“The Black Knight, Elgar’s First Symphony?” North West Branch Professor Julian Rushton, 6 October 2018 Newsletter August 2019 At the first meeting of the new season, we welcomed Julian Rushton, retired Professor of Music at the University of Leeds and former editor of the Society’s Journal. Once described as ‘an academic who is an Elgar enthusiast’, an epithet which not that many decades ago would have been regarded as an impossibility! The Newsletter is, in effect, a backward look at the events of the 2018-2019 season and provides an opportunity to present reports of the meetings which were held. It Before taking us through the work movement by movement, Professor Rushton will, hopefully, evoke pleasant memories for those of you who were able to attend the outlined the nature of the piece. It’s a setting of a poem but not really a cantata meetings. But, I hope that it will also be of particular interest to those members who, even though that’s how it is described on the title page. It would seem that Elgar for whatever reason, were not able to attend some or, perhaps, any of the branch wants us to think of it as a “sort of symphony”. There are no soloists: the chorus meetings which were held. I am conscious of the fact that we have loyal members who acts as both the narrator and the various characters. It’s a ballad: it tells a story. are not able to get to meetings because of age or infirmity, or indeed because they had alternative engagements. I wish to give my personal thanks to those committee members who have provided what I think are excellent reports for this issue of the newsletter. Their names appear at the end of their articles. You may have noticed that all the reports have been written by committee members. They don’t have to be! If any members who attend meetings would like to offer to write a report, please let us know. My thanks, also, to Darren Niman who has provided many of the photos included.

At the same time that you receive this, you should also receive a copy of our full- colour printed programme of meetings for the coming season (2019-2020) which begins in October. I feel sure we can look forward to another very interesting season of events and I want to thank, in particular, our Programme Secretary, Geoff Scargill, for all the diligent work which he has done in engaging speakers, finding suitable topics, and arranging the dates and venues for the meetings. This is not an easy task and requires much thought and careful planning. You should already have received a printed list of the dates, topics and venues for the meetings and I hope that these are now in your diaries. We hope to have a good attendance at all our branch meetings. A successful outcome to the season is as much dependant on the level of attendance and degree of enjoyment engendered as in the planning and execution.

I send update information out by email to all members with an email address. If you are NOT receiving updates and DO have an email address, please let me have it.

Finally, I would like to thank all the members of the committee for their invaluable input into the running of the branch and the forward planning which is so essential. David L Jones (editor) Professor Julian Rushton talking to us on 6th October 2018 1 2 “The Black Knight, Elgar’s First Symphony?” (continued) “Elgar, and Malcolm Sargent” Julian Rushton, 6 October 2018 John Knowles, Liverpool, 3 November 2018

Elgar’s mother was an enthusiast for the Longfellow poem that he set and it This was an outstanding afternoon, seen by many as one of the very best clearly struck a strong chord with Elgar as he gave copies to a number of people. presentations to the Branch. John showed his encylopaedic knowledge of Elgar and The underlying themes of joy, sorrow and the supernatural clearly stimulated him. Liverpool, Elgar and Sargent – and Sargent. Even those of us who fancied themselves It could have been a symphonic poem but the composer organises the stanzas to give as experts on any or all three sections came away with their knowledge enhanced. a symphonic structure. Yet, this is not what an 1890 audience would have expected Liverpool was the venue for the first performances of Cockaigne and of the first two of a symphony. ‘Absolute’ music was regarded as the pinnacle of musical form (and Pomp and Circumstance Marches and only the second performance of the Enigma the form Elgar aspired to writing to) whereas since The Black Knight is structured Variations before Jaeger insisted on a better coda to do justice to the Edu Variation. around a text it would have been viewed as a ‘programme’ symphony (and hence John emphasised Liverpool’s part in keeping the flame of Elgar’s neglected choral a lesser being). However, Elgar insisted that the orchestra was very important and works burning in the dark days the war, an echo of Sargent’s championing arguably the chorus could be regarded as just another instrument within the texture. of Elgar in 1922, when one critic had called his music ‘small and outdated’. For lovers of the Halle it was salutary to learn that the Liverpool Phil, By working through each section, Professor Rushton then developed and illustrated brilliant under Sargent, was the national orchestra and that his contract these ideas with fascinating details emerging. He concluded by posing to the audience forbad him to conduct any other orchestra within 100 miles of the city. the question “Did Elgar fulfil his aim to write a symphony? And his response? “Yes and no”

