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Catalogue of Works Barry Peter Ould

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Catalogue of Works Barry Peter Ould Catalogue of Works Barry Peter Ould In preparing this catalogue, I am indebted to Thomas Slattery (The Instrumentalist 1974), Teresa Balough (University of Western Australia 1975), Kay Dreyfus (University of Mel- bourne 1978–95) and David Tall (London 1982) for their original pioneering work in cata- loguing Grainger’s music.1 My ongoing research as archivist to the Percy Grainger Society (UK) has built on those references, and they have greatly helped both in producing cata- logues for the Society and in my work as a music publisher. The Catalogue of Works for this volume lists all Grainger’s original compositions, settings and versions, as well as his arrangements of music by other composers. The many arrangements of Grainger’s music by others are not included, but details may be obtained by contacting the Percy Grainger Society.2 Works in the process of being edited are marked ‡. Key to abbreviations used in the list of compositions Grainger’s generic headings for original works and folk-song settings AFMS American folk-music settings BFMS British folk-music settings DFMS Danish folk-music settings EG Easy Grainger [a collection of keyboard arrangements] FI Faeroe Island dance folk-song settings KJBC Kipling Jungle Book cycle KS Kipling settings OEPM Settings of songs and tunes from William Chappell’s Old English Popular Music RMTB Room-Music Tit Bits S Sentimentals SCS Sea Chanty settings YT Youthful Toneworks Grainger’s generic headings for transcriptions and arrangements CGS Chosen Gems for Strings CGW Chosen Gems for Winds 1 See Bibliography above. 2 See Main Grainger Contacts below. · 249 · New Grainger Companion.indb 249 27.10.2010 17:08 250 · Catalogue of Works CT Concert Transcriptions of Favourite Concertos DC Dolmetsch Collection of English Consorts EGM English Gothic Music FS Free Settings of Favourite Melodies GV Guide to Virtuosity WTK Well-Tempered Klavier (Bach) Key to the scoring symbols Instrumental scoring follows five groups : Woodwind — Saxophones — Brass — Percussion and Keyboard — Strings Woodwind : flutes ∙ oboes ∙ clarinets ∙ bassoons Saxophones : The symbols s, ms, a, t, β, b, indicate : soprano ∙ mezzo-soprano ∙ alto ∙ tenor ∙ baritone ∙ bass Brass : horns ∙ trumpets ∙ trombones ∙ [euphoniums ∙ baritones] ∙ tubas (The bracketed instruments indicate Grainger’s preferred scoring for concert brass) Percussion and Keyboard : T = timpani ∙ s = side-drum ∙ b = bass-drum ∙ t = tambou- rine ∙ w = woodblock ∙ ∆ = triangle ∙ c = cymbals ∙ k = castanets ∙ g = gong ∙ h = ‘Shaker’ chimes ∙ G = glockenspiel ∙ X = xylophone ∙ M = metal marimba ∙ W = wooden marimba ∙ N = nabimba ∙ S = staff bells (Swiss hand bells) ∙ B = tubular bells ∙ V = vibraphone or vibraharp ∙ C = celesta ∙ D = dulcitone ∙ A = harp ∙ H = harmonium (or reed organ) ∙ O = organ ∙ p = pipe-organ ∙ R = reed-organ ∙ P = piano · E = electric organ Strings : Where figures are given, they indicate the number of parts for violins, violas, violoncellos and double basses, e.g. 4 ∙ 2 ∙ 2 ∙ 1 indicates a string ensemble of 4 violins, 2 violas, 2 violoncellos, and 1 double