DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Of Text and Tune: The Relationship between Words and Music in the Choral Music of Gerald Finzi A Doctoral Document submitted to the Graduate School of the University of Cincinnati In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Division of Ensembles and Conducting College-Conservatory of Music University of Cincinnati, Ohio By Graeme Langager Fayetteville, AR 07 August 2006 B.M. Capilano College (North Vancouver, British Columbia, Canada), 1994 M.M. California State University, Long Beach, 1997 Committee Chair: Dr. Stephen Coker ABSTRACT The life and music of English composer, Gerald Finzi (1901-56) has received relatively little critical study; that which has been done, however, especially regarding the choral and vocal music, often focuses on Finzi’s gift for setting words to music. On account of this unique gift, Finzi has been referred to as the English Hugo Wolf. This document focuses on his special ability to interrelate the words and music, and on the set of key factors that helped him develop this talent. A brief biographical study will reveal three major influences on Finzi’s life and music: an association with the finest English composers of the late nineteenth and early twentieth century; a fondness for all things English, including Great Britain’s musical heritage, its manner, its unique geography, and its great authors and poets; and a worldview affected by tragic events and losses in his life. Selected anthems will be considered in order to examine generalities of Finzi’s compositional traits. Finally, a detailed analysis of his Opus 39, In Terra Pax – Christmas Scene , will be presented. This work for chorus and orchestra was his last choral/orchestral composition and, by some accounts, represents the best of his entire oeuvre. The study, therefore, considers the work as being characteristic of the best of his compositional techniques and discusses those techniques accordingly. This document concludes that Finzi is worthy of consideration among the elite of the English composers of the first half of the twentieth century based on the craft of his compositional technique. The aim of this research document, therefore, is threefold: first, to review Finzi’s biography and the most significant influences on his life and compositional style; second, to analyze his compositional style—especially those aspects that pertain to his ability to relate text and musical elements; and finally, to present a conductor’s study of a representative work, Opus 39, In Terra Pax . ACKNOWLEDGEMENTS I would like to extend my most sincere appreciation to all who have been supportive of my work on this document. I would especially like to express my gratitude to Dr. Stephen Coker for his mentorship, support, and input on this document and throughout my course of studies and career. I would also like to thank the other members of my committee, Dr. Earl Rivers and Dr. Robert Zierolf, for their invaluable contributions to this document. Finally, I wish to give my deepest thanks to my wife and family for their endless support, patience, and love. TABLE OF CONTENTS Page ABSTRACT…………………………………………………………………………… iii ACKNOWLEDGEMENTS…………………………….……………………………… vi TABLE OF FIGURES………………………………………………………………… ix Chapter I. INTRODUCTION…………………………………………………………………. 1 II. GERALD FINZI – A BRIEF BIOGRAPHY……………………………………… 3 Early Years…………………………………………………………………… 3 Middle Years…………………………………………………………………. 6 Final Years……………………………………………………………………. 8 III. COMPOSITIONAL TRAITS………………………………………………………. 13 Finzi’s Oeuvre ………………………………………………………………… 15 Text Setting…………………………………………………………………… 16 Melisma……………………………………………………………... 18 Shifting Meters and Rhythmic Subdivision………………………… 18 Melody and Melodic Shape………………………………………… 20 Texture……………………………………………………………… 20 Harmonic and Melodic Imagery……………………………………………… 22 Key Structure…………………………………………………………………. 24 Summary……………………………………………………………………… 25 IV. IN TERRA PAX: CHRISTMAS SCENE FOR SOPRANO, BARITONE SOLI AND CHORUS …………………………………………………………………………… 27 Compositional Techniques………………………………………..…………... 29 Form and Orchestration…………………………………………….. 30 Melisma, Text Repetition, Word Painting, and Use of Imagery……. 35 Melodic and Motivic Unity………………………………………… 42 Rhythm……………………………………………………………... 48 Harmony……………………………………………………………. 52 Summary……………………………………………………………………… 57 V. CONCLUSIONS……………………………………………………………………. 