Mr. and Elgar's Author(s): Havergal Brian Source: The Musical Times, Vol. 50, No. 802 (Dec. 1, 1909), p. 793 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/905858 Accessed: 04-01-2016 13:13 UTC

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This content downloaded from 192.54.242.155 on Mon, 04 Jan 2016 13:13:15 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, I909. 793

The Friar's Mere. Ballad for baritone solo, male chorus 'Duncan Gray' is a bright, accompanied trio for two and . English words by Elizabeth M. Lockwood. tenors and a bass, with a 'refrain' for male chorus that By Max Laistner (Op. Il). might equally well be sung by the soloists, as the number of never exceeds three. The music matches [Novello & Co., Ltd. parts thoroughly the words, which are by Burns, and describe in five verses a 'The Friar's Mere,' translated from Ludwig Laistner's little drama of Highland wooing. To a southern ear some ' Geisterpredigt,' tells a grim story, the true inwardness of mystery seems attached to the lines: which is not revealed at a glance. A shepherd whose mind Duncan baith out and to be sigh'd in, is void of superstitious fears, coming to a lake supposed Grat his een baith bleer't and blin', haunted a the latter by ghostly friar, mockingly challenges Spak o' lowpin ower a linn; to come forth by daylight. To his horror the summons is and answered; a host of evil powers are let loose, amid which Now they're crouse and canty baith. are in the friar appears before him. Christian prayers vain, It is not always poems of Continental origin that need an and the shepherd's soul flies from his body, presumably into translation. is English the power of the friar. The musical setting vividly ' Gather ye rosebuds' is a straightforward, simple setting descriptive and dramatic. Its texture is modern, and many of Herrick's lines, in which neither time nor tune will offer The of the harmonies are in keeping with the subject. any difficulty. The highest part is written for alto voice. difficulties do not, however, extend to the choral parts, move The baritone BOOKS RECEIVED. which for the greater part together. music in the British Museum. solo for declamatory singing. Catalogue of manuscript gives good opportunities Vol. iii.; Instrumental music, treatises, &c. By Augustus Hughes-Hughes. Pp. xxiv. + 543; 21s. (Printed by Night Fancies, Impromptu. By B. J. Dale. order of the trustees.) Ballades (Op. 59). By M. Esposito. John Sebastian Bach. The story of the great development Four Sketches. By John B. McEwen. of a great personality. By C. Hubert H. Parry. Illustrated. Seven Preludes. By Felix Swinstead. Pp. xii. + 584; I2s. 6d. net. (G. P. Putnam's Sons.) [G. Ricordi & Co.] The organ and its masters. By Henry C. Lahee. Pp. vi. is a + 345; 6s. net. (Sir Isaac Pitman & Sons, Ltd.) Mr. B. J. Dale's impromptu, 'Night Fancies,' highly Arthur Elson. viii. and and rather Modern composersof Europe. By Pp. poetic interesting piece, musically technically + 6s. net. Isaac Pitman & intricate, but and rich in harmonic 29I; (Sir Sons, Ltd.) fascinating beauty. Antonio Stradivari: his life and work (1644-1737). By Great things may be expected of this gifted young composer artistic W. Henry Hill, Arthur F. Hill, F.S.A., and Alfred E. when he has attained greater maturity. with an note The three ballades Dr. are very of Hill; introductory by Lady Huggins. by Esposito suggestive Illustrated. Pp. xvi. + 319; 7s. 6d. net. (Macmillan & Brahms in style, but they contain throughout good, genuine, music. The Co., Ltd.) and at times really beautiful pianoforte writing oJ the Musical Association. session: is broad and and the avoids Proceedings Thirty-fifth sonorous, composer superficial xxiv. -+ 2is. net. & effects. I908-I909. Pp. 206; (Novello Co., McEwen's sketches are the work of a serious Ltd.) Mr. artist, The chamber music. Richard H. who in his own somewhat avoids the development of By going gloomy way, Walthew. Pp. 48 ; 6d. net. (Boosey & Co.) commonplace. The Prelude and Elegy contain several while the I will sing a new song. By L. T. Meade. Pp. viii. + 296; harmonically interesting progressions, Quasi 6s. & Menuetto, in 5-8 time, seems rather laboured. The last of (Hodder Stoughton.) the four pieces, though very strange, is a clever Humoresque. If only by reason of their many original touches, both musical and technical, the seven Preludes by Mr. Felix Correeponbence. Swinstead will doubtless prove a welcome addition to those already published in the Avison edition. The seventh MR. THOMAS BEECHAM AND ELGAR'S Prelude in particular, with its passionate melody and SYMPHONY. is interesting arpeggio accompaniment, very charming. TO THE EDITOR OF 'THE MUSICAL TIMES.' SIR,-At a concert given on October 28 in the Victoria In the North land. Part-song for mixed voices. By Cliffe Hall, Hanley, the Beecham Orchestra appeared for the first Forrester. time in this neighbourhood. For some months prior to the The three ships. For mixed-voice chorus and orchestra. concert-which was under the auspices of the North Stafford- By Colin Taylor. shire District Choral Society-Sir 's Symphony Bacchanalian Chorus. For men's voices. By J. W. Elliott. had been largely advertised. Perhaps nowhere else in the Duncan Gray. Gather ye rosebuds. Part-songs for male British Isles is the name of Elgar regardedwith such affection voices. By A. Madeley Richardson. as in North Staffordshire,for it was in Hanley, at a North [Novello & Co., Ltd.] Staffordshiretriennial festival, that his cantata ' King Olaf' Mr. Forrester's ' In the North land' runs a smooth and was first produced. The same Society responsible for the of the simple course from beginning to end. The parenthetical performance Symphony, produced 'Gerontius,' that a line now and then are effective, and 'The Apostles,' 'The Kingdom,' almost immediately after phrases lengthen an intense of form. As there is repetition and no their first performances,and by so doing kept alive prevent squareness interest in the of career. This interest difficulty or elaboration, the part-song is one that can be development Elgar's learned The words are Mrs. Forrester. was quickened by the announcement of a performanceof the quickly. by a time had In the case of Mr. Taylor's 'The three ships,' the new Symphony by an Orchestra which in short for the Eton College Musical Society, made a great reputation. To the dismay of those who inscription 'composed in chose to Christmas, 1909,' is an indication of the character as well as knew the work, Mr. Beecham, conducting, give the of the work. Mr. has invented a tune his version of the Symphony in preference to the composer's. purpose Taylor the that fits the situation, and he it to every verse The first movement was cut down one half: part of exactly applies and the whole of the were of the poem with the substitution of major for minor mode 'exposition' development' in the last. In the vocal scoring unison is the rule and cut out, and some minutes were sacrificed in the succeeding movements. Those who know the will be part-writing the exception. There is, however, no lack of Symphony in the astonished to hear that the actual time occupied in its variety ingenious accompaniment. It was insult Mr. Elliott's setting of the Bacchanalian Chorus from performancewas only thirty-eight minutes! an Sheridan's Duenna ' is full of and there is moreover to the composer and also those responsible for the concert. ' spirit, fine an a rolling movement in the voice parts. There This is surely not the use to which so exceedingly suggestive orchestra should be to of the misuse of the are passages in which the subject-matter is passed from put, say nothing mouth to mouth in the most convivial manner. The genius with which naturehas endowed Mr. Thomas Beecham. needful supportis supplied by a firmlymoving accompaniment, HAVERGAL BRIAN. and the whole is worked up into a hilarious climax. Stoke-upon-Trent.

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