bass. Further sub-divisions of groups are given in the usual way, using standard nomenclature, with an asterisk prefixed to indicate an optional instrument. For example, the woodwind section, scored thus (piccolo ∙ flute ∙ oboe ∙ cor anglais ∙ *bass oboe ∙ *E-flat clarinet ∙ clari- net ∙ *alto clarinet ∙ bass clarinet ∙ bassoon ∙ double bassoon) is listed as (piccolo ∙ 1 ∙ 1 ∙ cor anglais ∙ *bass oboe ∙ *E-flat clarinet ∙ 1 ∙ *alto clarinet ∙ bass clarinet ∙ 1 ∙ double bassoon). Alternative instruments are given in brackets, following the preferred instruments, thus : O(H) indicates organ, or harmonium in lieu. Similarly, alternatives used in later compositions are : for trumpets , soprano saxophones (s) ; for horns, alto saxophones (a) ; for trombones, tenor saxophones (t) ; for bassoons, baritone saxophones (β). Other substitutes are possible (e.g. cornets for trumpets). For full details, consult the appropriate score. Optional numbers of instruments are indicated within parentheses : e.g. 4(2) indicates 4 instruments, of which 2 are optional (usually parts 3 and 4). In some cases these are shown with #, indicating which number of part is optional : e.g. 4(#1#3) indicates 4 instruments, of which nos. 1 and 3 are optional. Additional players and instruments The notation P² indicates 2 players at 1 piano, whilst 2P or PP indicates 2 pianos with 1 player each. A plus sign following an instrument code (A+) indicates that the instruments may be massed : in this case the harp part. New Grainger Companion.indb 250 27.10.2010 17:08 Catalogue of Works · 251 Elastic scoring Works with elastic scoring (a Grainger device, allowing for greater flexibility of instrumen- tation) are denoted by a dagger (†). Earlier scores, for instance Mock Morris or Molly on the Shore, published as being for theatre orchestra, in fact have many possible instrumen- tal permutations. These are elastically scored in all but name. Room-music Grainger used this term for ensembles with one player to a part, up to twenty-four players. Choral works S = soprano, mS = mezzo-soprano, A = contralto, T = tenor, β = baritone, B = bass Capital letters indicate solo ; small letters indicate chorus (satβb) ; a letter with a small number after it indicates the number of divisions within the basic part : e.g. s²s² indicates two soprano lines of which each is divided, whilst s²a²t²b² indicates a eight-part mixed voice chorus. Unison voices are indicated thus : uc = (mixed) unison chorus, um = unison men’s chorus, uw = unison women’s chorus. Original works and folk-music settings Afterword (1900–1901, 1957) [S3] 3′51″ 1. uc + and brass (3 ∙ 3(cornets) ∙ 3 ∙ euphonium — P) [Bardic Edition] 2. uc + P [Bardic Edition] Afton Water (see also Three Burns Songs) 5′58″ voice and piano [Bardic Edition] Agincourt Song (1907) [BFMS] 2′00″ chorus (satβb) a cappella (ed. Gibbs) [Bardic Edition] Always Merry and Bright (see also Mock Morris) (1910) 3′30″ 2 pianos (4 hands) [Bardic Edition] Anchor Song (1899, 1905, 1915, 1921) [KS6] 3′30″ 1. baritone solo + male chorus (t³b² [or T³B²]) + P [Schott] 2. voice and piano [Bardic Edition] Andante con moto (c.1897) [YT] 3′24″ piano solo [Bardic Edition] Arrival Platform Humlet (1908, 1910, 1912, 1916) [RMTB7 : 1st mvt of In a Nutshell] 2′30″ 1. orchestra, piano and tuneful percussion (piccolo ∙ 2 ∙ 2 ∙ cor anglais ∙ 2 ∙ *bass clarinet ∙ 2 ∙ double bassoon — 4 ∙ 3 ∙ 3 ∙ 1 — Tsbcg*GXM²W¹(²)*S*NCAP — strings 2 ∙ 1 ∙ 1 ∙ 1) [Schott] 2. piano solo [Schott] 3. 