58 APPENDICIES……………………………………………………………………… 61 Appendix A: Noël: Christmas Eve, 1913, by Robert Bridges ………………… 61 Appendix B: Gospel According to St. Luke II: 8-14………………………… 63 Appendix C: Selected Finzi Timeline and Relevant Dates…………………... 64 BIBLIOGRAPHY…………………………………………………………………… 65 TABLE OF FIGURES Example Page 1. God Is Gone Up , mm. 11-14 …………………………………………………… 19 2. Lo, the Full, Final Sacrifice , mm. 20-26 …….………………………………… 19 3. Lo, the Full, Final Sacrifice , mm. 102-3, 107…………………………………. 21 4. God Is Gone Up, mm. 56-59... .. ………………………………………………… 21 5. Lo, the Full, Final Sacrifice , mm. 1-2 …………………………………………. 23 6. Lo, the Full, Final Sacrifice , m. 6, beats 3 and 4; and m. 6, complete.…...…….. 24 7. Lo, the Full, Final Sacrifice , mm. 178-81 ……………………………………… 25 8. In Terra Pax , mm. 57-58 ……………………………………………………….. 35 9. In Terra Pax , mm. 116-20 ………………………………………………………. 36 10. In Terra Pax , mm. 140-42 ………………………………………………………. 37 11. In Terra Pax , mm. 241-48 ………………………………………………………. 38 12. In Terra Pax , mm. 166-67 ………………………………………………………. 39 13. In Terra Pax, mm. 122-34 ………………………………………………………. 40 14. In Terra Pax , mm. 53-54 ………………………………………………………… 41 15. In Terra Pax , m. 57 ……………………………………………………………… 41 16. In Terra Pax , m. 61-63 …………………………………………………………… 42 17. In Terra Pax , mm. 149-52 ……………………………………………………….. 42 18. In Terra Pax , mm. 148-49, 51-64, 74-76 ………………………………………… 43 19. In Terra Pax , First Four Melodic Motives ……………………………………….. 45 ix x 20. In Terra Pax , Comparison of Bell Motive and Baritone Motives ………………... 47 21. In Terra Pax , mm. 77-78, 93-97 ……………………………………………….… 49 22. In Terra Pax , mm. 74-76, 169, 228-31, and 232-34 ……………………………… 50 23. In Terra Pax , mm. 71-75 …………………………………………………………. 51 24. In Terra Pax , mm. 4-6, 21-24 …………………………………………………..... 53 25. In Terra Pax , mm. Dissonances 10-13, mm. 16-19 ………………………………. 54 26. In Terra Pax , mm. 16-21 ……………………………………………………….... 55 27. In Terra Pax , mm. 159-65 ……………………………………………………….. 55 28. In Terra Pax , mm. 7-15 ………………………………………………………….. 56 CHAPTER ONE INTRODUCTION Composer Herbert Howells once described Gerald Finzi as “one of the finest music brains in Europe.” 1 Although his output is small, each composition is carefully constructed; and although his style is conservative in comparison to his contemporaries, every work is skillfully crafted. His compositions, including orchestral works, songs, and choral pieces are all steeped in the English Romanticism of the late nineteenth through early twentieth century. They are rich with imagery and tend toward a melancholic style, and, while they portray a particularly haunting worldview of the ephemeral nature of life, they are tempered by a characteristically English restraint and pastoral sensibility. It is particularly within the vocal works that Finzi’s significance as a composer is exhibited. His gift for choosing and setting texts is, by some scholars’ accounts, matchless, and his brilliant sense of pacing heightens the dramatic element of each composition. Gerald Finzi’s music is frequently compared by musicologists to the music of Vaughan Williams, Elgar, Howells, and Holst. The merits of his association with this distinguished list of the preeminent English composers of the twentieth century might alone justify Finzi’s music as worthy of study. However, a detailed analysis of his compositional style—specifically regarding his sensitivity to text/music relationships—will further validate Finzi’s rank and pedigree. 1 John C. Dressler, Gerald Finzi – A Bio-bibliography (Westport, CT: Faber and Faber Limited, 1997), 14. 1 2 Examples taken from a variety of his choral compositions will be used to illustrate his compositional style, especially regarding text/music relationships. Many consider Finzi’s best and most representative choral/orchestral work to be his final composition, In Terra Pax . It was premiered on BBC Radio on 27 February 1955 in its original orchestration; the premiere of its second orchestration occurred on 6 September 1956 at the Three Choirs Festival in Gloucester with Finzi conducting, just a few weeks before he died. Although Finzi was not a boastful person, he was proud of the work and believed it was worthy of special consideration; he even invited his close friend and mentor, Ralph Vaughan Williams, to hear it performed at the Three Choirs Festival. By examining this piece, and by considering Finzi’s biography and the most significant influences in his life, it will be possible to assess Finzi’s compositional skills and significance among the elite of the English Romantic school. CHAPTER TWO GERALD FINZI – A BRIEF BIOGRAPHY Early Years Gerald Raphael Finzi was born on 14 July 1901 in London, England to parents of mixed heritage. His father, John Abraham (Jack) Finzi,