A very stimulating afternoon that was widely appreciated and without doubt would mean that those present would from now on hear The Black Knight with fresh ears. John Knowles

Wendy Hodkinson efficiently (as always) serving cups of tea at our refreshment break

John Knowles - with an image of Sir Malcolm Sargent - on screen

3 4 Elgar, Liverpool and Malcolm Sargent (continued) “Elgar in America” John Knowles, Liverpool, 3 November 2018 Richard and Joan Smith, 8 December 2018

The meeting was a visual and aural feast, with extracts selected confidently and complementing each other perfectly. John is a national authority in the world of All Elgarians ‘know’ that Elgar hated America. His descriptions of ‘vulgarity and recordings. But the skill and knowledge, stunning as they were, did not hide John’s general horror’ and that famous photo of him in 1911, where all 13 members of the emotion towards his subject. ‘Bowled over’, ‘I will never forget Heddle Nash singing Sheffield Choir on tour are looking at the camera and Elgar, formally dressed and Gerontius from memory’, ‘I have the dream recording of Sargent’s Gerontius in 1944, bowler-hatted, is staring dejectedly to one side, speak of his misery. with the Phil, the Huddersfield Choral Society (never short of brilliant voices during Richard and Joan pulled no punches in describing his longing for home during the the war because so many of their members were in reserved occupations, such as fourth and last of his visits to the USA. But in convincing detail – including Elgar’s down the Yorkshire pits), Heddle Nash and Gladys Ripley.’ ‘No commercial recording letters, ‘authentically’ read by Joan - their immaculate research into a fascinating of Sargent conducting was made so my recording made from a BBC subject (put together with the help of an American friend) showed us the whole broadcast is unique.’ It was in asides like those that John’s class act slipped for the truth for the first time. His first three visits were happy and he was delighted with moment and we saw his deep love for his three subjects. the people he met (except the extraordinarily mean Andrew Carnegie - Elgar called ‘Flash Harry’ was not as cuddly as JB but John’s description of the standing ovation him ‘the Robber Baron’ - who would have paid for Alice’s visit but refused to pay at the start of his first concert after his major operation, his courage in returning to for Elgar’s valet instead, and anyway paid Elgar the cheapest boat fare to America). speak to the Promenaders shortly before his death and the warmth of the tributes Elgar loved the friendliness of the Americans and Alice thought the American girls to him, including one in the , was moving. were ‘sweet and charming’. Performances which he conducted had audiences of A great emotional and educative afternoon with a large audience, manyata thousands and we were shown examples of rave reviews of his concerts. branch meeting for the first time but augmented by brave souls who had made the hazardous journey over Chat Moss (‘Here be Dragons’) from , all justifying the committee’s decision to hold at least one meeting of the North West Branch programme in Liverpool. Geoff Scargill

image showing our regularly updated North West Branch display - which has information on branch meetings and various other upcoming events relating to the performances of Elgar’s works in the North West

Richard and Joan Smith - after their presentation on 8 December 2018

5 6 “Elgar in America” (continued) "Filling The Gaps" (continued) Richard and Joan Smith, 8 December 2018 Steven Halls, 19 January 2019

2010 Reporters ‘mobbed’ him and thought him very English. Three eminent universities Immortal Legion decided to precede their degree ceremonies with Pomp and Circumstance No. 1 and – originally the Piano Concerto but it was rearranged by Iain still do. When it was proposed a few years ago that this should be dropped there was Farrington and recorded by him as well. a revolt by students who said that if they did not hear the March ‘they would not feel War Song – with the remark “the worst piece of music by Elgar!!” they had graduated’. But in addition to the wealth of public detail in Richard and Joan’s presentation we 2012 were treated to some lovely personal details of Elgar’s relations with his two closest Starlight Express - on Chandos with Andrew Davis conducting American friends. Professor Sanford promoted his first doctorate, at Yale, and was the The longed-for light – Elgar’s music in wartime. The CD was a success both critically dedicatee of the Introduction and Allegro. Richard felt that the beautiful and elegant and financially. Julia Worthington (the dedicatee of one of his Part Songs ‘Deep in my soul’) was the ‘soul’ of the and that Elgar wrote the elegiac after receiving 2013 news of her death. Music for Powick Asylum. Thanks to Barry Collett a CD of less well known (and some The nicknames they had for each other: Gaffer, Pippa and Amos (that was Elgar) unknown) music was produced showed their mutual affection. Joan, in answering a question, felt that Julia, Sanford and Elgar shared features: they were all ‘outside the parameters of big society’ and 2014 had known grief. She hoped that the three met ‘in that place where they could accept Settings of Binyon’s poems known as . The Society fully each other in a most wholesome way’. A striking and quite moving observation. supported this recording and a new one was made in 2017. Trevor Davies spoke for all of us in his vote of thanks, when he said how much new material had been brought to us. A terrific afternoon. Geoff Scargill 2016 Steven Halls suggested a sum of £40k was needed to fill all remaining gaps in Elgar’s recordings and Ecce Saerdos Nagnus was recorded in September. "Filling The Gaps" Steven Halls, 19 January 2019 2017 Military Band recording of Queen Alexandra Memorial Ode.

