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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
The Latest Newsletter. We Do Hope You Can Attend the AGM and the Holst Birthday Concert, Both in Cheltenham on Saturday 29Th September
SEPTEMBER 2018 Welcome to the latest newsletter. We do hope you can attend the AGM and the Holst Birthday Concert, both in Cheltenham on Saturday 29th September. AGM Sunday 23rd September at 2.30pm, Malvern Theatres, Malvern. Welcome to the latest newsletter. This month, we celebrate the Holst A Moorside Suite. 144th anniversary of the birth of Holst. The annual Holst Birthday Concert will take place in St Andrew’s URC, Sunday 23rd September at 3pm, St Mary Magdalene Church, th Montpellier Street, Cheltenham at 7.30pm on Saturday 29 Hucknall, Nottingham. Holst Choral Hymns from the Rig Veda. September. If you plan to be in Cheltenham that evening, why rd not make it a day’s visit by including the Society’s first AGM Sunday 23 September at 7.30pm, Wigmore Hall, London. which will be held at St Andrew’s URC that afternoon, at 4pm. Holst The Heart Worships. At the conclusion of the AGM, Angela Applegate will present a th PowerPoint illustrated celebration of Holst, entitled “Music, Saturday 29 September at 7.30pm, Ely Cathedral. Holst The Friendship and the Cotswold Hills: The Life of Gustav Holst”. Planets and The Cotswold Symphony. th We hope to finish events by 5.30pm, which should give a little Sunday 30 September at 3pm, Great Witley Church, time for a bite to eat, prior to the evening’s concert. Worcestershire. Holst The Moorside Suite. nd Please also note that we will be providing refreshments at the Tuesday 2 October at 7.30pm, St John’s Smith Square, AGM including hot drinks, biscuits and cake. -
Reading Comprehension Gustav Holst
Gustav Holst Comprehension Gustav Holst was born in Cheltenham on September 21st 1874. He came from a line of talented musicians. Holst was taught how to play the piano by his father, however a problem with his nerves ruled out a career as a pianist. He later took up the trombone instead. His first conducting job was with a local church choir which he found to be excellent experience. Holst attended the Royal College of Music where he studied composition and met fellow student, Ralph Vaughn Williams, another great composer. The two became great friends for life. Holst’s wife was a soprano. He instantly fell in love with her but she was not particularly impressed by him at first. For a while, he supported himself and his wife by playing the trombone professionally alongside composing in his spare time. Holst became a teacher and worked at St Paul’s Girls’ School, Hammersmith where they opened a new music wing in his honour in 1913. The music wing housed a sound-proof room where Holst could work without being disturbed. Holst became very interested in astrology which was the inspiration for his best known piece, ‘The Planets’. This launched him into real stardom, however he was never happy to be in the limelight as he was a shy man. The first performance of ‘The Planets’ was given in September 1918. Each movement describes the planet’s character, for example, Venus is the bringer of peace, Uranus is about a magician and Saturn is based on the bringer of old age. -
≥ Elgar Sea Pictures Polonia Pomp and Circumstance Marches 1–5 Sir Mark Elder Alice Coote Sir Edward Elgar (1857–1934) Sea Pictures, Op.37 1
≥ ELGAR SEA PICTURES POLONIA POMP AND CIRCUMSTANCE MARCHES 1–5 SIR MARK ELDER ALICE COOTE SIR EDWARD ELGAR (1857–1934) SEA PICTURES, OP.37 1. Sea Slumber-Song (Roden Noel) .......................................................... 5.15 2. In Haven (C. Alice Elgar) ........................................................................... 1.42 3. Sabbath Morning at Sea (Mrs Browning) ........................................ 5.47 4. Where Corals Lie (Dr Richard Garnett) ............................................. 3.57 5. The Swimmer (Adam Lindsay Gordon) .............................................5.52 ALICE COOTE MEZZO SOPRANO 6. POLONIA, OP.76 ......................................................................................13.16 POMP AND CIRCUMSTANCE MARCHES, OP.39 7. No.1 in D major .............................................................................................. 