Load more

Recommended publications
  • Party Pieces to Find a Pathway Through It So That I Have Some Feeling for the Shape and the Climaxes
    For most people, reaching the age of 60 is a signal to take two of the pieces had arrived - Henze’s intriguingly-titled things easy, to enjoy the benefits of free travel or take that Scorribanda pianistica, and Olicantus, a slow ragtime from world cruise you’d always promised yourself. But pianist George Benjamin, a composer whose music Crossley has Paul Crossley will spend his 60th birthday on 17 May long championed. All five commissions have their origins giving a recital in the Wigmore Hall. The first half of the in their composers’ orchestral output. Scorribanda recital comprises premieres of five new works pianistica, roughly translated as ‘pianistic raiding-party”, commissioned by Crossley and in the second half he plays plunders an earlier orchestral work by Henze which itself one of his party-pieces - Debussy’s Preludes Book 2. It is a raided material from an even earlier work. The title of very Salonen’s piece is Scheggia, literally ‘fragment or ‘chip’ (as in ‘chip off the old block). How does Crossley tackle a new piece once it has dropped on to the doormat? ‘I do what I always do. I hack my way through the jungle from beginning to end. I have Party pieces to find a pathway through it so that I have some feeling for the shape and the climaxes. Then I get down to details.’ Pianist Paul Crossley special birthday present to himself from a pianist Crossley considers himself very fortunate that his whose profile is perhaps not so high as it once was. playing career happened at the right time and concedes has commissioned five There have been three constants in Crossley’s pub- that it’s far harder for a young performer these days to lic pianistic life: the French repertoire and the music carve a niche.
    [Show full text]
  • 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]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998).
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Léon Goossens and the Oboe Quintets Of
    Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses.
    [Show full text]
  • Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae
    Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae: Reflections on a Song of Dowland for viola and piano- reflections or variations? Master thesis For obtaining the academic degree Master of Arts of course Solo Performance Viola in Anton Bruckner Privatuniversität Linz Supervised by: Univ.Doz, Dr. M.A. Hans Georg Nicklaus and Mag. Predrag Katanic Linz, April 2019 CONTENT Foreword………………………………………………………………………………..2 CHAPTER 1………………………………...………………………………….……....6 1.1 Benjamin Britten - life, creativity, and the role of the viola in his life……..…..…..6 1.2 Alderburgh Festival……………………………......................................................14 CHAPTER 2…………………………………………………………………………...19 John Dowland and his Lachrymae……………………………….…………………….19 CHAPTER 3. The Lachrymae of Benjamin Britten.……..……………………………25 3.1 Lachrymae and Nocturnal……………………………………………………….....25 3.2 Structure of Lachrymae…………………………………………………………....28 Conclusion……………………………………………………………………………..39 Bibliography……………………………………….......................................................43 Affidavit………………………………………………………………………………..45 Appendix ……………………………………………………………………………....46 1 FOREWORD The oeuvre of the great English composer Benjamin Britten belongs to one of the most sig- nificant pages of the history of 20th-century music. In Europe, performers and the general public alike continue to exhibit a steady interest in the composer decades after his death. Even now, the heritage of the master has great repertoire potential given that the number of his written works is on par with composers such as S. Prokofiev, F. Poulenc, D. Shostako- vich, etc. The significance of this figure for researchers including D. Mitchell, C. Palmer, F. Rupprecht, A. Whittall, F. Reed, L. Walker, N. Abels and others, who continue to turn to various areas of his work, is not exhausted. Britten nature as a composer was determined by two main constants: poetry and music. In- deed, his art is inextricably linked with the word.
