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William Henry Squire's Out-Of-Print Works for Cello and Piano
PEZZOLI, GINA ANNALISE. D.M.A. William Henry Squire’s Out-of-Print Works for Cello and Piano: Analysis and Suggestions for Teachers (2011). Directed by Dr. Alexander Ezerman. 39 pp. This study presents a biographical overview of William Henry Squire’s life, performance, and teaching career and a pedagogical analysis of his out-of-print works for cello and piano. The study is organized into two main parts. The first reviews Squire’s career as a cellist and composer, with special emphasis on his performing and teaching careers. The second part consists of a detailed description of nine of Squire’s forgotten and out-of-print works for cello and piano. This section includes discussion of the technical and musical challenges of the works, most of which are completely unknown to cellists today. As with many of Squire’s better-known works, these pieces are excellent for intermediate-level cello students. The document is intended to be a teaching “menu” of sorts which details the attributes of each work; therefore the catalogue is organized by difficulty, not by opus number. The nine works chosen for this study are Squire’s Chant D’Amour , Gondoliera , Souvenir, Légende, Berceuse, Slumber Song/Entr’acte, Sérénade op. 15 , Gavotte Humoristique op. 6, and Meditation in C op. 25. WILLIAM HENRY SQUIRE’S OUT-OF-PRINT WORKS FOR CELLO AND PIANO: ANALYSIS AND SUGGESTIONS FOR TEACHERS by Gina Annalise Pezzoli A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2011 Approved by Alex Ezerman Committee Chair © 2011 by Gina Annalise Pezzoli APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
CARMEN DAAH Mezzo-Soprano with J. Hunter Macmillan, Piano Recorded London, January 1925 MC-6847 Kishmul's Galley (“Songs Of
1 CARMEN DAAH Mezzo-soprano with J. Hunter MacMillan, piano Recorded London, January 1925 MC-6847 Kishmul’s galley (“songs of the Hebrides”) (trad. arr. Marjorie Kennedy Fraser) Bel 705 MC-6848 The spinning wheel (Dunkler) Bel 705 MC-6849 Coming through the rye (Robert Burns; Robert Brenner) Bel 706 MC-6850 O rowan tree – ancient Scots song (trad. arr. J. H. MacMillan) Bel 707 MC-6851 Jock o’ Hazeldean (Walter Scott; trad. arr. J. Hunter MacMillan Bel 706 MC-6853 The herding song (trad. arr. Mrs. Kennedy Fraser) Bel 707 THE DAGENHAM GIRL PIPERS (formed 1930) Led by Pipe-Major Douglas Taylor. 12 pipers, 4 drummers Recorded Chelsea Town Hall, King’s Road, London, Saturday, 19th. November 1932 GB-5208-1/2 Lord Lovat’s lament; Bruce’s address – lament (both trad) Panachord 25365; Rex 9584 GB-5209-1/2 Earl of Mansfield – march (John McEwan); Lord Lovat’s – strathspey (trad); Mrs McLeod Of Raasay – reel (Alexander MacDonald) Panachord 25365; Rex 9584 GB-5210-1 Highland Laddie – march (trad); Lady Madelina Sinclair – strathspey (Niel Gow); Tail toddle reel (trad) Panachord 25370; Rex 9585 GB-5211-3 An old Highland air (trad) Panachord 25370; Rex 9585 Pipe Major Peggy Isis (solos); 15 pipers; 4 side drums; 1 bass drum. Recorded Studio No. 2, 3 Abbey Road, London, Tuesday, 26th. March 1957 Military marches – intro. Scotland the brave; Mairi’s wedding; Athole Highlanders (all trad) Par GEP-8634(EP); CapUS T-10125(LP) Pipes in harmony – intro. Maiden of Morven (trad); Green hills of Tyrol (Gioacchino Rossini. arr. P/M John MacLeod) Par GEP-8634(EP); CapUS T-10125(LP) Corn rigs – march (trad); Monymusk – strathspey (Daniel Dow); Reel o’ Tulloch (John MacGregor); Highland laddie (trad) Par GEP-8634(EP); CapUS T-10125(LP) Quick marches – intro. -
Eda Kersey Führung Von Samuel Barbers Violinkonzert Op
Kersey, Eda Eda Kersey führung von Samuel Barbers Violinkonzert op. 14. Dar- über hinaus nahm sie einen Teil dieser Konzerte für die * 15. Mai 1904 in Goodmayes, England BBC auf und gab u. a. die erste Rundfunkaufführung von † 13. Juli 1944 in Ilkley (Yorkshire), England Ernst von Dohnányis Violinkonzert d-Moll op. 27. Orte und Länder Violinistin Eda Kersey wurde in Goodmayes, in der Grafschaft Ess- „The double concerto [...] does not show Brahms in his ex geboren und wuchs u. a. in Southsea (Portsmouth, easiest mood, but it was beautifully played last night by Hampshire) auf. Ab 1917 lebte sie in London, wo sie pri- Miss Eda Kersey and Miss Thelma Reiss. [...] The coope- vat Violine studierte, und behielt dort zeitlebens ihren ration of the two players was all that could be desired, Wirkungskreis bei. Zudem konzertierte sie regelmäßig in and Sir Henry Wood gave them every help to realize to zahlreichen weiteren Städten Englands, u. a. in South- the full their conception of a work which rarely sounds hampton, Birmingham, Harrogate, Leeds und Norwich. so persuasive and convincing, even to its admirers, as it Sie starb in Ilkley in der Grafschaft Yorkshire. did in their hands.