W. Barclay Squire and Robert Lucas Pearsall Source: the Musical Times, Vol
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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. -
Performing National Identity During the English Musical Renaissance in A
Making an English Voice: Performing National Identity during the English Musical Renaissance In a 1925 article for Music & Letters entitled ‘On the Composition of English Songs’, the British musicologist Edward J. Dent urged the ‘modern English composer’ to turn serious attention to the development of ‘a real technique of song-writing’.1 As Dent underlined, ‘song-writing affects the whole style of English musical composition’, for we English are by natural temperament singers rather than instrumentalists […] If there is an English style in music it is founded firmly on vocal principles, and, indeed, I have heard Continental observers remark that our whole system of training composers is conspicuously vocal as compared with that of other countries. The man who was born with a fiddle under his chin, so conspicuous in the music of Central and Eastern Europe, hardly exists for us. Our instinct, like that of the Italians, is to sing.2 Yet, as he quickly qualified: ‘not to sing like the Italians, for climactic conditions have given us a different type of language and apparently a different type of larynx’.3 1 I am grateful to Byron Adams, Daniel M. Grimley, Alain Frogley, and Laura Tunbridge for their comments on this research. E. J. Dent, ‘On the Composition of English Songs’, Music & Letters, 6.3 (July, 1925). 2 Dent, ‘On the Composition of English Songs’, 225. 3 Dent, ‘On the Composition of English Songs’, 225. 1 With this in mind, Dent outlined a ‘style of true English singing’ to which the English song composer might turn for his ‘primary inspiration’: a voice determined essentially by ‘the rhythms and the pace of ideal English speech – that is, of poetry’, but also, a voice that told of the instinctive ‘English temperament’. -
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’. -
Newsletter29-Christmas1970-1.Pdf
NEWSLETTER of the DELIUS SOCIETY President: Eric Fenb,y, O.B.E. Hon. Secretary: Miss Estelle Palmley. Hon. Treasuer: G.H. Parfitt. Editor: John White. No. 29. Cnri.stmae, 1970. - ~ - - - - - - -- -- - - . - - - - - - - - - - - - - - - - - - --- - - -- Contents Forthcoming Events Editorial "A Mass of Life" 1. The Beecham recording re-issued. Geoffrey Crankshaw. 2. The Liverpool perfomance. 20th January, 1970 (press notices). 3. Musical Profile: Charles Gr07ee - Henry Raynor. Koanga in Washington - December, 1970. Midlands' Miscellany. FORmCOMlNG EV]NTS Thursday, 14th January, 1971. Society Meeting, Talk by Brude Boyce. Holborn Library, 7.3Op,m. (to be preceded by a special. meeting, commencing at 6.45p.m. to -discuss proposed changes in the structure of the present Commi. ttee). ._. .. Tuesday, 16th February; 1971. itA Mass of Life". London Philhannonic Orchestra and Choir conduoted by Charles Groves with Heather Harper, Helen Watts, Ryland Davies and Thomas Hemsley. ~oya1 Festival Hall.· . S~ats: 9/-(45p); 14/-(1Op); 18/-(9OP); 22/-(£1.lOp); 26/-(1.3Op); 30/-(£1.50) • . Monday, 8th March, 1971. ''Paris". Charles Groves conducting the Royal Philharmonic Orchestra. Royal Festival Hall. Thursday, 18th March, 1971.-) . ) "Brigg Fair" Sunday, 21st March, 1971. ) Vernon Handley ~onducting the London Symphony Orchestra. Royal Festival Hall. Thursday, 25th March, 1971. Society Meeting. A talk on Walt Whi tman by Dawn Redwood. Holborn 14brary, 7.30 p.m• . Sunday, 9th May, 1971. 7.30 p.m. Royal Liverpool Philharmonic Society, at the Philharmonic Hall. Song recital by Joan Sutherland accompanied by Richard Bonynge, which includes Heimkehr and Abendstimmung; also two songs by Grie~. Seats: 35s(175p); 30s.(15Op); 25/-(125p); 20s(100p); 15s(75p). -
Your Name Here
