DOCSLIB.ORG

Microfilmed 1991 Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Microfilmed 1991 Information to Users UMI MICROFILMED 1991 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 Beil & Howell Intormaiion Company 300 North Z eeb R oad, Ann Arbor. Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 0130433 A survey and analysis of the published French and Irish songs for piano and voice of Sir Arnold Bax Shockey, David Matthew, D.M.A. The Ohio State Univenity, 1001 UMI 300N.ZeebRd. Ann Aitoor, MI 48106 A SURVEY AND ANALYSIS OF THE PUBLISHED FRENCH AND IRISH SONGS FOR PIANO AND VOICE OF SIR ARNOLD BAX DOCTORAL DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the School of Music in the Graduate School of The Ohio State University by David Matthew Shockey, Diploma, B.S., M.M. ****** The Ohio State University 1991 Dissertation Committee: Approved by Helen Swank Marshall Barnes Lser Jerry Lowder School of Music Robin Rice VITA June 17, 1951 .... Born - Sandy Spring, Maryland 1969 ................. Diploma - Milford Mill Senior High School 1970-1974 ...... Voice Instructor - Dr. Robert Shewan, Roberts Wesleyan College 1974 ................. B.S., M. Ed., Roberts Wesleyan College 1974-1978 ........... Choral Director, E.J. Wilson High School, Spencerport, New York 1976-1977 Voice Instructor - Mr. John Maloy, Eastman School of Music 1978-1989 ........... Assistant Professor of Voice Philadelphia College of Bible, Philadelphia, Pennsylvania 1960 ................. M.M., Eastman School of Music 1980-1985 ........... Voice Instructor - Miss Florence Berggren, Philadelphia, Pennsylvania 1989-1991 ........... Graduate Teaching Associate, School of Music, Voice Area, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music ii TABLE OP CONTENTS VITA ............................................... ii RECITAL PROGRAMS ................. ................ iv LIST OP F I G U R E S ..................» ................ V CHAPTER PAGE I. INTRODUCTION ........... ................. 1 II. BAX, THE M A N ........... ................. 5 III. A CELTIC SONG CYCLE . i .............. 18 IV. ALBUM OF SEVEN SONGS . .[ .............. 35 V. FRENCH SONGS ........... ................. 48 VI. FIVE IRISH SONGS AND THREE IRISH SONGS . 72 VII. THREE MORE IRISH SONGS . ............... 96 APPENDICES S I I. CHRONOLOGICAL LISTING OF SONGS .......... 105 I I LIST OF REFERENCES ............... * ................. 110 BIBLIOGRAPHY ....................... 115 ill Tuesday, October 16, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, Tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Harmonia Sacra Purcell We Sing to Him An Evening Hymn Lord, What is Man Winterreise, Op. 89 Schubert Gute Nacht Die Wetterfahne Gefrorne Tranen Erstarrung Fetes Galantes (1) Debussy En Sourdine Clair de lune Fantoches INTERMISSION- A Milking Sian Bax Roundel Shelling Song The White Peace A Christmas Carol To Eire The Enchanted Fiddle iv « Tuesday, February 19, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Winterreise, op. 87 ............. Franz Schubert (1797-1828) Gute Nacht Die Wetterfahne Gefrorne Tranen Erstarrung Der Lindenbaum Wasserflut Auf dem Flusse Rilckblick Irrlicht Rast FrQhlingstraum Einsamkeit Die Post Der greise Kopf Die Krahe Lenzte Hoffnung Im Dorfe Der stQrmische Morgen Tauschung Der Wegweiser Das Wirtshaus Mutl Die Nebensonnen Der Leiermann v. Tuesday, May 29, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, Tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment . for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Laa bonne chanson, op. 6 1 .......... Faure Une Sainte en son aureole (1845-1924) Puisgue l'aube grand!t La lune blanche luit dans les bois J'allais par des chemins perfides J'ai presgue peur, en verity Avante gue tu ne t'en allies Done, ce sera par un clair jour d'£te N'est-ce pas? L'hiver a cess£ -INTERMISSION- Dichterliebe, op. 48 ................. Schumann Im wunderschbnen Monat Mai (1810-1856) Aus meinen Tr&nen spriessen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh1 Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wussten's die Blumen Das 1st ein Flbten und Geigen Hbr' ich das Liedchen klingen Ein Jiingling liebt ein Madchen Am leuchtenden Sommermorgen Ich hab1 im Traum geweinet Allnachtlich im traume Aus alten marchen Die alten, b6sen Lieder vi LIST OP FIGURES FIGURES PAGE 1. Eilidh My Fawn, nun. 1 0 - 1 7 ......... 