DOCSLIB.ORG

3*79 A/B/C SELECTED VAUXHALL SONGS of JAMES HOOK, a LECTURE RECITAL, TOGETHER with THREE RECITALS of SELECTED WORKS of B. BRITTE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3*79 A/B/C SELECTED VAUXHALL SONGS of JAMES HOOK, a LECTURE RECITAL, TOGETHER with THREE RECITALS of SELECTED WORKS of B. BRITTE 3*79 A/B/c SELECTED VAUXHALL SONGS OF JAMES HOOK, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF B. BRITTEN, J.S. BACH, G. FAURE, G. ROSSINI, A. SCARLATTI, R. VAUGHAN WILLIAMS, F. SCHUBERT, R. STRAUSS, AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS by Robert Farias Austin, Jr., B.M., M.M. Denton, Texas August, 1983 © 1984 ROBERT FARIAS AUSTIN, JR. All Rights Reserved Austin, Robert F., Selected Vauxhall Songs of James Hook, £ Lecture Recital, Together with Three Recitals of Selected ®• Britten, J.S^. Bach, G. Faure, G. Rossini, — * Scarlatti, R. Vaughan Williams, F. Schubert, R. Strauss, anc^ Others. Doctor of Musical Arts (Vocal Performance), May, 1984, 64 pp., 15 illustrations, bibliography, 32 titles. James Hook was employed as organist, composer and music director at Vauxhall Gardens in London for forty-six years, from 1774-1820. He was preceded in that position by Thomas Arne, a composer better known to musicians of the twentieth century. Hook had an enormous output including over 2000 songs, most of which were intended for performance at the gardens. Many of these songs were popular enough to be published in New York, Baltimore, and Philadelphia, as well as London. These songs are generally in the lightly textured gallant style popularized in England most notably by J.C. Bach. Stainer & Bell has recently published a collection of eight songs by James Hook as part of a series edited by Michael Pilkington. Very little has been written about Hook even though his songs equal in quality those of his contem- poraries. It is one purpose of this lecture recital to demonstrate the appropriate performing style of these songs. They were originally performed with orchestral accompaniment by the best singers of the day. Performance practices parallel those of the English operatic air. Therefore, like the more familiar Italian baroque repertoire, they may be sung in a simple straightforward manner by young students, or performed in an elaborately-ornamented style by more advanced singers. The lecture will cover four songs of varying styles, two of which are available in the Stainer & Bell collection noted above. The majority of James Hook's 2000 songs were originally accompanied by orchestra. However, when published for voice and keyboard, only the bass line and melody were given. Almost all of his songs exist only in this arrangement Therefore, a second goal of this research project is to de- fine an appropriate style of realization of the accompaniment for them. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. 111 TABLE OF CONTENTS PERFORMANCE PROGRAMS Page First Recital Second Recital VI lecture Recital •••••••••••• V-Ll Fourth Recital viil LIST OF ILLUSTRATIONS • ••••••••••• iX PREFACE x CHAPTER I. JAMES HOOK 1 II. VAUXHALL GARDENS 8 III. SELECTED SONGS 21 "No, No, No, It Mast Not Be" "0 Listen to the Voice of Love" "She Lives in the Valley Below" "Within a Mile of Ediriboro* Town'? J.C. Bach and the Gallant Style Accompaniments Harmony Form Text Melody Range Performance Practice Conclusion BIBLIOGRAPHY 51 IV NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents ROBERT AUSTIN, Tenor In Graduate Recital with Sharon Haslund, Piano assisted by MARILYN RAUCH, Flute STERLING PROCTER, French Horn Monday, November 25, 1974 8:15 p.m. Recital Hall Four songs to texts by Wolfgang von Goethe Nahedes Geliebten Franz Schubert Geheimes Franz Schubert Wanderers Nachthed Franz Schubert DerMusensohn Franz Schubert Wo wird in diesem Jammerthale vor meinen Geist, from Cantata No. 114, Ach lieben Christen j § Bach Miss Rauch ^ Gabriel Faure ^ Gabriel Faur£ Mandoline Gabriel Faure Chanson d Amour Gabriel Faure rison Gabriel Faur£ eurjetee Gabriel Faur6 V iens, gentille dame, from La Dame Blanche Fr. Adrien BoIeldieu Intermission Serenade . Benjamin Britten Prologue Pastoral (Cotton) Nocturne (Tennyson) Elegy (Blake) Dirge (Anonymous, 15th century Scottish dialect) Hymn (Ben Johnson) Sonnet (Keats) Epilogue Mr. Procter Presen l ed in part iaJ fulfilim en t of the requirements for the degree Doctor of Musical A rts BEAUMONT CIVIC OPERA Presents Gioacchfno Rossini's LA CENERENTOLA (Cinderella) Opera in Three Acts libretto by • » i- i Jacopo Ferretti Ruth ^Th'o^Mmin Presented by Special arrangement with Belwin Mills Publishing Corp. CONDUCTOR AND STAGE DIRECTOR f PETER PAUL FUCHS CHORUS MASTER DAVID LLEWELLYN ^ ASSISTANT STAGE DIRECTOR GLADYS ARMSTRONG CHOREOGRAPHER JULIO DeBENTENCOURT ^TerfcSfn bA^NIf TBR0SE' Scenic Design by Performing Arts Supply, Inc. ROBERT HOWERY Cast of Characters (In Order of Appearance) CINDERELLA, stepdaughter of Don Magnifico LESTER SENTER ?