The Delius Society Journal Spring 2009, Number 145
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The Delius Society Journal Winter/Spring 1992, Number 108
The Delius Society Journal Winter/Spring 1992, Number 108 The Delius Society Full Membership and Institutions £15 per year USA and Canada US$31 per year Africa, Australasia and Far East £18 President Eric Fenby OBE, Hon DMus, Hon Dlitt, Hon RAM, FRCM, Hon FfCL Vice Presidents Fe1ix Aprahamian Hon RCO Roland Gibson MSc, PhD (Founder Member) Sir Charles Groves CBE Meredith Davies CBE, MA, BMus, FRCM, Hon RAM Norman Del Mar CBE, Hon DMus Vernon Handley MA, FRCM, D Univ (Surrey) Chainnan RB Meadows 5 Westbourne House, Mount Park Road, Harrow, Middlesex HAl 3JT Treasurer [to whom membership enquiries should be directed] Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos. GL56 9BU Te1: (0386) 700175 Editor Stephen Lloyd 85a Farley Hill, Luton, Bedfordshire LUI 5EG Tel: Luton (0582) 20075 2 - CONTENTS Pa Vidderne in historical perspective by Rolf Stang 3 Sea Drift: Triumph - or Tragedy? by Geoffrey Attwell....................................... 9 Delius Society visit to Grez-sur-Loing by Brian Radford 15 Midlands Branch Report: Percy Grainger as pianist 25 L'heure de l'Absinthe by Christopher Redwood 26 Book Review: A History ofMusic and Dance in Florida 27 Record Reviews: A Mass ofLife and Requiem 29 Paris, Double Concerto and Cello Concerto 31 A Mass ofLife in Leeds by Jonathan Maddox 32 News Round-Up 33 Forthcoming Events 35 Additional copies of this issue £3 (non-members £3.50), inclusive of postage ISSN-0306-0373 3 pj VIDDERNE IN HISTORICAL PERSPECTIVE by Rolf Stang pA VIDDERNE (ON THE HEIGHTS) Poem, in 9 sections, 384 lines Henrik Ibsen (1828-1906) set to music as pA VIDDERNE*, A MELODRAMA for Speaker and Orchestra Frederick Delius (1862-1934) THE AGE OF THE INDIVIDUAL DAWNS It was really in the revolutionary turmoil of 1848 that the democratic principles set in motion by the American and the French Revolutions could first be seen to have filtered down to the person in the street. -
VAUGHAN WILLIAMS ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA ANDREW MANZE Ralph Vaughan Williams (1872 –1958)
A LONDON SYMPHONY SYMPHONY NO. 8 VAUGHAN WILLIAMS ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA ANDREW MANZE Ralph Vaughan Williams (1872 –1958) Symphony No.2 in G ‘A London Symphony’ 1. I. Lento – Allegro risoluto (molto pesante) 14.29 2. II. Lento 10.59 3. III. Scherzo (Nocturne): Allegro vivace 7.55 4. IV. Andante con moto – Maestoso alla Marcia (quasi lento) – Allegro – 13.19 Maestoso alla Marcia (alla I) – Epilogue (Andante sostenuto) Symphony No.8 in D minor 5. I. Fantasia (Variazioni senza tema) 10.47 6. II. Scherzo alla marcia (per strumenti a fiato): Allegro alla marcia 3.50 7. III. Cavatina (per strumenti ad arco): Lento espressivo 9.03 8. IV. Toccata: Moderato maestoso 5.06 Total timing: 75.33 ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA ANDREW MANZE CONDUCTOR 2 SYMPHONIES EARLY AND LATE a kind of spiritual and musical summation; we have come full circle, evoking the silent river’s inexorable flow and the veiling mists as metaphors for some profound spiritual truth. At Symphony No.2 ‘A London Symphony’ the very end a muted violin plays a last soaring reminiscence of the theme over soft strings. The two or three years immediately before the outbreak of the Great War were a high point Muted cornets, trumpets and horns sound a soft chord and then, like the sun breaking for British music, when the music of a new generation of younger composers was beginning through, the brass all remove their mutes for the final chord. to appear on concert programmes. Slightly older than the rest, Vaughan Williams was already known for On Wenlock Edge , A Sea Symphony and the Tallis Fantasia , and in March 1914 his Towards the end of his life Vaughan Williams cited H.G. -
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....... -
Piers Lane Biography