    [Show full text]
  • Classical Music Service Program Report
    CLASSICAL MUSIC SERVICE PROGRAM REPORT April 1 through June 30, 2004 April 6 Music@Menlo series is broadcast each Tuesday night in April. The four programs showcase performances from last summer's inaugural season of the Music@Menlo chamber music festival. April 9 Bach: St. John Passion … Monteverdi Choir; English Baroque Solists/John Eliot Gardiner, conductor, and soloists Anthony Rolfe Johnson, Stephen Varcoe, Cornelius Hauptmann, Nancy Argenta and Ruth Holton (Archiv 419324, from the MPR library). April 24 Metropolitan Opera final season performance. May 5 Dale Warland Singers Farewell Series: 30th Anniversary Concert. Recorded April 2003. Each Wednesday evening in May, we present special programs by the Dale Warland Singers in honor of the 30 years of music they've brought to the community. May12 Dale Warland Singers Farewell Series: 2003 Cathedral Classics May 19 Dale Warland Singers Farewell Series: 2004 Cathedral Classics May 26 Dale Warland Singers Farewell Series: A River Journey May 28 Final Broadcast of the Minnesota Orchestra season May 30 Dale Warland Singers: live broadcast of their final concert (repeated on June 20) May 30 Minnesota Opera: Verdi’s Rigoletto (Recorded and produced by MPR) June 2 VocalEssence: broadcast of 35th anniversary concert, and of the world premiere of Tina Davidson’s Hymn of the Universe June 3 and 4 Live broadcast of the final concerto round of the International Piano-e-Competition from Orchestra Hall, Minneapolis June 4 The series of three Schubert Club Performances begins, replacing the Friday evening Minnesota Orchestra broadcasts during June. June 6 Minnesota Opera: Donizetti’s Lucrezia Borgia (Recorded and produced by MPR) June 13 Minnesota Opera: Stephen Sondheim’s Passion (Recorded and produced by MPR) June 27 Minnesota Opera: Mozart’s The Magic Flute (Recorded and produced by MPR) CLASSICAL MUSIC SERVICE PROGRAM REPORT January 1 through March 31, 2004 January 12 The St Paul’s Cathedral Choir, London, concert at the Cathedral of St Paul, MN, recorded by Minnesota Public Radio in October 2003.