^NDA! dauShte™ of Don Magnified MARY BETH ARMES h ' EVELYN GLOVER ALIDORO, the Prince's philosopher and magician DAVID BECKETT J^ON MAGNIFICO, Baron of Monte Fiascone . EDWARD BAIRD RAMIRO, Prince of Salerno . ... \ t ROBERT AUSTIN | D^NDINI, the Prince s servant SAIVIUEL BYRD J ; Courtiers and Servants THE ACTION TAKES PUCE IN SALERNO, ITALY ACT I — Room in the home of Don Magnifico INTERMISSION ACT II — Small hall in Prince Ramiro's palace INTERMISSION ACT III — Scene 1—Room in Prince Ramiro's palace Scene 2 — Room in the home of Don Magnificio Is ~pnnm room:ill Prince Ramiro's palace \ , '' '*» fmm Guiid Of MmM Artttts... ], > =V; i . ••"'''V ' • '""7 VI North Texas State University School of Music Lecture Recital ROBERT F. AUSTIN, Tenor Assisted by: Louise Lerch, Piano Monday, August 8, 1983 5:00 Concert Hall SELECTED VAUXHALL SONGS OF JAMES HOOK No, no, no, it must not be Within a mile of Edinboro' town She lives in the valley below 0 listen to the voice of love Presented in partial fulfillment of the requirements for the degree of Doctor of musical Arts VII NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents ROBERT AUSTIN, Tenor In JGraduate Recital with LOUISE LERCH, Piano assisted by ROBERT MEINECKE, Viola Monday, October 17,1983 8-i5D m _ o.isp.m. Concert Hall Toglietemi la vita ancor ...... „ _ •••••• Alessandro Scarlatti U quam tu pulcra es##. • ••..„ „ 4T. *•••••••• Alessandro Grandi lis Thee I would be praising' trom Chmm,sO,mm Johann Sebastian Bach Deposuit potentes from Magnitiot Bach Freundliche Vision • r. - L ••••••• Richard Strauss Morgen • •••#..«... , •••••••• Richard Strauss Seitdem dein Aug' • n- , . ...... *••••••••••••. Richard Strauss He,ml,che Intermission Four Hvmns • •••••«. „ . •••••••• «R.V aughan Williams Lord! Come Away! Who Is This Fair One Come Love, Come Lord Evening Hymn Mr.Meinecke Vilianescas • • • •••••«« *•*•••••» Jean Berber La Madreciea La IMariquita El Callejion El Despechado Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. VI11 LIST OF ILLUSTRATIONS Figure Page 1. James Hook . 4 2. This is a painting by Thomas Rowlandson showing the band stand or orchestra built by Jonathan Tyers at Vauxhall Gardens in 1732 11 3. Frontal view of the Moorish-Gothic orchestra at Vauxhall: unknown artist, c. 1840 12 4. View of the grounds at Ranelagh 16 5. This prospective view of Ranelagh illustrates the scope and elaborate design of the larger pleasure gardens 17 6. The interior of the rotunda at Ranelagh. Fully staged operas were performed in this building 18 7. Measures 16-31 of "She Lives in the Valley Below". .28 8. Measures 20-33 of "The Turtle Dove Coos Round My Cot" with the original piano accompaniment by James Hook . 30 9. Measures 1-12 of Tantivy by Charles Dibdin; accompaniment by George Hogarth published in 1842 31 10. Short score publication of "She Lives in the Valley Below", originally printed in New York c. 1800 34 11. Measures 1-5 of "0 Listen to the Voice of Love'' with the chromatically altered note in the bass line 36 12. Measures 52-63 of "No, No, No, It Must Not Be" with a countermelody in the accompaniment ....... 40 13. Measures 6-8 (incomplete) of "Within a Mile of Edinboro' Town" showing the Scottish snap in the melody 41 14. Excerpts from "Would You Taste the Noontide Air" from Conns by Thomas Arne. The vocal ornamentation is also by Arne and is considered moderate 45 15. Published excerpts from The Duenna by Thomas Linley with some music borrowed from Venanzio Rauzzini., Compare the conservatively ornamented top line with the bottom . 