DOCSLIB.ORG

Selected Choral Works of Learmont Drysdale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected Choral Works of Learmont Drysdale SELECTED CHORAL WORKS OF LEARMONT DRYSDALE, SCOTLAND'S FORGOTTEN COMPOSER by KENNY M. SHEPPARD, B.M., M.M.Ed. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted December, 1987 fl U 3 Copyright 1987 Kenny M. Sheppard ACKNOWLEDGMENTS The author of this document is very grateful to Dr. Lee Rigsby who, even after his retirement, continued to offer encouragement, scholarly advice and thorough proof reading. It was Dr. Rigsby who first introduced the author to the music of Learmont Drysdale. This dissertation could not have been prepared without the assistance of Ms. Sheila Craik, Music Librarian for the Library of Glasgow University, who made the Drysdale Collection available to the author. Appreciation is extended to Dr. Robert Horick who spent many hours teaching the author how to operate a word processor. Knowledge of this instrument was of considerable benefit. Dr. Donald Bailey succeeded Dr. Harold Luce as Chairman of the author's dissertation committee. Both of these gentlemen provided valuable advice during the writing of this document. Part of the financial resources for the author's research was provided by the Cullen Faculty Development Program through Southwestern University. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii LIST OF FIGURES iv CHAPTER I. MUSIC IN VICTORIAN ENGLAND 1 II. MUSIC IN NINETEENTH-CENTURY SCOTLAND 15 III. LEARMONT DRYSDALE 31 IV. STYLISTIC FEATURES AS REVEALED IN SELECTED VOCAL WORKS 94 LIST OF REFERENCES 14 6 APPENDICES A. LIST OF WORKS BY LEARMONT DRYSDALE 14 8 B. CONDUCTOR'S SCORE OF THE KELPIE, NOS. 2, 4, 7 AND 15, BY LEARMONT DRYSDALE, EDITED BY KENNY SHEPPARD 161 C. THE KELPIE, VOCAL SCORE. PUBLISHED BY PATERSON AND SONS, LONDON, 1891 249 D. HARK! 'TIS THE BREEZE OF TWILIGHT CALLING LEARMONT DRYSDALE 413 111 LIST OF FIGURES 1. Double tonic 9 6 2. Hark! ^Tis the Breeze (measures 1-10) 99 3. No. 1, measures 1-2 104 4. No. 1. Derivations of sea motive 104 5. No. 1, measure 11. Depth motive 105 6. No. 1. measures 1-5. Kelpie theme 108 7. No. 1, measures 40-42. Snake motive 109 8. No. 1, measures 54-58. Kelpie motive (K-2) . 109 9. No. 1, measures 76-78. Kelpie theme (K-3) . 110 10. Derivations of gallop motive 110 11. No. 2, measures 18-29. Kelpie theme (K-4) . Ill 12. No. 3, measures 24-25. Villager motive .... 114 13. No. 3, measures 49-51 (V-2) 115 14. No. 3, measures 68-69 (V-3) 115 15. No. 3, measures 80-84. Villager motive (V-4) . 116 16. No. 3, measures 104-109. Villager motive (V-5) 116 17. No. 4, measures 16-19. Jessie's theme .... 117 18. No. 5, measures 9-11. JS motive 118 19. No. 5, measure 24. Love motive 119 20. No. 5, measures 120-122 120 21. No. 7, measures 22-30 122 22. No. 7, measures 36-38. JS motive 123 IV 23. No. 8, measures 9-19. Love motive 124 24. No. 8, measures 37-39 124 25. No. 9, measures 2-3, (V-3) 126 26. No 9, measures 5-6, (K-4) 126 27. No 9, measure 33. Depth motive 127 28. No. 9, measures 38-39 127 29. No. 10, measures 34-36 and 40-41 129 30. No. 11, measures 25-27 131 31. No 12, measures 56-57. Gallop motive 133 32. No. 12, measure 88 134 33. No. 12, measure 112 134 34. (a) No. 9, measure 30, (b) No. 13, measures 17-18 136 35. Depth motive 137 36. No. 14, measures 20-21 138 37. No. 15, measures 38-42 140 38. No. 4, measures 84-85 141 39. No. 15, measure 106 141 CHAPTER I MUSIC IN VICTORIAN ENGLAND During the late nineteenth century and the early twentieth century there were many talented and well- trained British composers whose names and music were well known but were later forgotten. Not the least of these was the Scottish composer, Learmont Drysdale (1866-1909), the subject of this document. In order that Drysdale's musical environment may be more fully understood, the first chapter of this paper is devoted to music in Victorian England, and the second chapter deals with music in nineteenth-century Scotland. Music by English composers had not seriously rivaled that of the continental nations since the death of Henry Purcell in 1695. W. H. Hadow went so far as to refer to the eighteenth century as "the dark age" of English music.^ England, especially London, continued to have a very active musical life as far as performances were concerned, but the first-rank composers represented on those concerts and many of the performers were from other countries. The most notable of the imported composers of ^Sir W. H. Hadow, English Music (London: Longmans, Green and Co. 1931), 105. the eighteenth century was, of course, George Frederick Handel, a long-time resident of England, whose oratorios and instrumental works dominated musical London, especially after the Italian opera fell out of favor. The foreign domination of musical England continued even after Handel's death in 1759. The Italian, Muzio Clementi, resided in England as did J. S. Bach's youngest son, Johann Christian. In 1785, King George III named Cherubini as "composer to the King."