15 February 2020
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London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July. -
Download Newsletter
JUNE 2019 Welcome to the early summer newsletter. THREE CHOIRS FESTIVAL Nevertheless, music by contemporary composers is well featured. I make no apologies for referring, again, to the host of Holst’s music due to be performed at this year’s Three Choirs Festival The Malcolm Arnold Society has analysed the performances of which runs from 26th July to 3rd August. The host cathedral city works by British composers at the Proms. is Gloucester. As I mentioned in the April 2019 newsletter, there is much music by Holst to be heard at this year’s Three Choirs. The top ten makes interesting reading:- John Graham, Chris Collier (co-trustees) and I will be at the Edward Elgar 899 Festival between Tuesday 30th July and Saturday 3rd August. Ralph Vaughan Williams 351 We will be wearing our badges. If you are able to attend, do Benjamin Britten 301 please make yourselves known to us. We look forward to William Walton 272 seeing you there. Frederick Delius 266 Gustav Holst 191 THE PROMS Hubert Parry 148 John Ireland 129 On a less positive note, there is nothing by Holst at this year’s Charles Villiers Stanford 120 Proms, other than the annual performance of The Planets. Granville Bantock 117 Regrettably, English music does not feature as much as it should. To summarise:- What is of particular interest is the previous success of certain composers, who are now almost wholly forgotten. For example, Malcolm Arnold – Peterloo Overture Haydn Wood and Henry Walford Davies secured 92 and 76 performances, respectively. Hamilton Harty secured 50. -
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A Celtic Symphony - for String Orchestra and Six Harps (1944) [20 04] the Witch of Atlas - Tone Poem No
A1 Sir Granville BANTOCK (1868-1946) Orchestral Music CD1 [7357] A Celtic Symphony - for string orchestra and six harps (1944) [20'04] The Witch of Atlas - tone poem no. 5 after Shelley (1902) [14'52] The Sea Reivers - Hebridean Sea Poem No. 2 (1917) [353] A Hebridean Symphony (1913) [35'08] CD2 [79'39] Pagan Symphony (Et in Arcadia vixi) (1923-28) [35'45] Fifine at the Fair - A Defence of Inconstancy (1912) [35'35] Cuchullan's Lament - Heroic Ballad No. 1 (1944) [353] Kishmul's Galley - Heroic Ballad No. 2 (1944) [4'26] CD3 [69'25] The Cyprian Goddess - Symphony No. 3 (1938-39) [24'23] The Helena Variations - Original Variations on the theme HFB (1899) [19'25] Dante and Beatrice - Poem for orchestra (1901 rev. 1910) [25'00] CD4 [7024] Sappho - Prelude and Nine Fragments for mezzo and orchestra (1900-07) [60'19] Sapphic Poem for cello and orchestra (1912) [14'57] CD5 [7648] Prelude to The Song of Songs (1923) [11'40] Prelude to Omar Khayyam (1906) [6'36] Camel Caravan from Omar Khayyam (1906) [7'56] Caristiona - Hebridean Sea Poem No. 1 (1920) [9'31] Processional - Orchestral Scene No. 1 (1894) [14'40] Thalaba The Destroyer (1894) [26'05] CD6 [77'56] Overture to a Greek Tragedy (1911) [17'54] The Wilderness and the Solitary Place (1903-7) [6'19] Pierrot of the Minute - Comedy Overture (1908) [1211] The Song of Songs (excerpts): Second Day; Third Day; Fifth Day (1915-1926) [4100] Susan Bickley (mezzo) (Sappho) Julian Lloyd Webber (cello) (Sapphic Poem) Elizabeth Connell (soprano) (Wilderness; Song of Songs) Kim Begley (tenor) (Song of Songs) Royal Philharmonic Orchestra/Vernon Handley rec. -
Granville Bantock's Letters to William Wallace and Ernest Newman, 1893-1921' ‘Our New Dawn of Modern Music'
BARRY SMITH - REVIEW - Granville Bantock's Letters to William Wallace and Ernest Newman, 1893-1921' ‘Our new dawn of modern music' Edited by Michael Allis Boydell Press, 2017 310 pp. Recent years have seen an interesting trend in the increasing number of books delving into the music and lives of the less-celebrated British composers. Instead of the traditional biography, a listing of a composer’s works (and the obligatory critique), more and more often shadowy musical figures are having the spotlight turned on their lives, compositions and music-making via their personal correspondence. Such compilations are proving extremely useful: not only