HERBERT HOWELLS’ SIR PATRICK SPENS: A GUIDE TO PERFORMANCE CONSIDERATIONS by ALICIA W. WALKER (Under the Direction of Allen Crowell) ABSTRACT Sir Patrick Spens, a large-scale work for chorus, orchestra, and baritone solo, is an important example of the early music of English composer Herbert Howells (1892-1983). Although Howells’ works from the period 1915-1919 were much neglected through most of the twentieth century, the recent revival and subsequent recording of Sir Patrick Spens indicate the renewed interest in his earliest significant compositions. Standing in contrast to the body of sacred music and organ works for which the composer is best known, Sir Patrick Spens (1917) is a setting of a Scottish ballad. It is characterized by harmonies and orchestrations akin to those of Ralph Vaughan Williams, melodic gestures related to folksong, a text setting with very little repetition, and performing forces on a grander scale than Howells had previously attempted. Only in the closing measures of the work does Howells give indications of the sustained lines and thick choral textures that would become his sonic signature. Sir Patrick Spens stands thus as a significant marker on Howells’ compositional journey. It is reflective of the initial influences on his music while yielding indications of the composer he would become. The general characteristics of the vocal music of Herbert Howells include, but are not limited to, a tonal/modal harmonic structure, associations with folksong, and an inextricable link to the text. All of these are present in Sir Patrick Spens and will form the basis for analysis of the piece. -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
Program Notes • Friday, 15 February to BE SUNG of a SUMMER NIGHT of Time and Place… on the WATER, OP
over sonorous winds. In the Scherzo and Finale, the musical ideas are beguiling THE CRANE WIND ENSEMBLE both in their charm and in the manner of their distribution amongst the players. Note by Ron Drummond (Northwest Sinfonietta) Program Notes • Friday, 15 February TO BE SUNG OF A SUMMER NIGHT Of time and place… ON THE WATER, OP. 91, NO. 1 P ETITE S YMPHONIE Charles Delius Charles Gounod Some of Delius' most transcendently ecstatic moments are entrusted to a wordless chorus, as if no words could adequately convey the peculiar fullness of the The music and sensibilities of Charles Gounod fluctuated throughout his life moment. One thinks of Zarathustra's encounter with Life and Wisdom in the third between the poles of sacred and profane love, often ambiguously. Well-educated part of Delius’ cantata A Mass of Life, or, preeminently, of the attainment of the in the theory, practice, and history of music, his earliest successes as a composer summit in his A Song of the High Hills. Apart from the title, there is no came with settings of the mass in an austere, acapella style inspired by Palestrina. programmatic suggestion underscoring the gratuitous blithesomeness of the two A brief flirtation with the priesthood in the late 1840s gave way to an infatuation brief yet beguiling choral pieces To be sung of a summer night on the water. with the famed opera singer Pauline Viardot, who led him to switch to opera, but Composed in late spring 1917 at Grez-sur-Loing, one would hardly guess from his first efforts, marred by an effort to imitate Meyerbeer, were failures. -
The Delius Society Journal
The Delius Society Journal April 1981,Number 7l The Delius Society Full Membership97.00 per year Studentsf,3.50 Subscription to Libraries (Journal only) f,5.00 per year USA and CanadaUS S17.00per year President Eric Fenby OBE, Hon D Mus, Hon D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM Meredith DaviesMA, B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon D Mus Vernon Handley MA, FRCM, D Univ (Surrey) Chairman R B Meadows 5 WestbourneHouse, Mount Park Road, Harrow, Middlesex Treasurer Peter Lyons 1 Cherry Tree Close,St. Leonards-on-Sea,Sussex TN37 6EX Secretary Miss Estelle Palmley 22 Kingsbury Road, London NW9 ORR Editor Stephen Lloyd 4l MarlboroughRoad, Luton, BedfordshireLU3 IEF Tel: Luton (0582\ 20075 Contents Editorial 3 The President'sAddress 6 Beecham:The Delius Repertoire 9 An Eveningwith Norman Del Mar l9 Book Review 2l Obituary: Robert Aickman 23 Forthcoming Events 23 Cover lllustration An early sketch of Delius by Edvard Munch reproducedby kind permissionof the Curator of the Munch Museum,Oslo, Norway. Additional copiesof this issuef,l each,inclusive of postage. ISSN-0306-0373 Editorial No recent publication can have commandedsuch widespreadcritical attention in the musical world as The New Grove whose additional adjectivein its title might seemdesigned to bestow eternal youth on this fountain of musicalknow- ledge. One wonders what they will name the seventh edition years hence. Its twenty volumesare an impressiveachievement and a pleasureto read and handle, though for the purchaserat f,850 a set a costly touch. -
The Career and Reputation of Herbert Howells
