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Sir Arthur Bliss (1891-1975) Céleste Series Piano Music Vol.2 MARK BEBBINGTON Piano Riptych
SOMMCD 0148 DDD Sir Arthur Bliss (1891-1975) Céleste Series Piano Music Vol.2 MArK BEBBiNGtON piano riptych t Masks (1924) · 1 A Comedy Mask 1:21 bl Das alte Jahr vergangen ist (1932) 2:57 2 A Romantic Mask 3:50 (The old year has ended) Première Recording 3 A Sinister Mask 2:22 bm The Rout Trot (1927) 2:42 4 A Military Mask 2:53 Triptych (1970) Two Interludes (1925) .1912) bn Meditation: Andante tranquillo 7:08 5 c No. 1 4:09 bo ( Dramatic Recitative: 6 nterludes No. 2 3:23 Grave – poco a poco molto animato 5:48 i bp Suite for Piano (c.1912) Capriccio: allegro 5:09 Première Recording bq wo 7 ‛Bliss’ (One-Step) (1923) 3:15 Prelude 5:47 t The 8 Ballade 7:48 Total Duration: 62:11 · 9 Scherzo 3:32 Complete Piano Music of Recorded at Symphony Hall, Birmingham, 3rd & 4th January 2011 Sir Arthur Bliss Steinway Concert Grand Model 'D' Masks Suite for Piano Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Vol.2 Front Cover photograph of Mark Bebbington: © Rama Knight Design & Layout: Andrew Giles © & 2015 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND MArK BEBBiNGtON piano Made in the EU THE SOLO PIANO MUSIC OF SIR ARTHUR BLISS Vol. 2 Anyone coming new to Bliss’s piano music via these publications might be forgiven for For anyone who has investigated the piano music of Arthur Bliss, the most puzzling thinking that the composer’s contribution to the repertoire was of little significance, aspect is surely that, as a body of work, it remains so little known. -
Two Berkeley Professors: Arthur Bliss and Albert Elkus
N. WILLIAM SNEDDEN - ARTICLE - Two Berkeley Professors: Arthur Bliss and Albert Elkus N. William Snedden Independent 1. The Early Years in California: 1923-25 Introduction Arthur Bliss’s first visit to the USA as a young man of 31 took place in April 1923, accompanying his American father Francis, step-mother Ethel, and their children Enid, Cynthia, and Patrick. They sailed from Southampton to New York on the SS Aquitania; by coincidence Gustav Holst was also on board. Francis, aged 75, wanted to return to the place of his birth before re-settling with Ethel on the Pacific coast in Santa Barbara.1 For many years Francis had directed the Anglo-American Oil Company of John D. Rockefeller in London. Upon arrival in America the Bliss family stayed in Manhattan with Francis’s cousin Lorenzo Daniels, a wealthy merchant.2 From 1923 till 1931 Arthur journeyed to the USA on alternate years (see Table 1.1), staying with his father at 15 School House Road ‘Paradero’ in Montecito, Santa Barbara. Situated close by was ‘Casa Dorinda’, the famous 80-roomed mansion estate of William Henry Bliss (no relation), completed in 1919 and named after William’s wife Anna Dorinda Bliss (née Blaksley). The likes of Paderewski, Heifetz and Mischa Elman gave recitals there, including Arthur and the tenor Lawrence Strauss in a performance for Anna Bliss in October 1924. Francis was an avid and sophisticated art collector (as was Arthur), acquiring works by Manet and Zorn. He also held a large collection of etchings by the French painter Alphonse Legros (1837-1911) and by the ‘cowpuncher artist’ John Edward Borein (1872-1945).3 In common with H. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Morning Heroes Blissmorning Heroes
SUPER AUDIO CD MORNING HEROES BLISS Hymn to Apollo (original version) Samuel West orator BBC Symphony Chorus BBC Symphony Orchestra SIR ANDREW DaVIS Arthur Bliss,1923 Arthur Photograph by Herbert Lambert (1881 – 1936) / Mary Evans Picture Library Sir Arthur Bliss (1891 – 1975) Morning Heroes, F 32 (1930)* 55:33 A Symphony for Orator, Chorus, and Orchestra To the memory of my brother FRANCIS KENNARD BLISS and all other comrades killed in battle 1 I Hector’s Farewell to Andromache. Maestoso – L’istesso tempo – L’istesso tempo – 13:00 2 II The City Arming. Allegro alla marcia (with great spirit and elation) – Poco meno – Più mosso – Meno mosso (Moderato) – Alla marcia – Più mosso – Pochissimo meno – Andante moderato 11:14 3 III Vigil. Andante