comments of the adjudicators demonstrate that they felt that he was still unsure where he was going: • Heroic Elegy & Triumphal March (1904). Yes, but held over to 1905 (when it was never performed) o Corder considered the Elegy ‘not bad’, but the March to be ‘dull’. o Dannreuther considered that the opening was good, but the ‘piece gets weaker as it proceeds’ o Faning considered the Elegy to be ‘Passionate, full of feeling, very impressive & effectively scored’, but picked up a number of consecutive 5ths! Considered the March to be over-scored, but thought both parts deserved a hearing. • Willow wood (Rossetti) – cantata (1904). No o Dannreuther wrote: ‘Composer does not know where he [illegible] technically: bags Berliozian things, Lisztian things, Wagnerian things!, jumbles them’ o Faning wrote: ‘… a lugubrious composition … There are many queer and uncouth harmonic changes, & there appears to be a kind of struggling for originality which is often at the expense of beauty. The orchestration shows many points of ingenuity, but the tone is not healthy …’ • Quintet for piano and strings (vln, vla, vc & cb). Tried out on 14 November 1904. Performers included Harold Samuel, Frank Bridge (vla) and Ivor James (cello). No o Sons (cellist): ‘Diffuse, intricate and dull’ Appointed to teach at the RCM in 1920. Performances there included • 1922 The Shepherds of the Delectable Mountains (Bunyan), later incorporated into The Pilgrim’s Progress . • 1924 Hugh the Drover produced at the RCM and revived in 1933 • 1929 Sir John in Love produced at the RCM • 1937 Riders to the Sea produced at the RCM (written 1925-32) Also piano ‘play-throughs’ of a number of works at the RCM, including • 6th symphony, by Michael Mullinar (see MS 5360d below) on 10 June 1947 RCM pupils of RVW 1 H.K. Andrews Stanley Bate (1913-59) Ina Boyle Jean Coulthard (1908-2000) Cecil Armstrong Gibbs Ruth Gipps Dorothy Gow Ivor Gurney Peggy Glanville Hicks Patrick Hadley (b.1899) 1 Some names taken from Ursula Vaughan Williams, R.V.W. , p.136 Imogen Holst Leonard Isaacs Gordon Jacob (b.1895) Christopher le Fleming Elizabeth Maconchy (b.1907) Robin Milford Michael Mullinar Archibald Potter Jasper Rooper Guy Warrack William Lloyd Webber Ian Whyte Grace Williams Manuscript 4128 The vagabond (Songs of Travel, set 1, no 1). Autograph 4129 Love’s last gift (The House of Life, no 3). Autograph orchestration 4231 Symphony no 5. Autograph. 4570 The Shepherds of the Delectable Mountains. First proof, with autograph corrections. 4571 The Shepherds of the Delectable Mountains. Autograph piano score. 4572 Hugh the Drover. Autograph pages of vocal score, extracted from a printed vocal score. 4573 Job. Arranged for 2 pianos by Vally Lasker 4936 Heart’s Music (part song). Autograph 4964 Sir John in Love. The Fat Knight’s part. Partly autograph. 4976/84 Romance for Viola and Piano. Autograph 4983 2 pieces for violin and piano: Romance & Pastorale. Autograph 5360c Pastoral Symphony. Arranged for 2 pianos (not autograph) 5360d Symphony no 6. Arrangements of the latter part of the slow movement and Scherzo for piano solo. Part autograph 6888 Letter to Sidney Waddington 7252 Letter to W H Reed, n.d. Found in the Library stack, May 1999. 7272 Herbert Howells: Material relating to the marriage of Herbert and Dorothy Howells, 3 rd August 1920. Includes autograph of ‘The Chosen Tune’ with a pencil sketch, and autographs of short pieces by Stanford, Vaughan Williams and R R Terry, with other documentation. 7897 Letter to Miss [?] Thackeray. Aug 31 [?] 1940. From the gift of Charlotte Chesney, April 2005. 8179 Symphony in D major. London: Oxford University Press, 1946 (1947 impression). Published study score with autograph alterations. From the collection of Roy Douglas. The gift of Neil Thomson, 2003. 8619n Letters to Watkins Shaw. Ralph Vaughan Williams (typescript note on Purcell for the Arts Council book edited by WS in 1951; 1-vi-1954) © Royal College of Music, London 2009 .
Recommended publications
  • DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B
    DANCING DAY MUSIC FOR CHRISTMAS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT CONDUCTOR RES10158 Matthew Martin (b. 1976) John Rutter (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Christmas Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. Angelus ad virginem [1:55] 19. A virgin most pure [5:04] Benjamin Britten (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. Philip Ledger (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] (Sussex Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] William Mathias (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16.
