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The Hills of Dreamland
SIR EDWARD ELGAR (1857-1934) The Hills of Dreamland SOMMCD 271-2 The Hills of Dreamland Orchestral Songs The Society Complete incidental music to Grania and Diarmid Kathryn Rudge mezzo-soprano† • Henk Neven baritone* ELGAR BBC Concert Orchestra, Barry Wordsworth conductor ORCHESTRAL SONGS CD 1 Orchestral Songs 8 Pleading, Op.48 (1908)† 4:02 Song Cycle, Op.59 (1909) Complete incidental music to 9 Follow the Colours: Marching Song for Soldiers 6:38 1 Oh, soft was the song (No.3) 2:00 *♮ * (1908; rev. for orch. 1914) GRANIA AND DIARMID 2 Was it some golden star? (No.5) 2:44 * bl 3 Twilight (No.6)* 2:50 The King’s Way (1909)† 4:28 4 The Wind at Dawn (1888; orch.1912)† 3:43 Incidental Music to Grania and Diarmid (1901) 5 The Pipes of Pan (1900; orch.1901)* 3:46 bm Incidental Music 3:38 Two Songs, Op. 60 (1909/10; orch. 1912) bn Funeral March 7:13 6 The Torch (No.1)† 3:16 bo Song: There are seven that pull the thread† 3:33 7 The River (No.2)† 5:24 Total duration: 53:30 CD 2 Elgar Society Bonus CD Nathalie de Montmollin soprano, Barry Collett piano Kathryn Rudge • Henk Neven 1 Like to the Damask Rose 3:47 5 Muleteer’s Serenade♮ 2:18 9 The River 4:22 2 The Shepherd’s Song 3:08 6 As I laye a-thynkynge 6:57 bl In the Dawn 3:11 3 Dry those fair, those crystal eyes 2:04 7 Queen Mary’s Song 3:31 bm Speak, music 2:52 BBC Concert Orchestra 4 8 The Mill Wheel: Winter♮ 2:27 The Torch 2:18 Total duration: 37:00 Barry Wordsworth ♮First recordings CD 1: Recorded at Watford Colosseum on March 21-23, 2017 Producer: Neil Varley Engineer: Marvin Ware TURNER CD 2: Recorded at Turner Sims, Southampton on November 27, 2016 plus Elgar Society Bonus CD 11 SONGS WITH PIANO SIMS Southampton Producer: Siva Oke Engineer: Paul Arden-Taylor Booklet Editor: Michael Quinn Front cover: A View of Langdale Pikes, F. -
Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn
The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence....... -
'The Crown of India' Masque: Reassessing Elgar and The
Mughals, Music, and “The Crown of India” Masque: Reassessing Elgar and the Raj published in South Asian Review 31.1 (November 2010): 13-36. Abstract Edward Elgar’s 1912 masque, “The Crown of India,” was written specifically for the music hall in celebration of the crowning of King George V and Queen Mary at the Delhi Durbar in 1911. This work has been addressed by musical and postcolonial scholars, and has been appropriated by two factions: those who wish to claim Elgar as an unrepentant imperialist, and see that manifested in this work, and those who wish to see him as a beacon for anti-imperialism, who see evidence of this in the cuts that he made to the libretto, written by Henry Hamilton. What has been lacking in this discourse is a vehicle to address those cuts from a literary perspective, citing actual support from the two versions of the libretto (with and without cuts). This paper will reassess the masque in light of these libretti, and offer a new assessment of Elgar’s imperial tendencies at that point in time, and the imperialism of the Raj. Article The Great Delhi Durbar of December 12, 1911, the third, final, and most spectacular of all the Imperial Durbars, was, according to all accounts, a spectacle of unheard-of opulence and extravagance. In it, King George V and Queen Mary were presented as Emperor and Empress of India, and, in their coronation robes, accepted presents from and the fealty of over 200 Indian princes. Amidst all the pomp, some matters of great import were decided at the Durbar. -
Toccata Classics TOCC0024 Notes
P JULIUS RÖNTGEN, CHAMBER MUSIC, VOLUME ONE – WORKS FOR VIOLIN AND PIANO I by Malcolm MacDonald Considering his prominence in the development of Dutch concert music, and that he was considered by many of his most distinguished contemporaries to possess a compositional talent bordering on genius, the neglect that enveloped the huge output of Julius Röntgen for nearly seventy years after his death seems well-nigh inexplicable, or explicable only to the kind of aesthetic view that had heard of him as stylistically conservative, and equated conservatism as uninteresting and therefore not worth investigating. The recent revival of interest in his works has revealed a much more complex picture, which may be further filled in by the contents of the present CD. A distant relative of the physicist Conrad Röntgen,1 the discoverer of X-rays, Röntgen was born in 1855 into a highly musical family in Leipzig, a city with a musical tradition that stretched back to J. S. Bach himself in the first half of the eighteenth century, and that had been a byword for musical excellence and eminence, both in performance and training, since Mendelssohn’s directorship of the Gewandhaus Orchestra and the Leipzig Conservatoire in the 1830s and ’40s. Röntgen’s violinist father Engelbert, originally from Deventer in the Netherlands, was a member of the Gewandhaus Orchestra and its concert-master from 1873. Julius’ German mother was the pianist Pauline Klengel, sister of the composer Julius Klengel (father of the cellist-composer of the same name), who became his nephew’s principal tutor; the whole family belonged to the circle around the composer and conductor Heinrich von Herzogenberg and his wife Elisabet, whose twin passions were the revival of works by Bach and the music of their close friend Johannes Brahms. -