It was a great privilege to begin 2019 with a talk by Steven Halls, the Chairman of 2018 the . He has devoted much of his time in office ensuring Elgar’s music is Air de Ballet – “a delightful piece” available as recordings, hence the title “Filling the Gaps”. He reminded us that Elgar was Muleteer’s Serenade for Soprano and Piano. the first great composer to make recordings of his own music with himself conducting. Before his appointment as Chairman, the Elgar Society had been responsible for 2019 releasing many recordings but there had been problems with marketing, distribution Caractacus and unsold stock. Steven Halls was elected Chairman in 2008 and he declared that the Society needed to be modernised! During his talk Steven played extracts from many All the recordings we heard were overseen by Steven Halls. The afternoon certainly recordings he had initiated, and the following is a list of them with dates and some of “filled the gaps” in our knowledge of recordings available! Thanks to him and the Elgar his comments! Society we are now able to purchase CDs of all our favourite composer’s music!! Geoff Hill 7 8 The Elgar Society North West Branch Annual Luncheon The Elgar Society North West Branch Annual Luncheon (Report) 17 February 2019 (Images) 17 February 2019

We again held our North West Branch Annual Luncheon (which, this year, was attended by 46 people) at the by-now familiar Alma Lodge Hotel in Stockport. Because Fae Jones of the significant number of people attending, our event was held in the Regis Suite talking to us - which provided ample space and excellent facilities. After a most enjoyable three- about her love of course luncheon, plus tea and coffee, we were entertained by two branch members Schubert’s music and, in particular, who talked enthusiastically about (and then played) a piece of music which obviously about first hearing meant a great deal to them. It was not necessarily their favourite piece of music his Moment Musical but one which clearly had a special significance for them. To start the proceedings, No. 6 in A Flat Major Fae Jones spoke about an inspirational music teacher at school who awakened her interest in studying music. As a result, she attended the Junior School at the Northern School of Music, on Saturdays. Whilst studying there, she heard Schubert’s Moment Musical, No. 6 in A Flat Major, which was being played by a student. Subsequently, Ken Swallow she came to adore this piece and it led to a life-long love of Schubert’s music. She talking to us particularly mentioned the guidance and kindness of Ida Carrol, Principal of the NSM, about the time he who nurtured and inspired all her pupils. Fae chose to play a recording by Clifford Cravendale gained inspiration Curzon who had done so much for the Northern School of Music over the years. He from hearing was also a brilliant exponent of the Schubert repertoire for piano. Although only a Stanford’s Op. 115 - simple piece, he captured the beauty of it so well. Following that, Ken Swallow told us Magnificat in C - played in a BBC R4 about how he had been obliged, as a child, to attend church services in which he was Archive Hour expected to join in the singing of the Psalms and canticles – an experience which did programme not endear him to them. His musical experience, as he grew up, included Liverpool Phil. concerts but any thought for choral evensong had been suppressed by the church John Mawbey’s display of of his childhood. Then, in 2006, a BBC Radio 4 Archive Hour programme about a lady the history of the NW Branch in her 70s, who was reflecting on her life, spoke of ‘spinsters cycling to Evensong’ and this section was overlaid by the opening bars of Stanford’s Op. 115, Magnificat in C. That experience awakened in him an interest in Stanford’s six major evening service settings (among other things.) He then played part of the afore-mentioned Stanford setting - which was sung beautifully by the Winchester Cathedral Choir. Altogether, we had a most enjoyable afternoon, with good food, stimulating conversation, and the added bonus of these most interesting contributions from two of our loyal branch members.