in breathing life into neglected composers and their activities, but also providing lively and vivid additions to the bigger social and historic picture. In this excellent new publication from the Boydell Press an informative 36-page Introduction sets the scene with additional short introductory paragraphs of fascinating background material to each clutch of letters selected from 1893 to 1921. All this generous information gives the reader an immediate and almost three-dimensional picture of the lives and times of numerous intriguing dramatis personæ. Although the title draws its reader particularly to the interaction between composers Granville Bantock (1868-1946), William Wallace (1860-1940) and the noted music critic, Ernest Newman (1868-1959) we also find of a panoply of others persons of the era (such as Joseph Holbrooke, 1878-1958) gliding in and out of the narrative. Thus, the collection is a veritable treasure trove for those wanting to know more of the composers, musical tastes and programming of that era of British music performance, particularly of contemporary orchestral and choral works. -
Reading Music Through Literary Scholarship: Granville Bantock, Shelley, and the Witch of Atlas
This is a repository copy of Reading Music through Literary Scholarship: Granville Bantock, Shelley, and The Witch of Atlas. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/100901/ Version: Accepted Version Article: Allis, M (2017) Reading Music through Literary Scholarship: Granville Bantock, Shelley, and The Witch of Atlas. Journal of Musicological Research, 36 (1). pp. 6-28. ISSN 0141-1896 https://doi.org/10.1080/01411896.2017.1258889 © 2017 Taylor & Francis. This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Musicological Research on 13 Feb 2017, available online: https://doi.org/10.1080/01411896.2017.1258889. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Reading music through literary scholarship: Granville Bantock, Shelley, and The Witch of Atlas Michael Allis In recent attempts to explore the complexities of program music, inevitably scholars have appropriated James Hepokoski’s useful contractual definition. -
I Muse and Method in the Songs of Hamilton Harty
Muse and Method in the Songs of Hamilton Harty: Three Early Works, 1895–1913 Judith Carpenter A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music The University of Sydney 2017 Sydney, Australia i This thesis is dedicated to the memory of my mother. To an Athlete Dying Young A. E. HOUSMAN The time you won your town the race We chaired you through the market-place; Man and boy stood cheering by, And home we brought you shoulder-high. Today, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town. Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. Eyes the shady night has shut Cannot see the record cut, And silence sounds no worse than cheers After earth has stopped the ears. Now you will not swell the rout Of lads that wore their honours out, Runners whom renown outran And the name died before the man. So set, before its echoes fade, The fleet foot on the sill of shade, And hold to the low lintel up The still-defended challenge-cup. And round that early-laurelled head Will flock to gaze the strengthless dead, And find unwithered on its curls The garland briefer than a girl’s. ii iii Contents Preface........................................................................................................................... vi Abstract ......................................................................................................................... -
Granville Bantock Josef Holbrooke Cyril Rootham
