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Music by Percy Aldridge Grainger Was Like Working on a Giant Jigsaw Puzzle

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GRAINGER MUSEUM UNIVERSITY OF MELBOURNE CATALOGUE 1 Percy Grainger Music Collection Part I Musicb yPerc y AldridgeGrainge r Kay Dreyfus Published by the Board ol Ihe Grainger Museum, University of Melbourne, Parkville, Victoria 3052 © University of Melbourne, 1978 ISBN set number 0 909454 87 6 ISBN volume number 0 909454 89 2 The production of this book has been assisted by the Music Board of the Australia Council Layoutb yJoh nTrig g , Typesetting byMeredit hTrad eUn oP/ L Printedb yHear nPrintin gP/ L Foreword Born Melbourne. 8 July 1882. died New York, 20 February 1961. Percy Grainger's life was a virtuoso performance, rich in imagination and energy, spanning many lands. Pianist and composer, collector, guardian and arranger of folk music and songs, experimentor in forms and machines for his "free music" — music not limited by time and pitch intervals— Perc yGrainge r decided ata nearl yag etha tlimit so ftim e must apply neither to music nor man. On 2 May 1909 he wrote that: Fear of death and loss, destruction and forgottenness. spur me to compose, collect, preserve and embalm. In October 1955 he recalled how he was impelled, "to collect manuscripts, musical sketches, letters, articles, mementos, portraits, photographs, etc. .alway s with the intention of someday putting this collection on permanent display in Melbourne". The Grainger Museum University of Melbourne, was officially opened in December 1938. Endowed by Grainger, through to his periodic contributions on site asa bricklayer, it was built to house his collection. He and his wife Ella progressively enlarged the collection. It continues to develop according to his wishes. Thecollectio n is not restricted to Grainger. Whereas Grainger's biaswa s "English-speaking and Scandinavian", the scene is international and comprises a vast range of material relating to music, its composers and performers: "The sources", said Grainger in 1938, "from which composers draw their inspiration". In July 1974 Dr. Kay Dreyfus commenced an intensive programme of sorting, listing and indexing this rich resource. With generous financial support from the Music Board, Australia Council, and the University of Melbourne, Dr. Dreyfus and her colleagues haveworke d on behalf of the Grainger Museum Board under the general direction of the University Archives Department. Percy GraingerMusi c CollectionPar tI ,Musi c byPerc yAldridg e Grainger is the first publication to come from this work. Its structure embodies differing elements which are united in a tracery of the genealogy of particular compositions. It introduces a series of catalogues of the holdings of the Grainger Museum, to be published by the Grainger Museum Board.Perc y Grainger Music Collection Part II, Music of Other Composers isa t an advanced stage of preparation. Itwil l befollowe d by volumes presenting-photographs and art works; musical instruments; correspondence and other personal papers; recordings and concert programmes; furniture, china and clothing; special collections; the book library. Wehav e pleasurei ncongratulatin g andthankin g Dr. Dreyfuso nbehal fo f the Grainger Museum Board and the University. It remains to thank the Music Board, Australia Council, for continued support in advancing the loan to fund this publication. George Loughlin, Frank Strahan, Ormond Professor of Music, University Archivist, Chairman, University of Melbourne. Grainger Museum Board, University of Melbourne. December 1976. Introductory Note Making acatalogu e ofth eGrainge r Museumcollectio n of music by Percy Aldridge Grainger was like working on a giant jigsaw puzzle. Grainger had the habit of returning again and again to earlier works, revisingthem o r rearrangingthem fo rdifferen t instrumental combinations. Each reworking of a composition was likely to generate a new score, a body of sketches and related working materials, and often, too, an accompanying seto f parts, since revisions were frequently made after a work had been tested in performance. Added to this was Grainger's practice of preparing material for hisow n use as performer or conductor. One was confronted by hundreds of items, and many different types of material. When work began on the Grainger Museum project, no catalogue of Grainger's compositions had been published. Thencam e the short listo f works in Thomas C. Slattery's biography Percy Grainger. The Inveterate Innovator (Evanston,Illinois ,1974) .Mor erecentl ycam eTeres a Balough's A Complete Catalogue of the Works of Percy Grainger (Music Monographs No. 2, The Department of Music, The University of Western Australia, 1975). The latter was an invaluable aid to work in the latter stages of this catalogue. In addition to the puzzles arising