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George H. Clutsam
GEORGE H. CLUTSAM George Clutsam published his first composition at age nine and in his early twenties toured with various minstrel shows through Australasia and the East. After moving to England in 1887 he established himself as an accompanist and composer of both serious and light music. Among his works were several operas and a number of musical comedies, burlesques and plays. His biggest success was the Shubert-inspired 1922 musical play Lilac Time (later Blossom Time, 1942), for which he arranged Shubert's music and composed additional music. Described by one London critic as being musically one "of the moderns" and "a close student of Strauss and Debussy [whose] work revealed great mastery of orchestral possibilities and many clever touches of instrumental humour," George Howard Clutsam was born in Sydney on 26 September 1866. His early life saw him exposed to and involved in many different styles of music. He is believed to have moved around with his parents quite often during his early years, spending periods of time in Sydney and Victoria before they moved to New Zealand in the late 1870s. It was in that country that Clutsam developed his passion for music through piano lessons and a desire to compose. An Australasian writer records in this respect that "Master G. Clutsam, a native of Victoria, but now of Dunedin… and who is only nine years old, has composed and published a piece for the pianoforte entitled "La Pluie De Printemps" (11 Oct. 1879, 647). Although the writer was incorrect in respect of Clutsam's age (he would have been 13 years old) it is clear that the young pianist/composer was already on the road to a career that would eventually see him accepted as one of the leading popular composers of London around the turn of the century. -
Singing Syllabus 2014
Singing GRADE 6 from 2009 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. FOUR ACCOMPANIED SONGS: from memory, one chosen by the candidate from each of the four Lists, A, B, C and D (listed below). See also pp. 5, 6 and 10. ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. See also p. 7. SIGHT-SINGING*: see pp. 8–9 AURAL TESTS FOR THE GRADE*: see pp. 82 and 85 ACCOMPANIED SONG LISTS LIST A All Voices 1 C. P. E. Bach Weihnachtslied (Christmas Song). G (dЈ–gЉ) or Eb: No. 21 from Sing Solo Christmas (high or low) (OUP) (Ger/Eng) 2 J. S. Bach Come, let us all this day, BWV 479. F (cЈ–gЉ): publ. separately (Novello NOV290321) 3 Blow The Self Banished. G (dЈ–gЉ) or D: publ. separately (Schott ED 11939 or 11940) 4 Bononcini Per la gloria d’adorarvi: from Griselda. F (dЈ–f Љ) or D: No. 19 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-low) (Peters EP 7743a or 7743b) (Ital/Eng) F or D: A Selection of Italian Arias 1600–1800, Vol. 2 (high or low) (ABRSM) (Ital/Eng) 5 Caldara Alma del core: from La Costanza in amor vince l’inganno. # A (aЈ–g Љ) or F: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng) A or E: No. 21 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium- low) (Peters EP 7743a or 7743b) (Ital/Eng) G or D: No. -
Vol. 17, No. 4 April 2012
Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. -
£225,000 Conservatory, Shower Room, Single Garage and Driveway for Two Vehicles
Helping move 51 Edward German Drive, Whitchurch, SY13 1TL Asking Price Of DON'T MISS OUT on this three bedroom detached property within walking distance of amenities and schools. The property benefits from two reception rooms, £225,000 conservatory, shower room, single garage and driveway for two vehicles. Gas Central Heating and Double Glazing throughout. www.barbers-online.co.uk T 01948 667272 51 Edward German Drive, Whitchurch, Helping move SY13 1TL Overview Three Bedroom Detached House Two Reception Rooms Kitchen/Breakfast Room Conservatory, Cloakroom Shower Room Private Garden with Large Patio Integral Singe Garage Driveway for two vehicles Gas Central Heating & Double Glazed “This three bedroom modern detached house is situated in a popular residential area of Whitchurch and is within easy walking distance of the town centre and local schools. The accommodation briefly comprises Lounge opening into Dining Room, Kitchen/Breakfast Room, Conservatory, Three Bedrooms and Shower Room. Outside there is a good size rear garden which has a large paved patio and gravel area, which we feel could easily be put back to lawn if so desired. The property also benefits from a single garage and two off road parking spaces.” LOCATION The property is situated in the busy market town of Whitchurch which sits on the Shropshire/Cheshire/Clwyd borders and benefits from a variety of local independent shops, schools, three large supermarkets and other major retailers. The renowned Hill Valley Hotel, Golf & Spa is located on the outskirts of the town which offers great recreational facilities. Whitchurch train station is on a direct line between Crewe and Shrewsbury with onward connections to Manchester, London and Birmingham plus other major cities. -
Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
Appendix 3 Operettas with English Librettos by Composers for the German Stage
Appendix 3 Operettas with English Librettos by Composers for the German Stage Fall, Leo The Eternal Waltz, Hippodrome, London, 22 Dec. 1911, 100 perfs. Clara Evelyn & Ackerman May (as Feo Lahll). Bk & lyrs: Austen Hurgon (one act); SD: Austen Hurgon; MD: Leo Fall. The Eternal Waltz, Palace Theatre, New York, 24 Mar. 1913 (12 perfs). Opening production at Palace Theatre. Fall, Richard Arms and the Girl, London Hippodrome, 29 Apr. 1912, 95 perfs. G. P. Huntley, May de Sousa, & Jean Aylwin. Bk & lyrs: Austen Hurgon. Felix, Hugo The Merveilleuses (later, The Lady Dandies), Daly’sTheatre,London,27 Oct. 1906, 197 perfs. Robert Evett (Dorlis) & Denise Orme (Illyrine). Bk: Basil Hood (after Victorien Sardou); Lyrs: Adrian Ross; P: George Edwardes; SD: J. A. E. Malone; MD: Barter Johns; DD: Willie Warde. Tantalizing Tommy, Criterion Theatre, New York, 1 Oct. 1912, 31 perfs. Bk: Michael Morton, after Paul Gavault’s play La Petite Chocolatière; Lyrs: Adrian Ross; P: A. H. Woods; SD: George Marion; MD: Hans S. Linne. The Pearl Girl, Shaftesbury Theatre, London, 25 Sep. 1913, 254 perfs. Bk & lyrs: Basil Hood; Music by Hugo Felix & Howard Talbot; P & SD: Robert Courtneidge; MD: Arthur Wood; DD: Willie Warde. 319 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 01 Oct 2021 at 18:51:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 320 Appendix 3 Operettas with English Librettos Pom-pom, Cohan Theatre, 28 Feb. 1916, 128 perfs. Bk & lyrs: Anne Caldwell; P: Henry W. -
2012 Shakespearean Authorship and More
Summer 2012 Shakespeare Matters page 1 12:1 “Let me not to the marriage of true minds admit impediments...” Winter 2013 Did Rudolf Steiner Name the Bard, 100 Years Ago? by Alan Stott ccompanying the general insecurity around us, there is a considerable interest in the beginnings of modern times. AWhat happened 400–500 years ago in the birth struggles of emerging Europe? Novels, studies, TV programs and films explore the events surrounding the throne of England. Several acclaimed films aim to capture the life and “glorious reign” of Elizabeth (1533-1603). Our picture of “merrie olde England” and the relative calm of Elizabeth’s reign, however, has to be modified Mark Rylance lecturing on John Dee’s Monas ����o������������ by the lasting impact of her father, the tyrant Henry VIII, together �ca at the 2012 SAT meetings (see p. 8). with the intrigues and quarrels amongst the aristocracy, religious persecutions, the realities of a police state, rigorous censorship, 2012 Shakespearean Authorship and more. But, we comfort ourselves, the age did produce Shake- Trust Conference Report speare. Of that, at least, we can be proud. (Continued on page 11) by Earl Showerman n May I received a most welcome invitation to the annual Shakespearean Authorship Trust (SAT) Conference in London. A Source for “Remembrance of IOxfordian Julia Cleave, who is a trustee of the SAT, wrote to Things Past” ask if I would make a presentation at the conference, which is held each November at Shakespeare’s Globe Theatre. The theme in Shakespeare’s Sonnet 30 of this year’s conference was “Shakespeare and the Mysteries,” a subject to which advocates of all the leading authorship candidates by Richard M. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Merrie England
Merrie England Operetta in 2 acts Libretto by Basil Hood Music by Edward German First performance : April 2, 1902. Savoy Theatre, London. 