Compiled by CJA Cope March 2018 List of Works of Gustav Holst
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The Perfect Fool (1923)
The Perfect Fool (1923) Opera and Dramatic Oratorio on Lyrita An OPERA in ONE ACT For details visit https://www.wyastone.co.uk/all-labels/lyrita.html Libretto by the composer William Alwyn. Miss Julie SRCD 2218 Cast in order of appearance Granville Bantock. Omar Khayyám REAM 2128 The Wizard Richard Golding (bass) Lennox Berkeley. Nelson The Mother Pamela Bowden (contralto) SRCD 2392 Her son, The Fool speaking part Walter Plinge Geoffrey Bush. Lord Arthur Savile’s Crime REAM 1131 Three girls: Alison Hargan (soprano) Gordon Crosse. Purgatory SRCD 313 Barbara Platt (soprano) Lesley Rooke (soprano) Eugene Goossens. The Apocalypse SRCD 371 The Princess Margaret Neville (soprano) Michael Hurd. The Aspern Papers & The Night of the Wedding The Troubadour John Mitchinson (tenor) The Traveller David Read (bass) SRCD 2350 A Peasant speaking part Ronald Harvi Walter Leigh. Jolly Roger or The Admiral’s Daughter REAM 2116 Narrator George Hagan Elizabeth Maconchy. Héloïse and Abelard REAM 1138 BBC Northern Singers (chorus-master, Stephen Wilkinson) Thea Musgrave. Mary, Queen of Scots SRCD 2369 BBC Northern Symphony Orchestra (Leader, Reginald Stead) Conducted by Charles Groves Phyllis Tate. The Lodger REAM 2119 Produced by Lionel Salter Michael Tippett. The Midsummer Marriage SRCD 2217 A BBC studio recording, broadcast on 7 May 1967 Ralph Vaughan Williams. Sir John in Love REAM 2122 Cover image : English: Salamander- Bestiary, Royal MS 1200-1210 REAM 1143 2 REAM 1143 11 drowned in a surge of trombones. (Only an ex-addict of Wagner's operas could have 1 The WIZARD is performing a magic rite 0.21 written quite such a devastating parody as this.) The orchestration is brilliant throughout, 2 WIZARD ‘Spirit of the Earth’ 4.08 and in this performance Charles Groves manages to convey my father's sense of humour Dance of the Spirits of the Earth with complete understanding and infectious enjoyment.” 3 WIZARD. -
RVW Final Feb 06 21/2/06 12:44 PM Page 1
RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Resource Pack: Holst
RESOURCE PACK: HOLST musicbehindthelines.org FOOTER INSERT ACE LOGO RPO LOGO WML LOGO GUSTAV HOLST (1874–1934) HOLST: FURTHER REFERENCE ABOUT BEHIND THE LINES Books, Scores & Audio BIOGRAPHY Periodicals Holst during the War Websites Chronology of Key dates WW1 CENTENARY LINKS FEATURED COMPOSITIONS Planets The Hymn of Jesus Page | 2a About Behind the Lines Behind the Lines was a year-long programme of free participatory events and resources for all ages to commemorate the centenary of the outbreak of the First World War. The programme was delivered in partnership by Westminster Music Library and the Royal Philharmonic Orchestra, and supported using public funding by Arts Council England. Public Workshops Beginning in autumn 2013, educational leaders and world-class musicians from the Royal Philharmonic Orchestra led a series of 18 interactive workshops for adults and families (early years and primary age focus). Sessions explored the music and composers of the First World War through these engaging creative composition workshops, targeted at the age group specified, and using the music and resources housed in Westminster Music Library. Schools Projects In addition to the public workshop series, Behind the Lines also worked with six schools in Westminster and the Royal Borough of Kensington and Chelsea; two secondaries and four primaries. These six schools participated in 2 day creative composition projects which drew upon the themes of the programme and linked in with the schools own learning programmes – in particular the History, Music and English curriculum. Additional schools projects can be incorporated in to the Behind the Lines programme between 2014 – 2018, although fundraising will be required. -
Welcome to the Autumn Newsletter
