DOCSLIB.ORG

C DSPH Records of the Hull Philharmonic Society 1881-2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
C DSPH Records of the Hull Philharmonic Society 1881-2012 Hull History Centre: Records of the Hull Philharmonic Society C DSPH Records of the Hull Philharmonic Society 1881-2012 Accession Number: 10/55; 10/68; 11/36; 11/61 Extent: 30 boxes Description: THE RECORDS OF HULL PHILHARMONIC SOCIETY (FOUNDED 1881). Records within this collection include minutes, reports and accounts, correspondence, photographs, programmes, lists of members, publicity material, ephemera, books, press cuttings, and members papers. Please note that correspondence, reports, and accounts relating to the decades prior to the 1950s are not present in the collection, and that the same relating to the period 1950-1970 is very patchy. Please also note that the only records relating directly to the Hull Junior Philharmonic Orchestra are a number of programmes [CDSPH/5/4], although references to the Junior Orchestra can be found within other records in this collection. Arrangement: Collection arranged as follows: C DSPH/1 Minutes, 1881-1995 C DSPH/2 Reports, 1963-2003 C DSPH/3 Correspondence, 1908-2010 C DSPH/4 Photographs, 1949-2010 C DSPH/5 Programmes, 1882-2011 C DSPH/6 Members Lists, c.1881-1963 C DSPH/7 Publicity Material, 1935-2011 C DSPH/8 Ephemera, 1850-1999 C DSPH/9 Library, 1936-2008 C DSPH/10 Press Cuttings, 1884-2010 C DSPH/11 Members' Papers, 1908-2011 C DSPH/12 Miscellaneous Records, 1899-2003 Historical Background: Created by the Hull Philharmonic Society during the normal course of their business. Formation of the Society On 1 Jun 1881 a group of 17 men met at the George Hotel, Hull, for the purposes of establishing a society for 'the private and Public Performance of Orchestral Music at Hull be called the Hull Philharmonic Society' [C DSPH/1/1/1]. Membership was to be by subscription and subscribers were to be entitled to free tickets to orchestral concerts arranged by the Society and performed by its Orchestra. The Society was to operate on a seasonal basis, this season running from Autumn to Summer and thus spanning two consecutive years. The Society was to be led by a President, aided by Vice-Presidents, an Honorary Secretary, an Honorary Treasurer, and a Conductor. An Executive Committee was established to manage the affairs of the Society and regular meetings of this committee were held to agree the musical programme for the season and to make arrangements for concerts. The Executive Committee was composed of Executive Members and led by an elected Chairman. At meetings the Conductor would submit his suggestions for the season's musical programme for approval by the committee. AGMs were held each year at which ordinary and playing members were appraised of any occurrences during the past season, reports of the Treasurer and Secretary were presented, and audited accounts were given approval. A Ladies Committee was established in the early years of the Society's existence and its © Hull History Centre 1 Hull History Centre: Records of the Hull Philharmonic Society business included the arrangement of social events, the provision of decorations at concerts, and fundraising work in order to contribute to the social life and financial position of the Society. This Committee was led by the 'Lady President', and in time it became the practice that the holder of this office also served as a member of the Executive Committee. Society Concerts On 19 Apr 1882 Hull Philharmonic Orchestra held its first concert at the Public Assembly Rooms, Jarratt Street, Hull. During the early years of the Society's existence two concerts per season were performed by the Hull Philharmonic Orchestra. These concerts were usually held in November and January. In the early decades of the 20th century the number of concerts per season was increased to three, these being held in November, February/March, and April/May, and were referred to respectively as the first, second, and third orchestra concerts of the