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NABMSA Reviews a Publication of the North American British Music Studies Association Vol
NABMSA Reviews A Publication of the North American British Music Studies Association www.nabmsa.org Vol. 3, No. 2 (Fall 2016) In this issue: • Cecilia Björkén-Nyberg, The Player Piano and the Edwardian Novel • John Carnelly, George Smart and Nineteenth-Century London Concert Life • Mark Fitzgerald and John O’Flynn, eds., Music and Identity in Ireland and Beyond • Eric Saylor and Christopher M. Scheer, eds., The Sea in the British Musical Imagination • Jürgen Schaarwächter, Two Centuries of British Symphonism: From the Beginnings to 1945 • Heather Windram and Terence Charlston, eds., London Royal College of Music Library, MS 2093 (1660s–1670s) The Player Piano and the Edwardian Novel. Cecilia Björkén-Nyberg. Abingdon, UK and New York: Routledge, 2016. xii+209 pp. ISBN 978-1-47243-998-7 (hardcover). Cecilia Björkén-Nyberg’s monograph The Player Piano and the Edwardian Novel offers an intriguing exploration of the shifting landscape of musical culture at the turn of the twentieth century and its manifestations in Edwardian fiction. The author grounds her argument in musical discussions from such novels as E. M. Forster’s A Room with a View, Max Beerbohm’s Zuleika Dobson, and Compton Mackenzie’s Sinister Street. Despite the work’s title, the mechanical player piano is—with rare exception—ostensibly absent from these and other fictional pieces that Björkén-Nyberg considers; however, as the author explains, player pianos were increasingly popular during the early twentieth century and “brought about a change in pianistic behaviour” that extended far beyond the realm of mechanical music making (183). Because of their influence on musical culture more broadly, Björkén-Nyberg argues for the value of recognizing the player piano’s presence in fictional works that otherwise “appear to be pianistically ‘clean’ ” of references to the mechanical instruments. -
Musikalien Aus Dem Schönberg-Nachlaß / Printed Music from Schönberg’S Legacy
Musikalien aus dem Schönberg-Nachlaß / Printed music from Schönberg’s legacy 1. "110 Wiener Lieder Und Tänze."[Wiener Lieder Und Tänze], ed.//ed.//Vorwort Carl Michael Ziehrer, Rudolf Kronegger, and Vincenz Chiavacci. Wiener Musik, Leipzig: Lyra-Verlag, [19--?]. Notes: 'Enthaltend: Schätze der Wiener Volksmusik aus alter und neuer Zeit weiters Kompositionen von Ascher, Eysler, Fall, Lehar, Reinhardt, Stolz, Strauss und Behrer.'--t.p. Songs for voice and piano ; dances for piano solo. Introduction p. [3-4]: Die Wiener Volksmusik / von Vincenz Chiavacci. Includes index. Annotation on p. 49. 2. "Der Kanon: Ein Singbuch Für Alle."[Der Kanon], ed.//Forward Fritz Jode, and Herman Reichenbach. 9.-10. Tausend der Gesamtausg., verb. Aufl ed. Freiheit Und Heil, Wolfenbüttel: Georg Kallmeyer Verlag, 1932. Notes: Forward by Hermann Reichenbach ; afterword by Fritz Jode. Contains canons by many different composers, for 2 to 10 voices, both sacred and secular. Includes indexes. Includes indexes. Annotation on p. 353 3. "Excelsior: 100 Musikalische Erfolge."[Excelsior], Wien: Universal-Edition, [19--?]. Notes: Each volume contains 'Ernste Musik' and 'Heitere Musik' by various composers, written for or arranged for either voice and piano or piano alone. Certain pieces underlined in table of contents in each vol. Correction of accidental in v. 2 on p. 200. Volume numbers written in pen on covers. 4. "Opera Overtures." Hampton Miniature Arrow Scores, v. 10. New York: E. B. Marks Music Corp., 1943. Notes: Four miniature score pages reproduced on each page (i.e. 361 p. reproduced on 96 p.) Contents: Mignon / Thomas -- Merry wives of Windsor / Nicolai -- Hansel and Gretel / Humperdinck -- Russlan and Ludmilla / Glinka -- The bartered bride / Smetana -- Die Fledermaus ; The gipsy baron / Strauss. -