20 2. Closing Doors, mm. 1 4 - 1 6 ......... 24 3. A Celtic Lullaby, mm. 1- 4 ............. 30 4. A Celtic Lullaby, mm. 5 - 1 1 ........... 30 5. The Shieling Song, mm. '5-11....... 42 6. Jean, P'tit Jean, mm. 1- 5 ............. 50 7. Jean, P'tit Jean, mm. 62-65 ........... 51 8 . Berceuse, mm. 20-23 ................... 53 9. Me Suis Mise En Danse, mm. 21-24 . 60 10. Langueo d'Amours, mm. 1- 1 1 ........... 67 11. Langueo d'Amours, mm. 58-59 ........... 69 12. As I Came Over the Grey, Grey Hills, mm. 24-26 82 13. The Pigeons, mm. 3-4 ......... 84 14. Cradle Song, mm. 1 - 7 ............. 88 15. Rann of Exile, mm. 1 - 3 ........... 91 16. Rann of Wanderings, mm. 1 - 4 ....... 93 17. Watching the Needleboats, mm. 1-4 . 102 vii CHAPTER I INTRODUCTION Edward Elgar, Gustav Holst, William Walton and Ralph Vaughan Williams are but four of the reasons that Sir Arnold Bax is a virtually unknown composer in so many musical circles today. For now I will cite two other reasons. First, in spite of his appointment as Master of the King's Musick in 1941, Arnold Bax was a very shy, retiring gentleman who did little to promote himself or his music. Second, he often composed in a very complex manner, whether for orchestra, for piano, or for voice and piano, and in so doing he no doubt frightened away many would- be performers. This is unfortunate, for his work is that of a skilled craftsman, as will be seen in the following pages. Why look at Bax's songs? After all, he is noted primarily as a symphonist and as a pianist, when he is noticed at all. In addition, however, Sir Arnold Bax composed approximately 100 songs for voice and 2 piano, of which about two-thirds were published. Those t are not inconsequential figures when one considers that neither Debussy, Duparc, Hahn or any number of other composers approached that figure in their songwriting. It has been my privilege to perform nearly half of the pieces discussed in this document and I can say unequivocally that they are quality works. Bax is particularly creative harmonically and is also blessed with a gift for melody. It is also my feeling that by considering his published songs, some benefit may be gained by future performers of them. Anyone who has read much about Arnold Bax has become aware of his love affair with Ireland, including the people, the place and the land. It seems only fitting, then, to look closely at his Irish songs. An Irish poet, or a poet using an Irish pseudonym, is probably one of the principal elements of an Irish song. Bax himself is one example of such a person. Using the name "Dermot O'Byrne," he produced a considerable amount of first rate writing of both prose and poetry, in an Irish manner. William Sharp, alias "Fiona Macleod," is another example of one who regularly used a pseudonym. The poem itself may make plain the nationalistic bent of the work, its title serving to qualify the poem as being Irish. Finally, although Bax claims to have borrowed no folk-tunes in his compositions, the very nature of the tune, e.g. thevthrice-repeated notes, the modal inflections, and the pentatonic cell, could render a song Irish. These considerations have guided me in the identification of Irish songs. By virtue of their use of French texts, the French songs are easily identified. My own interests in French song, as well as that of the composer in question, have prompted me to look carefully at those pieces. Unfortunately, Bax's song "Le chant d'Isabeau" was not available for this study. The selections will be discussed in this document according to the chronology of their composition, even when dealing with collections such as the "Five Irish Songs." Most of the 28 selections to be discussed fall readily into groups, with the exception of "When we are lost," "Parting," and "Watching the Needleboats." These three will be assessed in the last chapter. Eric Sams, Richard Capell, Gerald Moore and others have done brilliant work in analyzing the songs of Schumann, Schubert and the other well-known writers 4 the quality of their efforts, it is nonetheless, with their models in view that this project has been undertaken.
