The Latest Newsletter. Organisers with a View to More Holst Being Played at Next Year’S Festival
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The Late Summer Newsletter
AUGUST 2020 Issue No: 17 Welcome to the late summer newsletter. AGM and the musical phrasing stand out, always with clear thought for the meaning. Furthermore, the perfect Please note that the AGM has been postponed to December velvety colouring of their basses, with no forcing of the 2020 – date/venue to follow in the next newsletter. As the Holst th lower register whatsoever, eases the tuning and Birthplace Trust annual concert scheduled for 19 September harmonic construction of the ensemble. Preece proves 2020 has been cancelled, so too must our AGM pencilled in for that Holst is more than The Planets. that afternoon. Hopefully, if concerts resume in the next three months, we could have our AGM in the afternoon of a Saturday Jerónimo Marin before Christmas with a concert in Cheltenham that evening. HOLST/ VAUGHAN WILLIAMS/ WALT WHITMAN SAVITRI Holst, Vaughan Williams and the poetry of Walt Holst’s one-act opera will be performed in the gardens of Whitman Lauderdale House, Highgate, London, with two performances each evening on August 13th, 15th, 20th and 22nd. The The poems of Walt Whitman, and in particular his production given by Hampstead Garden Opera will be staged Leaves of Grass, first published in 1855, soon inspired by Julia Mintzer and conducted by Thomas Payne (please visit new generations of English composers. These website at https://hgo.org.uk/savitri/ for further detail). included Ralph Vaughan Williams and Gustav von Holst. Vaughan Williams was introduced to Whitman’s PART SONGS BY HOLST poetry by Bertrand Russell in 1892, the year of the poet’s death. -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
The Perfect Fool (1923)
The Perfect Fool (1923) Opera and Dramatic Oratorio on Lyrita An OPERA in ONE ACT For details visit https://www.wyastone.co.uk/all-labels/lyrita.html Libretto by the composer William Alwyn. Miss Julie SRCD 2218 Cast in order of appearance Granville Bantock. Omar Khayyám REAM 2128 The Wizard Richard Golding (bass) Lennox Berkeley. Nelson The Mother Pamela Bowden (contralto) SRCD 2392 Her son, The Fool speaking part Walter Plinge Geoffrey Bush. Lord Arthur Savile’s Crime REAM 1131 Three girls: Alison Hargan (soprano) Gordon Crosse. Purgatory SRCD 313 Barbara Platt (soprano) Lesley Rooke (soprano) Eugene Goossens. The Apocalypse SRCD 371 The Princess Margaret Neville (soprano) Michael Hurd. The Aspern Papers & The Night of the Wedding The Troubadour John Mitchinson (tenor) The Traveller David Read (bass) SRCD 2350 A Peasant speaking part Ronald Harvi Walter Leigh. Jolly Roger or The Admiral’s Daughter REAM 2116 Narrator George Hagan Elizabeth Maconchy. Héloïse and Abelard REAM 1138 BBC Northern Singers (chorus-master, Stephen Wilkinson) Thea Musgrave. Mary, Queen of Scots SRCD 2369 BBC Northern Symphony Orchestra (Leader, Reginald Stead) Conducted by Charles Groves Phyllis Tate. The Lodger REAM 2119 Produced by Lionel Salter Michael Tippett. The Midsummer Marriage SRCD 2217 A BBC studio recording, broadcast on 7 May 1967 Ralph Vaughan Williams. Sir John in Love REAM 2122 Cover image : English: Salamander- Bestiary, Royal MS 1200-1210 REAM 1143 2 REAM 1143 11 drowned in a surge of trombones. (Only an ex-addict of Wagner's operas could have 1 The WIZARD is performing a magic rite 0.21 written quite such a devastating parody as this.) The orchestration is brilliant throughout, 2 WIZARD ‘Spirit of the Earth’ 4.08 and in this performance Charles Groves manages to convey my father's sense of humour Dance of the Spirits of the Earth with complete understanding and infectious enjoyment.” 3 WIZARD. -
St John's Smith Square Our History
St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1 -
Patronage Through Dissemination: Louise Hanson-Dyer’S Patronage of Gustav Holst
2012 © Daniela Kaleva, Context 37 (2012): 77–91. Patronage through Dissemination: Louise Hanson-Dyer’s Patronage of Gustav Holst Daniela Kaleva Gustav Holst has a reputation as one of the most prominent representatives of the English national school of composition from the early decades of the twentieth century. His compositional language was highly original and was influenced by English folk song and Eastern philosophy. Although Holst composed works in a wide range of genres, he is best known for his orchestral suite The Planets. Notwithstanding the great public acclaim of The Planets (which premiered at Queen’s Hall, London, on 15 November 1920),1 his later compositions were less successful with both audiences and critics,2 and he underwent several difficult