^ Haydn received a hearty welcome when Salomon brought him to London in the last decade of the century. By the end of the century concerts had really become public institutions in London and in the provinces. Opera, on the other hand, always confined to the capital, did badly even there, both materially and artistically.^ The first thirteen years of the nineteenth century produced Berlioz, Mendelssohn, Chopin, Schumann, Liszt, Verdi and Wagner, and all of these composers were heard frequently in England. Unfortunately, no composer of the first-rank was born to England. It was during this time, however, that the groundwork for a revival of English music began to be laid. In 1813 the Philharmonic Society ^Eric Blom, Music in England (Harmondsworth, England: Penguin Books, 1978), 123. ^Ibid., 126 was established in London for the purpose of performing great orchestral music. Clementi was appointed as the conductor. Although Beethoven's music had been known in England before, it was through this orchestra that his work became established throughout the country. One factor which had kept England from the forefront had been the lack of an adequate school of music. Serious composers had gone abroad, primarily to Germany, for their musical training. In 1822, the Royal Academy of Music was founded in London. Dr. William Crotch was the Principal. Among its earlier students was William Sterndale Bennett, later Sir William Sterndale Bennett, who was to exert an important influence over the standards of musical performance in England.^ "He was knighted in 1871, and died, the acknowledged head of English music, in 1875."^ As usual, however, foreign composers continued to dominate musical England: among them were Berlioz, Rossini, Spohr, Liszt, Weber, Wagner, and Mendelssohn, the most popular of the lot. Mendelssohn was instrumental in "^Sir William Sterndale Bennett (1816-1875) , founded the Bach Society in 1849, later became the conductor of the Philharmonic Society, and subsequently principal of the Royal Academy of Music. ^Hadow, English Music, 134. raising the social standing of musicians in English society. It was largely due to his own social standing and to his ease of manner that it began to be possible for musicians to be asked to the homes of the great on terms of something like equality, though as late as the Victorian days it was no unheard-of thing for them to be admitted only at the servants' entrance and roped off from the guests. Mendelssohn showed that a gentleman has as much right to be a musician if he chooses, as anyone else....^ A most significant manifestation of this trend occurred when Queen Victoria, in 1842, for the first time, bestowed knighthood upon a musician.^ This first musical knight was Sir Henry Bishop (1786-1855). One of Mendelssohn's most lasting contributions to English musical life was his resurrection of the music of J. S. Bach. Mendelssohn's performance in 1829 in Berlin of the St. Matthew Passion is considered to have been a turning point in the revival of interest in the music of Bach. The first performance of this work in England was given by Sterndale Bennett in 1854, resulting in a Bach revival in England.® Bennett and his student, Charles ^Blom, Music in England, 142. ^Queen Victoria reigned from 1837 to 1901. ®Frank Howes, The English Musical Renaissance (New York: Stein and Day, 1966), 114-115. Steggal, subsequently founded the Bach society. Bennett also conducted the Bach Choir (1885-1902). It should be noted that Samuel Wesley had sparked some interest in Bach earlier in the century. The Bach revival, although not actually concerned with English music, was one of the movements among professional musicians which eventually led to the so- called English musical renaissance. Two other movements, the folk-song revival and the Tudor revival, were equally important. In 184 3 the Reverend John Broadwood (1798-18 64) produced a collection of sixteen songs as he had heard them sung at rural festivals in England. In 1893, Broadwood's niece, along with J. A. Fuller-Maitland, published English County Songs, a landmark in the folk­ song revival. Another pioneer was Sabine Baring-Gould (1834-1924), best known as author of "Now the Day is Over" and "Onward Christian Soldiers." In his collection of the folk songs of Devon and Cornwall, a distinctive Phrygian flavor was predominant.^ The modes most frequently found in English folk-song are the Ionian, the Aeolian, the Dorian, and the Mixolydian.-^^ ^Ibid., 78 ^°Blom, Music in England, 186-187 .