    [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]
  • Finzi Bagatelles
    Gerald Finzi (1901-1956): Five Bagatelles for clarinet and piano, Opus 23 (1945) Prelude: Allegro deciso Romance: Andante tranquillo Carol: Andante semplice Forlana: Allegretto grazioso Fughetta: Allegro vivace Better known for his vocal music, Finzi also wrote well for the clarinet: these Five Bagatelles and his later Clarinet Concerto are frequently played. Born to a German/Italian Jewish family in London, the teenage Finzi was taught composition in Harrogate by Ernest Farrar, a pupil of Stanford, and by Edward Bairstow, Master of Music at York Minster. His subsequent friends and colleagues included Vaughan Williams, R.O.Morris, Holst, Bliss, Rubbra and Howard Ferguson; his music is firmly within this English tradition. He was attracted to the beauty of the English countryside and to the poetry of Traherne, Hardy and Christina Rosetti. The Five Bagatelles had a tortuous birth. In the summer of 1941, increasingly confident in his powers as a composer, Finzi completed three character pieces for clarinet and piano before being drafted into the Ministry of War Transport. He used “20-year-old bits and pieces”, which he had been working on since 1938. A fourth was added in January 1942 and the whole group performed at a wartime National Gallery lunchtime concert. Leslie Boosey wanted to publish the pieces separately, but in July 1945 Finzi persuaded him to publish them as a group, together with an additional fast finale. Somewhat to Finzi's chagrin, they became his most popular piece: ‘they are only trifles... not worth much, but got better notices than my decent stuff’. The first movement shows Bach's influence on Finzi and contains a slow central section with characteristically wistful falling minor 7ths.
    [Show full text]
  • SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 Rev
    SRCD.225 STEREO ADD BlissCONDUCTSBliss SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 rev. 1937 & 1965) (13’06”) Mêlée Fantasque 2 Rout for Orchestra and Soprano (1920) (7’24”) Rout Adam Zero - Suite (1946) Adam Zero (Excerpts) 3 II Dance of Spring (2’49”) 4 IV Bridal Ceremony (2’17”) Hymn to Apollo 5 V Dance of Summer (3’48”) Serenade 6 Hymn to Apollo (1928 rev. 1965) (10’23”) (conducted by Brian Priestman) Serenade for Orchestra and Baritone (1929)† (25’52”) The World is charged 7 I Overture: The Serenader (8’30”) with the grandeur of God 8 II ‘Fair is my Love’ (4’52”) (conducted by Philip Ledger) 9 III Idyll (7’24”) 10 IV ‘Tune on my Pipe the praises of my Love’ (5’06”) London Symphony Orchestra The World is charged with the grandeur of God (1969)* (13’31”) LSO Wind and Brass Ensemble 11 I ‘The World is charged with the grandeur of God’ (5’22”) Ambrosian Singers 12 II ‘I have desired to go’ (3’18”) Rae Woodland 13 III ‘Look at the Stars’ (4’51”) John Shirley-Quirk (79’13”) Rae Woodland, soprano • John Shirley-Quirk, baritone London Symphony Orchestra LSO Wind and Brass Ensemble • Ambrosian Singers* Sir Arthur Bliss • Brian Priestman† • Philip Ledger* 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 1971 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 1992 Lyrita Recorded Edition, England.
    [Show full text]
  • 093-Britten-And-Bliss-Booklet.Pdf
    Britten & Bliss Benjamin Britten (1913–1976) 1 Phantasy Quartet, Op. 2 (1932) (13:16) Arthur Bliss (1891–1975) Quintet for Oboe and String Quartet (1927) (22:35) 2 I. Assai sostenuto (8:09) 3 II. Andante con moto (8:40) 4 III. Vivace (5:38) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promot- ing the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are sup- Britten: String Quartet No. 3, Op. 94 (1975) (25:58) ported in part by contributions and grants from individuals, foundations, corporations, and government agencies including 5 the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, I. Duets: With moderate movement (5:28) Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. 6 II. Ostinato: Very fast (3:19) Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or by calling 773-989-2515. 7 III. Solo: Very calm (4:40) Producer James Ginsburg 8 IV. Burlesque: Fast–con fuoco (2:14) Engineer Bill Maylone 9 V. Recitative and Passacaglia (La Serenissima) (10:02) Graphic Design Melanie Germond 24 Cover Photo Venice, Italy ca. 1950 by Ferruccio Leiss, © Alinari Archives/CORBIS Vermeer Quartet Recorded October 3 (Bliss) & 4 (Britten Phantasy Quartet), 2005 and April 25–26, 2006 (Britten Quartet No. 3) at WFMT-Chicago Publishers Alex Klein oboe Britten: ©1934 for the Phantasy Quartet and ©1977 for the 3rd String Quartet.
    [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]