Load more

Recommended publications
  • El Clarinete En Inglaterra: Frederick Thurston (1901-1953)
    ESCUELA DE DOCTORADO Facultad de Formación de Profesorado y Educación Programa de Doctorado en Educación TESIS DOCTORAL EL CLARINETE EN INGLATERRA: FREDERICK THURSTON (1901-1953) Autora: Cristina María Strike Campuzano Directores: Dr. Enrique Muñoz Rubio Dr. Carlos Javier Fernández Cobo FEBRERO DE 2018 Agradecimientos A los directores de tesis, el Dr. Enrique Muñoz Rubio y el Dr. Carlos Javier Fernández Cobo por el apoyo recibido y por guiarme en este proyecto. A la familia Davis: Howard, Rachel, Rachel-Emily, Theo, Timothy, Phillip, Thomas y el recién nacido Leo, por su hospitalidad desbordante y por hacerme pasar varios de los mejores meses de mi vida. A la Dra. Helena Gaunt y Kate McNamara, por permitirme sin condiciones la estancia académica en Londres. A los entrevistados: Colin Bradbury, por su ayuda constante, su generosidad y por posibilitarme todos los documentos de los que él disponía sobre Frederick Thurston; Michael Harris por su amabilidad; Janet Hilton por su experiencia; Colin Lawson por su tiempo; Julian Farrell por enseñarme tanto; y Joy Farrall y Neil Black por su amor hacia Thea. A la British Library por hacerme descubrir múltiples posibilidades de conocimiento en la investigación. A la biblioteca de la Guildhall School of Music & Drama: Knut, Kate, Ainara, Rebecca y Adrian, por la inmensa ayuda recibida; a Paul Campion y David Herbert de la Worshipful Company of Musicians; a Margaret Jones del departamento de música de la biblioteca de la Universidad de Cambridge; a Martin Holmes y Juliet Chadwick de la facultad de
    [Show full text]
  • Journal of the American Viola Society Volume 31 Online, Summer 2015
    Journal of the American Viola Society A publication of the American Viola Society Summer 2015: Volume 31, Online Issue p. 3 From the Editor p. 5 From the President News & Notes p. 7 In Memoriam Joseph de Pasquale Remembered p. 11 Recalling the AVS Newsletter: English Viola Music Before 1937 In recalling 30 years of this journal, we provide a nod to its predecessor with a reprint of a 1976 article by Thomas Tatton, followed by a brief reflection by the author. Feature Article p. 13 Concerto for Viola Sobre un Canto Bribri by Costa Rican composer Benjamín Gutiérrez Or quídea Guandique provides a detailed look at the first viola concerto of Costa Rica, and how the country’s history influenced its creation. Departments p. 25 In the Studio: Thought Multi-Tasking (or What I Learned about Painting from Playing the Viola) Katrin Meidell discussed the influence of viola technique and pedagogy in unexpected areas of life. p. 29 With Viola in Hand: Experiencing the Viola in Hindustani Classical Music: Gisa Jähnichen, Chinthaka P. Meddegoda, and Ruwin R. Dias experiment with finding a place for the viola in place of the violin in Hindustani classical music. On the Covers: 30 Years of JAVS Covers compiled by Andrew Filmer and David Bynog Editor: Andrew Filmer The Journal of the American Viola Society is Associate Editor: David M. Bynog published in spring and fall and as an online- only issue in summer. The American Viola Departmental Editors: Society is a nonprofit organization of viola At the Grassroots: Christine Rutledge enthusiasts, including students, performers, The Eclectic Violist: David Wallace teachers, scholars, composers, makers, and Fresh Faces: Lembi Veskimets friends, who seek to encourage excellence in In the Studio: Katherine Lewis performance, pedagogy, research, composition, New Music Reviews: Andrew Braddock and lutherie.