Load more

Recommended publications
  • Robert Harron Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    RoRbeRr RtR HaRnHçHTH” Rµ eRåR½RbR± eHTRäR½HTH” R ¸RåR½RbR± R² RèHçRtHaR½HT¡ The One with the https://bg.listvote.com/lists/film/movies/the-one-with-the-routine-50403300/actors Routine With Friends Like https://bg.listvote.com/lists/film/movies/with-friends-like-these...-5780664/actors These... If Lucy Fell https://bg.listvote.com/lists/film/movies/if-lucy-fell-1514643/actors A Girl Thing https://bg.listvote.com/lists/film/movies/a-girl-thing-2826031/actors The One with the https://bg.listvote.com/lists/film/movies/the-one-with-the-apothecary-table-7755097/actors Apothecary Table The One with https://bg.listvote.com/lists/film/movies/the-one-with-ross%27s-teeth-50403297/actors Ross's Teeth South Kensington https://bg.listvote.com/lists/film/movies/south-kensington-3965518/actors The One with https://bg.listvote.com/lists/film/movies/the-one-with-joey%27s-interview-22907466/actors Joey's Interview Sirens https://bg.listvote.com/lists/film/movies/sirens-1542458/actors The One Where https://bg.listvote.com/lists/film/movies/the-one-where-phoebe-runs-50403296/actors Phoebe Runs Jane Eyre https://bg.listvote.com/lists/film/movies/jane-eyre-1682593/actors The One Where https://bg.listvote.com/lists/film/movies/the-one-where-ross-got-high-50403298/actors Ross Got High https://bg.listvote.com/lists/film/movies/682262/actors Батман и https://bg.listvote.com/lists/film/movies/%D0%B1%D0%B0%D1%82%D0%BC%D0%B0%D0%BD-%D0%B8- Робин %D1%80%D0%BE%D0%B1%D0%B8%D0%BD-276523/actors ОглеР´Ð°Ð»Ð¾Ñ‚о е https://bg.listvote.com/lists/film/movies/%D0%BE%D0%B3%D0%BB%D0%B5%D0%B4%D0%B0%D0%BB%D0%BE%D1%82%D0%BE-
    [Show full text]
  • The Paleolithic and Mesolithic Occupation of the Isle of Jura, Argyll
    John MERCER, Edinburgh THE PALAEOLITHIC AND MESOLITHIC OCCUPATION OF THE ISLE OF JURA, ARGYLL, SCOTLAND The occupation sequence about to be described has been built up from a dozen sites concentrated in N-Jura (Mercer, 1968-79).It is based on local land-sea relationships, site stratification, pollen analysis, drifted-pumice dating and radiocarbon assay.The paper 1 will begin with a discussion of the inter-linked shorelines and climate, then give an impression of the main sites and, finally, describe and compare the stone implement typology. Late Glacial habitat 2017 Jura is a vast island (fig.1) some 80 km (50 m) long.It rises to about 780 m (2500ft) Biblioteca, in the south and 470 m (1500 ft)in the north. Several recent papers have shown that W-Scotland was suitable for human habita­ ULPGC. tion from 11,000 or 10,500 BC. Kirk and Godwin (1963) described an organic level por at Loch Drama (Ross and Cromarty) which, with a C14 date of 12,810 ± 155 be (Q-457), had not since been overlaid by ice, although in a through valley.Kirk com­ realizada mented: "In view of its location on the exposed, north-west Atlantic rim of Scotland one would except ...an onset of milder oceanic conditions at an earlier date than localities in the English Lowlands or the North European Plain." He concluded his Digitalización contribution: " ... it would appear that in Northern Scotland the process of degla­ ciation was not unlike that established for Scandinavia, namely an early and rapid autores. los melt of the ice in western fjords and a longer survival in uplands east of the Atlantic watershed.The significance of such a possibility for plant, animal and human coloni­ sation needs no stressing." documento, Del Coope (summarised in Pennington, 1974), working on beetle remains, noted that © early in Zone I (12,380-10,000 BC) there was a rapid rise in temperature, from less than 10° C as a July average to almost 17° C, though winters may have remained cold.