OCTOBER 2019 Issue No: 12 Welcome to the autumn newsletter. OUR NEW PRESIDENT September, also in Cheltenham and prior to the Birthplace Trust’s annual Holst birthday concert. The trustees are delighted to announce that they have offered the presidency of the Holst Society to the international CHELTENHAM CHAMBER ORCHESTRA conductor Martyn Brabbins who has accepted, writing to me on 30th September as follows:- This year’s birthday concert took place at St Andrew’s Church, Montpellier, Cheltenham, on 5th October. The Cheltenham Of course, I would be honoured to accept your Chamber Orchestra was conducted by Timothy Carey in a invitation to become President of the Holst Society. programme which included the Romance from the Serenade in Holst was an inspiration to me as a young musician, A Minor by Ralph Vaughan Williams, Mozart’s Overture Don having played all of his brass band music as a Giovanni and his Symphony No 39 K543. schoolboy! And when I switched from euphonium to trombone, he became even closer to me… or me to The three works by Holst included his Fugal Concerto H152 for him! Holst was a truly individual and generous flute, oboe and string orchestra. The date of composition was composer. I admire his music enormously. early 1923. Interestingly, the first performance (a private one) took place on 17th May 1923 at the President’s House, Martyn Brabbins becomes the Society’s first President. His University of Michigan in the USA (see photo final page). appointment will be for a minimum term of five years. Members of the Chicago Symphony Orchestra were conducted by Frederick A Stock. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
The Spring Newsletter
APRIL 2020 Issue No: 15 Welcome to the spring newsletter. CORONAVIRUS The pandemic has, so far, taken the lives of at least 12,000 UK citizens and affected the health of many thousands more. In addition, the nation remains in lockdown, businesses have failed and are continuing to fail and millions face the prospect of unemployment. On the musical front, countless numbers of professional musicians now find themselves out of work. Concerts which had taken months if not years to plan and rehearse for, have been cancelled. Projects have had to be deferred. All English composer societies face an uncertain future. It seems abundantly clear that funding for whatever project they have in mind, is bound to be seriously affected. With everyone looking very carefully at their finances, societies are going to find it extremely difficult to raise funds for live performances and recordings. The trustees of the Holst Society have agreed that we need to proceed very cautiously in future months with regard to spending projects. We are certainly not expecting any further applications for grants in respect of live performances for quite some time. Equally, recordings are being delayed, but funding will still be sought. However, I am pleased to report that we are not proposing to axe any recording projects, to which we are already committed. Nevertheless, we will almost certainly not be Holst in Salonika with other officers taking on any new projects, just at this stage. Fortunately, we have now raised sufficient resources to fund the The lockdown will, though, enable the Society to devote its publication of what we are calling the ‘journal’, which will include attentions to two matters. -
Durham Research Online
Durham Research Online Deposited in DRO: 07 March 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Dibble, Jeremy (2015) 'War, impression, sound, and memory : British music and the First World War.', German Historical Institute London bulletin., 37 (1). pp. 43-56. Further information on publisher's website: http://www.ghil.ac.uk/publications/bulletin/bulletin371.html Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk German Historical Institute London BULLETIN ISSN 0269-8552 Jeremy C. Dibble: War, Impression, Sound, and Memory: British Music and the First World War German Historical Institute London Bulletin, Vol 37, No. 1 (May 2015), pp43-56 WAR, IMPRESSION, SOUND, AND MEMORY: BRITISH MUSIC AND THE FIRST WORLD WAR JEREMY C. D IBBLE The First World War had a profound effect upon British music. -
LIVE at the Centre
LIVE at the Centre Live at the Centre is a brand-new series of concerts featuring mid-sized ensemble repertoire that is rarely played live, brought to you by our very own CBSO musicians and performed at the Justham Auditorium in our home at CBSO Centre. In the midst of our centenary celebrations and programmed by the musicians themselves, the theme of these first concerts - A Toast to the Twenties - celebrates music from the era of when the orchestra began. The roaring Twenties: a decade when everything changed. Dresses went up, hair came down, and new words entered the language: foxtrots, flappers, bobs and the blues. And composers threw themselves into the spirit of the times, with some of the most colourful, original – and unexpected – music of the 20th century. A hundred years on, the