periods during which he lacked motivation and inspiration for composition. During the last decade of his life, when his popularity was fading, he benefited from the patronage and friendship of Melbourne-born patron and music publisher Louise Hanson-Dyer (see Fig. 1). Hanson-Dyer is known for her award-winning music press and record label Éditions de l’Oiseau-Lyre, established in Paris in 1932, which championed early music, contemporary classical music and young musicians. Although Hanson-Dyer did not engage in direct patronage of Holst by providing funding, or commissioning or publishing his works,5 she nevertheless played an important role in promoting his music in Australia 1 Imogen Holst, A Thematic Catalogue of Gustav Holst’s Music (London: Faber Music, 1974), 125. 2 Michael Short, Gustav Holst: The Man and his Music (Oxford: OUP, 1990), esp. 161, 170, 190. -
Short Operas for Educational Settings: a Production Guide
SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott 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 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years. -
Compiled by CJA Cope March 2018 List of Works of Gustav Holst
List of Works of Gustav Holst (Dates of composition, H numbers, description and whether recorded). Compiled by C J A Cope March 2018 Glossary TBR To be recorded P1 Project One P2 Project Two P3 Project Three P4 Project Four If music is no longer available (ie in private collection), no recording is possible. The Society lists 233 works. There are, in addition, a number of works which bear no H numbers (designated by Holst's daughter, Imogen) and which may be regarded as youthful - for others to judge as to quality. If anyone visiting our website is unable to find a recording of a particular work, send us an email ([email protected]) and we will try to assist. Chamber or string orchestra (6 works) Year H No Work Recorded 1906 H88 Two Songs without Words Yes 1913 H118 St Paul's Suite Yes 1928 H173 Nocturne from Moorside Suite Yes 1928 H173 Moorside Suite Yes 1933 H190 Brook Green Suite Yes 1933 H190a Gavotte (Discarded from Brook No Green Suite. Arranged for recorder quartet by Imogen Holst). Chamber ensembles (18 works) Year H No Work Recorded 1894 A1/33 Short Trio in E Yes 1894 A1/31 Duo Concertante for Trombone/Organ Yes 1896 H8 Air and Variations Yes 1896 H11 Quintet in A Yes 1896 H9 Variations No 1896 H10 Sextet in E Minor Yes 1897 H23 Scherzo No 1902 H51 Lied ohne Worte Yes 1903 H67 Quintet in A flat Yes 1903 H52 Spring Song Yes 1903 H53 Ländler (2 violins/piano) Yes 1903 H54 Greeting Yes 1904 H55 Maya Yes 1904 H56 Valse - Etude Yes 1906 H93 Seven Scottish Airs Yes 1910 H8a Three Pieces Yes 1916 H135 Phantasy Quartet on British -
Resource Pack: Holst
RESOURCE PACK: HOLST musicbehindthelines.org FOOTER INSERT ACE LOGO RPO LOGO WML LOGO GUSTAV HOLST (1874–1934) HOLST: FURTHER REFERENCE ABOUT BEHIND THE LINES Books, Scores & Audio BIOGRAPHY Periodicals Holst during the War Websites Chronology of Key dates WW1 CENTENARY LINKS FEATURED COMPOSITIONS Planets The Hymn of Jesus Page | 2a About Behind the Lines Behind the Lines was a year-long programme of free participatory events and resources for all ages to commemorate the centenary of the outbreak of the First World War. The programme was delivered in partnership by Westminster Music Library and the Royal Philharmonic Orchestra, and supported using public funding by Arts Council England. Public Workshops Beginning in autumn 2013, educational leaders and world-class musicians from the Royal Philharmonic Orchestra led a series of 18 interactive workshops for adults and families (early years and primary age focus). Sessions explored the music and composers of the First World War through these engaging creative composition workshops, targeted at the age group specified, and using the music and resources housed in Westminster Music Library. Schools Projects In addition to the public workshop series, Behind the Lines also worked with six schools in Westminster and the Royal Borough of Kensington and Chelsea; two secondaries and four primaries. These six schools participated in 2 day creative composition projects which drew upon the themes of the programme and linked in with the schools own learning programmes – in particular the History, Music and English curriculum. Additional schools projects can be incorporated in to the Behind the Lines programme between 2014 – 2018, although fundraising will be required. -
Gustav Holst!S Savitri Elucidated Ey Hindu