    [Show full text]
  • 24164Booklet.Pdf
    The Great War remembered in songs & poems This is a live concert recording but applause has been edited out (except at the end of the programme) for better enjoyment X Anonymous 1 I want to go home (anon.) 1:03 War’s Bright Embers X Ivor Gurney (1890-1937) 2 The Dying Patriot (J.E. Flecker) 3:06 3 Everyone Sang (S. Sassoon) 1:36 4 If We Return (F.W. Harvey) 1:57 5 In Flanders (F.W. Harvey) 2:56 6 In Memoriam, Easter 1915 (E. Thomas) 1:03 7 I Heard a Soldier (H. Trench) 2:41 Four Songs of Rupert Brooke X Geraint Lewis (b.1958) 8 It’s Not Going to Happen Again 2:36 9 The Treasure 2:34 10 Clouds 2:45 11 Song 1:54 New Songs from the EP&SS Competition 2004 X Geoffrey Kimpton (b.1927) 12 Winter Warfare (E. Rickword) 1:56 X Margaret Wegener (b.1920) 13 The Cenotaph (C. Mew) 3:37 X John R. Williamson (1929-2015) 14 Before the Battle (S. Sassoon) 2:28 X John R. Williamson (1929-2015) 15 I Stood with the Dead (S. Sassoon) 3:46 X Duncan Reid (b.1959) 16 I Did Not Lose My Heart (A.E. Housman) 2:09 X Dennis Wickens (b.1926) 17 Attack (S. Sassoon) 5:14 X Elaine Hugh-Jones (b.1927) 18 The End (winning song) (W. Owen) 3:09 Four Songs of War X John Ireland (1879-1962) 19 The Soldier (R. Brooke) 2:14 20 Blind (E.T. Cooper) 1:24 21 The Cost (E.T.
    [Show full text]
  • Robin in Context
    Robin in context Introduction Robin produced some 115 compositions, among them a symphony, a violin concerto, a ballet, a masque, an opera, two oratorios, chamber music, pieces for piano and for organ, songs and choral works, both small- and large-scale. However, in addition to being the composer’s favourite and most personal genre, the songs for solo voice and piano are Robin’s largest and most condensed genre. These compositions will now be considered here within the context of early twentieth century English music and later through critical analysis. By the time Robin commenced song composition, a school of English song was well established through the work and compositions of such ‘main’ composers as Parry, Stanford, Vaughan Williams, Gurney, Warlock and Finzi. However, in the contextualisation of Robin’s songs, other aspects need to be considered in addition to the main composers of song. These include the existence of a twentieth century English musical renaissance and its main composers; Robin’s studies at the Royal College of Music; contemporary composition students at the RCM; the ‘organ loft’ song composers; the friendship with Balfour Gardiner; and the development of music publishing, the British Broadcasting Company (subsequently, Corporation), musical education in schools and amateur music-making (including the many local musical festivals throughout the country). 1 The twentieth-century English musical renaissance Howes (1966) and Hughes/Stradling (1993) suggest and have proven the existence of a twentieth century ‘English musical renaissance’. Having argued the necessity for such a phenomenon, these writers explain its development, including a revival in the music of the Tudors and Bach, and a systematic preservation of and belief in English folksong.
    [Show full text]
  • NABMSA Reviews a Publication of the North American British Music Studies Association
    NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination.