TOCC0606DIGIBKLT.Pdf
RONALD STEVENSON Piano Music, Volume Five: Transcriptions HENRY PURCELL 1 Toccata (1955) 6:45 2 Hornpipe (1995) 2:51 Three Grounds by Henry Purcell (1995) 7:58 3 Ground in C minor 2:38 4 Ground in E flat minor 2:51 5 Ground in D minor 2:29 FREDERICK DELIUS The Young Pianist’s Delius (1962/c. 2005)* 13:30 6 No. 1 Dance 1:00 7 No. 2 Tune from ‘Brigg Fair’ 1:01 8 No. 3 La Calinda 1:52 9 No. 4 Serenade 1:00 10 No. 5 The Cuckoo 2:08 11 No. 6 Late Swallows 1:06 12 No. 7 Intermezzo 1:13 13 No. 8 Tune from String Quartet 0:43 14 No. 9 Tune from Violin Sonata No. 2 1:04 15 No. 10 Themes from ‘Song of the High Hills’ 2:23 RONALD STEVENSON 16 Little Jazz Variations on Purcell’s ‘New Scotch Tune’ (1964, rev. 1975) 6:03 2 BERNARD VAN DIEREN String Quartet No. 5 (c. 1925, rev. 1931; transcr. c. 1948–1987)* 34:26 17 I Con moto ben sostenuto 8:19 18 II Molto tranquillo 5:14 19 III Impetuosamente 2:10 20 IV Con spirito 5:48 21 V Adagio cantando 6:21 22 VI Finale: Allegro con grazia 6:34 23 Weep You No More, Sad Fountains (publ. 1925; transcr. 1951) 4:20 24 Spring Song of the Birds (1925, transcr. 1987) 1:28 HENRY PURCELL 25 The Queen’s Dolour – A Farewell (1959) 3:25 Christopher Guild, piano TT 80:57 *FIRST RECORDINGS 3 RONALD STEVENSON: PIANO MUSIC, VOLUME FIVE by Christopher Guild Like the previous instalment in this ongoing series of recordings exploring the solo- piano works of Ronald Stevenson (1928–2015),1 this album focuses on the art of piano transcription. -
Bernard Van Dieren Ondelius
Winter 1990, Number 103 The Delius Society Journal The Delius Society Yl JournalJ OUTruAL Winter 1990, Number 103 The Delius Society Full Membership and Institutions £10f 10 per year Students £8f,8 USA and Canada US$21 per year Africa, Australasia and Far East £12f 12 Presidents Eric Fenby OBE, Hon DMus,D Mus, Hon DLitt,D Litt, Hon RAM, FRCM, Hon FfCLFTCL Vice Presidents Felix Aprahamian Hon RCO Roland Gibson MSc, PhD (Founder Member) Sir Charles Groves CBE Meredith Davies CBE, MA, BMus,B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon DMusD Mus Vernon Handley MA, FRCM, D Univ (Surrey)(Suney) Chairman RBR B Meadows 5 Westbourne House,House. Mount Park Road,Road. Harrow,Harrow. Middlesex HAHAl1 3JT Treasurer Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos. GL56 9BU Tel: (0386) 700175 Secretary Miss Diane Eastwood 28 Emscote Street South, Bell Hall, Halifax, Yorkshire Tel: (0422) 5053750537 Editor Stephen Lloyd 85a Farley Hill, Luton, Bedfordshire LUILUI5EG 5EG Tel: Luton (0582) 20075 2 CONTENTS Bemard van Dieren on Delius 3 Reviews: DELIUS: Four pieces arranged for piano solo 14 MAY HARRISON: Unpublished recordings 15 DELIUS Florida Suite, Summer Evening 16 THE SPIRIT OF ENGLAND Collection 18 MARGARET HARRISON talking 19 Midlands Branch Report: Delius and Elgar 20 News Round-Up 21 Obituaries: Clive Bemrose 22 Elizabeth Green 23 Forthcoming Events 23 Members paying their subscription by standing order may wish to note that the Society's Bank is: Trustee Savings Bank 8/9 Meer Street Stratford-upon-Avon Warwickshire CV37 6QB Sort Code 77-07-10 Account No. -
Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network. -
The Battle Over Sibelius Barry Wiener for Many Musicologists And
