Erik Chisholm the Erik Chisholm Trust Newsletter Summer 2014

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Erik Chisholm The Erik Chisholm Trust Newsletter Summer 2014 Welcome to the Summer Newsletter. Our last one was published in March 2014 and we aim to produce a new one every quarter. Concerts 10th March The BBC SSO conducted by James MacMillan played Chisholm’s Hin- dustani Piano Concerto with live broadcast on BBC Radio 3. Pianist Danny Driver who has recorded both Chisholm Piano concertos on Hyperion label in 2012 gave a brilliant performance. Concert and CD reviews are excellent (4). 6th April Lorimer String Quartet, Ballater, Scotland played Three Scottish Lulla- bies. Alistair Beattie, Director of the Lorimer String Quartet, writes “searching for something Scottish, we chose Chisholm's 'Three Scottish Lullabies' for our concert at the Upper Deeside Music Society, Ballater—we enjoyed playing them very much.” 8th April The Keld Ensemble, conducted by Boris Peck, played Chisholm's Dune- St Martins-in-the-Fields din Suite at St Martin-in-the-Fields. Their "Spring Serenades" programme includ- ed Grieg's Holberg Suite and Marcello's Oboe Concerto with soloist Judy Proctor. 26th June Murray McLachlan will play the Scottish Airs in Oslo at EPTA (European Piano Teachers Association) Conference. Previously recorded on Erik Chisholm Music for Piano, Volume 6 Divine Arts Ltd 2010. 16th August Michael Jones (piano) will be including works by Chisholm in his annual concert at Wolverton Manor, Shorwell, Isle of Wight. Tickets £15.00 01983 740609. Erik Chisholm Trust News ECT Meetings With the appointment of four new trustees Kerry Andrews, John Chisholm. Sonja Ruehl, Michael Ryan several meetings have taken place this year Catalogue Raisonné Website (13th February, 10th March & 8th April). A new approach to Trust objectives was identified. Strategic Priorities include fund raising and paid staffing. In addition, a full programme of events to commemorate in 2015 the 50th Anniversary of Erik Chisholm’s death on 8th June, 1965 will be published later this year. The next Trust meet- ing will take place London in July. Future ECT activities include: 1. The release in June of the long awaited University of Cape Town Catalogue Raisonné on our website www.erikchisholm.com/catalogueraisonne/ Released 2th June 2. Production of the E-book edition of Purser’s Biography of Erik Chisholm Scottish Modernist. Planned for release in 2014. 3. Chisholm's only Violin Concerto will be recorded in 2015 by the BBC SSO, soloist Anthony Marwood. Companion pieces in this, our 2nd Hyperion CD, will include Dance Suite for Orchestra and Piano, with pianist Danny Driver. 4. Publication of Chisholm’s ‘Of Men and Music’ Lectures describing the activities of the Active Society for the Propagation of Contemporary Music in the pre-war years is planned for 2015. 2015 promises to be a big year for Erik Chisholm’s music. Keep watching for details of the exciting programme of events. Morag Chisholm for ECT .

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August 1935) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1935 Volume 53, Number 08 (August 1935) 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 53, Number 08 (August 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/836 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]. THE ETUDE AUGUST 1935 PAGE 441 Instrumental rr Ensemble Music easy QUARTETS !£=;= THE BRASS CHOIR A COLLECTION FOR BRASS INSTRUMENTS , saptc PUBLISHED FOR ar”!S.""c-.ss;v' mmizm HIM The well ûiPJ^ât^Jrui^“P-a0[a^ L DAY IN VE JhEODORE pRESSER Ô. DIRECT-MAIL SERVICE ON EVERYTHING IN MUSIC PUBLICATIONS * A Editor JAMES FRANCIS COOKE THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A monthly journal for teachers, students and all lovers OF music PHILADELPHIA, PENNA. VOL. LIIINo. 8 • AUGUST, 1935 The World of Music Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everyw er THE “STABAT NINA HAGERUP GRIEG, widow of MATER” of Dr.