sostenuto – L’istesso tempo (Tranquillo) – Agitato – Tempo I – 7:53 4 The Bivouac’s Flame. Adagio maestoso – Più mosso – A tempo maestoso – Tempo I – Largamente 4:26 5 IV Achilles Goes Forth to Battle. Allegro con fuoco – Tranquillo – 6:45 6 The Heroes. Allegro con fuoco – Molto animato 1:38 V Now, Trumpeter, for thy Close 7 Spring Offensive. Andante maestoso – Più animato – Andante molto tranquillo – 5:32 8 Dawn on the Somme. Grave (quasi chorale) – Andante tranquillo – Pochissimo più mosso – Più mosso – Maestoso – Molto tranquillo 5:02 3 premiere recording 9 Hymn to Apollo, F 116 (1926) 9:26 for Orchestra Original version Moderato maestoso – Più mosso (assai allegro) – A tempo I (moderato) – Più mosso – Tranquillo, ma non meno mosso – A tempo I meno mosso TT 65:12 Samuel West orator* BBC Symphony Chorus* Stephen Jackson chorus master BBC Symphony Orchestra Laura Samuel leader Sir Andrew Davis 4 Sir Andrew Davis Andrew Sir © Dario Acosta Photography Bliss: Morning Heroes / Hymn to Apollo Morning Heroes by machine gun fire near barrier.. -
CHAN 10380 Book 2.Indd
CHAN 10380 Bliss Concerto for Violin and Orchestra A Colour Symphony Lydia Mordkovitch BBC National Orchestra of Wales Richard Hickox29 CCHANHAN 1103800380 bbookook 22.indd.indd 228-298-29 330/7/060/7/06 112:33:322:33:32 Sir Arthur Bliss (1891–1975) A Colour Symphony (1921–22, revised 1932) 31:48 Dedicated to Adrian Boult 1 I Purple. Andante maestoso – Tempo più mosso – Tempo I – Tempo più mosso – Tempo I – Più tranquillo 6:53 2 II Red. Allegro vivace – Più animato – L’istesso tempo – Scherzando – Più tranquillo – Tempo I – Più animato – Scherzando 6:55 3 III Blue. Gently fl owing 9:34 © David Farrell/Lebrecht Music & Arts Photo Library 4 IV Green. Moderato – Tempo più animato – L’istesso tempo – Tempo più animato – Largamente 8:27 Concerto for Violin and Orchestra (1953–55)* 41:47 To Alfredo Campoli 5 I Allegro ma non troppo – Più animato – L’istesso tempo – Più agitato – Tempo I – Tranquillo – Più animato – Tempo I – Più animato – Molto tranquillo – Moderato – Tempo I – Più mosso – Animato 15:41 6 II Vivo – Tranquillo – Vivo – Meno mosso – Animando – Vivo 8:51 Sir Arthur Bliss, c. 1968 3 CCHANHAN 1103800380 bbookook 22.indd.indd 22-3-3 330/7/060/7/06 112:30:062:30:06 Sir Arthur Bliss (1891–1975) A Colour Symphony (1921–22, revised 1932) 31:48 Dedicated to Adrian Boult 1 I Purple. Andante maestoso – Tempo più mosso – Tempo I – Tempo più mosso – Tempo I – Più tranquillo 6:53 2 II Red. Allegro vivace – Più animato – L’istesso tempo – Scherzando – Più tranquillo – Tempo I – Più animato – Scherzando 6:55 3 III Blue. -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
Tage Der Britischen Musik Bamberg 2015 – 2017
Tage der britischen Musik Bamberg 2015 – 2017 Eine Veranstaltungsreihe der Deutschen Sullivan-Gesellschaft e.V. Unter der Schirmherrschaft von Sir Sebastian Wood Botschafter des Vereinigten Königreichs Großbritannien und Nordirland) Programme der Veranstaltungen und Programmbuchtexte BRITANNIA in BAMBERG Tage der britischen Musik 2015 12. – 15. März 2015 Britische Musik des 20. Jahrhunderts 17. – 19. April 2015 Elgar entdecken! 07. – 10. Mai 2015 Purcell, Sullivan & Co. – Vokalmusik aus Großbritannien „Wir sollten einander durch unsere Kunst kennen und lieben und es muss unsere eigene Kunst sein, nicht ein farbloser Kosmopolitismus. Ich glaube, dass die eigene Gemeinschaft, die eigene Sprache, die Gebräuche und die Religion wesentlich sind für unser geistiges Wohlbefinden. Aus diesen Merkmalen, diesen ,starken Verknüpfungen‘, können wir ein vereintes Europa und eine Weltföderation errichten.“ “We should know and love each other through our art – and it must be our own art, not a colourless cosmopolitanism. I believe that one’s community, own’s own language, customs and religion are essential to our spiritual health. Out of these characteristics, the ,hard knots’, we can build a united Europe and a world federation.” Ralph Vaughan Williams (1872-1958) Inhaltsverzeichnis Grußworte und Einführung Seiten 6 | 7 | 8 | 9 | 28 Grußworte Sir Simon McDonald, Britischer Botschafter, Berlin Dr. Christian Lange, Bürgermeister Hilary Elgar, Großenkelin von Edward Elgar Meinhard Saremba (Künstlerischer Leiter) und Margit Brendl (Kaufmännische Leiterin) Programm 12. bis 15. März 2015 Britische Musik des 20. Jahrhunderts Seiten 11 | 19 | 25 „Musik ist ein Zustand der Ewigkeit“ Kammermusik von Holst, Howard, Bliss und Gurney Seite 12 „Die Sterne zum Tanzen bringen“ Die Musik von Tippett, Britten und Vaughan Williams Seite 20 „Sing joyfully!“ Chormusik britischer Komponisten vom 16. -
