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This Chapter Contains Commentaries on Individual Works by Percy This chapter contains commentaries on individual works by Percy Grainger, consisting of notes on sources of the music, various arrangements that Grainger "dished up" of each work, and other criticism. The individual sections are taken from writings by various critics and musicologists and by Grainger himself. At the end are two Appendices, consisting of Grainger's own notes and suggestions on how his (and other) music should be composed, played, orchestrated, and interpreted. [Works are discussed in alphabetical order, from Air and Dance to Zanzibar Boat Song.] [NOTE: THIS ONLINE VERSION IS CURRENTLY "TEXT ONLY." IN THE PRINTED VERSION, THERE ARE NUMEROUS ILLUSTRATIONS FROM MUSICAL SCORES AND OTHER MUSICAL EXAMPLES. THESE HAVE TO BE SCANNED SEPARATELY AND WILL BE ADDED AT A FUTURE DATE. [Footnotes in the original printed version are, in this online version, embedded in the text, in [boldface, surrounded by square brackets]. To help you find individual works that are discussed, the following list shows the alphabetical range of names of works, which are in alphabetical order, described on each Web page. For example, to find Blithe Bells, click on the entry for the first page, which contains all works from Air and Dance to Carman's Whistle. You can also refer to the Table of Contents for the entire book for guidance. (Unfortunately, this method of finding the correct page is of less help for pieces that are parts of longer works. For example, Lincolnshire Posy consists of arrangements of six separate songs, Lisbon, Horkstow Grange, Rufford Park Poachers, The Brisk Young Sailor, Lord Melbourne, and The Lost Lady Found. This is a problem in the printed version, too. To find these individual entries requires a greater use of the "Search" function of your browser.) 1. Air and Dance (Frederick Delius)-Carman's Whistle (William Byrd) 2. Children's March (Over the Hills and Far Away)-Father and Daughter (Fadir og Dóttir) 3. Fisher's Boarding House-Hermundur Illi (Hermund the Evil) 4. Hill Song No.1-4 Irish Dances 5. Irish Tune from County Derry-Let's Dance Gay in Green Meadow ('Neath the Mould Shall Never Dancer's Tread Go) 6. Lincolnshire Posy-March (J.S. Bach) 7. Marching Song of Democracy-Peace 8. Piano Concerto Movements (Grieg, Rachmaninoff, Schumann, Tchaikovsky)- Spoon River 9. The Sprig of Thyme-There Was a Pig Went Out to Dig or 'Christmans Day in the Morning' 10. They Were Three Friends-Zanzibar Boat Song 11. Appendix I: Additional Comments on Instrumentation, etc. [by Grainger] Appendix II: Some Advice to Piano Students [by Grainger] Sources for Section 4 [The following note is part of the original printed version.] NOTE: In addition to including the composer's own descriptive program notes (and notes by many others), this section gives some of his performance directions and many of his indications for possible vocal and instrumental combinations for a given work. Although this can result in a duplication of some material (the scoring is also detailed in Chapter 2, Catalog of Works--above), the repeated mention of instrumental flexibility seems justified insofar as the stress which Grainger himself placed on writing or adapting music that nearly everyone might be able to play is, after all, such an important aspect of his compositional aesthetic (or philosophy) and style. Percy Grainger was, musically, an authentic "democrat "--one who intended to write, not for the few, but for the many; and not only for expert orchestras and soloists, but also for school and amateur groups and players. (Ed.) AIR AND DANCE (Frederick Delius)--piano solo "Frederick Delius was a long-standing friend of Grainger, and Grainger was a great champion of the older man's music, arranging for two pianos both the Dance Rhapsody No. 1 and the Song of the High Hills (to Delius' great delight). Just how much Delius' lush chromaticism influenced Grainger's own harmonic language is to be heard in his arrangement of Delius's Air and Dance. The piece plays continuously, the 'Dance' growing naturally out of the 'Air' and retaining the Air 's characteristic rhythmic outline of a strong first and third beat in the melody with accompanying chords on the second and fourth beats."