Overlanders Music Credits

Total Page:16

File Type:pdf, Size:1020Kb

Overlanders Music Credits Music Composed by John Ireland Played by The Philharmonia Orchestra Conducted by Ernest Irving This was John Ireland's only film score. The English composer (1879-1962) has a wiki here. (Below: John Ireland) Conductor Ernest Irving (1878-1953) was a reliable English composer and conductor who specialised in film music. Ralph Vaughan Williams dedicated his Sinfonia antarctica to him. Australian conductor composer Charles Mackerras later arranged for orchestra an approximately eighteen minute suite from the film music by Ireland. Mackerras had been involved in a number of film scores for Australian films. His wiki is here. (Below: Charles Mackerras in the 1950s) It is in this form that Ireland's music from the film is now found on LP and CD in a variety of labels and performed by a diverse range of artists. Traditionalists will perhaps be most interested in the Lyrita CD revival of an early version of the suite, featuring Sir Adrian Boult conducting the London Philharmonia Orchestra. Boult's timings are relatively leisurely: The Overlanders, Suite (1946-47) (ed. Charles Mackerras) John Ireland 20.07 8 1. March: Scorched Earth 4.39 9 2. Romance: Mary & Sailor 3.55 10 3. Intermezzo: Open Country 3.20 11 4. Scherzo: The Brumbies 4.22 12 5. Finale: Night Stampede 3.51 The Hickox version is also leisurely: The Measham version below was favourably reviewed by the Gramophone in November 1980, the music less so: The suite from Ireland's film music (arranged by Sir Charles Mackerras) is excellent of its kind but not in the same class of interest to most music lovers; but if you prefer it, its playing and recording are first rate. So is that of the Epic March; but Ireland was not at his happiest in a 'pomp and circumstance' style where he was denied his lyrical gifts. The point is emphasized by the wholly characteristic melody of the march's Trio, T.H. Other versions are now available for downloading: The suite has also been released on collections of British music for film and television on LP and CD. It remains easily accessible in a number of versions: A pocket score is available from Boosey and Hawkes: .
Recommended publications
  • Robin in Context
    Robin in context Introduction Robin produced some 115 compositions, among them a symphony, a violin concerto, a ballet, a masque, an opera, two oratorios, chamber music, pieces for piano and for organ, songs and choral works, both small- and large-scale. However, in addition to being the composer’s favourite and most personal genre, the songs for solo voice and piano are Robin’s largest and most condensed genre. These compositions will now be considered here within the context of early twentieth century English music and later through critical analysis. By the time Robin commenced song composition, a school of English song was well established through the work and compositions of such ‘main’ composers as Parry, Stanford, Vaughan Williams, Gurney, Warlock and Finzi. However, in the contextualisation of Robin’s songs, other aspects need to be considered in addition to the main composers of song. These include the existence of a twentieth century English musical renaissance and its main composers; Robin’s studies at the Royal College of Music; contemporary composition students at the RCM; the ‘organ loft’ song composers; the friendship with Balfour Gardiner; and the development of music publishing, the British Broadcasting Company (subsequently, Corporation), musical education in schools and amateur music-making (including the many local musical festivals throughout the country). 1 The twentieth-century English musical renaissance Howes (1966) and Hughes/Stradling (1993) suggest and have proven the existence of a twentieth century ‘English musical renaissance’. Having argued the necessity for such a phenomenon, these writers explain its development, including a revival in the music of the Tudors and Bach, and a systematic preservation of and belief in English folksong.