August 2020 Vol.22, No. 2 the Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected]
Journal August 2020 Vol.22, No. 2 The Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected] August 2020 Vol. 22, No. 2 Editorial 3 Sir Adrian Boult CH. 5 President Andrew Neill Sir Mark Elder CH CBE Sir John Barbirolli, CH: An Elgarian Perspective 16 David L. Jones Vice-Presidents Diana McVeagh Elgar - Views From and For the Continent 27 Dame Janet Baker, CH, DBE Christopher Redwood Leonard Slatkin Sir Andrew Davis, CBE Elgar and Dan 30 Christopher Robinson, CVO, CBE Arthur Reynolds Andrew Neill Martyn Brabbins ‘“Gerontius” with M.S. notes by Elgar’: R. J. Buckley’s Vocal Score of 36 Tasmin Little, OBE The Dream of Gerontius in the Borthwick Institute for Archives at the Julian Lloyd Webber University of York Professor Jonathan Wainwright Music Review 58 Chairman Neil Mantle MBE Book Review 61 Vice-Chairman CD Reviews 64 Stuart Freed Recent CD Releases 74 Treasurer Peter Smith 100 Years Ago... 76 Secretary George Smart The Editors do not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Adrian Boult by Jonathan Trowell (loaned by the Bowerman Charitable Trust). 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. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions. -
White Lodge Museum : Newsletter
Newsletter | Autumn 2013 Issue 10 Dame Monica Mason with a painting of Leslie Hurry’s set design for Helpmann’s Hamlet, which she has kindly donated to White Lodge Museum Panel discussion L - R: Professor Richard Cave, choreographer Andrew McNicol and Dr Víctor Durà-Vilà On 27 October White Lodge Museum hosted a full day symposium The Many Faces of Robert Helpmann. Foundations of the event lay in a reconstruction of Helpmann’s 1944 ballet Miracle in the Gorbals. David Drew, former Principal with The Royal Ballet, began a project with White Lodge Museum in 2011 to reconstruct the ‘lost’ ballet. Several members of the original cast were involved including Gillian Lynne, Pauline Clayden, Julia Farron, Jean Bedells and Henry Danton. Following a very successful workshop at White Lodge with a cast of 40 dancers, the decision was taken to hold a symposium to explore the significance of Helpmann in British ballet, theatre and film. A Royal Ballet School student performs in Andrew Film footage of the Miracle in the Gorbals workshop McNicol’s new choreography based on Adam Zero. formed the basis of a paper by Michael Byrne as part of his PhD at the University of Cambridge. He is investigating the regenerative processes of reviving ballets with scores by the composer Arthur Bliss. In addition to Miracle in the Gorbals Bliss wrote the music for Helpmann’s ballet Adam Zero (1946). Dr Víctor Durà-Vilà, Visiting Research Fellow at King’s College London, considered why Helpmann and Bliss made such an effective creative partnership. Along with diverse papers, panels and film screenings there was performance by Royal Ballet School students in new choreography by Andrew McNicol based on Adam Zero. -
Sir Arthur Bliss's Opera Tobias and the Ange/Was Commissioned By