46 ix PREFACE James Hook was employed as organist, composer and music director at Vauxhall Gardens in London for forty-six years, from 1774-1820. He was preceded in that position by Thomas Ame, a composer better known to musicians of the twentieth century. Hook was widely popular in England during his day. He had an enormous output including over 2000 songs, most of which were intended for performance at the gardens. Many of these songs were popular enough to be published in New York, Baltimore, and Philadelphia, as well as London. These songs are generally in the lightly textured gallant style popularized in England most notably by J. C. Bach. Information about Hook and musical materials composed by him are scarce in the United States. Songs are available mostly as photocopies taken from old collections held in a few university libraries around the country. The British Library in London has a nearly complete collection of his music, much of it in manuscript form. Happily, Stainer & Bell has recently published a collection of eight songs by James Hook as part of a series edited by Michael Pilkington. The few books which discuss eighteenth-century vocal music tend to focus on those composers who were successful in opera: Thomas Arne, Stephen Storace, Charles Dibdin and William Shield among others. Unfor- tunately, James Hook wrote only a few operas, and they were not highly successful. Consequently, very little has been written about him even x though his songs equal in quality those of his contemporaries and far outnumber them in quantity.
Load more

Recommended publications
  • A Passion for Opera the DUCHESS and the GEORGIAN STAGE
    A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Thomas Augustine Arne: a Bicentenary Appreciation Author(S): Frank Kidson Source: the Musical Times, Vol
    Thomas Augustine Arne: A Bicentenary Appreciation Author(s): Frank Kidson Source: The Musical Times, Vol. 51, No. 805 (Mar. 1, 1910), pp. 153-154 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/906730 Accessed: 03-12-2015 02:14 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 138.73.1.36 on Thu, 03 Dec 2015 02:14:37 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MARCH I, I9Io. I53 THOMAS AUGUSTINE ARNE: determination to become a musician, and wisely gave in. Free to make music his profession, he A BICENTENARY APPRECIATION. taught his sister and his brother the art, and BY FRANK KIDSON. with much success. The former, Susanna Maria Arne, who married the brutal Theophilus Cibber What was the state and condition of English in haste, had, perhaps, leisure to regret her music in the year I 7 1 ? I do not ask what was the matrimonial choice: she became a singer and an appreciation of music in England, but how it was actress of great merit.
    [Show full text]
  • Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord
    Friday Evening, December 8, 2017, at 7:30 The Juilliard School presents Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord The Pleasure Garden: Music From Handel’s London GEORGE FRIDERIC HANDEL (1685–1759) Concerto grosso in G major, Op. 6, No. 1, from Twelve Grand Concertos in Seven Parts , Op. 6 (1740) A tempo giusto Allegro e forte Adagio Allegro Allegro ROBERT MEALY and SARAH JANE KENNER , Violin Concertino MORGAN LITTLE , Cello Concertino HANDEL Concerto grosso in B-flat major, Op. 6, No. 7 , HWV 325 (1739) Largo Allegro Largo Andante Hornpipe MICHAEL CHRISTIAN FESTING (1705–52) Concerto in G major, Op. 3, No. 9, from Twelve Concertos in Seven Parts (1742) Largo Allegro Largo Allegro Assai Hornpipe—Andante—Hornpipe JONATHAN SLADE and BETHANNE WALKER, Flute Concertino Program continues on next page Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. THOMAS ARNE (1710–78) Concerto No. 5 in G minor from Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte (1793) Largo Allegro spirito Adagio Vivace EUNJI LEE ,
    [Show full text]
  • Vauxhall Gardens Housing Estate, London SE11)
    ADDRESS: Burchell House, Bland House, Baddeley House, Pella House, Malmsey House, Wynyard House, Dolland House, Braham House, Grover House, Simpson House, Vernon House, Brangton Road, (Vauxhall Gardens Housing Estate, London SE11) Application Number: 15/06451/FUL Case Officer: Matt Duigan Ward: Princes Date Received: 10.12.2015 Proposal: Installation of solar photovoltaic panels on the roofs of 12 residential buildings (Burchell House, Bland House, Baddeley House, Pella House, Malmsey House, Wynyard House, Dolland House, Braham House, Grover House, Simpson House, Vernon House, and Brangton Road) Drawing numbers: Location Plan: Phase 2 – Vauxhall Gardens, Baddeley House Roof 1 Rev A, Baddeley House Roof 2 Rev A, Baddeley House Roof 3 Rev A, Baddeley House Roof 4 Rev A, Baddeley House Roof 5 Rev A, Pella House Roof 1 Rev A, Pella House Roof 2 Rev A, Pella House Roof 3 Rev A, Pella House Roof 4 Rev A, Pella House Roof 5 Rev A, Malmsey House Roof 1 Rev A, Malmsey House Roof 2 Rev A, Malmsey House Roof 3 Rev A, Malmsey House Roof 4 Rev A, Malmsey House Roof 5 Rev A, Wynyard House Roof 1 Rev A, Wynyard House Roof 2 Rev A, Wynyard House Roof 3 Rev A, Wynyard House Roof 4 Rev A, Wynyard House Roof 5 Rev A, Brangton Road Roof 1 Rev A, Brangton Road Roof 2 Rev A, Brangton Road Roof 3 Rev A, Brangton Road Roof 4 Rev A, Brangton Road Roof 5 Rev A, Dolland House Roof 1 Rev A, Dolland House Roof 2 Rev A, Dolland House Roof 3 Rev A, Dolland House Roof 4 Rev A, Dolland House Roof 5 Rev A, Burchell House Roof 1 Rev A, Burchell House Roof 2 Rev A, Burchell