Piers Lane Biography “… No praise could be high enough for Piers Lane whose playing throughout is of a superb musical intelligence, sensitivity, and scintillating brilliance…” (Bryce Morrison, Gramophone) London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. Highlights of the past few years have included a sold-out performance with the London Philharmonic Orchestra and Alexander Verdernikov at London’s Royal Festival Hall, concerto performances at Lincoln Center’s Avery Fisher Hall, a three-recital series entitled Metamorphoses and other performances for the London Pianoforte series at Wigmore Hall and five concerts for the opening of the Recital Centre in Melbourne. Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s wide-ranging concerto repertoire exceeds eighty works and has led to engagements with many of the world’s great orchestras including the BBC and ABC orchestras; the Aarhus, American, Bournemouth and Gothenburg Symphony Orchestras; the Australian Chamber Orchestra, Kanazawa Ensemble, Orchestre National de France, City of London Sinfonia, and the Royal Philharmonic, Royal Liverpool Philharmonic and Warsaw Philharmonic orchestras among others. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Richard Hickox, Andrew Litton, Sir Charles Mackerras, Jerzy Maxymiuk, Maxim Shostakovich, Vassily Sinaisky, Yan Pascal Tortelier and Antoni Wit. His 2007 performance of Beethoven’s Emperor Concerto with the Queensland Symphony Orchestra and Pietari Inkinen received the Limelight Magazine Award for Best Orchestral Performance in Australia. 1 Festival appearances have included, among others, Aldeburgh, Bard, Bergen, Cheltenham, Como Autumn Music, Consonances , La Roque d’Anthéron, Newport, Prague Spring, Ruhr Klavierfestival, Schloss vor Husum and the Chopin festivals in Warsaw, Duszniki- Zdroj, Mallorca and Paris. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Sibelius Society
UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A -
The Delius Society Journal Spring 2000, Number 127
Delius Journal 127.qxd 10-04-2000 09:18 Page 1 The Delius Society Journal Spring 2000, Number 127 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £20 per year UK students: £10 per year USA and Canada US$38 per year Africa, Australasia and Far East £23 per year President Felix Aprahamian Vice Presidents Roland Gibson MSc, PhD (Founder Member) Lionel Carley BA, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon Handley MA, FRCM, D Univ (Surrey) Richard Hickox FRCO (CHM) Rodney Meadows Robert Threlfall Chairman Lyndon Jenkins Treasurer and Membership Secretary Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos GL56 9BU Tel: (01386) 700175 Secretary Anthony Lindsey 1 The Pound, Aldwick Village, West Sussex PO21 3SR Tel: (01243) 824964 Delius Journal 127.qxd 10-04-2000 09:18 Page 2 Editor Roger Buckley 57A Wimpole Street, London W1M 7DF (Mail should be marked ‘The Delius Society’) Tel: 020 7935 4241 Fax: 020 7935 5429 email: [email protected] Assistant Editor Jane Armour-Chélu 17 Forest Close, Shawbirch, Telford, Shropshire TF5 0LA Tel: (01952) 408726 email: [email protected] Website: http://www.delius.org.uk email: [email protected] ISSN-0306-0373 Delius Journal 127.qxd 10-04-2000 09:18 Page 3 CONTENTS Chairman’s Message........................................................................................... 5 Editorial................................................................................................................ 6 ORIGINAL ARTICLES Delius and Verlaine, by Robert Threlfall............................................................ 7 Vilhelmine, the Muse of Sakuntala, by Hattie Andersen................................ 11 Delius’s Five Songs from Tennyson’s Maud, by Christopher Redwood.......... 16 The ‘Old Cheshire Cheese’Connection, by Jane Armour-Chélu.................... 22 Delius and the American Connections, by George Little.............................. -
Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924