The Battle over Sibelius Barry Wiener For many musicologists and theorists, the works of Jean Sibelius fit poorly into the dominant historical paradigms for twentieth-century music. In response, some scholars have attempted to rearticulate the question of Sibelius’s historical position by “[re]defin[ing] . the reception framework.”1 James Hepokoski situated Sibelius within the clash between first and second-generation modernists during the twentieth century’s second decade,2 a historical crisis elucidated by Carl Dahlhaus.3 Similarly, Tomi Mäkelä has described Sibelius’s music as a fusion of conservative and progressive elements, asserting that he preserved old artistic values while modifying the manner in which he expressed them.4 In this essay, I propose an amendment to Hepokoski’s useful paradigm revision. Interrogating the music criticism of Cecil Gray and Constant Lambert, I attempt to demonstrate that their controversial anointing of Sibelius as one of the twentieth century’s central figures is linked directly to their advocacy of Ferruccio Busoni’s “Young Classicality,” a set of concepts formulated in response to the crisis of modernism described by Dahlhaus. I explain how Gray and Lambert encountered these ideas at second hand through their association with Busoni’s protégé, Bernard van Dieren, a resident of London. In addition, I show that the “postmodern traits” that contemporary musicians have perceived in Sibelius’s music can be described instead as manifestations of early twentieth-century ultramodernism, a movement with which I associate Busoni’s most radical ideas about the future of music. The National and The Universal The music of Jean Sibelius was introduced to audiences in Europe and America during the first and second decades of the twentieth century. -
The Delius Society Journal Spring 2009, Number 145
The Delius Society Journal Spring 2009, Number 145 The Delius Society (Registered Charity No. 298662) President Lionel Carley, BA PhD Vice Presidents Sir Andrew Davis Sir Mark Elder Bo Holten, RaD Lyndon Jenkins, RaD Richard Kitching Piers Lane, BMus Hon FRAM ARCM LMusA David Lloyd-Jones, BA Hon DMus FGSM Julian Lloyd Webber, FRCM Sir Charles Mackerras, CH, AC, CBE Robert Threlfall Website: http://www.delius.org.uk ISSN-0306-0373 1 Chairman Martin Lee-Browne, CBE Chester House, Fairford, Gloucestershire GL7 4AD Treasurer and Membership Secretary Stewart Winstanley Windmill Ridge, 82 Highgate Road, Walsall, WS1 3JA Tel: 01922 633115 Email: [email protected] Secretary Lesley Buckley c/o Crosland Communications Ltd The Railway Station Newmarket CB8 9WT Tel: 07941 – 188617 Email: [email protected] Journal Editor Paul Chennell 19 Moriatry Close Holloway, London N7 0EF Tel: 020 7700 0646 Email: [email protected] Front cover: The Departure of Hiawatha Albert Bierstadt © The Longfellow National Historic Site, USA. Back cover: A late portrait of Jelka Delius © The Delius Trust The Editor has tried in good faith to contact the holders of the copyright in all material used in this Journal (other than holders of it for material which has been specifically provided by agreement with the Editor), and to obtain their permission to reproduce it. Sometimes, however, he has received no reply. Any breaches of copyright are unintentional and regretted. 2 Vernon Handley and Lewis Foreman © Lewis Foreman 3 CONTENTS CHAIRMAN’S NOTES.................................................................................... 6 EDITORIAL....................................................................................................... 8 ROGER BUCKLEY, By Michael Green............................................................. 9 THE DELIUS PRIZE 2008. By Martin Lee-Browne........................................ -
MUSICWEB INTERNATIONAL Recordings of the Year 2017