season. In its early years, the Assembly Rooms were used as a concert venue, excepting a brief period in 1892 when fire damage to the Assembly Rooms necessitated recourse to holding concerts at the Artillery Barracks. In 1910 the Society's usual concert venue was moved to the newly constructed City Hall. Since this time City Hall has been the permanent home of Society concerts, excepting a brief period during 1945- 1948 when war damage sustained by City Hall forced the Society to hold its concerts at Queens Hall. Bookings for concerts were made through Gough & Davy until the automation of the bookings system at City Hall by the City Council in recent years. From the early years of the Society's existence, soloists of high reputation within the world of classical music have been engaged to play or sing with the orchestra at concerts, and the Society has operated a policy of engaging conductors of national and international standing. Sponsored Concerts Scheme From 1972 the Society began to present 'Sponsored Concerts' funded by a separately administered 'Sponsorship Fund'. The scheme was the brainchild of the then President of the Society Harold Needler, whose own personal efforts in conjunction with the then Musical Director of the Society Terrence Lovett were responsible for the scheme's success. The 'Sponsored Concerts' did not feature the Society's own orchestra but were instead intended to promote the visits of touring artists and orchestras of national and international renown. Each concert was sponsored by a commercial firm or individual who had signed a seven year Deed of Covenant agreeing to contribute at least £20 per annum to the Sponsorship Fund. Dinners were held on the occasion of these concerts adding to the sense of occasion. The scheme was abandoned in the late 1980s, the final concert being held 4 Feb 1989. Artists featuring in the Society's 'Sponsored Concerts' have included Fou Ts'ong, Royal Philharmonic Orchestra, New Symphony Orchestra of London, Victoria de los Angeles, Artur Rubinstein, Elisabeth Schwarzkopf, Shura Cherkassky, Royal Liverpool Philharmonic Orchestra, Henryk Szeryng, Rudolf Firkusny, Segovia, Sandra Browne, The Tortelier Family, Dmitri Alexeev, Royal Philharmonic Orchestra, London Mozart Players, Philomusica of London with Annie Fischer, Prague Chamber Orchestra featuring Boris Krajny, English Chamber Orchestra featuring Robert Tear and Anthony Halstead, Philharmonia Orchestra featuring Carl Pini, Mozcow Philharmonic Orchestra featuring Dmitri Kitaenko and Oleg Krysa, BBC Symphony Orchestra, The Hungarian State Symphony Orchestra featuring Jeno Jando, Czech Philharmonic Orchestra, The Philip Jones Brass Ensemble, BBC Philharmonic Orchestra featuring Igor Oistrakh, Vladimir Ashkenazy, Peterborough String Orchestra, National Youth Orchestra of Great Britain, Richard Baker, Barbara Leigh-Hunt, Keith Latham, Christine Teare, Richard Pasco and Guy Wolfenden. Occasions of Note © Hull History Centre 2 Hull History Centre: Records of the Hull Philharmonic Society The Society has celebrated a number of significant occasions over the years. To mark its first concert both J.W. Hudson and Henri Hartog composed overtures for the Hull Philharmonic Society which were performed by the orchestra on 19 Apr 1882. On 8 Feb 1936 the Orchestra played a newly composed 'Fanfare' by Sir Henry J. Wood written in memory of King George V. During the 1956-1957 season the Society celebrated its 75th anniversary by commissioning a work by composer and Hull University lecturer John Jubert. The 1962-1963 season saw a celebration dinner and concert held to mark the 80th anniversary of the Society. On 25 Nov 1971 the orchestra performed a specially commissioned work by Dr Wilfred Josephs, this being his 5th Symphony, to mark the Society's 90th anniversary. However, the landmark celebration in the society's history to date was the 1981-1982 season which saw Centenary celebrations including a dinner, concerts, and the performance of a specially commissioned work by local composer Anthony