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Durham E-Theses Durham E-Theses The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Inuence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford WOODHOUSE, EDWARD,LUKE,ANDERTON How to cite: WOODHOUSE, EDWARD,LUKE,ANDERTON (2013) The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Inuence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7336/ 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 2 The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Influence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford Three Volumes Volume Ia Edward Luke Anderton Woodhouse BA (Hons) (Dunelm), MA (Dunelm) Submitted for the degree of Doctor of Philosophy Durham University Department of Music 2012 DECLARATION I confirm that the thesis conforms to the prescribed word length for the degree for which I am submitting it for examination. I confirm that no part of the material offered has been submitted by me for a degree in this or in any other university. If material has been generated through joint work, my independent contribution has been clearly indicated. In all other cases material from the work of others has been acknowledged and quotations and paraphrases suitably referenced Editorial matter and selection © E. L. A. Woodhouse 2012 All remaining material © E. L. A. Woodhouse 2012 All rights reserved. No reproduction, copy or transmission of this thesis may be made without written permission. No paragraph of this thesis may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency. Any infringement of this copyright may lead to criminal prosecution or civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patent Act, 1988. E. L. A. Woodhouse Collingwood College, Durham University, 2012 i CONTENTS VOLUME Ia Abstract vi List of Figures viii List of Tables xix Acknowledgements xx Introduction 1 Part 1: Establishing a Contextual Framework 9 1 The Music of Brahms Arrives in England: 10 Influential and Important People 1.0 Introduction 10 1.1 Visiting Performers: Clara Schumann, Joseph Joachim and 13 Hans Richter 1.2 European Musicians who Settled in England: August Manns, 42 Charles Hallé, and Edward Dannreuther 1.3 English Performers and Critics: Fanny Davies and 63 George Bernard Shaw 1.4 Conclusion 72 2 Brahms in Late Nineteenth Century England: 73 A Political and Educational Perspective 2.0 Introduction 73 2.1 The Music of Brahms in the Context of Late Nineteenth 74 Century Europe and England 2.2 Prince Albert and His Legacy: Music at the Crystal Palace 79 2.3 The Non-musical Musician: George Grove 85 2.4 The ‘Analytical’ Programme Note 86 2.5 Brahms: The ‘One of the greatest living German composers’ 92 in the Dictionary of Music and Musicians 2.6 Grove, the National Training School for Music, and Brahms at 102 the Royal College of Music 2.7 The University Challenge: Oxford and Cambridge 110 2.8 Brahms in the Provinces 116 2.9 Conclusion 121 ii 3 Subject of Influence: The ‘Brahms Effect’ in Biographical 123 And General Literature on Nineteenth Century English Music 3.0 Introduction 123 3.1 The Position of Brahms in Literature on English Music 125 of the Late Nineteenth Century I: Performance Reviews and Critics 3.2 The Position of Brahms in Literature on English Music 131 Of the Late Nineteenth Century II: Monographs and Articles 3.3 Brahms, the ‘English Musical Renaissance’ and ‘ Das Land 136 ohne Musik ’ 3.4 Biographical works on Charles Hubert Hastings Parry and 157 Charles Villiers Stanford 3.5 Parry the Brahmsian 163 3.6 Stanford the Brahmsian 170 3.7 Conclusion 177 4 Subject of Influence: References to Brahms in the Written Works 179 of Charles Hubert Hastings Parry and Charles Villiers Stanford 4.0 Introduction 179 4.1 Parry and Stanford’s Reaction to the Music of Brahms: 181 A General Perspective 4.2 Parry, Stanford, and Brahmsian Harmony 198 4.3 Parry, Stanford, and Brahmsian Process 208 4.4 Parry, Stanford, and Brahmsian Form and Genre 229 4.5 Parry, Stanford, and Brahmsian Orchestration 253 4.6 Conclusion 256 VOLUME Ib Part 2: Musical Analysis 258 5 Analysis of Chamber Compositions