Vol. 18, No. 1 April 2013
Journal April 2013 Vol.18, No. 1 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2013 Vol. 18, No. 1 Editorial 3 President Julian Lloyd Webber FRCM Julia Worthington - The Elgars’ American friend 4 Richard Smith Vice-Presidents Redeeming the Second Symphony 16 Sir David Willcocks, CBE, MC Tom Kelly Diana McVeagh Michael Kennedy, CBE Variations on a Canonical Theme – Elgar and the Enigmatic Tradition 21 Michael Pope Martin Gough Sir Colin Davis, CH, CBE Dame Janet Baker, CH, DBE Music reviews 35 Leonard Slatkin Martin Bird Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 36 Christopher Robinson, CVO, CBE Frank Beck, Lewis Foreman, Arthur Reynolds, Richard Wiley Andrew Neill Sir Mark Elder, CBE D reviews 44 Martin Bird, Barry Collett, Richard Spenceley Chairman Letters 53 Steven Halls Geoffrey Hodgkins, Jerrold Northrop Moore, Arthur Reynolds, Philip Scowcroft, Ronald Taylor, Richard Turbet Vice-Chairman Stuart Freed 100 Years Ago 57 Treasurer Clive Weeks The Editor does not necessarily agree with the views expressed by contributors, Secretary nor does the Elgar Society accept responsibility for such views. Helen Petchey Front Cover: Julia Worthington (courtesy Elgar Birthplace Museum) 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. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. -
Cyril Scott (1879 - 1970)
SRCD.365 STEREO/UHJ DDD The songs of Cyril Scott (1879 - 1970) 1 Pierrot and the Moon Maiden (1912) Dowson 3.01 2 Daffodils Op. 68 No. 1 (1909) Erskine 1.57 3 Spring Song (1913) C Scott 2.33 The songs of 4 Don't Come in Sir, Please! Op. 43 No. 2 (1905) trans. Giles 2.15 5 Willows Op. 24 No. 2 (1903) C Scott 2.21 Cyril Scott 6 In a Fairy Boat Op. 61 No. 2 (1908) Weller 2.05 7 Lovely Kind & Kindly Loving Op. 55 No. 1(1907) Breton 2.23 8 Scotch Lullabye Op. 57 No. 3 (1908) W Scott 3.37 9 The Watchman (1920) Hildyard 3.15 10 Water-Lilies (1920) O’Reilly 2.06 11 Voices of Vision Op. 24 No. 1 (1903) C Scott 4.42 12 Sundown (1919) Grenside 2.55 Charlotte de Rothschild 13 Autumn’s Lute (1914) R.M Watson 2.05 14 A Valediction Op. 36 No. 1 (1904) Dowson 2.21 Adrian Farmer 15 Lullaby Op. 57 No. 2 (1908) C Rossetti 2.25 Charlotte de Rothschild, soprano Adrian Farmer, piano c & © 2018 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive licence from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK SRCD 365 16 SRCD 365 1 The Songs of Cyril Scott Cyril Scott(1879- 1970) A composer who writes songs arguably allows us into a very personal side of his or her character. An instrumental composition gives us access to a composer’s imagination 16 The Unforeseen Op. -
Rosaleen Norton's Contribution to The
ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J. -
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) -
A NOTE from Johnstone-Music
A NOTE FROM Johnstone-Music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are pleased for you to have a copy of this article, which you may read, print or saved on your computer. These presentations can be downloaded directly. You are free to make any number of additional photocopies, for Johnstone-Music seeks no direct financial gain whatsoever from these articles (and neither too the writers with their generous contributions); however, we ask that the name of Johnstone-Music be mentioned if any document is reproduced. If you feel like sending any (hopefully favourable!) comment visit the ‘Contact’ section of the site and leave a message with the details - we will be delighted to hear from you! SPECIAL FEATURE on JOHN FOULDS .. Birth: 2nd November 1880 - Hulme, Manchester, England Death: 25th April 1939 - Delhi, India .. .. Born into a musical family, Foulds learnt piano and cello from a young age, playing the latter in the Hallé Orchestra from 1990 with his father, who was a bassoonist in the same orchestra. He was also a member of Promenade and Theatre bands. .. Simultaneously with cello career he was an important composer of theatre music. Notable works for our instrument included a cello concerto and a cello sonata. Suffering a setback after the decline in popularity of his World Requiem (1919–1921), he left London for Paris in 1927, and eventually travelled to India in 1935 where, among other things, he collected folk music, composed pieces for traditional Indian instrument ensembles, and worked as Director of European Music for All-India Radio in Delhi. -