    [Show full text]
  • A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley
    A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley On 6 February 1813 a bold and imaginative group of music professionals, thirty in number, established the Philharmonic Society of London. Many had competed directly against each other in the heady commercial environment of late eighteenth-century London – setting up orchestras, promoting concerts, performing and publishing music, selling instruments, teaching. Their avowed aim in the new century, radical enough, was to collaborate rather than compete, creating one select organization with an instrumental focus, self-governing and self- financed, that would put love of music above individual gain. Among their remarkable early rules were these: that low and high sectional positions be of equal rank in their orchestra and shared by rotation, that no Society member be paid for playing at the group’s concerts, that large musical works featuring a single soloist be forbidden at the concerts, and that the Soci- ety’s managers be democratically elected every year. Even the group’s chosen name stressed devotion to a harmonious body, coining an English usage – phil-harmonic – that would later mean simply ‘orchestra’ the world over. At the start it was agreed that the Society’s chief vehicle should be a single series of eight public instrumental concerts of the highest quality, mounted during the London season, February or March to June, each year. By cooperation among their fee-paying members, they hoped to achieve not only exciting performances but, crucially, artistic continuity and a steady momentum for fine music that had been impossible before, notably in the era of the high-profile Professional Concert of 1785-93 and rival Salomon-Haydn Concert of 1791-2, 1794 and Opera Concert of 1795.
    [Show full text]
  • Musica Britannica
    T69 (2020) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, PO Box 110, Victoria House, 23 Gruneisen Road, London N3 IDZ England Telephone : +44 (0) 20 8343 3303 Fax: +44 (0) 20 8343 3024 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • The Reception History of Antonio Vivaldi in Eighteenth-Century Britain and Ireland
    Sydney Undergraduate Journal of Musicology Vol. 7, December 2017 The Reception History of Antonio Vivaldi in Eighteenth-Century Britain and Ireland ANNABEL GOODMAN The reception history of Antonio Vivaldi states that, despite his initial widespread popularity, the composer’s music fell out of fashion in the last years of his life only to be revived during the twentieth century. This is, of course, a massive generalisation. The idea that Vivaldi’s music fell out of popularity by the time of his death in 1741 is more a reflection of the composer’s reception history in his native Venice than of his reception across Europe, where his music continued to be heard across French, German, and British cultures. Compared to the composer’s presence in Italy, however, Vivaldi’s reception history in these other European cultures has received less scholarly attention. This is particularly the case for Vivaldi’s reception history in Britain and Ireland. Vivaldi’s musical presence and reception in Britain and Ireland can be traced back to the eighteenth century, when the composer’s music was at its most popular, not only in Britain and Ireland, but also across Europe. However, despite Vivaldi’s music falling out of performing repertoires in the nineteenth century, his name is still mentioned in primary sources, namely British and Irish newspapers. London was, of course, the heart and centre of British musical culture during these times. Ireland, although not part of Great Britain, was influenced by Britain musically, especially when it came to Vivaldi. This is likely because Dublin could be considered a secondary art music capital next to London, with many violinists — including Francesco Geminiani and his student Matthew Debourg, an avid player of Vivaldi’s concertos — travelling to both London and Dublin.1 However, there were some clear cultural differences between England and Ireland, with a notable disparity being Dublin’s smaller cultural influence and size compared to London.