Sir Arthur Bliss's opera Tobias and the Ange/was commissioned by BBC Television and it was first seen in a live telecast on 19 May 1960, its only production, the performance reissued here. The libretto is by Christopher Hassall - after the Apocryphal Book of Tobit- who sets the story in two acts. The score is dedi cated to Trudy BLiss by the composer and the author. Bliss was probably best known for his pioneering ballet scores Checkmate, Miracle in the Gorbafs and Adam Zero, and his film music for Things to Come. His varied catalogue of orchestral works spans more than fifty years from A Co/011r Symphony of 1921-2, to the Metamorphic Variations of 1972 as well as concertos for piano and violin. His choral music is crowned by his First World \'\far memorial to lost comrades, Morning Heroes, and his chamber music includes memorable oboe and clarinet quintets and two string quartets. As Master of the Queen's Music after 1954 his occasional works and fa nfares for royal occasions are iconic. His three-act opera The Olympians, seen at Covent Garden in 1949, and his version of The Beggar's Opera produced for a fi lm released in 1953 are all that precede this television opera for the operatic stage. Antony Hopkins CBE was long known to a wide audi ence for his BBC Radio series 'Talking About Music' in which, notable for the ease and informali ty of his deli very, each week he analyzed a major work from the repertoire, ill ustrated at the piano. -
Ballet the Sound of Ballet
The Sound of Ballet The Sound of Ballet This Naxos segment catalogue contains a wealth of music from the world of ballet, from the genre’s inception right through to its contemporary forms. This rich resource has its roots in the Italian Renaissance and 17th century French theatre, but ballet in the form we generally know it today emerged during the Romantic era developments of the 19th century. With Swan Lake, The Sleeping Beauty and The Nutcracker, Pyotr Ilyich Tchaikovsky showed how the master of symphonic writing 8.550755-56 was able to apply some of his finest expressions to the stage, helping to establish the robust tradition of Russian ballet that continues today. The Parisian scene at the time similarly flourished with celebrated works such as Adolphe Adam’sGiselle and Léo Delibes’ Coppélia. Paris was never to be the same, however, following the arrival of Serge Diaghilev’s Ballets Russes. It was Diaghilev who commissioned Maurice Ravel’s Daphnis et Chloé, for example, and collaborated with Igor Stravinsky, the composer who revolutionised 20th-century music with his score for The Rite of Spring. 8.572924 Soon afterwards, Darius Milhaud’s La création du monde brought jazz influences to Paris from the United States, and the harsh realities of 1920s moral corruption in Eastern Europe resulted in Béla Bartók’s banned pantomime ballet The Miraculous Mandarin. The frontier narratives of America found voice in works such as Aaron Copland’s Appalachian Spring, Rodeo and Billy the Kid, while the life of the country’s bustling cities became projected in Leonard Bernstein’s Fancy Free. -
A Discography
effort for sound recordings, continued research and ARTUR SCHNABEl: A DISCOGRAPHY development to achieve archival transfer and storage ~edia BY DAVID BLOESCH for sound recordings, improved training and profess1onal support for sound archivists, promotio~ of recommended practices--including transfer documen~atlon--and Sta~dards for the preservation of sound record1ngs, and cont1nued generation of reference mater~als--including, p~rt.icularly, compilation of a national ducography--to fac1lltate the PREFACE preservation process. BY FLORENCE KIRSCH NOTES It is well over half a century since Artur Schnabel began to record the thirty-two 1. The project was originally approved for t~e period Beethoven Sonatas in lonoon. This event coincided with his performances of these works in a January 1986 - June 30, 1987; a 90-day extens1o~ ~t no series of concerts in Berlin. The two events were not dissimilar. for at that time recordings increase in budget was approved by NEH to fac1l1tate were mfKJe as performances, without the safety valve of correct ions. preparation of the final report, which is now due by December 31, 1987. Thirty-six years ago, in 1951 , Artur Schnabel died. By then he had recorded a large 2. Four formal meetings were originally projected, but NEH number of w_orks, the ~tails of which the discography will show. It is not surprising that approved a fifth at AAA request. these recordmgs are shll sought for inspiration, insight and enlightenment. They remain a 3. NEH approved partial travel expenses for two persons ~or tr~ure of musical ideas, of spontaneity, daring and deep inner devotion to this great music.