Hedges. In addition to these personal milestones, the Society has held concerts and dinners marking occasions including the Sir Henry J. Wood centenary in 1969, the bi-centenary of Beethoven's birth in 1979, the 200th anniversary of the Abolition of the Slave Trade Act in 2007, the 90th Anniversary of Sir Malcolm Arnold in 2011, and most recently the Society took part in the city's cultural olympiad celebrations by commissioning and performing a new work titled 'Sounding the Deep' on 17 Mar 2012. Individuals Associated with the Society Chairmen The first Chairman of the Society was Algernon Sydney Ayre and he has been succeeded by John Young, Frank Ferraby, W.E. Hare, Cyril Townsley, Dr Lionel Rosen, Calman Rosen, E.A. Hickson, and William Hunter. The Chairman was supported in his work by the Honorary Secretary and Honorary Treasurer, and other members of the Committee included the Honorary Conductor and Honorary Librarian. The Executive Committee, in conjunction with the Conductor, was responsible for the selection of concert programmes and the arrangements for concerts. Presidents The first President of the society was Lt. Co. Pease, who has been succeeded by Lord Herries, Sir Seymour King, T.R. Ferens, E. Dumoulin, Sir Reginald Mitchell-Banks, Arthur Wilson-Filmer, Cyril Townsley, Lt. Col. Rupert Alec-Smith, Harold Needler, and Mrs Hilary Needler. Lady Presidents The first President of the Ladies Committee was Betty Dufton and she was succeeded in this position by Mrs B. Ashton, Mrs H. Roach, Mrs C.H. Ashburn, Mrs E.W. Fraser, Mrs Philip Priestman, Mrs Sydney Harrison, Mrs P. Scott, Miss D.A. Hudson, Miss H. Drasdo, Mrs H. Scott, Mrs N. Strafford, Mrs E. Hudson, Mrs C. Hardy, Miss Edna Wilson, and Miss K.E. Wilson. Conductors/Musical Directors The first conductor appointed by the Society was Henri Hartog, and he was succeeded by J.W. Hudson, Sir Henry J. Wood. Basil Cameron, Albert Coates, Clarence Raybould, Herbert Menges, Vilem Tausky, Norman del Mar, Walter Goehr, Walter Susskind, John Hollingsworth, Lawrence Leonard, Sir Charles Groves, George Weldon, Richard Austin, Terence Lovett, Dr Walford Davies, David Haslem, Antony Hopkins, Brian Stait, Nicholas Smith, Richard Hickox, Meredith Davies, Maurice Handford, and Andrew Penny.
Load more

Recommended publications
  • Signumclassics
    126booklet 13/5/08 11:28 Page 1 ALSO AVAILABLE ON signumclassics Ragtime & Blue Brahms and Schumann Haydn Piano Sonatas Elena Kats-Chernin - Piano John Lill - Piano John Lill - Piano SIGCD058 SIGCD075 SIGCD097 Elena Kats-Chernin is a composer who Much-loved pianist, John Lill, plays John Lill returns to take the listener on a defies categorisation: a virtuosic pianist touchstones of the 19th-century romantic journey through the many moods of Haydn, and improviser, her compositions flow piano tradition. Lill is at his sparkling in brilliant performances of some from her like a fountain. This CD is best in this wonderful repertoire. composer’s most intriguing works for drawn from the small works she often the keyboard. writes for her own enjoyment - a cornucopia of rags, blues and heart- melting melodies. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 126booklet 13/5/08 11:28 Page 3 MESSIAEN: CHAMBER WORKS MESSIAEN: CHAMBER WORKS The general perception of Messiaen is of a always turned up at class with mountains of work 1. Fantaisie [8.59] composer who lived in some rarefied atmosphere (not guaranteed to ensure popularity!) and was of his own, floating far above the mundane, recognised as a young man likely to succeed. But Quatuor pour la fin du Temps material world. Given his preoccupation with any view of Messiaen as vague or indecisive in his 2. Liturgie de cristal [2.37] esoteric rhythms, sound-colours, theology and opinions needs to be set against the truth - for all birdsong, this is perhaps a reasonable judgment his pacific demeanour (and, in later years, 3.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • ONYX4106.Pdf
    DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956).