27th May 2018 Roles The Earl Of Essex (Mr. Henry A. Lytton.) Baritone Sir Walter Raleigh (Mr. Robert Evett) Tenor Walter Wilkins, a Player in Shakespeare’s Company (Mr. Walter Passmore) Silas Simkins, another Player (Mr. Mark Kinghorne) Royal Foresters : Long Tom (Mr. C. Torrence) ; Big Ben (Mr. R. Crompton) The Queen’s Fool (Mr. George Mudie, Jun.) A Butcher (Mr. Powis Pinder) A Baker (Mr. J. Boddy) A Tinker (Mr. Rudolf Lewis) A Tailor (Mr. Robert Rows) A Lord (Mr. C. Childerstone) A Soldier (Mr. Lewis Campion) First Royal Page (Master Roy Lorraine) Second Royal Page (Miss Ela Q. May) Queen Elizabeth (Miss Rosina Brandram) Contralto Miss Bessie Throckmorton (Miss Agnes Fraser) Soprano “Jill-All-Alone” (Miss Louie Pounds) The May Queen (Miss Joan Keddie) Marjory (Miss W. Hart Dyke) Kate (Miss Alice Coleman) Lady-in-Waiting (Miss Rose Rosslyn) Lords, Ladies, Townsfolk, Soldiers, &c. Scenes : (Act I.) (Act II.) Synopsis Two versions of the plot exist: Hood’s original from 1902 and a revised one by Dennis Arundell presented at Sadler’s Wells in 1960. The opera is set in Windsor Town and makes frequent reference to mythology and folklore (Robin Hood, King Neptune, St. George and the Dragon and witchcraft). Act One: The Bank of the Thames.s The opera starts during the May Day festival with the crowning of the May Queen with “roses white and roses red ... the flowers of Merrie England”. Her two guards are introduced - Long Tom and Big Ben - who are brothers identical in all but one thing. -
A Masked Ball Programme
invites you to Giuseppe Verdi’s A Masked Ball By arrangement with Chester Music Limited trading as G. Schirmer on behalf of G. Schirmer Inc Friday 27th & Saturday 28th October at 7.30pm Queen Victoria Hall, Oundle (with orchestra) Saturday 4th November 2017 at 7.30pm St Thomas a Becket Church, Ramsey (with piano) Sunday 5th November at 4pm The Key Studio, Peterborough (with piano) www.peterboroughopera.co.uk Follow us on Facebook, Twitter & Instagram 1 A MASKED BALL (Un Ballo in Maschera) Music by Giuseppe Verdi Libretto by Antonio Somma English Version by Peter Paul Fuchs Arrangement for small orchestra by Eric Weatherell Musical Director - Kate Wishart Artistic Director - Mark Ellse Choreographer - Stephanie Tenneson 2 A warm welcome to our latest production, Verdi’s “Un Ballo in Maschera” or “A Masked Ball”. We do hope you will enjoy it as much as we have while rehearsing it! Peterborough Opera was formed in 1969 to bring opera in English to the city, the first production being Mozart’s Magic Flute given in July 1970. The first singers were largely recruited by the Musical Director Clive Fairbairn from local mostly semi-professional performers who were studying with the then cathedral Master of Music Dr Stanley Vann. Since then the flow of productions has included most of the popular operas and some more challenging, not so well-known works. “A Masked Ball” continues this tradition and contains all the essential elements of a good opera – power politics, intrigue, sorcery and treachery, mixed with love, lust and betrayal, whilst meanwhile the populace are blissfully unaware of such undercurrents, until, that is, it is ‘unmasked’! You could be forgiven if you say “nothing has changed in the 21st century”! We are very excited this year to spread our ‘performance wings’ beyond Peterborough, again - this time to Oundle where we have many supporters, members, soloists and linkages with Oundle G&S and Thrapston Opera. -
MIDLANDS CHORALE Conductor Oliver Walker
MIDLANDS CHORALE Conductor Oliver Walker with The Concert for Clara Orchestra Leader Julia Johnson present Some Messiah! Some Enchanted Evening! (A Concert for Clara) Sunday 6th November 7.45pm at Shrewsbury RC Cathedral, Town Walls ***************************** Messiah Merrie England The Pirates of Penzance South Pacific Chess ***************************** Tickets £10 (Children and Students £5) from Theatre Severn Box Office 01743-281281 Thank you to our Sponsors Midlands Chorale, founded in 1978, draws its singers from all corners of the West Midlands. The choir has performed with distinction a wide repertoire across the country, and made several recordings. The choir has given acclaimed performances of many major works in Birmingham, Leicester, Shrewsbury, and across the West Midlands. In association with the Leicester Bach Choir in recent years, they have performed Brahms German Requiem, Vaughan Williams’ Dona Nobis Pacem, and Elgar’s The Music Makers, accompanied by full orchestra. The choir’s concerts generate several thousand pounds a year for different charities. Midlands Chorale is Registered Charity No. 1108506. Visit www.midlandschorale.co.uk for more information. The Concert for Clara Orchestra, led by Julia Johnson, includes professional and experienced amateur players from across Shropshire, who have all given their time and talent to make this a special musical event. Oliver Walker is the Organist and Choirmaster at Solihull School, where he oversees the busy programme of choral and organ music within the School Chapel, and is the Musical Director of the Midlands Chorale and Warwickshire Singers. He held the Organ Scholarship at Keble College, Oxford, where he also directed College Choral Society and Orchestra.