    [Show full text]
  • NEWSLETTER Editor: Francis Knights
    NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical.
    [Show full text]
  • On This Day at Vauxhall Gardens
    MAY On this day in 1769 was the second great Ridotto al Fresco, following10 a £5,000 refurbishment of the gardens, including a rain-proof awning over the main walks around the Grove. Around ten thousand tickets were sold for this event, at half a guinea each, leading to endless traffic jams on the approaches. Only a few people arrived in ‘character dress’, but many in ‘fancy dress’. MAY On this day in 1764, according to The Gentleman’s Magazine, ‘About 5011 young fellows tore up the railing, and did other damage at Vauxhall in order to lay open the dark walks which Mr. Tyers had very prudently shut up to prevent indecencies so much complained of last summer.’ MAY On this day in 1845 the ‘113th Season’ opened. The Grand Orchestra12 had been remodelled by Mr. Breckell, who installed the new sounding board with its caryatid supporters, and decorated ‘in the most costly style of splendour’ by Mr. Hurwitz. MAY On this day in 1783 was the first appearance of the tenor Daniel Arrowsmith;13 the correspondent of The British Magazine reported that he ‘was received with great applause and encored in every song. He has a fine tenor voice, of great flexibility, extent, and sweetness. He is superior to Cubitt, but we have still to regret the loss of our old friend [Joseph] Vernon. … The company was very numerous, and remarkably genteel. The orchestra and boxes are new painted, and add a pleasant freshness to the garden.’ MAY On this day in 1668 Samuel Pepys wrote in his diary ‘To Fox hall, where14 we walked a great while and pleased mightily with the pleasure
    [Show full text]
  • The Legacy of Virdung: Rare Books on Music from the Collection of Frederick R
    THE LEGACY OF VIRDUNG: RARE BOOKS ON MUSIC FROM THE COLLECTION OF FREDERICK R. SELCH March 2006 – June 2006 INTRODUCTION FREDERICK R. SELCH (1930-2002) Collector, scholar, performer, advertising executive, Broadway musical producer, magazine publisher, and editor (Ovation); organizer of musical events, including seven exhibitions (two at the Grolier Club), president and artistic director of the Federal Music Society, music arranger, musical instrument repairer and builder; book binder; lecturer and teacher; and most of all, beloved raconteur who knew something about almost every subject. He earned a Ph.D. from NYU in American studies just before his death, writing a highly praised dissertation: “Instrumental Accompaniments for Yankee Hymn Tunes, 1760-1840.” In short, Eric (as he was known) did it all. Eric was a practitioner of material culture, studying the physical and intellectual evidence found in objects, images, the written word, oral history, sound, and culture. Consequently, his interpretations and conclusions about musical topics are especially immediate, substantive, and illuminating. He has left a great legacy for those of us interested in organology (the scientific study of musical instruments) and in particular, American music history. As a collector, Eric’s first serious instrument purchase (aside from those he regularly played) was a seventeenth-century European clavichord he acquired from an extraordinary dealer, Sydney Hamer, in Washington, D.C., where Eric was stationed during the Korean War. Hamer helped focus his eye and develop his taste. Following his service, he worked in London, then studied music and opera stage production and set design in Milan, and opera staging and voice in Siena.
    [Show full text]
  • Summary of Well London Programme Vauxhall Gardens Estate, Lambeth
    Summary of Well London Programme Vauxhall Gardens Estate, Lambeth Photo from VGERTA Website “Want to get Vauxhall Gardens on the map, too much talk and not enough action” For further information contact: Well London: Alison Pearce ([email protected]) and see website http://www.welllondon.org.uk This document was produced by the Well London Community Engagement, Assessment, and Design Team (CEAD) at The Institute for Health & Human Development, University of East London Well London Vauxhall Gardens Estate Programme Plan Summary Oct 2012 Contents 1. Background to Well London in Vauxhall Gardens Estate....................................................................... 2 2. Methodology......................................................................................................................................... 3 3. Summary of door knocking interviews and community cafe................................................................. 4 4. Principles & Practice.............................................................................................................................. 6 5. The Plan ................................................................................................................................................ 6 6. Mapping Data...................................................................................................................................... 13 1. Background to Well London in Vauxhall Gardens Estate 1.1 Well London Well London is a community development approach to promoting
    [Show full text]