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Wilson's Series of Powerful Recurrent Stage Images Drawn From
to a degree. which Simoon is the last part. Based on a Thread of Winter If there is no story, then what’s the work short play by August Strindberg, Simoon Leslie Fagan; Lorin Shalanko about? Wilson’s series of powerful recurrent was never performed in a full version during Canadian Art Song Series stage images drawn from the famous physi- the composer’s lifetime. The subject matter, (canadianartsong.ca) cist Albert Einstein’s life serve as the work’s as gloomy as the uprooted Scot’s preferred L/R frame. The dramatic device is imaginatively music, is a tale of revenge and “murder by ! When reviewing underpinned by Glass’ composition for solo- suggestion,” as Chisholm has referred to it. (in early 2004) the ists, chorus and his instrumental ensemble. Polished orchestral characterizations, Bartók- first solo album by It’s further explored by the masterfully like cascading moods and an overlapping of Leslie Fagan, I stated conceived and movingly performed modern Western and Eastern musical idioms are just that “she is in a dance sequences choreographed by Childs. three reasons why this opera should have class of her own.” This new DVD release accurately reflects been recorded long ago. As it is, with the What a pleasure to the superb 2012 production I saw at Toronto’s help of the Erik Chisholm Trust, it is making conclude, some 12 Luminato that same year. Highlights of that its long overdue debut – and rightfully years later, that she performance included violin virtuoso Jennifer in Scotland! remains just as original. Her career has taken Koh made up to resemble Einstein – a life- Robert Tomas her to the world’s most important concert long amateur violinist – and the impres- stages, providing Fagan with opportunities to sively precise chorus masterfully conducted Derek Holman – A Play of Passion present both traditional (Handel, Mahler) and by the veteran Glass Ensemble member Colin Ainsworth; Stephen Ralls; Bruce contemporary (Poulenc, Kulesha) repertoire.
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Edinburgh International Festival 1962
WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
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City Research Online
Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) City Research Online Original citation: Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) Permanent City Research Online URL: http://openaccess.city.ac.uk/16579/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music Ben Schoeman Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City, University of London School of Arts and Social Sciences, Department of Music Guildhall School of Music and Drama September 2016 Table of Contents TABLE OF MUSIC EXAMPLES ...........................................................................................................................
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NABMSA Reviews a Publication of the North American British Music Studies Association Vol
NABMSA Reviews A Publication of the North American British Music Studies Association www.nabmsa.org Vol. 3, No. 2 (Fall 2016) In this issue: • Cecilia Björkén-Nyberg, The Player Piano and the Edwardian Novel • John Carnelly, George Smart and Nineteenth-Century London Concert Life • Mark Fitzgerald and John O’Flynn, eds., Music and Identity in Ireland and Beyond • Eric Saylor and Christopher M. Scheer, eds., The Sea in the British Musical Imagination • Jürgen Schaarwächter, Two Centuries of British Symphonism: From the Beginnings to 1945 • Heather Windram and Terence Charlston, eds., London Royal College of Music Library, MS 2093 (1660s–1670s) The Player Piano and the Edwardian Novel. Cecilia Björkén-Nyberg. Abingdon, UK and New York: Routledge, 2016. xii+209 pp. ISBN 978-1-47243-998-7 (hardcover). Cecilia Björkén-Nyberg’s monograph The Player Piano and the Edwardian Novel offers an intriguing exploration of the shifting landscape of musical culture at the turn of the twentieth century and its manifestations in Edwardian fiction. The author grounds her argument in musical discussions from such novels as E. M. Forster’s A Room with a View, Max Beerbohm’s Zuleika Dobson, and Compton Mackenzie’s Sinister Street. Despite the work’s title, the mechanical player piano is—with rare exception—ostensibly absent from these and other fictional pieces that Björkén-Nyberg considers; however, as the author explains, player pianos were increasingly popular during the early twentieth century and “brought about a change in pianistic behaviour” that extended far beyond the realm of mechanical music making (183). Because of their influence on musical culture more broadly, Björkén-Nyberg argues for the value of recognizing the player piano’s presence in fictional works that otherwise “appear to be pianistically ‘clean’ ” of references to the mechanical instruments.