MUSICWEB INTERNATIONAL Recordings Of The Year 2017 This is the fourteenth year that Musicweb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2016-November 2017). The 136 selections have come from 27 members of the team and 68 different labels, the choices reflecting as usual, the great diversity of music and sources. Of the selections, seven have received two nominations: Iván Fischer’s Mahler 3 on Channel Classics Late works by Elliott Carter on Ondine Tommie Haglund’s Cello concerto on BIS Beatrice Rana’s Goldberg Variations on Warner Unreleased recordings by Wanda Luzzato on Rhine Classics Krystian Zimerman’s late Schubert sonatas on Deutsche Grammophon Vaughan Williams London Symphony on Hyperion Two labels – Deutsche Grammophon and Hyperion – gained the most nominations, nine apiece, considerably more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2700 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year. In some years, there have been significant anniversaries of composers or performers to help guide the selection, but not so in 2017. Johann Sebastian BACH Goldberg Variations - Beatrice Rana (piano) rec. 2016 WARNER CLASSICS 9029588018 In the end, it was the unanimity of the two reviewers who nominated Beatrice Rana’s Goldberg Variations – “easily my individual Record of the Year” and “how is it possible that she can be only 23” – that won the day. -
“Men and Music”
“Men And Music” by Dr. Erik Chisholm Lectures given at University of Cape Town Summer School, February 1964 Published by The Erik Chisholm Trust June 2014 www.erikchisholm.com Copyright Notice The material contained herein is attributed to The Erik Chisholm Trust and may not be cop- ied or reproduced without the prior permission of the Trust. All enquiries regarding copyright should be sent to the Trust at [email protected] © 2014 The Erik Chisholm Trust 2 Dr. Erik Chisholm (1904—1965) 3 Credits Fonts: Text - Calibri Headings - Segro Script Compiled in Microsoft Publisher 2013 4 Introduction by the Editor In 1964 Chisholm gave a series of lectures on Men and Music, illustrated with music and slides, at the UCT Summer School. In his own words Men and Music wasn’t “going to be a serious business. It will con- sist mainly of light hearted reminiscences about some important figures in 20th Century music, from which it will be possible to gain insight into their characters and personalities.” Many distinguished composers came to Glasgow in the 1930’s to give concerts of their works for the Active Society for the Propagation of Contemporary Music (a bit of a mouthful, known colloquially as The Active Society). The 18 composers he talks about are William Walton, Cyril Scott, Percy Grainger, Eugene Goosens, Bela Bartok, Donald Tovey, Florent Schmitt, John Ireland, Yvonne Arnaud, Frederick Lamond, Adolph Busch, Alfredo Casella, Arnold Bax, Paul Hindemith, Dmitri Shostakovich (Chisholm cheated here- Shostakovich didn’t actually appear but they were friends and the Active Society “played quite a lot of his music”), Kai- koshru Sorabji, Bernard van Dieren and Medtner. -
A Shropshire Lad in British Music Since 1940: Decline and Renewal
A SHROPSHIRE LAD IN BRITISH MUSIC SINCE 1940: DECLINE AND RENEWAL by KEVIN ROBERT WHITTINGHAM submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA PROMOTER: PROFESSOR DANIEL G. GELDENHUYS LOCAL CO-PROMOTER: PROFESSOR E. DAVID GREGORY JANUARY 2008 A Shropshire Lad in British Music Since 1940: Decline and Renewal Contents Contents Abstract and Key Terms i Acknowledgements iii Introduction 1 Part I: Preliminaries 1. Objectives, Musicological Considerations and Research Methodology 10 Objectives 10 Limits 10 Assumptions about Text and Music 11 Musicological Characteristics of the Thesis 13 The Wider Musicological Context 15 Research Methodology 18 2. A. E. Housman and A Shropshire Lad 29 A. E. Housman 29 A Shropshire Lad’s Appeal 33 The Formalist Approach to Literature 34 B. J. Leggett’s Formalist Approach to A Shropshire Lad 34 3. The Flourishing (to c.1940) 42 A Shropshire Lad in the Twentieth-Century English Musical Renaissance 42 First Settings and the Appeal of the Poems for Composers 46 Stephen Banfield’s Art Song Subphases in the Flourishing 51 The Drawing Room Ballad Tradition 54 Experimental Song for Solo Voice 56 The Monologue 59 Solo Voice and One Orchestral Instrumental 59 Solo Voice and Chamber Ensemble 60 Solo Voice and Orchestra 