    [Show full text]
  • 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
    [Show full text]
  • Spring 2018/2 by Brian Wilson and Dan Morgan
    Second Thoughts and Short Reviews - Spring 2018/2 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson unless signed [DM]. Spring 2018/1 is here. Links there to earlier editions. Index: ADAMS Absolute Jest; Naïve and Sentimental Music_Chandos BACH Keyboard Music: Volume 2_Nimbus - Complete Organ Works Volume 7_Signum BEETHOVEN Triple Concerto_DG (+ BRAHMS) BORENSTEIN Violin Concerto, etc._Chandos BRAHMS Double Concerto_DG (+ BEETHOVEN) BRUCKNER Symphony No. 3_Profil - Symphony No. 4 in E-flat ‘Romantic’_LSO Live BUSONI Orchestral Works_Chandos ELGAR Violin Sonata, etc._Naxos_Chandos GERSHWIN Rhapsody in Blue_Beulah GUILMANT Organ Works_Chandos (+ WIDOR, FRANCK, SAINT-SAËNS) IRELAND Downland Suite, etc._Chandos - Mai Dun, Overlanders Suite, etc._Hallé JANITSCH Rediscoveries from the Sara Levy Collection_Chandos KARAYEV Symphony No.1; Violin Concerto_Naxos - Seven Beauties Suite, etc._Chandos LIDSTRÖM Rigoletto Fantasy_BIS (+ SHOSTAKOVICH Cello Concerto) LISZT A Faust Symphony_Alpha LUDFORD Missa Videte miraculum, etc._Hyperion MAHLER Symphony No.1_CAvi - Symphonies Nos. 4-6_Signum - Symphony No. 6_BIS MONTEVERDI Lettera Amorosa_Ricercar - Clorinda e Tancredi: Love scenes_Glossa - Night - Stories of Lovers and Warriors_Naïve PALUMBO Three Concertos_BIS RACHMANINOV The Bells, Symphonic Dances_BRKlassik ROSSINI Overtures – Gazza Ladra, Guillaume Tell_Beulah SAUER Piano Concerto No.1_Hyperion (+ SCHARWENKA) SCHARWENKA Piano Concerto No.4_Hyperion (+ SAUER) SHOSTAKOVICH Cello Concerto No.1_BIS (+ LIDSTRÖM) TALLIS Lamentations and Medieval Chant_Signum TIPPETT Symphonies Nos. 1 and 2_Hyperion VIVALDI Concertos Op.8/1-12_Chandos - Double Concertos_Chandos WESLEY, Samuel Symphonies_Chandos WESLEY, Samuel Sebastian Ascribe unto the Lord - Sacred choral works_Chandos WIDOR Organ Works_Chandos (see GUILMANT) Electric Django (Reinhardt)_Beulah *** MusicWeb International April 2018 Second Thoughts and Short Reviews - Spring 2018/2 Nicholas LUDFORD (c.1490-1557) Ninefold Kyrie (at Ladymass on Tuesday, Feria iii) [4:45] Alleluia.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
    A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [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]
  • BL Lutyens Liste II
    54415. GALLIARD COLLECTION. Vol. LXIV. Arnold Krug, Elisabeth Lutyens, James Lyon, Hamish MacCunn, Sir John MacEwen: instrumental and vocal works; 1892-[1939]. ff. 47. Largest size 370 x 290 mm. 1. ff. 1-14. Krug: 'Zwei Sonatinen' for piano, op. 93; [1900]. 2. ff. 15-24. Lutyens: 'The Check Book: Children's Pieces' for piano; [1939]. 3. ff. 25-34. Lyon: String Quartet, op. 46a; 1921. 4. ff. 35-38. MacCunn: 'On a faded violet' (words, Shelley) for voice and piano; 1892. 5. ff. 39-42. MacCunn: Caprice for cello and piano; 1914. 6. ff. 43-47. MacEwen: 'Evening' (words, T. Moore) for two high voices and piano; [1898]. 56410. ELISABETH LUTYENS: opera, 'Isis and Osiris', lyric drama in three Acts, op. 79 (libretto, Lutyens after Plutarch); 1969-1970. Autograph score in pencil, with pencil conductor's markings in another hand [Michael Graubart?]. ff. 1-2 are sketches labelled 'basis'. Purchased from Bertram Rota, 19 Sept. 1970. Paper; ff. 103. Author's pencil foliation occurs in separate series to Acts I-III. 369 x 274mm. 56410*. ELISABETH LUTYENS: libretto, Isis and Osiris. Lyric Drama in Prologue and Three Acts; 1969-1970. Printed libretto. 57301. ELIZABETH LUTYENS: String Trio, op. 5, no. 6; [1939?]. Pencil score, copy. For a photocopy of the autograph score see Add. 64525. Transferred from the Music Room. ff. 5. 370 x 275mm. 59804. MACNAGHTEN CONCERTS COLLECTION. Vol. VIII. Elisabeth Lutyens: 'Six Tempi for ten Instruments', op. 42; 1957. Published London [1959]. ff. 23. 238 x 300mm. 59805. MACNAGHTEN CONCERTS COLLECTION. Vol. IX. Elisabeth Lutyens: 'Time Off? Not a Ghost of a Chance', charade in four scenes with three interruptions, op.