    [Show full text]
  • 'Koanga' and Its Libretto William Randel Music & Letters, Vol. 52, No
    'Koanga' and Its Libretto William Randel Music & Letters, Vol. 52, No. 2. (Apr., 1971), pp. 141-156. Stable URL: http://links.jstor.org/sici?sici=0027-4224%28197104%2952%3A2%3C141%3A%27AIL%3E2.0.CO%3B2-B Music & Letters is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 22 12:08:38 2007 'KOANGA' AND ITS LIBRETTO FREDERICKDELIUS arrived in the United States in 1884, four years after 'The Grandissimes' was issued as a book, following its serial run in Scribner's Monthh.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • The Perfect Fool (1923)
    The Perfect Fool (1923) Opera and Dramatic Oratorio on Lyrita An OPERA in ONE ACT For details visit https://www.wyastone.co.uk/all-labels/lyrita.html Libretto by the composer William Alwyn. Miss Julie SRCD 2218 Cast in order of appearance Granville Bantock. Omar Khayyám REAM 2128 The Wizard Richard Golding (bass) Lennox Berkeley. Nelson The Mother Pamela Bowden (contralto) SRCD 2392 Her son, The Fool speaking part Walter Plinge Geoffrey Bush. Lord Arthur Savile’s Crime REAM 1131 Three girls: Alison Hargan (soprano) Gordon Crosse. Purgatory SRCD 313 Barbara Platt (soprano) Lesley Rooke (soprano) Eugene Goossens. The Apocalypse SRCD 371 The Princess Margaret Neville (soprano) Michael Hurd. The Aspern Papers & The Night of the Wedding The Troubadour John Mitchinson (tenor) The Traveller David Read (bass) SRCD 2350 A Peasant speaking part Ronald Harvi Walter Leigh. Jolly Roger or The Admiral’s Daughter REAM 2116 Narrator George Hagan Elizabeth Maconchy. Héloïse and Abelard REAM 1138 BBC Northern Singers (chorus-master, Stephen Wilkinson) Thea Musgrave. Mary, Queen of Scots SRCD 2369 BBC Northern Symphony Orchestra (Leader, Reginald Stead) Conducted by Charles Groves Phyllis Tate. The Lodger REAM 2119 Produced by Lionel Salter Michael Tippett. The Midsummer Marriage SRCD 2217 A BBC studio recording, broadcast on 7 May 1967 Ralph Vaughan Williams. Sir John in Love REAM 2122 Cover image : English: Salamander- Bestiary, Royal MS 1200-1210 REAM 1143 2 REAM 1143 11 drowned in a surge of trombones. (Only an ex-addict of Wagner's operas could have 1 The WIZARD is performing a magic rite 0.21 written quite such a devastating parody as this.) The orchestration is brilliant throughout, 2 WIZARD ‘Spirit of the Earth’ 4.08 and in this performance Charles Groves manages to convey my father's sense of humour Dance of the Spirits of the Earth with complete understanding and infectious enjoyment.” 3 WIZARD.
    [Show full text]
  • Sir John in Love
    REAM.2122 MONO ADD RALPH VAUGHAN WILLIAMS Sir John in Love (1924-28) An Opera in Four Acts Libretto by the composer, based on Shakespeare’s (in order of appearance) Shallow, a country Justice Heddle Nash Sir Hugh Evans, a Welsh Parson Parry Jones Slender, a foolish young gentleman, Shallow’s cousin Gerald Davies Peter Simple, his servant Andrew Gold, Page, a citizen of Windsor Denis Dowling, Sir John Falstaff Roderick Jones Bardolph John Kentish Nym Sharpers attending on Falstaff Denis Catlin Pistol } Forbes Robinson Anne Page, Page’s daughter April Cantelo Mrs Page, Page’s wife Laelia Finneberg Mrs Ford, Ford’s wife Marion Lowe Sir John in Love Fenton, a young gentleman of the Court at Windsor James Johnston Dr. Caius, a French physician Francis Loring Rugby, his servant Ronald Lewis Mrs Quickly, his housekeeper Pamela Bowden The Host of the ‘Garter Inn’ Owen Brannigan Ford, a citizen of Windsor John Cameron The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © Of all the musical forms essayed by Ralph Vaughan Williams (1872-1958), his operas have received the least recognition or respect. His propensity to write without commissions and to encourage amateur or student groups to premiere his stage pieces 3 EVANS As we sat down in Papylon 4’36” has perhaps played a part in this neglect. Yet he was incontestably a man of the theatre. 4 HOST Peace, I say! 3’04” He produced an extensive, quasi-operatic score of incidental music for Aristophanes’ , for the Cambridge Greek Play production in 1909.
    [Show full text]
  • Passion and Intellect in the Music of Elizabeth Maconchy DBE (1907–1994)
    Passion and Intellect in the Music of Elizabeth Maconchy DBE (1907–1994) Ailie Blunnie Thesis submitted to the National University of Ireland, Maynooth for the degree of Master of Literature in Music Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare July 2010 Head of Department: Professor Fiona Palmer Supervisor: Dr Martin O’Leary Contents Acknowledgements i List of Abbreviations iii List of Illustrations iv Preface ix Chapter 1 Introduction 1 Chapter 2 Part 1: The Early Years (1907–1939): Life and Historical Context 8 Early Education 10 Royal College of Music 11 Octavia Scholarship and Promenade Concert 17 New Beginnings: Leaving College 19 Macnaghten–Lemare Concerts 22 Contracting Tuberculosis 26 Part 2: Music of the Early Years 31 National Trends 34 Maconchy’s Approach to Composition 36 Overview of Works of this Period 40 The Land: Introduction 44 The Land: Movement I: ‘Winter’ 48 The Land: Movement II: ‘Spring’ 52 The Land: Movement III: ‘Summer’ 55 The Land: Movement IV: ‘Autumn’ 57 The Land: Summary 59 The String Quartet in Context 61 Maconchy’s String Quartets of the Period 63 String Quartet No. 1: Introduction 69 String Quartet No. 1: Compositional Procedures 74 String Quartet No. 1: Summary 80 String Quartet No. 2: Introduction 81 String Quartet No. 2: Movement I 83 String Quartet No. 2: Movement II 88 String Quartet No. 2: Movement III 91 String Quartet No. 2: Movement IV 94 Part 2: Summary 97 Chapter 3 Part 1: The Middle Years (1940–1969): Life and Historical Context 100 World War II 101 After the War 104 Accomplishments of this Period 107 Creative Dissatisfaction 113 Part 2: Music of the Middle Years 115 National Trends 117 Overview of Works of this Period 117 The String Quartet in Context 121 Maconchy’s String Quartets of this Period 122 String Quartet No.