by C. Hubert H. Parry and 259 Charles Villiers Stanford 5.0 Introduction 259 5.1 C. Hubert H. Parry: Grosses Duo 261 5.2 C. Hubert H. Parry: Piano Trio in E minor 273 5.3 C. Hubert H. Parry: Piano Quartet in A flat 284 5.4 C. Hubert H. Parry: Sonata in D for Pianoforte and Violin 294 5.5 C. V. Stanford: Quartet in F major, Op. 15 300 5.6 C. V. Stanford: Piano Quintet in D minor, Op. 25 308 iii 5.7 C. V. Stanford: Piano Trio in E flat, Op. 35 315 5.8 C. V. Stanford: String Quartet No. 1 in G, Op. 44 322 5.9 Conclusion 327 6 Analysis of Orchestral Compositions by C. Hubert H. Parry and 329 Charles Villiers Stanford 6.0 Introduction 329 6.1 C. V. Stanford: Serenade in G major for Orchestra, Op. 18 331 6.2 C. V. Stanford: The Third Symphony in F (the ‘Irish’), Op. 28 343 6.3 C. Hubert H. Parry: Overture to an Unwritten Tragedy 352 6.4 C. Hubert H. Parry: Elegy for Brahms 364 6.5 Parry and Stanford’s Late Orchestral Work: 371 Late Romanticism or Early Modernism? 6.6 C. V. Stanford: Seventh Symphony in D minor, Op. 124 374 6.7 C. Hubert H. Parry: Fifth Symphony (Symphonic Fantasia) 390 in B minor 6.8 Conclusion 403 Conclusion 404 Bibliography 415 iv VOLUME II: APPENDICES Contents i I Complete list of known premiers of Brahms’s music 1 in England II Complete list of performances of Brahms’s music at Charles 34 Hallé’s concerts in Manchester as listed in Thomas Batley’s monograph Sir Charles Hallé’s Concerts in Manchester III The performances of Brahms’s Music at the Dannreuther’s 42 musical evenings at Orme Square IV Pieces by Brahms performed in the Richter Concert Series at 50 St James’s Hall in London (1879-1900) V ‘Dem Fernen’ – A surviving song by Prince Albert, composed 52 in 1839 VI List of entries in the first edition of Grove’s Dictionary of 55 Music and Musicians with reference to Johannes Brahms and his music VII Performances of Brahms’s music at the RCM concert series 58 during the ‘Grove’ years between 1884 and 1895 VIII Performances of Brahms’s music at the CUMS concerts as 61 listed in the concert programme archive IX The sixth variation of Brahms’s Variations on a Theme by 64 Haydn, Op. 56a v ABSTRACT The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Influence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford Edward Luke Anderton Woodhouse Thesis submitted for the degree of Doctor of Philosophy within Durham University, 2012 _____________________________________________________________________ The music of Johannes Brahms currently enjoys popularity comparable with that of Bach, Handel, Haydn, Mozart and Beethoven throughout England. However, unlike composers such as Handel and Mendelssohn who preceded him, Brahms never actually set foot on English soil, thereby making the introduction and eventual acceptance of his music in England long and difficult. This process was eventually engineered principally through the determination and perseverance of several prominent performers, conductors and critics, such as Clara Schumann and August Manns, during the latter half of the nineteenth century. Aside from a small number of relatively short articles and unpublished lectures, the reception and subsequent influence of the music of Brahms in England, and in particular on the composers Charles Hubert Hastings Parry and Charles Villiers Stanford, has not been the subject of any major or substantial study, yet is still a popular notion in many texts on nineteenth century British music. This thesis attempts to assemble and evaluate all the available information on the subject, from the principal people responsible for introducing the music of Brahms to England, to an assessment of the appearance of his supposed reception and influence in England in historical and biographical texts. Finally, a much needed analytical evaluation of key chamber and orchestral compositions across Parry and Stanford’s relative outputs vi concludes the thesis, attempting to bring clarity to the vexed, outdated, but still commonly accepted notion that their works were merely an inferior assimilation of those of Brahms.
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