61 Choral and Partsong Settings 62 Unison Settings 63 Non-Vocal Works 64 Women Composers 66 Conclusion 68 Part II: A Survey of Settings Since c.1940 4. The Decline (c.1940 to c.1980) 83 Numerical Evidence for the Decline 85 The Emerging Mainstream 85 Atonality Comes to A Shropshire Lad 87 Ultra-Conservatism in the Decline 90 The Diversity of the Mainstream 91 A Shropshire Lad in Multi-Poet Anthologies 93 Prolificacy in the Decline 95 Choral Settings 97 Changes in Accompaniments 98 Non-Vocal Works 100 Conclusion 102 A Shropshire Lad in British Music Since 1940: Decline and Renewal Contents 5. -
Music-Survey (1947-1952) Copyright © 2003 RIPM Consortium Ltd Répertoire International De La Presse Musicale (
Introduction to: Liesbeth Hoedemaeker, Music-Survey (1947-1952) Copyright © 2003 RIPM Consortium Ltd Répertoire international de la presse musicale (www.ripm.org) Music-Survey (1947-1952) The Music-Survey was published from Autumn 1947 to June 1952. This RIPM publication deals both with the journal's initial six issues, volume one,1 published from 1947 to 1949, and with the New Series2 published from 1949 to 1952.3 The latter is generally recognized as an invaluable source of information on music and musical life in post-war Britain. The first issue was titled Music-Journal but the name was changed to Music-Survey4 when it was discovered that the official organ of the Incorporated Society of Musicians was titled A Music Journal. Volume one was edited solely by Donald Mitchell; the New Series was published under the joint editorship of Donald Mitchell and Hans Keller. The former was published in an 18 x 24 cm format, the latter in a smaller format (14 x 22 cm) as if to distinguish clearly the two publications. 5 Both Mitchell and Keller, who were young men in their twenties when they began collaborating, shared several goals, namely, to create a music journal that expressed musical opinions and tastes markedly different from those in the contemporary press, and, to recognize the significance of twelve-tone music.6 Moreover, they wished to express their positions in a manner that would reverberate within the musical community;, using polemical arguments as a tool for achieving their aims. The Music-Survey was published quarterly7 with issues that varied in size from 20 pages (its first number) to 76 pages. -
Sylvia Townsend Warner: a Musical Life
SYLVIA TOWNSEND WARNER: A MUSICAL LIFE LYNN MUTTI UCL PhD 1 I, Lynn Mutti, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 SYLVIA TOWNSEND WARNER: A MUSICAL LIFE Abstract Music was central to Warner's life: she was first a young, aspiring composer, then a musicologist, later a librettist and friend to musicians and composers, and for fifty years a writer whose works regularly engaged with music in richly diverse ways. Unpublished diary entries show her knowledgeable and personal response to music heard in the concert hall, on the radio, via gramophone records or as a participant in a choir. Her ear was tuned to sound, especially sound in nature: water, birds, animals, the sea, the wind, as well as the cacophony of human voices, singing, shouting, joyous or sad. Warner's acute ear tuned into the life around her and articulated it in her written work. A late diary entry just a few months before her death shows her frailty and the continuing importance of music in her daily life. Sound and music are contained in one eloquently descriptive sentence: 'I fell against the tool-shed with a loud clang. Little the worse. Revived by a fine performance of the Pastoral Symphony'.1 My aims in this thesis are to present the fullest narrative yet of Warner's engagement with music, to examine her academic writing on the subject and to recount her musical collaborations and friendships which have not previously been a subject for academic discussion.