Durham E-Theses The Career and reputation of Herbert Howells Marshall, Richard George How to cite: Marshall, Richard George (2005) The Career and reputation of Herbert Howells, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2860/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk The Career and Reputation of Herbert Howells Richard George Marshall The copyright of this thesis rests with the author or the university to which It was submitted. No quotation from It, or information derived from It may be published wtttiout the prior written consent of the author or university, and any Information derived from It should be acknowledged. A thesis submitted for the degree of Master of Music (MA) 2005 1 1 OCT 2006 Contents List of Musical Examples 1 Introductory Comments 3 Introduction 5 Chapter One: Biography 15 Chapter Two: The Construction of Howells' Englishness 38 Chapter Three: Herbert Howells: His Thoughts on Music and Musicians 60 Chapter Four: Howells' Relation to Tudor and Elizabethan Music 86 Conclusion: assessing Howells' career and reputation 108 Appendix One: Work List 115 Appendix Two: A Chronological List of Performances 131 Bibliography 161 List of Musical Examples Ex.5.1. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing firom left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313,'761-4700 600/521-0600 Order Number 9401210 Reclaiming a music for England: Nationalist concept and controversy in English musical thought and criticism, 1880-1920. (Volumes I and II) Ball, William Scott, Ph.D. -
Early Music Revival
Early music revival Hombourg, juli 2019 Prof. dr. Hans van Dijk De hernieuwde belangstelling voor de oude muziek in de negentiende en eerste helft van de twintigste eeuw in West-Europa Wat is 'oude muziek'? Om een antwoord op deze vraag te kunnen geven moet een groot aantal publicaties worden doorgenomen, waarbij dan blijkt dat de diverse auteurs allen een eigen interpretatie van dit fenomeen hebben. De een ziet alle muziek van vóór het jaar 476 (de ondergang van het West-Romeinse rijk) als 'oude' of 'antieke' muziek, de Middeleeuwen en de periode daarna als de 'nieuwere', die natuurlijk in verschillende perioden moet worden onderverdeeld; de ander ziet aan het einde van de Middeleeuwen (tweede helft 14e eeuw) een breukvlak met de 'nieuwere muziek', eveneens in verschillende perioden onder te verdelen. Een derde wil de nieuwere muziek met de Barok (± 1600) laten beginnen en ziet alles vóór het jaar 1600 als 'oud'. Uit deze verschillende opvattingen valt alleen maar te concluderen dat er geen eensluidende opvattingen mogelijk zijn. Natuurlijk speelt ook de tijd waarin de verschillende auteurs leven een rol. In de 18e eeuw was het beeld dat men had van 'oude muziek' iets geheel anders dan in de 19e of de eerste helft van de 20e eeuw. Wanneer we de geschiedenis van de herleving van de 'oude muziek' willen beschrijven geven wij er de voorkeur aan om deze te laten beginnen bij het begin van die herleving, d.w.z. in de jaren direct na het begin van de 19e eeuw en daarbij alle muziek van vóór 1800 als 'oude muziek' te zien. -
Charles Kennedy Scott Archive
CHARLES KENNEDY SCOTT ARCHIVE Catalogue created 14/11/2014 CONTENTS TITLE: CHARLES KENNEDY SCOTT ARCHIVE ................................................ 2 TITLE: PERSONAL PAPERS .............................................................................................................. 2 TITLE: WRITINGS AND PUBLICATIONS .............................................................................................. 4 TITLE: PHOTOS, PRESS CUTTINGS, AND MEMORABILIA...................................................................... 5 TITLE: ORIANA MADRIGAL SOCIETY ................................................................................................ 6 TITLE: MISC. CONCERT PROGRAMMES AND FLYERS ......................................................................... 7 TITLE: MUSIC MANUSCRIPTS ......................................................................................................... 11 Level: fonds Title: Charles Kennedy Scott Archive Reference: CKS Dates: 1876-1976 Extent: 1.74 linear metres (8 boxes) Name of creator: Scott, Charles Kennedy (1876-1965) Administrative/biographical history: Charles Kennedy Scott (1876–1965), organist, musical director, composer, writer, teacher; founded the Oriana Madrigal Society in 1904 and the Philharmonic Choir in 1919; elected fellow of RCM 1961; taught at TCM 1929-1965, conducted the College Choir, member of TCM Corporation and Board, TCM examiner Immediate source of acquisition: Largely unknown. Some material may have been the gift of Kathleen Ewart or family. Later acquisitions