Performing Music History Edited by John C
musicians speak first-hand about music history and performance performing music history edited by john c. tibbetts michael saffle william a. everett Performing Music History John C. Tibbetts · Michael Saffe William A. Everett Performing Music History Musicians Speak First-Hand about Music History and Performance Forewords by Emanuel Ax and Lawrence Kramer John C. Tibbetts William A. Everett Department of Film and Media Studies Conservatory of Music and Dance University of Kansas University of Missouri-Kansas City Lawrence, KS, USA Kansas City, MO, USA Michael Saffe Department of Religion and Culture Virginia Tech Blacksburg, VA, USA ISBN 978-3-319-92470-0 ISBN 978-3-319-92471-7 (eBook) https://doi.org/10.1007/978-3-319-92471-7 Library of Congress Control Number: 2018951048 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
Reducing the Term of Copyright in Unpublished Works (“2039” Rule)
December 2014 Consultation on reducing the duration of copyright in unpublished (“2039”) works in accordance with section 170(2) of the Copyright, Designs and Patents Act 1988 About UK Music 1. UK Music is the umbrella body representing the collective interests of the UK’s commercial music industry, from songwriters and composers to artists and musicians, studio producers, music managers, music publishers, major and independent record labels, music licensing companies and the live music sector. 2. UK Music exists to represent the UK’s commercial music sector, to drive economic growth and promote the benefits of music to British society. The members of UK Music are listed in annex 1. General 3. We see no justification to change the 2039 Rule to the extent that it impacts music, whether it is for sound recordings or musicial works. The rule constitutes a compromise achieved in 1988 in order to bring the calculation of term for unpublished works in line with the one for published works in 2039. We note that Government has not provided any evidence in the Impact Assessment which would justify their preferred Option 2a with regards to sound recordings and is otherwise very limited for other forms of works. 4. There are some important general points about the Impact Assessment that we would wish to note: a) On page 1 it is stated that the works cannot be lawfully published if copyright owners cannot be identified. The Government has recently introduced an orphan works licensing scheme to permit lawful publication of such works. In addition the Impact Assessment does not consider whether works subject to the 2039 Rule could be cleared via an extended collective licence. -
Table of Contents Provided by Blackwell's Book Services and R.R
List of Illustrations p. xiii Chronology p. xv Introduction p. xxi The Man Forebears p. 5 [The Aldridge Saga Begins] (1933) [Aldridge Family Strengths] (1933) [Aldridge Family Weaknesses] (1933) [Frank and Clara Aldridge] (1933) Father p. 15 John H. Grainger (1956) [John H. Grainger in Adelaide] (ca. 1933) My Father's Comment on Cyril Scott's Magnificat (1953) Mother's Experience with Scotch & Irish (1953) How Would We Ordinary Men Get On If the Clever Ones Did Not Destroy Themselves? (1953) My Father in My Childhood (1954) Mother p. 27 Dates of Important Events and Movements in the Life of Rose Grainger (1923) [How I Have Loved Her, How I Love Her Now] (1922) Thought Mother Was 'God'. Something of This Still Remains (1923) Arguments with Beloved Mother (1926) Mother's Neuralgia in Australia (1926) Mother on My Love of Being Pitied (1926) Beloved Mother's Swear-Words (1926) Mother a Nietzschean? (1926) Thots of Mother while Scoring To a Nordic Princess (1928) Bird's-Eye View of the Together-Life of Rose Grainger and Percy Grainger (1947) Friends p. 79 [Dr Henry O'Hara] (1933) Dr Hamilton Russell Called Me 'A Tiger for Work' (1953) A Day of Motoring with Dr Russell (1953) Karl Klimsch's Purse of Money, for Mother to Get Well On (1945) The English Are Fickle Friends, Tho Never Vicious in Their Fickleness (1954) My First Meeting with Cyril Scott (1944) Walter Creighton & Cyril Scott (1944) Walter Creighton on Roger Quilter's Hide-Fain-th ((Secretiveness)) (1944) Roger Quilter Failed Me at Harrogate (1944) Balfour Gardiner Disliked What He Considered Political Falsification in Busoni & Harold Bauer (1953) Balfour Gardiner with Me in Norway, 1922 (1953) Mrs L[owrey] and My Early London Days (1945) Frau Kwast-Hiller, Evchen, Mrs Lowrey in Berlin (1953) Miss Devlin's Sweet Australian Ways (1953) Jacques Jacobs on First Ada Crossley Tour (1953) Eliza Wedgewood, Out to Buy Old Furniture from Folksingers (1953) Sargent's and His Set's Set-of-Mind toward My Betrothal to Margot (1944) Wife p.