David L Jones

9 10 “Judas Iscariot in Music: Elgar’s Apostles and beyond” “Judas Iscariot in Music: Elgar’s Apostles and beyond” Peter Newble, 9 March 2019 Peter Newble, 9 March 2019 (continued)

Peter Newble’s scholarly and entertaining lecture on ‘Judas Iscariot in Music’ began We know Elgar had been fascinated by the story of the disciples, which is attributed with an assessment of how composers over the last half-millennium had conceived to his schoolmaster, Francis Reeve. But the character of Judas, as the outsider of Judas’s character and motivation as evinced by his betrayal of Christ. Peter began with outsiders, had an extraordinary emotional pull on Elgar. Perhaps it was Judas’s longing Richard Davy, an English Renaissance composer, organist and choirmaster, one of the for status, honour and material wealth which fuelled Elgar’s creative power? Whatever most represented in the Eton Choirbook. From the Spanish composer Tomas Louis de the alchemy, Elgar was undoubtedly fired by the character of Judas and, as Michael Victoria, Peter chartered a musical journey to a more sympathetic treatment by Bach, Kennedy suggested, the music is possibly autobiographical in nature. Handel and Haydn in The Creation. Peter stressed the importance of the oratorios of Sophr, particularly The Last Judgement as a prime example of Judas’s evolution from villain, to a more nuanced man of human feelings and failings. It was this more psychologically complex characterisation which provided the aesthetic context for Elgar to write The Apostles.

Peter’s magnificent opening presentation slide on screen

Elgar worked at his libretto and his score almost side by side through the winter months of 1902-03. He immersed himself in theological writings, as well as Wagner’s Peter Newble in conversation with our Patron - Dr Joyce Kennedy sketch for Jesus von Nazareth, and Longfellow’s poem The Divine Tragedy. The first performance was given in Birmingham to wide acclaim. Peter played a number Peter reminded us that Elgar saw Judas as a man who over reached himself: a man of excerpts to illustrate the many beauties of the score, especially Elgar’s use of brought to despair and suicide by ambition, not treachery. We hear in Judas’s lament leitmotifs. Modern recordings have brought the work to a wider audience and for the realisation of his failure to see Christ revealed in all His power. Judas’s great many it contains moments of unparalleled beauty in Elgar’s oeuvre. Peter’s love of the bass solo is, as Peter demonstrated, of operatic scope and of an emotional intensity work was obvious to all, and his analysis will have confirmed for many that in Judas, unequalled, for some at least, in Elgar’s vocal writing. The operatic nature of Elgar’s Elgar was able to paint in music, reflections of his own complex character and inner conception reminds us that had Elgar been born in Germany he would have written turmoil. Michael Derbyshire operas, rather than oratorio. 11 12 “Barbirolli and Elgar” “Barbirolli and Elgar” (continued) David Jones, 6 April 2019 David Jones, 6 April 2019

In how many concerts did John Barbirolli conduct music by Elgar? We were reminded of the vow JB made in Scotland in the 1930s that his special mission That and many other statistics are not surprisingly at the fingertips of David Jones, for life would be to make people appreciate the greatness of Elgar both at home and not only secretary of our branch of the Elgar society but also a former secretary of overseas. Well, there were 600 Elgar performances over his 27 years with the Hallé the Barbirolli Society and author of a book detailing Barbirolli’s records, making him as well as the work he did with 40 orchestras throughout the world – the Enigma uniquely qualified to give this talk. As expected, it was an immaculate amalgam of Variations in the Hollywood Bowl to an audience of 20,000, the 2nd Symphony in words, pictures and music delivered with flawless technological expertise, allowing us Leningrad, the ‘ in Prague and Moscow with Jacqueline du Pré, to name to hear JB’s voice, see him conduct and hear extracts from some of his very fine and just a few examples. When he was invited abroad, he invariably took Elgar with him. in some cases rare recordings.