SRCD.269 STEREO ADD Granville Bantock Overture to a Greek Tragedy SIR GRANVILLE BANTOCK (1868-1946) 1 Overture to a Greek Tragedy: Oedipus at Colonus (1911) * (15’40”) Josef Holbrooke The Birds of Rhiannon JOSEF HOLBROOKE (1878-1958) 2 The Birds of Rhiannon Op. 87 (15’50”) Cyril Rootham CYRIL ROOTHAM (1875-1938) Symphony No. 1 Symphony No. 1 in C minor (1932) (30’57”) 3 1st Movement: Adagio – Allegro ritmico (7’45”) 4 2nd Movement: Adagio molto (alla marcia) (8’40”) 5 3rd Movement: Scherzo Allegro molto (7’08”) 6 4th Movement: Allegro con spirito (7’24”) (62’30”) * Philharmonia Orchestra (Leader Carl Pini) conducted by Nicholas Braithwaite London Philharmonic Orchestra (Leader David Nolan) conducted by Vernon Handley 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 1979 * ൿ 1985 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England © 2007 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK London Philharmonic Orchestra • Vernon Handley LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth NP25 3WX, UK Philharmonia Orchestra • Nicholas Braithwaite oth Cyril Bradley Rootham and Josef Holbrooke worked under handicaps, one Dante & Beatrice and Fifine at the Fair, and their sound world is reflected in it. Bof which they shared. Why is most of their music unfamiliar to listeners who Bantock wrote the music in 1911, and it was first heard at the Three Choirs Festival did not hear it before the war? The answer incurs knowledge of a historical at Worcester that September. -
Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip
ACADEMY OF MUSIC, PHILADELPHIA Twenty-fifth Season in Philadelphia MAX FIEDLER, Conductor programme of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER 8 AT 8.J5 PRECISELY COPYRIGHT, 19C9 BY C. A. ELLI8 PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano* THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY MUSICAL ECHO CO. 1217 Chestnut Street, Philadelphia Boston Symphony Orchestra PERSONNEL Twenty-ininth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. - Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Gietzen, A. Hoyer, H. Kluge, M. Sauer, G. Rennert, B. Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. -
Jean SIBELIUS (1865-1957)
GUILD MUSIC GHCD 2414 Sargent – Sibelius GHCD 2414 2014 Guild GmbH © 2014 Guild GmbH Guild GmbH Switzerland Jean SIBELIUS (1865-1957) Symphony No.1 in E minor, Op.39 (1898-99, rev. 1900) 1 I. Andante, ma non troppo – Allegro energico 10:40 2 II. Andante (ma non troppo tanto) 9:28 3 III. Allegro 5:10 4 IV. Finale (Quasi una fantasia) 11:52 BBC SYMPHONY ORCHESTRA Recorded: Kingsway Hall, London, 27 August 1956 MONO 5 Pohjola’s Daughter, (Pohjolan tytär) Symphonic Fantasy, Op.49 (1906) 12:27 Symphony No.5 in E flat, Op.83 (1915, rev. 1916 & 1919) 6 I. Tempo molto moderato – Allegro moderato 12:16 7 II. Andante mosso, quasi allegretto 8:31 8 III. Allegro molto – Un pocchettino largamente 8:25 BBC SYMPHONY ORCHESTRA Recorded: Kingsway Hall, London, 25-26 August 1958 STEREO GUILD MUSIC GHCD 2414 Sargent – Sibelius A GUILD HISTORICAL RELEASE • Master source: Recordings from the Schaarwächter Collection • Remastering: Peter Reynolds • Final master preparation: Reynolds Mastering, Colchester, England • Photo (inside cover): The Tully Potter Collection • Design: Paul Brooks, [email protected] • Art direction: Guild GmbH • Executive co-ordination: Guild GmbH ■ Guild GmbH, Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 (0) 52 742 85 00 Fax: +41 (0) 52 742 85 09 (Head Office) ■ Guild GmbH, PO Box 5092, Colchester, Essex CO1 1FN, Great Britain ■ e-mail: [email protected] World WideWeb-Site: http://www.guildmusic.com WARNING: Copyright subsists in all recordings under this label. Any unauthorised broadcasting, public performance, copying or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. -
Omar Khayyám
REAM.2128 STEREO*/MONO SIR GRANVILLE BANTOCK (1868-1946) OMAR KHAYYÁM OMAR KHAYYÁM Part One (1906) Part Two (1907) Part Three (1909) The Beloved, contralto……………………….Sarah Walker The Poet, tenor ……………………Anthony Rolfe Johnson The Philosopher, baritone …………….Brian Rayner Cook BBC Singers (director John Poole, chorus-master Nicholas Cleobury) BBC Symphony Orchestra (leader Bela Dekany) Sappho (1906) Johanna Peters, contralto Fifine at the Fair (1912) The Pierrot of the Minute (1908) BBC Scottish Symphony Orchestra (leader Tom Rowlette) Conducted by Norman Del Mar *Omar Khayyam, Broadcast 26 March 1979 Sappho, Fifine at the Fair & The Pierrot of the Minute, Broadcast 7 August 1968 The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © Evening, Peer of gods he seems, who sits in thy presence, thou bringest all that bright morning scattered, Hearing close thy sweet speech the tender lamb to the ewe, and lovely laughter, the babe to its mother; I beholding, all the life