    [Show full text]
  • SRCD 2345 Book
    British Piano Concertos Stanford • Vaughan Williams Hoddinott • Williamson Finzi • Foulds • Bridge Rawsthorne • Ireland Busch • Moeran Berkeley • Scott 1 DISC ONE 77’20” The following Scherzo falls into four parts: a fluent and ascending melody; an oppressive dance in 10/6; a return to the first section and finally the culmination of the movement where SIR CHARLES VILLIERS STANFORD (1852-1924) all the previous material collides and reaches a violent apotheosis. Of considerable metrical 1-3 intricacy, this movement derives harmonically and melodically from a four-note motif. 1st Movement: Allegro moderato 15’39” Marked , the slow movement is a set of variations which unfolds in a 2nd Movement: Adagio molto 11’32” flowing 3/2 time. Inward-looking, this is the concerto’s emotional core, its wistful opening 3rd Movement: Allegro molto 10’19” for piano establishing a mood of restrained lamentation whilst the shattering brass Malcolm Binns, piano motifs introduce a more agonized form of grief, close to raging despair. The cadenza brings London Symphony Orchestra, conducted by Nicholas Braithwaite some measure of peace. In the extrovert Finale, the first movement’s orchestration and metres are From SRCD219 ADD c 1985 recalled and the soloist goads the orchestra, with its ebullience restored, towards ever-greater feats of rhythmical dexterity. This typically exultant finale, in modified rondo form, re- GERALD FINZI (1901-1956) affirms the concerto’s tonal centre of E flat. 4 Though technically brilliant, it is the concerto’s unabashed lyricism
    [Show full text]
  • SIBELIUS SOCIETY NEWSLETTER No
    UNITED KINGDOM SIBELIUS SOCIETY NEWSLETTER No. 76 United Kingdom Sibelius Society Newsletter - Issue 76 (January 2015) - C ontent S - Page Editorial ....................................................................................... 3 News and Views .......................................................................... 5 Original Sibelius. Festival Review by Edward Clark .................. 6 Sibelius and Bruckner by Peter Frankland .................................. 10 The Piano Music of Jean Sibelius by Rudi Eastwood .................. 16 Why do we like Sibelius? by Edward Clark ................................ 19 Arthur Butterworth by Edward Clark .......................................... 20 A memoir of Tauno Hannikainen by Arthur Butterworth ............ 25 2014 Proms – Review by Edward Clark ...................................... 27 Sibelius. Thoughts by Fenella Humphries ................................... 30 The Backman Trio. Concert and CD review by Edward Clark ... 32 Finlandia. Commentary by David Bunney ................................... 33 The modernity of Sibelius by Edward Clark ............................... 36 Sibelius and his Violin Concerto by Edward Clark ..................... 38 The United Kingdom Sibelius Society would like to thank its corporate members for their generous support: ............................................................................................... BB-Shipping (Greenwich) Ltd Transfennica (UK) Ltd Music Sales Ltd Skandinaviska Enskilda Banken Breitkopf & Härtel - 2 - Editorial
    [Show full text]
  • Boult Ireland