6.14 8. No.2 in A minor .............................................................................................. 5.14 9. No.3 in C minor ..............................................................................................5.49 10. No.4 in G major ..............................................................................................4.52 11. No.5 in C major .............................................................................................. 6.15 TOTAL TIMING .....................................................................................................64.58 ≥ MUSIC DIRECTOR SIR MARK ELDER CBE LEADER LYN FLETCHER WWW.HALLE.CO.UK -
ONYX4206.Pdf
EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Concert De Noël
Concert de Noël MAÎTRISE DE RADIO FRANCE DIMANCHE 15 DÉCEMBRE 201916H © François Olislaeger IMOGEN HOLST Christmas Carols pour chœur féminin a capella : 1. Coventry carol – 2. A Virgin most pure – 3. Wassail Song (10 minutes environ) ALASTAIR PUTT Under the Giant Fern of Night (création française) 1. Dark Matter – 2. Girl with a Balloon - 3. Turning Nightward – 4. When You Wish Upon a Star – 5. Let There Always Be Light – 6. Notte di San Giovanni (20 minutes environ) GUSTAV HOLST Ave Maria H 49 opus 9b Choral Hymns from the Rig Veda H 99 opus 26 no3 (Troisième groupe) 1. Cantique à l’aube – 2. Cantique aux eaux – 3. Cantique à Vena – 4. Cantique des voyageurs (15 minutes environ) IMOGEN HOLST Christmas Carols pour chœur féminin a capella : 4. The Holly and the Ivy - 5. In the bleak mid-winter (10 minutes environ) BENJAMIN BRITTEN A Ceremony of Carols pour chœur d’enfants et harpe, opus 28 IRIS TOROSSIAN harpe (22 minutes environ) MAÎTRISE DE RADIO FRANCE SOFI JEANNIN direction IMOGEN HOLST 1907-1984 de plus de cinq cents habitants, ainsi que la destruction de la cathédrale Saint-Michel. Pour illustrer son reportage sur le désastre, la BBC diffusa Christmas Carols lors de son reportage la mélodie du Coventry Carol, connue de tous les Arrangements de noëls traditionnels effectués de 1940 à 1958. Britanniques. Un nouvel édifice sera reconstruit à côté des ruines et consa- cré en 1962 au son du War Requiem de Britten, dont Imogen Holst super- visera la publication. Fille du compositeur Gustav Holst et de la chanteuse Isobel Harrison, La première occurrence connue de l’hymne A Virgin most pure date de Imogen Holst est née le 12 avril 1907 à Londres. -
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. -
Sea Pictures Falstaff
ELGAR BARENBOIM SEA PICTURES- ELINA GARANČA FALSTAFF STAATSKAPELLE BERLIN EDWARD ELGAR 1857–1934 Sea Pictures Op.37 Falstaff Op.68 Song cycle for mezzo-soprano and orchestra Symphonic study for orchestra 1 I. Sea Slumber Song 4.41 (after Henry IV and Henry V by William Shakespeare) 2 II. In Haven (Capri) 1.45 6 I. Falstaff and Prince Henry 3.09 3 III. Sabbath Morning at Sea 6.11 7 II. Eastcheap – 2.52 4 IV. Where Corals Lie 3.58 8 Gadshill – The Boar’s Head – 8.56 5 V. The Swimmer 7.06 9 Revelry and Sleep 1.27 10 Dream Interlude: “Jack Falstaff, now Sir John, a boy, and page, to Thomas Mowbray, Duke of Norfolk” 2.32 11 III. Falstaff’s March – 2.49 12 The Return through Gloucestershire 1.27 13 Interlude: Gloucestershire, Shallow’s Orchard 1.49 14 The New King – The Hurried Ride to London 1.03 15 IV. King Henry V’s Progress – 3.21 16 The Repudiation of Falstaff, and his Death 5.48 58.58 Live recordings ELĪNA GARANČA mezzo-soprano (1–5) STAATSKAPELLE BERLIN 2 DANIEL BARENBOIM ea Pictures was written in the summer of 1899, in the weeks One reason for its failure (as the composer’s biographer after the successful premiere of the Enigma Variations had Michael Kennedy pointed out) was the extreme diffi culty of the broughtS Elgar to national prominence. It had been commissioned instrumental writing, unsuited to “the orchestral conditions of for the Norfolk and Norwich triennial festival that October, at those days when very few rehearsals were possible”. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July.