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Roger Quilter

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Roger Quilter ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. The thesis concludes that, far from being merely a composer of drawing-room songs, Quilter shows a considerable quality across the breadth of his music. ACKNOWLEDGEMENTS Many people have helped in my research in various ways. They are too numerous to mention by name here (though full details are given in my book Roger Quilter, his life and music ), but some exceptions must be made and I am especially delighted to thank the following: Ruth Conti; Professor Emeritus James Thayne Covert; Leslie East; Stephen Gard; Dr Trevor Hold; Jerry Laurie; Stephen Lloyd; Bruce Phillips; Roger Raphael; Alessandro Servadei, formerly Deputy Curator of the Grainger Museum, University of Melbourne; John Turner; and not least, my supervisor, Stephen Banfield, at the time of writing Elgar Professor at the University of Birmingham and now Stanley Hugh Badock Professor of Music at the University of Bristol . I am indebted to these libraries and archives: Allerton Park Conference Center, University of Illinois at Urbana-Champaign; Reference Department, Archives of American Art, Smithsonian Institution; Belstead House, Ipswich; The Bodleian Library, University of Oxford; Boosey & Hawkes; BBC Library; BBC Written Archives Centre, Caversham Park, Reading; Music Manuscripts Department of the British Library; Britten-Pears Library, Aldeburgh; Brookens Library, University of Illinois at Springfield; Center for Black Music Research, Columbia College Chicago; Cheadle Hulme Public Library, Stockport Library and Information Service; Archives, Christ Church, University of Oxford; Church of Latter Day Saints, Wythenshawe; The Court of Protection; Derbyshire Record Offices, Buxton and Matlock; Eton College, Windsor; Samuel French, London; Grainger Museum Collection, University of Melbourne, Australia; Grenadier Guards, Regimental Headquarters; Hampshire County Archives; Imperial War Museum; Institute of Chartered Accountants; Archive Centre, King’s College, Cambridge; Lancashire County Library, Preston; Lewes Public Library, Sussex; Lincolnshire County Archives; Manchester Central Library (Henry Watson and Social Sciences Libraries); Mander and Mitchenson Theatre Collection; Musicians’ Benevolent Fund; Manuscripts Division, Trustees of the National Library of Scotland; National Portrait Gallery; National Sound Archive; National Tropical Gardens, Hawaii; Northampton County Archives; Rare Book & Manuscript Library, University of Pennsylvania; Royal Academy of Music, London; Royal College of Music, London; Royal Military School of Music, Kneller Hall; Royal Philharmonic Society; St Andrew’s Hospital, Northampton; St Paul’s Cathedral Library; Savile Club, London; Simon Wiesenthal Centre, Paris; The Sorabji Archive; Stainer & Bell; Suffolk County Archives, Ipswich; Sussex County Archives (Brighton Record Office); Theatre Collection, University of Bristol; The Theatre Museum, Victoria and Albert Museum; Music Manuscripts Collection, University Library, Cambridge; W.A.T.C.H. (Writers Artists & Their Copyright Holders) and Location Register, Research Projects Office, University of Reading Library; Wakefield Deeds Registry; Wellcome Library for the History & Understanding of Medicine, London; Wigmore Hall, London; The William Ready Division of Archives and Research Collections, McMaster University Library, Hamilton, Canada; Yad Vashem, Jerusalem. Finally, my thanks to my family. TABLE OF CONTENTS Introduction 1 Chapter 1 Biography 1.1 Family Background and Frankfurt, to 1901 5 1.2 From the Crystal Palace to Where the Rainbow Ends (1901–1911) 17 1.3 Inheritance, Montagu Street and the First World War (1911–1919) 38 1.4 Friends and Relations (1919–1929) 54 1.5 Julia , Acacia Road and the approach of war (1929-1939) 78 1.6 The Last Years (1939-1953) 92 Chapter 2 Elements of style: songs 2.1 Introduction 103 2.2 Context 104 2.3 Comparative settings: ‘Go, lovely Rose’ 112 2.4 Comparative settings: ‘Now Sleeps the Crimson Petal’ 116 2.5 Comparative settings: ‘O Mistress mine’ 