    SRCD.240 STEREO ADD JOHN IRELAND (1879-1962) Scherzo & Cortège (Julius Caesar) OULT Mai-Dun, symphonic rhapsody 1 (c1905) * (10’29”) B Tritons, symphonic prelude B conducts The Forgotten Rite, prelude 2 The Forgotten Rite, prelude (1918) (7’07”) Tritons, symphonic prelude 3 Mai-Dun, symphonic rhapsody (1920-21) (11’23”) Suite ‘The Overlanders’ 4 A London Overture (1936) (11’57”) A London Overture 5 Epic March (1942) (8’12”) RELAND Epic March (arr. Geoffrey Bush) (1942) * I Themes from Julius Caesar I 6 1. Scherzo (2’47”) 7 2. Cortège (3’58”) Suite ‘The Overlanders’ (1946-47) (ed. Charles Mackerras) * 8 1. March: Scorched Earth (4’39”) 9 2. Romance: Mary & Sailor (3’55”) 10 3. Intermezzo: Open Country (3’20”) 11 4. Scherzo: The Brumbies (4’22”) 12 5. Finale: Night Stampede (3’51”) (76’04”) London Philharmonic Orchestra conducted by Sir Adrian Boult The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1966 *ൿ 1971 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 2007 Lyrita Recorded Edition, England. © 2007 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK London Philharmonic Orchestra movement; Romance). The Suite begins with the title music, which recurs with overwhelming effect at the end of the film when the herdsmen, against all odds, reach their destination.
    [Show full text]
  • John Ireland's Epic March. Journal of the Royal Musical Association, 139(1), 137-175
    Guthrie, K. (2020). Propaganda Music in Second World War Britain: John Ireland's Epic March. Journal of the Royal Musical Association, 139(1), 137-175. https://doi.org/10.1080/02690403.2014.886430 Peer reviewed version Link to published version (if available): 10.1080/02690403.2014.886430 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor & Francis at http://www.tandfonline.com/doi/full/10.1080/02690403.2014.886430. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Guthrie, K. (2014). Propaganda Music in Second World War Britain: John Ireland's Epic March. Journal of the Royal Musical Association, 139(1), 137-175. https://doi.org/10.1080/02690403.2014.886430 Peer reviewed version License (if available): Unspecified Link to published version (if available): 10.1080/02690403.2014.886430 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor & Francis at http://www.tandfonline.com/doi/full/10.1080/02690403.2014.886430. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies.
    [Show full text]
  • JOHN IRELAND 70Th Birthday Concert
    JOHN IRELAND 70th Birthday ConCert Sir ADRIAN BOULT conductor EILEEN JOYCE piano LONDON PHILHARMONIC ORCHESTRA JOHN IRELAND 70th Birthday ConCert The Henry Wood Promenade Concerts were BBC Symphony Orchestra’s Chief Conductor, inaugurated in 1895 in London’s principal the move from one rostrum to another was concert venue, Queen’s Hall. Following the effected with great smoothness: “I was only hall’s destruction during World War II, the out of work for two or three days,” he liked to BBC Promenade concerts have continued say. For Ireland’s birthday concert he was the ever since at the Royal Albert Hall. The annual ideal choice. Boult’s wide embrace of English summer season is in effect a huge music music had long included Ireland’s music: he festival, drawing the greatest artists and had premièred These things shall be in his BBC orchestras from all over the world. In the days, and in 1936 encouraged the composer to years after the 1939–45 war it became quite turn his Comedy Overture, originally composed usual to celebrate composers’ anniversaries, for brass band, into A London Overture, so sometimes devoting a concert entirely to giving it a wider and more popular following. their music. The concert recorded on this CD, Ireland had a great love of London, revealed in given on 10 September 1949 to mark John such cameos as his picturesque London Pieces Ireland’s 70th birthday, was conducted by Sir for piano with their nostalgic titles ‘Chelsea Adrian Boult (1889–1983). Boult described Reach’ and ‘Soho Forenoons’. A London Overture the composer
    [Show full text]