in my bosom Then Hesperus shines, of all stars the fairest, Fluttering, fails me. Around the cool breeze wanders through apple boughs, For to see thee only, yea, but a little, And slumber streams from quivering leaves, Breaks my voice, my faltering soul is silent, While sweeter far than harp, Swiftly through all my veins a subtle fire runs, than gold more golden, All my life trembles. Singeth Spring’s messenger the sweet-voiced nightingale. Sight have I none, nor hearing, cold dew bathes me, Paler than grass I am, and in my madness The moon has set, and the Pleiades; Seem as one dead, yet dare I, poor and suppliant, It is midnight; time is going by, Dare I to love thee. -
Celebrating 125 Years of the Birmingham Conservatoire.Pdf
2 CONTENTS 3 PRINCIPAL’S PERSPECTIVE 4 ORIGINS AND EARLY DEVELOPMENT 6 ACADEMIC STANDARDS: NOW AND THEN 9 EARLY LEADERSHIP 10 PRINCIPALS 14 BUILDINGS 18 THE CBSO 23 SUPPORTING STUDENTS 26 OUR UNIQUE CONTEXT 28 PROFILES PRINCIPAL’S PERSPECTIVE The history of Birmingham Conservatoire is a fascinating one. 3 Beginning life as a locally-focused provincial music school serving largely part-time students, the Conservatoire has become one of the UK’s leading institutions for professional music training and education. BIRMINGHAM Of course, we continue to have strong ties to the Midlands, with it’s rich My own involvement in the Conservatoire dates from 1978 since when there CONSERVATOIRE cultural infrastructure. However, the Conservatoire is also now decidedly have been immense changes. More are on their way, some external - student international in outlook. As lively members of the European Association fees, government funding - and some specific to us as we look forward to of Conservatoires, we enjoy a wealth of partnerships with our European moving to a splendid, grade 2 listed building, close to our present site in 2014, counterparts, enabling students and staff to benefit from our Erasmus and the opening of our brand new concert hall on Centenary Way in 2016. AFTER exchange programme and special projects. Our student population from outside the EU has grown to nearly 100, and with it, our links to institutions in It is a privilege to work in such a distinguished institution, especially when it 125 Malaysia, Singapore and China. reaches a special anniversary. YEARS Ad multos annos! Birmingham Conservatoire has always been part of a larger organisation - these days, Birmingham City University - and has thereby developed a broader, more outward-facing approach to training its students. -
Sappho, Nine Fragments for Contralto
Sir Granville Bantock Sappho, Nine Fragments for contralto A Program of Silver Thread Productions and Aegean Arts Sir Edward John Poynter, The Siren (1864) A Publication of Clairview Books LINCOLN CENTER BOOK LAUNCH EDITION June 8th 2016 GRANVILLE BANTOCK by Jeffrey M. Duban from available sources as adapted and enlarged Early Life and Development Granville Ransome Bantock (1868-1946) was born in London to an eminent Scottish surgeon (George Granville Bantock) and a munificent and vivacious theater-loving mother (Elizabeth “Bessie” Ransome). Though intended by his parents for the Indian Civil Service, he suffered poor health and initially turned to chemical engineering. Sooner drawn to music, at age 20 he entered the Royal Academy of Music, where he studied harmony and composition with Frederick Corder – the first translator of Wagner’s Ring into English, and the teacher of illustrious students including Arnold Bax, York Bowen, Alan Blush, and Eric Coates. 1 Early conducting engagements took Granville around the world body of songs and choral music. However, with the emergence of a new with a musical comedy troupe. He pioneered the practice of devoting generation of composers after World War I, Bantock’s music lost some entire concerts to single composers. In 1890, he became Principal of the of its éclat. The BBC nonetheless commissioned and performed his three Birmingham and Midland Institute School of Music, and in January 1908 biggest scores from the years between the wars: the massive setting of The premiered Delius’ Brigg Fair with the Liverpool Orchestral Society. Song of Songs, The Pilgrim’s Progress, and Pagan Symphony.