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Catalogue of Piano Works
ERIK CHISHOLM CATALOGUE OF PIANO WORKS About this catalogue This catalogue has been produced and funded by the Erik Chisholm Trust (ECT), and is on display at the Chisholm web site www.erikchisholm.com All listed music has been typeset by Allan Stephenson, proof-read by Michael Jones and assessed by pianist, Murray McLachlan. The ECT has funded score typesetting, and by the end of 2009 the catalogue will include all Chisholm piano, vocal, choral and string orchestral works. Printed copies of this catalogue can be obtained by written request from the Trust. Score Prices shown are for bound copies; unbound editions are at a reduced rate. Scores can be viewed at the Scottish Music Centre:- Email [email protected] and can be hired from Schott and Co Ltd:- Email [email protected] Acknowledgements The Trust acknowledges with thanks permission granted to use liner notes by Dr John Purser for the Music for Piano CD series and from Murray McLachlan for OCD639, DRD0174 and DRD0219 Chisholm CDs There are 9 commercial CD’s of Chisholm music; Dunelm Records recorded 6 of these with pianist Murray McLachlan whose excellence, energy and enthusiasm make him one of the major propagandists of Chisholm’s music. In April 2008, Jim Pattison, Director of Dunelm Records retired and Stephen Sutton CEO of Divine Art took on the Music for Piano series. In chronological order these CDs are:- CD Number Divine Art Erik Chisholm Piano Music (Olympia) OCD639 Songs for a Year and a Day (Claremont) GSE 1572 Erik Chisholm Piano concerto No 1 DRDO174 Piano Music of Erik Chisholm and Friends DRDO219 Erik Chisholm Music for Piano series DRD0221- 224 DDV131-4 Erik Chisholm Symphony No 2 Dutton Epoch CDLX 7196 All can be ordered from the Chairman of the Trust [email protected] Erik Chisholm Trust The Trust was established in April 2001, granted charitable status in June 2001, and holds the copyright of the published Chisholm works.
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Inventory Acc.11055 Ronald Stevenson
Acc.11055 February 2007 Inventory Acc.11055 Ronald Stevenson National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, 1960-1994, concerning ‘Passacaglia on DSCH’ by Ronald Stevenson (b 1928), composer and pianist. This work was composed in 1962, and is numbered Op. 70. It is dedicated to Dmitry Shostakovich, and a copy of it was presented to him at the Edinburgh International Festival of 1962. It was first performed, by the composer, on 10 December 1963 in Cape Town, South Africa. The composer then performed it at the 1966 Handel Festival in Halle, Germany. It was first performed in the United Kingdom at the Aldeburgh Festival on 14 June 1966 by John Ogden. A limited edition recording of a performance by the composer was made, with the assistance of the University of Capetown, in 1965. Passacaglia on DSCH was first published in 1967 by Oxford University Press, and then by the Ronald Stevenson Society in 1994. Bought, 1994. 1 Manuscript sketches, 1960-1962. ‘Sketches: 105 pages written between Christmas Eve 1960 and 18 May 1962. The Pibroch (‘Lament for the Children’) is not included herein, as it was added on the day of the première in Cape Town, 10 December 1963.’ 2 Performance copy of manuscript. This manuscript has performance notes from various performances, some dated 1973, 1985, 1987 and 1993. It includes a plan of the work, and has extensive fingering, pedal and phrasing notes.
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RONALD CENTER Music for Solo Piano
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Discovering Erik Chisholm by John France Introduction the Exciting
Discovering Erik Chisholm by John France Introduction The exciting new release from Hyperion Records of Erik Chisholm’s orchestral music is an excellent introduction to the music of a composer once described by Arnold Bax as “the most progressive composer that Scotland has ever produced”. Despite many subsequent advanced Scottish composers such Thea Musgrave, Iain Hamilton and James MacMillan, this opinion, I believe, holds good to this day. Chisholm was a great innovator as well as a synthesiser. His main achievement was the fusion of Scottish Bag Pipe Music and Hindustani Ragas with mainstream European modernism. In this sense, he mirrors Bartok’s success in assimilating the music of the Balkans to his own genius. Listeners will discover in Erik Chisholm a composer who is bursting with energy, conscious of his own unique voice and commanding a wide-ranging palette that successfully coheres, despite the seeming disparities of styles and musical influences. This new CD cements the “Chisholm Triangle” of influences in listeners’ minds: Scottish, Hindustani and Modernist. Life and Times There are now several helpful sources for establishing a biographical understanding of the composer’s life and achievement. The easiest to access are the excellent webpages maintained by the Erik Chisholm Trust. John Purser’s Chasing a Restless Music: Erik Chisholm: Scottish Modernist 1904-1965, (Boydell and Brewer, 2009) is more detailed and makes essential reading. There are the usual references in the various musical dictionaries, and the inevitable Wikipedia entry. Erik Chisholm was born on 4 January 1904 at 2 Balmoral Villas in Cathcart, an attractive suburb of Glasgow.
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The Career of South African Soprano Nellie Du Toit, Born 1929
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MUSICWEB INTERNATIONAL Recordings of the Year 2017
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1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007).
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