    [Show full text]
  • Lionel Tertis, York Bowen, and the Rise of the Viola
    THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by WILLIAM KENTON LANIER B.A., Thomas Edison State University, 2009 Kansas City, Missouri 2020 © 2020 WILLIAM KENTON LANIER ALL RIGHTS RESERVED THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND William Kenton Lanier, Candidate for the Master of Music Degree in Musicology University of Missouri-Kansas City, 2020 ABSTRACT The viola owes its current reputation largely to the tireless efforts of Lionel Tertis (1876-1975), who, perhaps more than any other individual, brought the viola to light as a solo instrument. Prior to the twentieth century, numerous composers are known to have played the viola, and some even preferred it, but none possessed the drive or saw the necessity to establish it as an equal solo counterpart to the violin or cello. Likewise, no performer before Tertis had established themselves as a renowned exponent of the viola. Tertis made it his life’s work to bring the viola to the fore, and his musical prowess and technical ability on the instrument gave him the tools to succeed. Tertis was primarily a performer, thus collaboration with composers also comprised a necessary element of his viola crusade. He commissioned works from several British composers, including one of the first and most prolific composers for the viola, York Bowen (1884-1961).
    [Show full text]
  • Arnold Bax and the Poetry of Tintagel
    ARNOLD BAX AND THE POETRY OF TINTAGEL A Dissertation submitted to the College of Fine Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by William B. Hannam December, 2008 HANNAM, WILLIAM B., PH.D., DECEMBER, 2008 MUSIC ARNOLD BAX AND THE POETRY OF TINTAGEL (213PP.) Director of Dissertation: Theodore J. Albrecht The latter part of the nineteenth and the early part of the twentieth centuries saw what is commonly accepted as a resurgence in music from the British Isles, but to this day, most of the actual music of this resurgence remains unknown to all but the most knowledgeable of art music aficionados. Among the composers active during this period, one of the most heralded in his day but little recognized now is Sir Arnold Bax (1883 – 1953). To the aforementioned aficionados, he is known for several substantial yet infrequently performed contributions to the symphonic repertoire, among them the tone poem Tintagel. Known in England as a composer, Bax carried on a separate life as a writer of poetry and drama in Ireland, working under the name Dermot O’Byrne. At the time of composition of the tone poem, Bax also wrote a four- stanza verse poem titled “Tintagel Castle.” Both were written for and dedicated to the pianist Harriet Cohen, with whom he was having an affair. The focus of this dissertation is an extensive look at the circumstances surrounding the composition of Tintagel, examining factors of development in Bax’s compositional style, his personal life including the affair with Harriet Cohen, and the influence of Yeats and Irish culture on Bax’s writings as Dermot O’Byrne.
    [Show full text]
  • Catalogue of Papers Relating to the Society of Women Musicians Held at RCM Library Archives, London Presidents SWM 1911-12 Liza Lehmann 1912-13 Emily R
    1 Catalogue of Papers relating to the Society of Women Musicians held at RCM Library Archives, London Presidents SWM 1911-12 Liza Lehmann 1912-13 Emily R. Daymond, Mus. D 1914-14 Cecile C. Chaminade 1914-15 Katharine Eggar 1915-16 Marion Scott 1916-17 Gertrude Eaton 1917-18 Marie Brema 1918-19 The Lady Mary Trefusis 1919-21 Kathleen Schlesinger, FIA (University of Liverpool) 1921-23 Adine O’Neill (Mrs. Norman O’Neill) 1923-24 Agnes Larkcom, FRAM 1924-26 Fanny Davies 1926-27 Evangeline Florence 1927-30 Rosa Newmarch 1930-32 Evelyn Suart (Lady Harcourt) 1932-34 Elsie Horne, FRAM 1934-35 Edith Clegg 1935-36 Alma Goatley 1936-38 Hester Stansfield Prior 1938-43 Myra Hess, DBE, FRAM 1943-51 Kathleen Long, CBE 1951-55 Astra Desmond, CBE, BA, Hon RAM 1955-61 Elizabeth Poston 1961-63 Seymour Whinyates, OBE, FRCM, Hon RAM 1963-67 Nancy Evans 1967- Marion, Countess of Harewood Abbreviations for names in catalogue MP Margaret Paterson (SWM President) KEE Katherine Emily Eggar (Founder) KL Kathleen Long (SWM President) RF Rachel Fell (SWM Officer) MMS Marion Margaret Scott (Founder) GE Gertrude Eaton (Founder) GBR Grace Barrons Richardson (SWM Officer) EP Elizabeth Poston (SWM President) AM Alice Martin (SWM Officer) SG Sarah Greenwood (SWM Officer) MG Marjorie Gleed (SWM Officer) CC Cécile Chaminade (SWM President) LL Liza Lehmann (SWM President) AG Alma Goatley (SWM President) KS Kathleen Schlesinger (SWM President) RN Rosa Newmarch (SWM Prseident) 2 Box 175 Folder labelled correspondence, honorary membership, vice presidents and fellows, council
    [Show full text]
  • May 1934) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1934 Volume 52, Number 05 (May 1934) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 52, Number 05 (May 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/822 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. tJhtusic tJXCagazine May 1934 Price 25 Cents A r ti1 2= ©HI Information for if THE ETUDE Etude Readers & Advertisers The Etude Music Magazine 4Music <4htagazine Copyright, 1934, by Theodore Presser Co. for U. S. A. and Great Britain A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS Editor published by Assistant Editor der the Act of March 3, 1879. Coot. right, 1934, by Theodore Presser JAMES FRANCIS COOKE i 7 ; 2 - , 7,4 CHESTNUT STR^T^pmLADELPH1A pa. EDWARD ELLSWORTH HIPSHER Co., for U. S. A. and Great Britain. I S 1 —J. 4 -II. No. 5 PRINTED IN THE UNITED STATES OF AMERICA MAY,.