musical world has been transformed all over again, and the CBSO is adapting with it. As our musicians perform live in public after an unprecedented silence, and as we welcome you, our audience, into our home for the first time since…well, you know what…we celebrate the rarely-heard music of that exuberant era, in a specially devised series of concerts at CBSO Centre. Let the music play! Friday 23 October 2020, 1pm & 5.30pm A Toast to the Twenties: English Brass Bliss Fanfare No. 5 “A Wedding Fanfare” 1′ Holst A Moorside Suite 15′ Arnold Symphony for Brass 24′ Ireland A Downland Suite 18′ Conductor Michael Seal Please note, there will be no interval Admit it: we could all do with a bit of a boost this year. -
Download Article
This was a lecture given by Chris Cope (chairman) at the English Music Festival held in late May 2017, when the Holst Society was launched. Gustav Holst – The Mystic Trumpeter – The Road to Absolute Greatness Gustavus Theodore von Holst was born on 21 st September 1874, somewhere in Germany, or, at least, that’s what members of the British public would assume, and not unreasonably. In fact, Holst was an Englishman born in Cheltenham. In 1871, Adolf Holst (whose grandfather had moved to England from Russia at the end of the 18 th century) married. Their first child, Gustavus (we’ll call him Gustav), was born in 1874. Gustav took up the violin and the trombone. Nevertheless, the piano was Gustav’s principal instrument. His father was determined that the boy would become a concert pianist. He applied for a scholarship to Trinity College of Music, London, but was unsuccessful. The college doesn’t like to be reminded about this. Rather sensibly, his father sent him to study counterpoint at Oxford, where he gave recitals. He applied for a scholarship at the Royal College of Music, but was refused. Undeterred, Adolf borrowed £100 from a relative and entered his son’s name for the Ordinary Entrance Examination. He passed and entered the RCM in May 1893. Unfortunately, Gustav’s eyesight was poor and the neuritis in his right arm worsened and as a result he had to abandon his hopes of becoming a concert pianist. Instead, he concentrated on the trombone and the organ. Despite studies at Oxford, Gustav’s knowledge of harmony and counterpoint was poor and as a result Stanford refused to accept him as a composition pupil. -
1 Gustav Holst
Gustav Holst: The Final Years – Lecture at English Music Festival May 2019 At the end of June 1919, Holst returned to the UK having spent eight months away on war service in Salonika in Greece. He was reunited with his wife Isobel in Thaxted. They had never been apart for so long. Holst resumed his usual activities, teaching at St Paul’s Girls’ School and at Morley College, conducting, composing and walking. In August 1919, he began work on the Ode to Death. This work was motivated by the waste of life and the futility of war. The words were by Walt Whitman. It is a particularly fine, but neglected work. In the late summer of 1919, Holst began work on his satirical opera, The Perfect Fool. He needed a librettist. He turned to Clifford Bax who declined. He didn’t think that the plot was very amusing. Holst decided to do it himself. There were increasing numbers of performances of The Planets. However, from time to time, he was asked to conduct movements from The Planets, ending with Jupiter, considered to be a more positive note than Neptune. Holst disliked this, but accepted that even truncated performances did publicise the new work. He was invited and accepted a new teaching appointment at University College Reading. He was also taken on the staff at the Royal College of Music. Because of these commitments, he resigned from James Allen’s Girls’ School. Nevertheless, this still left him with four teaching positions. The Reading appointment involved teaching composition. He made pupils question the value of every note. -
Symphony Hall, Boston Huntington and Massachusetts Avenues
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 »®§toim Syinmpliioifir INC. PIERRE MONTEUX, Conductor FORTY-SECOND SEASON. 1922-1923 rogram WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD. Assistant Manager 825 <UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up. Convenient terms. Used pianos taf^en in exchange. STEINWAY O 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE s-ji; ! Boston 3jEinp3ii©ey Drclhestra Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor ;l Violins.