    [Show full text]
  • W Lords of the Sea Kingdom
    Lords of the Sea Kingdom An Adventure Through the Western Isles August 16 - 26, 2012 ell over a thousand years ago the Vikings sailed across the North Sea, first to raid and then to settle in the Hebrides and Western Scotland.W They mingled with the native Gaelic people and brought a special gift – their mastery of the sea and their fast, flexible ships. Before long, a race of strong and independent leaders was born. The highest title, the Overlord, was claimed by the Norse King. Somerled, the earliest ancestor of Clan Donald, rebelled to lead a great revival of Gaeldom. The Norse were driven out of Western Scotland and the Isles, and Somerled crowned himself “King of the Isles.” Join Discover Europe on this magical and historical journey through the Western Isles of Scotland as we explore both the landscape and culture of this powerful clan. We’ll arrive in Glasgow, pausing just long enough to shake the jet lag and enjoy an introduction to this vibrant modern city. The real adventure begins as we turn northwest to one of the earliest headquarters of the Sea Kingdom, the Isle of Islay. Today the island is perhaps best known for its malt whisky distilleries, but long ago the leaders of the Clan Donald gathered here to decide matters of law, land, religion, and marriage. We’ll spend two days exploring the island and its special place in the clan history. Iona Abbey Returning to the mainland, we’ll travel north to Oban for the easy ferry crossing to Mull. From there, we’ll begin our island adventures with visits to Duart Castle and Torosay Castle.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection.
    [Show full text]
  • TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor a Thesis Submitted to the Faculty at the University Of
    TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2018 Approved by: Annegret Fauser David Garcia Tim Carter © 2018 Erica Fedor ALL RIGHTS RESERVED ii ABSTRACT Erica Fedor: Transnational Smyth: Suffrage, Cosmopolitanism, Networks (Under the direction of Annegret Fauser) This thesis examines the transnational entanglements of Dame Ethel Smyth (1858–1944), which are exemplified through her travel and movement, her transnational networks, and her music’s global circulation. Smyth studied music in Leipzig, Germany, as a young woman; composed an opera (The Boatswain’s Mate) while living in Egypt; and even worked as a radiologist in France during the First World War. In order to achieve performances of her work, she drew upon a carefully-cultivated transnational network of influential women—her powerful “matrons.” While I acknowledge the sexism and misogyny Smyth encountered and battled throughout her life, I also wish to broaden the scholarly conversation surrounding Smyth to touch on the ways nationalism, mobility, and cosmopolitanism contribute to, and impact, a composer’s reputations and reception. Smyth herself acknowledges the particular double-bind she faced—that of being a woman and a composer with German musical training trying to break into the English music scene. Using Ethel Smyth as a case study, this thesis draws upon the composer’s writings, reviews of Smyth’s musical works, popular-press articles, and academic sources to examine broader themes regarding the ways nationality, transnationality, and locality intersect with issues of gender and institutionalized sexism.