    [Show full text]
  • A GARLAND for JOHN MCCABE Monica Mccabe’S Reflections on a Life Lived for Music Agenda British Music Society’S News and Events British Music Scores Search
    BRITISH MUSIC SOCIETY nAPRIL 2018 ews AMBASSADOR FOR BRITISH MUSIC IN USA Madeleine Mitchell across the pond A GARLAND FOR JOHN MCCABE Monica McCabe’s reflections on a life lived for music Agenda British Music Society’s news and events British music scores search org Schneider from the German for piano and winds (1890) wind ensemble Four Points One • George Alexander Osborne Chairman’s J(www.four-point-one.de) is on Quintet for piano and winds the hunt for scores the following (1889) (Yes - he is actually Irish) compositions by British composers: If anyone from the BMS welcome • Marian Arkwright Quintet for network could help him track down piano and winds these scores please get in touch with MS member Madeleine Mitchell is back • Edith Swepstone Quintet for him at [email protected]. piano and winds Jorg is also on the look out for from America and has submitted the first • Henry David Leslie Quintet for any information about the Sir BBMS Ambassador report from her visit to piano and winds op.6 Michael Costa Prize 1896 Anyone the Kansas State University (see opposite page). • Edward Davey Rendall Quintet know anything about this? The committee is closely monitoring the progress of this new scheme and are always interested to hear members’ views. Reviving Victorian opera For those of you with access to the internet, a visit to the BMS website now offers the preced - ictorian Opera Northwest to revise Nell Gwynne by inviting B have made full opera C Stevenson (a librettist of Sullivan’s ing Printed News that opens by clicking on the recordings of works by Balfe, The Zoo) to write the new book.
    [Show full text]
  • WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
    WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process.
    [Show full text]
  • Gilbert & Sullivan / D'oyly Carte Opera Company
    Gilbert & Sullivan Gilbert & Sullivan Weekend mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Gilbert & Sullivan Weekend Country: US Released: 1990 Style: Opera, Contemporary MP3 version RAR size: 1138 mb FLAC version RAR size: 1966 mb WMA version RAR size: 1283 mb Rating: 4.8 Votes: 305 Other Formats: ASF ADX DTS XM VOX MPC WAV Tracklist Hide Credits HMS Pinafore (Recorded In 1959) Now Give Three Cheers / I Am A Monarch Of The Sea / When I 1 Was A Lad 4:51 Vocals – Joyce Wright 2 I'm Called Little Buttercup 1:44 Never Mind The Why And Wherefore 3 2:39 Vocals – Jean Hindmarsh The Mikado (Recorded In 1973) A Wand'ring Minstrel I 4 4:33 Vocals – Colin Wright Three Little Maids From School Are We 5 1:27 Vocals – Pauline Wales, Peggy Ann Jones 6 As Someday It May Happen 2:21 The Flowers That Bloom In The Spring 7 1:38 Vocals – Colin Wright 8 On A Tree By A River A Little Tom-Tit 2:24 The Yeomen Of The Guard (Recorded In 1964) When Our Gallant Norman Foes 9 4:53 Conductor – Malcolm Sargent* I Have A Song To Sing, O! 10 3:21 Conductor – Malcolm Sargent*Vocals – Elizabeth Harwood The Pirates Of Penzance (Recorded In 1967) 11 I Am The Very Model Of A Modern Major-General 2:59 When The Foeman Bares His Steel 12 4:52 Vocals – Jean Allister, Owen Brannigan 13 Poor Wand'Ring One 2:58 When A Felon's Not Engaged In His Employment 14 2:32 Vocals – Owen Brannigan Iolanthe (Recorded In 1961) 15 Loudly Let The Trumpet Bray 5:52 If You Go In You're Sure To Win 16 2:20 Vocals – Donald Adams The Gondoliers (Recorded In 1964) We're Called
    [Show full text]
  • NSF Programme Book 23/04/2019 12:31 Page 1
    two weeks of world-class music newbury spring festival 11–25 may 2019 £5 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 1 A Royal Welcome HRH The Duke of Kent KG Last year was very special for the Newbury Spring Festival as we marked the fortieth anniversary of the Festival. But following this anniversary there is some sad news, with the recent passing of our President, Jeanie, Countess of Carnarvon. Her energy, commitment and enthusiasm from the outset and throughout the evolution of the Festival have been fundamental to its success. The Duchess of Kent and I have seen the Festival grow from humble beginnings to an internationally renowned arts festival, having faced and overcome many obstacles along the way. Jeanie, Countess of Carnarvon, can be justly proud of the Festival’s achievements. Her legacy must surely be a Festival that continues to flourish as we embark on the next forty years. www.newburyspringfestival.org.uk 1 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 2 Jeanie, Countess of Carnarvon MBE Founder and President 1935 - 2019 2 box office 0845 5218 218 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 3 The Festival’s founder and president, Jeanie Countess of Carnarvon was a great and much loved lady who we will always remember for her inspirational support of Newbury Spring Festival and her gentle and gracious presence at so many events over the years. Her son Lord Carnarvon pays tribute to her with the following words. My darling mother’s lifelong interest in the arts and music started in her childhood in the USA.