130 2.6 Comparative settings: ‘Sigh No More, Ladies’ 135 2.7 Comparative settings: ‘Orpheus with his Lute’ 137 2.8 Comparative settings: ‘It was a Lover and his Lass’ 138 2.9 Approach to Metre and Text 140 2.10 Quilter’s Poetic Focus: Herrick, Shelley and Blake 150 2.11 Songs with instrumental accompaniment 169 2.12 Comparative performances 173 2.13 The Critical Reception: A Survey 180 Chapter 3 Partsongs 3.1 Introduction 188 3.2 Glee songs and madrigals 191 3.3 Herrick settings 193 3.4 Unaccompanied partsongs 198 3.5 Accompanied partsongs 201 3.6 Anthems 206 Chapter 4 Where the Rainbow Ends 4.1 Introduction 211 4.2 The story 213 4.3 The production and the contractual arrangements 214 4.4 Reception 218 4.5 The music 220 4.6 The function of the music 236 4.7 Postscript 241 Chapter 5 Theatre and the opera 5.1 Introduction 243 5.2 The Chinese Opera 243 5.3 The Blue Boar , Julia , Rosmé , Love and the Countess , Love at the Inn , The Beggar Prince 5.3.1 Overview 244 5.3.2 Plot details 246 5.3.3 Music 247 5.3.4 Julia : the critical reception 263 Chapter 6 Light Music 6.1 Introduction 267 6.2 Aspects of phrase structure and influences on piano style 268 6.3 Characterisation, atmosphere and aspects of dance 277 6.4 The innocence of childhood: A Children’s Overture 280 6.5 Beyond ternary form 284 Chapter 7 Conclusion 294 Appendix A Catalogue of Works 297 Appendix B Where the Rainbow Ends : synopsis 322 Appendix C The opera: synopses 326 Bibliography 330 Index 338 LIST OF TABLES Fig. 2.1 Totals of Shakespeare settings for voices with piano accompaniment, or unaccompanied, 1840-1960 106 ‘Now Sleeps the Crimson Petal’ Fig. 2.2 Selective list of performers, and the versions used 118 Fig. 2.3 Division of 5/4 bars: examples of arrangements 126 Performers/performance timings Fig. 2.4 ‘Now Sleeps the Crimson Petal’ 175 Fig. 2.5 ‘O Mistress Mine’ 178 Fig. 2.6 ‘It was a Lover and his Lass’ 179 Fig. 2.7 ‘Come Away Death’ 180 Fig. 4.1 Where the Rainbow Ends : how the characters relate to and control each other 239 Fig. 5.1 Comparison, Julia and Love at the Inn , showing the relationship between musical numbers 248-9 A Children’s Overture Fig. 6.1a Table of Crane’s nursery rhymes, with keys, related to Quilter’s usage 283 Fig. 6.1b Table of Quilter’s selection of nursery rhymes, with keys and triadic links, and brief details of orchestration 284 ABBREVIATIONS AAA Archives of American Art, Smithsonian Institution, Washington DC BL British Library, London GM Grainger Museum Collection, University of Melbourne NLS National Library of Scotland, Edinburgh RCM Royal College of Music, London WAC BBC Written Archives Centre, Caversham Park, Reading 1 Introduction Roger Cuthbert Quilter (1877-1953) became known primarily for his elegant artsongs; they rise well above the frequent banality of the Edwardian drawing-room song, and show what can be achieved within the genre. He wrote about a hundred and twenty songs; many are still in the repertoire, and are studied in conservatories in the United States and the United Kingdom. He wrote on a small scale and has been belittled for not attempting larger forms (his opera is a sequence of shorter items); his light music is often damned with faint praise; but he knew where his strengths lay. He put equal effort into all his work: the light music is as perfect in its theatre and concert environment as his lyrical songs are perfect in the drawing-room. Some songs are showpieces, most are much more intimate, and pervading them all is a delicate and haunting wistfulness. In view of Quilter’s strong contribution to artsong, and aware that anniversaries were approaching (125 th of birth in 2002 and 50 th of death in 2003), I was interested in pursuing Quilter studies. When I began researching his life, music and times, the intention was to fill a gap: the only substantial works on his music were by Trevor Hold and Stephen Banfield, the former in The Walled-In Garden ,1 which focuses exclusively on his songs, and the latter in Sensibility and English Song ,2 which focuses on artsong of the early twentieth century, and far from exclusively on Quilter.
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