GUSTAV HOLST!S SAVITRI ELUCIDATED EY HINDU THOUGHT Scott Alan Landvatter A thesis submitted to the faculty of The University of Utah partial fulfillment of the requirements for the degree of Master of Music Department of Music The University of Utah December 1984 Copyright© 1984. Scott Alan Landvatter All Rights Reserved THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a thesis submitted by Scott Alan Landvatter This thesis has been read by eac h member of the following supervisory committee and by majority vote has been found to be satisfactory. Chairman: ^ M argaret Rorke f r a y > 7 (j Bruce Reich A / / / /W -------------------- Jay Welch THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS FINAL READING APPROVAL T o the Graduate Council of The University o f Utah: I have read the thesis of S c o tt A la n L a n d va tter_______________________ in its final form and have found that (1) its format, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate School. JQL . i , lM ___ ,____________ Date J Margaret Rorke Chairperson, Supervisory Committee Approved for the Major Department — v-—^^------ ^ f Edgar Thompson Chairperson Approved for the Graduate Council -y- -----Y ^ - Keith Engar Dean. College ofr rts ABSTRACT Gustav Holst, throughout his life manifesting a rather mystic penchant, was, in his early career, quite taken with Hindu writings? it was as a result of his studies in Sanskrit that his chamber opera Savitri, Opus 25, emerged in 1908. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
Gustav Holst - Brought Down to Earth
Gustav Holst - Brought down to earth Gustav Holst was about much more than the Planets suite, as a new BBC4 documentary reveals. By Jessica Duchen Friday, 15 April 2011 Gustav Holst's The Planets is one of the best-known pieces of classical music written by a British composer. How strange, then, that we know so little of the composer's other music – or, for that matter, of the composer himself. But Tony Palmer's new full-length film about him, In the Bleak Midwinter – due for screening on BBC4 on Easter Sunday – contains more than a few startling revelations about this apparently quiet and enigmatic figure. First, it turns out that The Planets originally had nothing to do with planets at all. And the composer whose melody (from "Jupiter") became the patriotic hymn "I Vow to Thee, My Country" loathed those words because they were, according to Palmer, "the opposite of what he believed". Holst was a passionate socialist, allying himself during the First World War with a "red priest" in Essex who once pinned to the church door a note announcing "prayers at noon for the victims of Imperial aggression". Palmer first became interested in Holst when Benjamin Britten told him, during a 1967 interview, that he owed Holst a great deal in terms of influence. And it was in the library of Britten's Aldeburgh home, The Red House, that Palmer eventually viewed letters from Holst that proved his attitude to "I Vow to Thee". Looking at manuscripts of The Planets in the Bodleian Library, Oxford, Palmer was able to see that the title, subtitles and names of planets were afterthoughts to an existing piece. -
The Spring Newsletter
APRIL 2020 Issue No: 15 Welcome to the spring newsletter. CORONAVIRUS The pandemic has, so far, taken the lives of at least 12,000 UK citizens and affected the health of many thousands more. In addition, the nation remains in lockdown, businesses have failed and are continuing to fail and millions face the prospect of unemployment. On the musical front, countless numbers of professional musicians now find themselves out of work. Concerts which had taken months if not years to plan and rehearse for, have been cancelled. Projects have had to be deferred. All English composer societies face an uncertain future. It seems abundantly clear that funding for whatever project they have in mind, is bound to be seriously affected. With everyone looking very carefully at their finances, societies are going to find it extremely difficult to raise funds for live performances and recordings. The trustees of the Holst Society have agreed that we need to proceed very cautiously in future months with regard to spending projects. We are certainly not expecting any further applications for grants in respect of live performances for quite some time. Equally, recordings are being delayed, but funding will still be sought. However, I am pleased to report that we are not proposing to axe any recording projects, to which we are already committed. Nevertheless, we will almost certainly not be Holst in Salonika with other officers taking on any new projects, just at this stage. Fortunately, we have now raised sufficient resources to fund the The lockdown will, though, enable the Society to devote its publication of what we are calling the ‘journal’, which will include attentions to two matters.