    [Show full text]
  • The Ivor Gurney Society Newsletter
    THE IVOR GURNEY SOCIETY NEWSLETTER NUMBER 67 October 2020 Society AGM and Conference, 1 May 2021 This event will be held in Oxford on 1 May 2021. As well as the AGM, there will be a talk by Dr Kate Kennedy and the launch of her new biography of Ivor Gurney (Ivor Gurney: Dweller in Shadows). There will also be a Song recital followed by a Society dinner. Members will be notified of further details shortly. Dr Kate Kennedy author of forthcoming biography of Ivor Gurney, and conference speaker Society Matters The Website The address of the Society’s website is now www.ivorgurney.co.uk It is full of up-to-date information about Gurney, items for sale and notification of news and events. The Resources area allows downloads of music scores (Scores Downloads) and it also contains Biography and Bibliography sections. The website shop provides a variety of items including CDs for sale. Members wishing to publicise an event should contact the Chair (email on back page) Subscriptions Subscriptions are valid for a year from first payment date and can be paid through PayPal www.ivorgurney.co.uk or send a cheque to Ian Venables, 2 Turrall St. Barbourne, Worcester WR3 8AJ. For acknowledgement, include your email address. Individual £14; Joint £18; Individual retired £10; Joint retired £12.50; student £5.00; individual overseas £25 (for current rates, see website [email protected] ). Gurney Society AGM and Conference - postponed until 1 May 2021 Due to the current Coronavirus epidemic and the lockdown regulations our 2020 AGM at Wolfson College, Oxford has been moved to Saturday 1 May 2021.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • Vaughan Williams a Cotswold Romance • the Death of Tintagiles
    VAUGHAN WILLIAMS A Cotswold Romance • The Death of Tintagiles London Philharmonic Choir Rosa Mannion soprano London Symphony Orchestra Thomas Randle tenor Matthew Brook baritone Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Ralph Vaughan Williams (1872 – 1958) premiere recordings A Cotswold Romance* 39:34 Adapted from Hugh the Drover by Maurice Jacobson (1896 – 1976) in collaboration with the composer 1 1 The Men of Cotsall 3:47 2 2 Sweet Little Linnet 1:27 3 3 Hugh’s Song of the Road 4:06 4 4 Love at First Sight 6:05 5 5 The Best Man in England 2:22 6 6 Alone and Friendless 2:24 7 7 The Fight and its Sequel 4:48 8 8 Hugh in the Stocks 1:51 9 9 Mary Escapes 4:28 10 10 Freedom at Last 7:52 3 The Death of Tintagiles 14:48 11 Prelude. Largo – Andantino – Adagio – 5:37 12 1 Lento – 1:10 13 2 Allegro – 0:42 14 3 Lento – Andante tranquillo – Lento – 2:51 15 4 Moderato – 1:09 16 41/2 Allegro – 1:00 17 5 Lento 2:15 TT 54:34 Rosa Mannion soprano (Mary)* Thomas Randle tenor (Hugh)* Matthew Brook baritone* London Philharmonic Choir* London Symphony Orchestra Richard Hickox 4 Vaughan Williams: A Cotswold Romance / The Death of Tintagiles Vaughan Williams composed his ‘ballad-opera’ and ‘The Roadside Fire’ from the earlier Hugh the Drover, from which A Cotswold setting of Robert Louis Stevenson’s poetry in Romance is adapted, between 1910 and 1914. Songs of Travel. Writing to his librettist, the journalist Harold Hugh the Drover was first performed in Child, in 1910, he said: public on 14 July 1924 by forces of the British I have an idea for an opera written to real National Opera Company at His Majesty’s English words, with a certain amount of Theatre, London, conducted by Malcolm real English music… Sargent.
    [Show full text]