    [Show full text]
  • Katalog 152 Ohne Bilder.Pdf
    MUSIKDRUCKE 1 Absil, Jean (1893-1974): 3e Quatuor à Cordes. Op. 19. Brüssel, Centre Belge de Documentation Musicale (o.V.Nr.) (1962). Stimmen: 15, 15, 15, 15 lithogr. S. Umschlag. €40,– Umschlag mit Randausbesserungen. 2 Achron, Joseph (1886-1943): Liebeswidmung - Souvenir D'Amour - Love-Offering... Op. 51. Violino e Piano. Wien, UE (V.Nr. 7585) [1924]. Stimmen: 3, 1 S. 4°. Umschlag. €35,– Erstausgabe. - Gelegentlich leicht stockfleckig. 3 Alard, Delphin (1815-1888): École du Violon. Méthode complète et progressive à l'usage du Conservatoire... à Sa Majeste Victor-Emmanuel, Roi d'Italie. Edition augmentée. Paris, Schonen- berger (Pl.Nrn. 1132, 2732) [ca. 1855]. 150 gest. S. Hldr.d.Zt. €75,– Titelauflage der zweiten, erweiterten Fassung dieses äußerst erfolgreichen, in mehrere Sprachen übersetzten Lehrwerks. - Einband berieben und bestoßen, Seiten vereinzelt finger- und stockfleckig. 4 d'Albert, Eugen (1864-1932): Erstes Konzert (H moll) in einem Satz, für Klavier und Orchester... Meinem hochverehrten Meister Dr. Franz Liszt in Dankbarkeit zugeeignet. Für Klavier zu vier Händen (Partitur-Ausgabe). Berlin, B&B (V.Nr. 12964) [ca. 1910]. 75 S. €70,– Titelauflage der Erstausgabe von 1885. - Sammeltitel mit Fotoportrait des Komponisten. - Um- schlagrücken verstärkt, Titelblatt mit Stempel und Randausbesserungen. 5 Altmann, Hans (1904-1961): Klaviersonate, A-dur op. 25. Klavier zweihändig. München, Edi- tion Kasparek (V.Nr. EKM 0106) [1948]. 23 S. €45,– Erstausgabe. - Rücken verstärkt, etwas knapp beschnitten (Umschlagornament und Verlagsnum- mern etwas angeschnitten). Seiten leicht vergilbt. 6 d'Alvimare, Martin Pierre (1772-1839): "Déjà". Chanson Avec Accompagnement de Forte Piano ou Harpe, Paroles de C.L.C... Paris, Corbaux [o.Pl.Nr.] [vor 1816].
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • HANDLEY-THESIS-2021.Pdf (325.2Kb)
    MUSICAL WOMEN: A SUBJECT WORTHY OF STUDY By Jenifer Hesselbrock-Handley A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree Master of Arts Major Subject: Music West Texas A&M University Canyon, Texas May 2021 Abstract High school and college students in MUSI-1306 music appreciation courses study many composers and compositions. Of those composers, music appreciation textbooks typically briefly mention a few women composers, most notably Fanny Mendelssohn Hensel and Clara Schumann. Most music courses focus on the master composers comprised of men. This lack of representation of women composers in music appreciation textbooks creates the illusion that there have not been many women performers or composers. Many women engaged in these musical activities. While many female musicians only performed or composed for family and friends, many others performed publicly and regularly published their works. Music appreciation curricula should convey a more diverse population of composers by integrating the study of compositions written by women to achieve the learning objectives for the course. There are similar objectives used throughout MUSI- 1306 college-level music appreciation courses across the state of Texas. In these classes, students learn to identify musical works and elements in a variety of styles, analyze the elements and structure of music using appropriate terminology, and critically evaluate the influence of social, political, technological, or cultural ideas on music. Educators should offer a more diverse compilation of works that would include women composers. Compositions written by women can fulfill the overall objectives in a music course just as well as using works written by men.