Wickstead, H 2017 “Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924. Bulletin of the History of Archaeology, 27(1): 4, pp. 1–18, DOI: https://doi.org/10.5334/bha-596 RESEARCH PAPER “Wild Worship of a Lost and Buried Past”: Enchanted Archaeologies and the Cult of Kata, 1908–1924 Helen Wickstead Histories of archaeology traditionally traced the progress of the modern discipline as the triumph of secular disenchanted science over pre-modern, enchanted, world-views. In this article I complicate and qualify the themes of disenchantment and enchantment in archaeological histories, presenting an analysis of how both contributed to the development of scientific theory and method in the earliest decades of the twentieth century. I examine the interlinked biographies of a group who created a joke religion called “The Cult of Kata”. The self-described “Kataric Circle” included notable archaeologists Harold Peake, O.G.S. Crawford and Richard Lowe Thompson, alongside classicists, musicians, writers and performing artists. The cult highlights the connections between archaeology, theories of performance and the performing arts – in particular theatre, music, folk dance and song. “Wild worship” was linked to the consolidation of collectivities facilitating a wide variety of scientific and artistic projects whose objectives were all connected to dreams of a future utopia. The cult parodied archaeological ideas and methodologies, but also supported and expanded the development of field survey, mapping and the interpretation of archaeological distribution maps. The history of the Cult of Kata shows how taking account of the unorthodox and the interdisciplinary, the humorous and the recreational, is important within generously framed approaches to histories of the archaeological imagination. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
Now for a Lampshade Solo: How the Radiophonic Workshop Built the Future of Sound
https://www.theguardian.com/tv-and-radio/2018/jul/18/lampshade-solo-radiophonic-workshop-built- future-of-sound-festivals Now for a lampshade solo: how the Radiophonic Workshop built the future of sound Pascal Wyse Wed 18 Jul 2018 They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning. On a mission … a recording session in 1962. Photograph: BBC Photo Library In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?” Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.” But what is radiophonic sound – and why did it need a workshop? Radiophonics owes everything to the invention of the tape recorder. Once you could capture sound, using a workable material, you could play with it: slow it down until it thundered, feed it back on itself until it shrieked and echoed, or simply slice bits out. -
RALPH VAUGHAN WILLIAMS a London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin Op.27 TAI MURRAY, Violin
RALPH VAUGHAN WILLIAMS A London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin op.27 TAI MURRAY, violin PRODUCTION USA FRANZ LISZT RALPH VAUGHAN WILLIAMS (1872-1958) A London Symphony (1912-1913, rev.1920) [42’42] (Symphony no.2, in G major) 1 | I. Lento – Allegro risoluto 13’28 2 | II. Lento 9’22 3 | III. Scherzo [Nocturne]: Allegro vivace 8’03 4 | IV. Andante con moto – Maestoso alla marcia – Allegro 11’48 Epilogue: Andante sostenuto 5 | Serenade to Music (original version, 1939) [12’33] Juliana Athayde, solo violin Singers from Mercury Opera Rochester Benton Hess, artistic director Rochester Philharmonic Orchestra Christopher Seaman, conductor Ralph and Ursula Vaughan Williams, 1957 - akg-images / ullstein bild Rochester Philharmonic Orchestra Christopher Seaman, Music Director 1998–2011 Violin 1 Juliana Athayde, Concertmaster The Caroline W. Gannett & Clayla Ward Chair* Wilfredo Degláns, Associate Concertmaster Shannon Nance, Assistant Concertmaster Perrin Yang, Tigran Vardanyan, Ellen Rathjen, William Hunt, Kenneth Langley, Lise Stoddard Jeremy Hill, An-Chi OuYang, Margaret Leenhouts, Heidi Brodwin, Ainur Zabenova Violin 2 David Brickman, Principal Daryl Perlo, Assistant Principal Patricia Sunwoo, John Sullivan, Lara Sipols, Nancy Hunt, Boris Zapesochny, Liana Koteva Kirvan Markiyan Melnychenko, Karine Stone, Chloe Fedor, Man Yui Kitty Cheung, Hee Sagong Viola Melissa Matson, Principal Michael Larco, Assistant Principal Marc Anderson, Elizabeth Seka, Olita Povero, Lisa -
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.