2 pianos (4 hands) [Schott] 4. solo viola or massed violas [Schott] 5. solo violin or massed violins [Bardic Edition] 6. solo oboe or massed oboes [Bardic Edition] New Grainger Companion.indb 251 27.10.2010 17:08 252 · Catalogue of Works As Sally Sat a-Weeping (1908–12) [BFMS : no. 1 of Two Musical Relics of my Mother] 1′00″ 2 pianos (4 hands) [Schott] At Twilight (adapted from The Rhyme of the Three Sealers) (1900–1909) 3′00″ 1. tenor solo and mixed chorus (s²a²tβ²β²b²) [Schott] 2. piano solo [EG] [Bardic Edition] Australian Marching Song (see also Marching Song of Democracy) (1930) 7′15″ 1. mixed chorus (s³a³t²b²) and room-music (0 ∙ 0 ∙ 0 ∙ 0 — 1 ∙ 1 ∙ 1(euphonium) ∙ 0 — 2P ∙ p¹(H²) — strings 2 ∙ 1 ∙ 1 ∙ 1) + *4T*b*c*G*M³(or *bar-piano or *dulcitone)*S³(4)*B¹(²)*A [Bardic Edition] 2. orchestra (all the above + 2 ∙ 2 ∙ 2 ∙ bass clarinet ∙ 2 — ssmsatβ — 1 ∙ E-flat horn ∙ 2 ∙ 2 ∙ 2 euphoniums ∙ 0 — strings 2 ∙ 1 ∙ 2 ∙ 0) [Bardic Edition] Australian Up-Country Song 2′00″ 1. mixed chorus (s²a²t²β²b²) a cappella (1928) [Schott] 2. piano solo (1932) [Bardic Edition] The Ballad of the ‘Bolivar’ (1901) [KS] 4′15″ men’s chorus (t²b³) and orchestra (4 ∙ 4 ∙ 4 cor anglais ∙ 8 ∙ 2 ∙ 2 double bassoon — 4 ∙ 3(cornet) ∙ 0 ∙ 0 — T — banjos — strings 16 ∙ 8 ∙ 8 ∙ 8) [Bardic Edition] ‡ [Grainger sets only two stanzas from Kipling’s poem beginning ‘Seven men from all the world’.] Ballad of the ‘Clampherdown’ (1899) [KS] (incomplete) [Grainger Society] The Beaches of Lukannon (see also Lukannon) (1941–2) [KS20 : 5th mvt of KJBC ] 2′30″ mixed chorus (s³a³t²b²) and room-music (*H — strings 4 ∙ 2 ∙ 2 ∙ 1) [Schott] Beatless Music (see also Sea Song) (1907–37) 0′33″ six Theremins (graph score only) [Bardic Edition] Beautiful Fresh Flower (Chinese Melody) (1935) 1′55″ piano solo [Bardic Edition] Bell Piece (after Dowland) (1951–3) 5′30″ tenor solo and wind band (1 ∙ 1 ∙ 3 ∙ alto clarinet ∙ bass clarinet ∙ 1 — aatβ — 4 ∙ 4 ∙ 3 ∙ euphonium ∙ baritone ∙ 1 — GBVOAP — string bass) (ed. Duffy and Ould) [Bardic Edition] Blithe Bells (free ramble on Bach’s Sheep may safely graze from Cantata 208) (1930– 32) 3′35″ 1. orchestra (2 ∙ 1 ∙ 2 ∙ 2(1) — 1(ms or a) ∙ 2(ss) ∙ 1(t) ∙ 0 — GP²H(p)M(V)WC(D or P) A — strings 2 ∙ 1 ∙ 1 ∙ 1) [Schott] 2. small orchestra (1 ∙ 1 ∙ 1 ∙ 1 — 1 ∙ 1 ∙ 1 ∙ 0 — GP² — strings 2 ∙ 1 ∙ 1 ∙ 1) [Schott] 3. theatre orchestra or †elastic scoring (any or all of the orchestral parts with the version for 2 pianos (4 hands) [Schott] 4. large room-music (2 ∙ 1 ∙ 2 ∙ 1 — 1(ms or a) ∙ 1(s) ∙ 0 ∙ 0 — GP² — strings 2 ∙ 1 ∙ 1 ∙ 1) [Schott] 5. piano and military band (piccolo ∙ 2 ∙ 2 ∙ E-flat clarinet ∙ solo clarinet ∙ 3 ∙ alto clarinet New Grainger Companion.indb 252 27.10.2010 17:08 Catalogue of Works · 253 ∙ bass clarinet ∙ 2 — satβb — 4 ∙ 2 ∙ 2 cornets ∙ flugelhorn ∙ 3 ∙ baritone ∙ euphonium ∙ 2 — GMW*AP — string bass) (ed. Ould) [Bardic Edition] 6. piano solo (concert and easy versions) [Schott] 7. 2 pianos (4 hands) [Schott] Bold William Taylor (1908) [BFMS43] 3′45″ 1.
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