--John Pickard (Piano 4). ALLELUIA PSALLAT (Alleluia let us sing)--3-part motet [Edition for voices and harmonium or organ ad lib. ("8 foot tone if accompanying Women's (or Children's) voices; 16 foot tone if accompanying Men's voices; 8 & 16 foot to ne if accompanying Mixed voices"), published by G. Schirmer, 1943. (Ed.)] English Gothic Music, edited by Dom Anselm Hughes and Percy Grainger Grainger: "Date: Late 13th cent. Original MSS.: Bodl. MS. Lat. Liturgy d20, f 20v, and Magdalen Coll. Oxf. MS. 100, f.i. Published in Worcester Mediaeval Harmony by Dom Anselm Hughes (The Plainsong and Medi‘val Society). He re presented one whole tone higher than original key. "Transcribed from the original manuscript by Dom Anselm Hughes, O.S.B. Edited for practical music-making by Percy Aldridge Grainger. English text transcribed from the Latin original by Percy Aldridge Grainger. "Possible combinations of voices, etc.: for 3 single Women's (or Children's) Voices or 3-part Women's (or Children's) Chorus (S, M-S, A), or for 3 single Men's Voices or 3-part Men's Chorus (T, Bar, Bs), or for 6 single Mixed Voices, or 6-part Mixed Chorus (S, M-S, A, T, Bar, Bs). "Any of the above combinations of voices may be accompanied by Strings, or by Winds, or by Combined Strings and Winds. (See Full Score for all Instruments.) When instrumentally accompanied the voices may be silent during the first measure and (if wish ed) in phrases sung on 'A' ('Ah'). "Passages with brackets above them should be sounded prominently--louder than the other voices at the moment. All smaller-printed notes are examples of the so- called plica, i.e. a note to be sounded lighter (softer) than the surrounding note s. (In English folk-singing this treatment is often given to 'scale-filling' notes--those notes that, added to a gapped scale [2-tone, 3-tone, 4-tone, 5-tone, 6-tone scale], turn it into a filled-out 7-tone scale or mode [such as the major scale, or th e Dorian or Mixolydian modes]. Apparently the folk-singer feels the gapped-scale intervals as fundamental and still regards the filling-out intervals as mere 'interlopers', auxiliaries or embellishments.) "[Headnote:] Exultantly, with strong rhythmic pulse." ANDANTE CON MOTO; PEACE; SAXON TWI-PLAY--piano solo "[These] three miniatures are all juvenilia. They were written between 1897 and 1899 as `gifts to mother' and demonstrate an already highly individual attitude to harmony and piano writing."--John Pickard (Piano 1). ANGELUS AD VIRGINEM (The Annunciation Carol)--chorus [Edition for chorus and harmonium or organ ad lib. ("8 foot tone if accompanying Women's (or Children's) Voices; 16 foot tone if accompanying Men's Voices; 8 & 16 foot ton e if accompanying Mixed Voices"), published by G. Schirmer, 1943. (Ed.)] English Gothic Music, edited by Dom Anselm Hughes and Percy Grainger Grainger: "Dates from c.1200, perhaps earlier. Original MSS.: 1-part (13th cent.) containing the Latin & Middle-English texts, British Museum, Arundel 248. (Facsimile published in Early English Harmony, vol. I, The Plainsong & Mediaeva l Music Society.) 2-part (13th cent.) from the British Museum, Cottonian MSS. 3-part (c.1360) from the Dublin MS in Cambridge University Library, Add. 710 (Facsimile published in Early English Harmony, vol. I). Here presented one fifth higher than original key of Arundel MS. 248. "Transcribed from the original manuscripts by Dom Anselm Hughes, O.S.B. Edited for practical music-making by Percy Aldridge Grainger. Modern English translation (of original Middle-English text) by Percy Aldridge Grainger and Dom Anselm Hughes, O.S.B. "Possible combinations of voices, etc. for 3 single Women's (or Children's) Voices or 3-part Women's (or Children's) Chorus (S, M-S, A. Note special staff for Verse 4.) or for 3 single Men's Voices or 3-part Men's Chorus (T, Bar, Bs. Note special staff for Verse 4.) or for 6 single Mixed Voices or 6-part Mixed Chorus (S, M-S, A, T, Bar, Bs. Note special staff for Verse 4.) The 'scoring' for this 6-part performance--i.e. the allotment of sections to changing groups of voices--is indicated in Capital l etters inside square brackets, as [MEN], [WOMEN or CHILDREN]. "N.B. In all the combinations the Mezzo-sopranos and/or Baritones (since they carry the melody) should be more prominent (if possible more numerous) than the other voices. "Any of the above combinations of voices may be accompanied by Strings, or by Winds, or by Combined Strings and Winds. When thus instrumentally accompanied the voices should sing one half-tone higher than here printed. "[Headnote:] Lively, with dance-like lilt." APRÈS UN RÊVE (Fauré): see NELL AS SALLY SAT A-WEEPING--2 pianos (4 hands) "In 1924 Grainger published two folk-settings culled from earlier sketches: Hermundur Illi (Hermund the Evil) from the Faeroe Islands, and As Sally Sat a-Weeping from Dorsetshire, England. Both settings are quite short and stra ightforward. As is typical with Faeroe Island folk-tunes, Hermundur Illi is made up of irregular phrase-lengths: four seven-bar phrases and one of four." --David Stanhope (Piano 2). AT TWILIGHT Version for chorus Grainger: "For unaccompanied mixed chorus and a man's high voice single (tenor solo). Begun: October (or before) 1900. Ended: 5.7.1909. "Verses by **** ********* and Percy Aldridge Grainger: Away by the reefs of the Chilian Coast where the Southern Cross hangs low, and the sailor-folk of ev'ry land pass afaring to and fro, At even, when the cool sea-breeze relieves the tropic day, the lights of Valparaiso Town flash beckoning 'cross the Bay.
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