video - JB and the Hallé - playing Dvorak’s Scherzo Capriccioso His penultimate concert was all Elgar – a wonderful occasion, wonderfully preserved John Knowles, David Jones, Andrew and Vicky Neill on CD for posterity and it was moving to hear from it the exhilarating final minutes David met JB half a dozen or so times, the first occasion being the first Elgar concert of the 1st symphony. But the last music of the afternoon was the end of the 2nd he attended - Gerontius in Sheffield City Hall in March 1958 - and he showed us an Symphony which in BBC TV’s Monitor profile, responding to Huw Weldon, Barbirolli autographed programme to prove it! We heard of JB’s early years from the man had said that, given the choice, this was the music he would choose to be the last thing himself and his memories of Elgar. Early in his career he had played the cello under he conducted. A fitting tribute then to a musician who kept the Elgar symphonies in Elgar’s baton in 1919 at the première of the Cello Concerto and subsequently met and the forefront even in those years when they were seriously out of fashion. discussed his music with the composer on a number of occasions, the last, following an invitation to tea at Marl Bank in 1933, just 6 months before the composer’s death. Oh .... the answer to my opening question? 894 concerts included music by Elgar He made his first Elgar recording in October 1927 – indeed the first recording ever of with no fewer than 273 performances of the . Such thoroughly and the Introduction and Allegro. After hearing it, Elgar wrote in a letter: “… Mr Barbirolli wonderfully researched statistics delivered with such enthusiasm and panache made is an extremely able youth ….”. The piece became a Barbirolli speciality with 5 more this a memorable and historic afternoon and it’s good that the event was recorded studio recordings and 2 concert performances now on CD. and so preserved for future generations. John Knowles 13 14 “Elgar, Blackwood and ”, 18 May 2019 “Elgar, Blackwood and The Starlight Express”, 18 May 2019 Kevin Mitchell, Stephen Harrow, Peter & Lyn Nixon Kevin Mitchell, Stephen Harrow, Peter & Lyn Nixon (continued)

At the last meeting of the season we were privileged to have a presentation first Other recordings and stage productions have been made and given since and it has given to the Branch, in December 2015, to mark the 100th Anniversary of become a more popular work thanks to Elgar’s wonderful music. the premiere of The Starlight Express. We welcomed Kevin Mitchell and his three The North West Branch are very grateful to Kevin Mitchell and his friends for colleagues, Stephen Harrow, Peter and Lyn Nixon, for a wonderfully scripted audio- coming up to Manchester to give us such a wonderfully informative presentation. visual presentation. Geoff Hill The first performance of the work was on 29th December 1915 and was conducted by Julius Harrison. It contains some of Elgar’s “most enchanting music composed in wartime London”. The starting point for the venture was Algernon Blackwood’s novel A Prisoner in Fairyland and the inspiration for the book was his father’s purchase of Officers of the North West Branch an old 3rd Class railway carriage when he was a young lad! The Starlight Express was an adaptation of the novel by Blackwood and Violet Pearn and was a children’s Patron: Dr. Joyce Kennedy fantasy play with music to be produced at the Kingsway Theatre at Christmas 1915. was invited by Robin Legge, in November 1915, to write the music (although Clive Carey had already begun that task but abandoned it when he heard Chairman: Revd John Knowles that Elgar had been commissioned for the task). 15 Clare Avenue, Handforth, Wilmslow, Cheshire SK9 3EQ Originally, Basil Deane was to be the producer but he was called up for army service [email protected] Tel: 01625 526 531 and Lena Ashwell took over with help from Muriel Pratt. The score was completed on 15th December and Blackwood was entranced by the music. Rehearsals were fraught with problems and there was much upset and argument! Remarkably the Hon. Secretary & Vice Chairman: David L Jones dress rehearsal was on Christmas Eve and there were still more disagreements. Willowbrook House, Spath Lane East, Cheadle Hulme, Cheshire SK8 7NL The first performance was at 2pm on Wednesday 29th December 1915 and the critics [email protected] (SAQ in lower case) Tel: 0161 439 7176 wrote that Elgar’s music was “lovely beyond words”. All commented that it was the music that made the play work not the script! It ran for only a month, closing on 29th January 2016. Alice Elgar went to the final performance and commented that Treasurer: Geoff Hill “E’s music was enchanting”. Elgar realised that a recording would be the best way to 28 Queen Anne Court, Macclesfield Rd, Wilmslow Cheshire SK9 1BY preserve the music and so a contract was drawn up in February 1916 to record some of the music with Elgar conducting. [email protected] Tel: 01625 522 629 Many attempts were made to revive the play but without success. It was even suggested in 1945 that it should be made into a film but this met with no approval! Blackwell died in 1951 having tried for more than 30 years to revive The Starlight Express. However, in 1965 the BBC took it on board and it was broadcast on 26th Please send copy items: articles, photos, etc., to - December. The suite was recorded in 1973 with the Bournemouth Sinfonietta and Newsletter Editor: David L. Jones George Hurst. In 1976 EMI issued a 2 LP box set with the London Philharmonic Orchestra and Vernon Handley. Email: [email protected] (SAQ) Telephone: 0161 439 7176 Willowbrook House, Spath Lane East, Cheadle Hulme, Cheshire SK8 7NL

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