    [Show full text]
  • CHAN 9859 Front.Qxd 31/8/07 10:04 Am Page 1
    CHAN 9859 Front.qxd 31/8/07 10:04 am Page 1 CHAN 9859 CHANDOS CHAN 9859 BOOK.qxd 31/8/07 10:06 am Page 2 Sir Arthur Sullivan (1842–1900) AKG 1 In memoriam 11:28 Overture in C major in C-Dur . ut majeur Andante religioso – Allegro molto Suite from ‘The Tempest’, Op. 1 27:31 2 1 No. 1. Introduction 5:20 Andante con moto – Allegro non troppo ma con fuoco 3 2 No. 4. Prelude to Act III 1:58 Allegro moderato e con grazia 4 3 No. 6. Banquet Dance 4:39 Allegretto grazioso ma non troppo – Andante – Allegretto grazioso 5 4 No. 7. Overture to Act IV 5:00 Allegro assai con brio 6 5 No. 10. Dance of Nymphs and Reapers 4:21 Allegro vivace e con grazia 7 6 No. 11. Prelude to Act V 4:21 Andante – Allegro con fuoco – Andante 8 7 No. 12c. Epilogue 1:42 Andante sostenuto 3 CHAN 9859 BOOK.qxd 31/8/07 10:06 am Page 4 Sir Arthur Sullivan: Symphony in E major ‘Irish’ etc. Symphony in E major ‘Irish’ 36:02 Sir Arthur Sullivan would have been return to London a public performance in E-Dur . mi majeur delighted to know that the comic operas he of the complete music followed at the 9 I Andante – Allegro, ma non troppo vivace 13:21 wrote with W.S. Gilbert retain their hold on Crystal Palace Concert on 5 April 1862 10 II Andante espressivo 7:13 popular affection a hundred years after his under the baton of August Manns.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • George Gebhardt Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    George Gebhardt 电影 串行 (大全) The Dishonored https://zh.listvote.com/lists/film/movies/the-dishonored-medal-3823055/actors Medal A Rural Elopement https://zh.listvote.com/lists/film/movies/a-rural-elopement-925215/actors The Fascinating https://zh.listvote.com/lists/film/movies/the-fascinating-mrs.-francis-3203424/actors Mrs. Francis Mr. Jones at the https://zh.listvote.com/lists/film/movies/mr.-jones-at-the-ball-3327168/actors Ball A Woman's Way https://zh.listvote.com/lists/film/movies/a-woman%27s-way-3221137/actors For Love of Gold https://zh.listvote.com/lists/film/movies/for-love-of-gold-3400439/actors The Sacrifice https://zh.listvote.com/lists/film/movies/the-sacrifice-3522582/actors The Honor of https://zh.listvote.com/lists/film/movies/the-honor-of-thieves-3521294/actors Thieves The Greaser's https://zh.listvote.com/lists/film/movies/the-greaser%27s-gauntlet-3521123/actors Gauntlet The Tavern https://zh.listvote.com/lists/film/movies/the-tavern-keeper%27s-daughter-1756994/actors Keeper's Daughter The Stolen Jewels https://zh.listvote.com/lists/film/movies/the-stolen-jewels-3231041/actors Love Finds a Way https://zh.listvote.com/lists/film/movies/love-finds-a-way-3264157/actors An Awful Moment https://zh.listvote.com/lists/film/movies/an-awful-moment-2844877/actors The Unknown https://zh.listvote.com/lists/film/movies/the-unknown-3989786/actors The Fatal Hour https://zh.listvote.com/lists/film/movies/the-fatal-hour-961681/actors The Curtain Pole https://zh.listvote.com/lists/film/movies/the-curtain-pole-1983212/actors
    [Show full text]
  • On Fairy Stories by J
    On Fairy Stories By J. R. R. Tolkien On Fairy-stories This essay was originally intended to be one of the Andrew Lang lectures at St. Andrews, and it was, in abbreviated form, delivered there in 1938. To be invited to lecture in St. Andrews is a high compliment to any man; to be allowed to speak about fairy-stories is (for an Englishman in Scotland) a perilous honor. I felt like a conjuror who finds himself, by mistake, called upon to give a display of magic before the court of an elf-king. After producing his rabbit, such a clumsy performer may consider himself lucky, if he is allowed to go home in proper shape, or indeed to go home at all. There are dungeons in fairyland for the overbold. And overbold I fear I may be accounted, because I am a reader and lover of fairy-stories, but not a student of them, as Andrew Lang was. I have not the learning, nor the still more necessary wisdom, which the subject demands. The land of fairy-story is wide and deep and high, and is filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both sorrow and joy as sharp as swords. In that land a man may (perhaps) count himself fortunate to have wandered, but its very riches and strangeness make dumb the traveller who would report it. And while he is there it is dangerous for him to ask too many questions, lest the gates shut and the keys be lost.
    [Show full text]