    [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 D-H BENJAMIN DALE (1885-1943) Born in London. An accomplished organist siince childhood, he entered the Royal Academy of Music at age 15 where he studied composition under Frederick Corder. He had early success as a composer and teacher including an appointment as Professor of Harmony at the Royal Academy of Music. He composed orchestral, chamber, instrumental, vocal and choral works, including a Concertstück (Concert Piece) for Organ and Orchestra (1904). Romance for Viola and Orchestra (from Suite, Op.2) (1906, orch. 1910) Sarah-Jane Bradley (viola)/Stephen Bell/The Hallé ( + Clarke: Viola Concerto, Walthew: A Mosaic in Ten Pieces and Warner: Suite in D minor) DUTTON EPOCH CDLX7329 (2016) SIR JOHN DANKWORTH (1927-2010) Born in Woodford, Essex into a musical family. He had learned to play various instruments bedore attending London's Royal Academy of Music. He became world famous as a jazz composer, saxophonist and clarinetist, and writer of film scores. He oten oerformed with his wife, the singer Cleo Laine. Clarinet Concerto "The Woolwich" Emma Johnson (clarinet)/Philip Ellis/BBC Concert Orchestra ( + Reade: Suite From The Victorian Kitchen Garden, Todd: Clarinet Concerto and Hawes: Clarinet Concerto) NIMBUS ALLIANCE NI6328 (2016) CHRISTIAN DARNTON (1905-1981) Born in Leeds. His musical education was extensive including studies with Frederick Corder at the Brighton School of Music, Harold Craxton at the Matthay School, composition with Benjamin Dale and Harry Farjeon at Cambridge and Gordon Jacob at the Royal College of Music, private lessons with Charles MusicWeb International Updated: August 2020 British & Commonwealth Concertos D-H Wood and Cyril Rootham and further studies with Max Butting in Germany.
    [Show full text]
  • Morning Has Broken: the Farjeon Family Collection Morning Has Broken: the Farjeon Family Collection
    Morning Has Broken: The Farjeon Family Collection Morning Has Broken: The Farjeon Family Collection Item List HERITAGE COLLECTIONS DUNEDIN PUBLIC LIBRARIES DUNEDIN , NEW ZEALAND 2 0 1 1 ‘Morning has broken, like the first morning Blackbird has spoken, like the first bird Praise for the singing, praise for the morning Praise for them springing fresh from the word’. Gallery visitors (and readers afar) might recognise the above as coming from the voice of 1970s English pop musician and folk singer Cat Stevens. Yet, some may be unfamiliar with the woman behind the lyrics: celebrated children’s author and poet Eleanor Farjeon (1881– 1965). Farjeon was a highly prolific writer who published over eighty books of stories, novels and poems for adults and children. She became friends with such literary lights as D. H. Lawrence, Robert Frost and Walter de la Mare. Farjeon developed a close friendship with the poet Edward Thomas, who was killed in the First World War in 1917, and she later published a memoir of their friendship called Edward Thomas: The Last Four years (1958; reprinted 1979). Farjeon was also the recipient of three major literary awards: the Carnegie Medal of the British Library Association, the Hans Christian Andersen Award and the Regina Medal of the American Catholic Library Association. Created in 1966 the Eleanor Farjeon Award is given annually in her memory to someone who has made an outstanding contribution to children’s literature. In late 1959 Eleanor Farjeon decided to make an important donation of books and manuscripts to the Dunedin Public Library. It is, therefore, with great pleasure that the Library is able to commemorate this act of generosity in the latest Reed Gallery exhibition ‘Morning Has Broken: The Farjeon Family Collection’.