out of Grainger's work methods, one faced another difficulty resultingfro mth efac ttha tno tal lth e manuscripts, noreve nal lrelate d itemso fa particula rtitl eo rarrangement , arei nth eon e place. At least ten libraries in addition to the Grainger Museum have holdings of Grainger manuscripts. More material isknow nt o bei n private hands. Since work began on the Grainger Museum collection, the Elder Library of the University.of Adelaide has allowed a substantial part of its Grainger collection to be transferred to the Grainger Museum. This material is listed in Group 15 below. Since many items in the Adelaide collection are intimately related to items already inth e Grainger Museum, this group illustrates quite vividly the nature of the problem referred to here. The task of rationalising the world holdings of Grainger material remainst o bedone .Th e brief for the present catalogue wast o rationalise the holding's of the Grainger Museum. Inattemptin gt ocomplet eth ejigsaw-pictur eo fth emateria li nth eGrainge r Museum one was helped greatly by Grainger's practice of meticulously dating his manuscripts. Forth e most part he entered not only the dateo f composition,o ro fth eparticula r arrangement, butth edat eo fth efair-cop y (iftha t iswha ta nite mis )a swell .Ther ear eexceptions ,o fcourse ,an don e sometimes finds what appears to beth e same item—judging by title and date alone—being attributed to two libraries. But for the most part I am convinced that if one were able to put all related items side by side and compare their dates—or compare manuscript paper, handwriting and other evidence if the dating is ambiguous—a clear picture of Grainger's compositional .output, and of the evolution of particular works, would emerge. Quite often each page of a manuscript is annotated separately with the day and place of its completion. These annotations disappear when the score is engraved. Astud y of these annotated manuscripts gives insight intoth efragmente d natureo f Grainger's compositional activities. Mucho f hiscreativ e work wasdon e perforce onth e road: intrains ,i nhote lrooms , backstage—in the cracks between concert engagements. There is no doubt that Grainger enjoyed working on his music. He frequently copied hisow n parts. He bound hisow n scores. Inth e earlier years, when his compositions were often Birthday or Yule-tide gifts to his mother, he spent some time on the decoration of the title pages and covers of his scores. And indeed, he designed the covers for the publishededition so fhi smusic .Th eamoun to ftim eh emus thav espen to n what one might call "clerical work" in connection with his music is staggering,especiall ywhe non eset sagains ti tth edemand so fhi slif ea sa performer. One idiosyncrasy that might be mentioned here is Grainger's practice of substituting "englished" words for the more commonly used musical terms and descriptions. This applied not only to expression and tempo markings, but to instruments andgenre s aswell . Hence a"trio " becomes a"3-some" ,a "quartet " a"4-some" ,"viola "become s "middle-fiddle" and "violoncello" becomes "bass fiddle". More confusingly, an "orchestra" sometimes becomes a "band". Kay Dreyfus February, 1976. EXPLANATION OF THE CATALOGUING SYSTEM Forth e clarity of listingi t permits thiscatalogu e follows Dr.T .C . Slattery's division of Grainger's works into "Original compositions and folksong settings" and "Arrangements ofothe rcomposers ' music". Themateria li s grouped according to type: published music, manuscript, photostat copies of manuscripts ands oon .Th elette r prefix "MG"ha sbee ngive nt o all music inth e Percy Grainger Music Collection,t o distinguish the music from the other categories of material inth e Grainger collection.Th e letter prefix and the number of the Group appear before a diagonal stroke. Numbers afterth estrok eindicat etitles ,arrangements ,edition san ditems . Thecolo ni suse dt oseparat eof f thenumberin go f individual partsi na set , or groups of sketches or miscellaneous items. Contents Foreword by Frank Strahan and George Loughlin 3 Author's introductory note 5 List of illustrations 9 GROUP 1 Published music: Original compositions and folksong settings 11 GROUP 1 Selective listing of sets of parts 49 GROUP 2 Published music: Arrangements, transcriptions, paraphrases and editions of other composers' music 79 GROUP 2 Selective listing of sets of parts • 91. GROUP 3 Manuscripts: Original compositions and folksong settings 93 GROUP 4 Manuscripts: Arrangements, transcriptions, paraphrases and editions of other composers' music 175 GROUP 5 Photostatcopie so fmanuscripts :Origina lcomposition s and folksong settings 189 GROUP 6 Photostat copies of manuscripts: Arrangements, transcriptions, paraphrases and editions of other composers' music 223 GROUP 7 Dielinetransparencies
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