    [Show full text]
  • To Download the Full Archive
    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
    [Show full text]
  • NEEME JÄRVI Infatigable !
    Clic Musique ! CLICMAG N° 70 Votre disquaire classique, jazz, world AVRIL 2019 NEEME JÄRVI Infatigable ! © SimonMarco© Steven vanBorggreve BoxtelDevine Retrouvez les 25 000 références de notre catalogue sur www.clicmusique.com ! Sélection CPO H. Andriessen : Œuvres C.P.E. Bach : Oratorio "Hebt an, ihr P. Ben-Haim : Symphonie n° 2 Suites et ouvertures pour la radio de G. Enescu : Symphonie n° 4 H.W. Ernst : Œuvres de virtuosité symphoniques, vol. 3 Chöre der Freuden"; Serenata "Der Concerto grosso Schreker, Braunfels, Künneke... OP de la radio de Hanovre pour violon Orchestre Symphonique des Pays-Bas Trommeln Schlag...l" Orchestre Philharmonique de la NDR Orchester der Staatsoperette Dresden Peter Ruzicka Thomas Christian, violon David Porcelijn Barockwerk Hamburg; Ira Hochman Israel Yinon Ernst Theis Ensemble Thomas Christian CPO777723 - 1 CD CPO CPO555016 - 1 CD CPO CPO777677 - 1 CD CPO CPO777838 - 2 CD CPO CPO777966 - 1 CD CPO CPO777894 - 2 CD CPO Alexander E. Fesca : J.P. Förtsch : Cantates E. von Gemmingen : Concertos A. Ginastera : Œuvres pour piano L. Glass : Intégrale L. Théodore Gouvy : Trios pour piano n° 2 et 5 et Concertos sacrés pour violon n° 3 et 4 Michael Korstick, piano des symphonies, vol. 2 Les symphonies Trio Paian Weser-Renaissance Kolja Lessing; Orchestre de la radio de Marianna Shirinyan, piano; Staatsorchester OP de la radio de Saarbrück Manfred Cordes Munich; Ulf Schirmer; Sebastian Weigle Reheinisches Philharmonie; Daniel Raiskin Jacques Mercier CPO777862 - 1 CD CPO CPO777860 - 1 CD CPO CPO777866 - 1 CD CPO CPO555069 - 1 CD CPO CPO777494 - 1 CD CPO CPO777992 - 4 CD CPO G.F. Haendel : Acis et Galatée, E.
    [Show full text]
  • Sir Hamilton Harty Music Collection
    MS14 Harty Collection About the collection: This is a collection of holograph manuscripts of the composer and conductor, Sir Hamilton Harty (1879-1941) featuring full and part scores to a range of orchestral and choral pieces composed or arranged by Harty, c 1900-1939. Included in the collection are arrangements of Handel and Berlioz, whose performances of which Harty was most noted, and autograph manuscripts approx. 48 original works including ‘Symphony in D (Irish)’ (1915), ‘The Children of Lir’ (c 1939), ‘In Ireland, A Fantasy for flute, harp and small orchestra’ and ‘Quartet in F for 2 violins, viola and ‘cello’ for which he won the Feis Ceoil prize in 1900. The collection also contains an incomplete autobiographical memoir, letters, telegrams, photographs and various typescript copies of lectures and articles by Harty on Berlioz and piano accompaniment, c 1926 – c 1936. Also included is a set of 5 scrapbooks containing cuttings from newspapers and periodicals, letters, photographs, autographs etc. by or relating to Harty. Some published material is also included: Performance Sets (Appendix1), Harty Songs (MS14/11). The Harty Collection was donated to the library by Harty’s personal secretary and intimate friend Olive Baguley in 1946. She was the executer of his possessions after his death. In 1960 she received an honorary degree from Queen’s (Master of Arts) in recognition of her commitment to Harty, his legacy, and her assignment of his belongings to the university. The original listing was compiled in various stages by Declan Plumber
    [Show full text]
  • 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.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]