    [Show full text]
  • 1-Amdt 19 BMS RECORDS
    I - 1-Amdt 19 BMS RECORDS - CATALOGUE SECTION I MANAGEMENT & ADMINISTRATION Subject A Minutes of Executive Committee Meetings Subject B Minutes of Annual General Meetings Subject C BMS Personnel . Subject D General Correspondence Subject E Particular Correspondence Subject F General Press notices and Publicity Subject G Rules, Constitution, Charitable Status, Jerwood Library agreement, Copyright ,copying & archival agreements, Charity Commission, Reports. Subject H Account Books Subject J Website There is, inevitably, a considerable amount of unavoidable and un-recorded cross referencing between this and other Sections (particularly Section III Recordings) and between Subjects in this Section (particularly D General Correspondence and E Particular Correspondence) I - A - 1 - orig BMS RECORDS - CATALOGUE Section I - Management & Administration Subject A MINUTES OF EXECUTIVE COMMITTEE MEETINGS Volume 1. 1978 - 1997 Volume 2 1998 - I - B -1- orig BMS RECORDS - CATALOGUE Section I - Management & Administration Subject B MINUTES OF ANNUAL GENERAL MEETINGS Volume 1 1978 - 1997 Volume 2 1998 - I - C - 1 - Amdt 25 BMS RECORDS - CATALOGUE Section I - Management & Administration Subject C BMS PERSONNEL 1978 - Pages 1. Persons at Inaugural Meeting; Founding Fathers 2. Founder Members 3. Presidents 4. Vice-Presidents 5. Advisory Board 6. Berkeley Medallists 7 Executive Committee - Officers 8. Executive Committee - Members 9. International Representatives 10. Auditors. 11. Invited Competition Judges and Officials 12. Trustees of BMS Trust 13. Benefactors
    [Show full text]
  • Vocal, Choral & INSTRUMENTAL MUSIC & MUSIC for Orchestra
    Goodmusic PRINTED MUSIC CATALOGUE 2020 VOCal, CHORal & INSTRUMENTAL MUSIC & MUSIC FOR oRCHESTRA CONTENTS Goodmusic Music for ORCHESTRA . pages 3 to 79 Composers A-Z . page 4 Concert Pops . page 71 Goodmusic is owned and run by Christmas Music . page 75 Elizabeth and David Good who Music for CHOIRS . pages 80 to 108 started the business in 1974 retailing printed music and Childrens & Female Voice Choir . page 80 books on music. In 1995 we Male Voice Choir . page 88 started publishing music and Music for SA+Men . page 91 have grown steadily ever since, Mixed Voice Choir . page 97 also taking over the business of All choirs . pages 92 to 96 Roberton Publications in August Music for VOICE . pages 108 to 113 2003. In 2012 we sold the general retail part of our business and we Solo Voice . page 108 now concentrate on selling just our own publishing catalogue. Songbooks . page 113 We supply only by mail order and do not have showroom facilities. Opera . page 113 Music for INSTRUMENTS . pages 114 to 126 PRICES shown are correct at 1st January 2020 Piano solo . page 114 but are subject to change. VAT is charged at 0% on printed music. Piano duets . page 116 Piano trios . page 117 Two Pianos . page 118 Harpsichord . page 119 PHOTOCOPYING Organ . page 119 Piano & Organ together . page 119 Violin . page 120 Viola . page 120 Cello . page 120 Double Bass . page 121 Chamber Music . page 121 | Guitar . page 122 Harp . page 122 Lever Harp . page 123 It is ILLEGAL and UNFAIR Recorder . page 123 to copy any of our publications.
    [Show full text]