“ Biografie „Das Doppelkonzert […] zeigt Brahms nicht gerade in sei- Eda Kersey wurde am 15. April 1904 in Goodmayes, in ner unbeschwertesten Stimmung, doch es wurde letzten der Grafschaft Essex geboren. Ihre musikalische Ausbil- Abend von Fräulein Eda Kersey und Fräulein Thelma dung erhielt sie überwiegend in privatem Unterricht, zu- Reiss wundervoll gespielt. […] Die Zusammenarbeit der nächst am Klavier, ab dem Alter von sechs Jahren auch beiden Spielerinnen hatte alles, was man sich wünschen in Violine. -
029I-HMVNX1919X03-0000A0.Pdf
`the World's GREATEST ARTISTS record for McCORMACKFARRARJOURNET KIRKBY LUNN FRANZ BATTISTINI ELMAN STRING QUARTET NEW QUEEN'S HALL LIGHT ORCHESTRA (Proprietors-Messrs. Chappell & Co., Ltd.) conducted by Mr. ALICK MACLEAN 12inch double-sided record 7s. Ballet Music from "Faust," Part I Nos. 1 & 2 Gounod Ballet Music from "Faust," Part II Nos. 3 & 4 Goarnad A NEW triumph in orchestral recording has been achieved by the famous Queen's Hall instrumentalists in their reproduction of the ballet music from Gounod's " Faust." The exquisite music, famous so full of that sense of youth and romance which has given the is by finish opera its world-wide popularity, played them with a perfect delicate and beauty of tone in the orchestration, as well as great charm of expression. The first number is one of those graceful and flower-like waltz tunes that Gounod knew so well how to write ; then, in contrast, the following number is more serious and sentimental in character. The third dance is a gem of sparkling melody and fascinating rhythm, the orchestra being particularly fine in this movement. Finally comes the march-like tune which ends the suite so brilliantly, else closing bars 79) of the music being most charming in effect. (Speed THE SYMPHONY ORCHESTRA conducted by SIR FREDERIC H. COWEN 12-inch record 6s. 2-0847 Country dance-" Old English Dances " 1st set Published by Novelle & Co. AMONG our composers of to-day none has more worthily than Sir Frederic Cowen upheld the great tradition of English music- melodiousness-that gift of a lilting tune which, centuries ago, helped to give this country its immortal title of " Merrie England." This brilliant dance, a striking example of the composer's genius, is redolent of the olden-time English countryside, its principal melody so jolly and fresh and so picturesque in its instrumentation. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
Archive Special Issue
ARCHIVE SPECIAL ISSUE PLUS SUMMER IN CONTEXT: SCHUMANN STRING QUARTETS 2018 BACKSTAGE STORIES: STEINWAY STANDARDS EXPLORE: EARLY MUSIC AT THE HALL FRIENDS OF OF FRIENDS IN PICTURES: ARTISTS’ TRIBUTES Home to tens of thousands EMILY WOOLF, OUR GUEST of programmes, thousands of photographs, press cuttings, EDITOR, WRITES This edition of The Score is a welcome chance for us to correspondence and more, the invite our Friends into the Wigmore Hall archive, and to Wigmore Hall archive offers us a share with you some of the treasures we have found window into the prestigious (and while exploring its shelves! sometimes surprising!) history of this unique and beloved venue. As well as an overview of early music at Wigmore Hall since the arrival of the first viola da gamba here in 1902, we dig into the performance The process of building a catalogue of our history of Schumann’s lyrical string quartets on our stage and the holdings has also been an extraordinary journey of company they kept; Nigel Simeone writes on the importance of the discovery for us – one which has helped shine a postwar Concerts de Musique Française and the shape of French music at light on the story of concert life in London over the the Hall; we take a look back over a few of our more outstanding song 117 years since the Hall opened in 1901. recitals; open up our enchanting collection of the papers of the violinist As part of our work to bring the history of Gertrud Hopkins and her brother, the pianist Harold Bauer, and explore our Wigmore Hall out of the archive’s boxes, this long association with Steinway Pianos. -
The Officialorganofthe B.B.C
a BOURNEMOUTH LONDON i: iY ee Err ie 1 iL ae aw ™ ee ar , NT ta [re TAG Ta Hii Tete Le THEaaA a OFFICIAL ORGAN OF THE B.B.C Seee Vol. de No. 28. 1G.FA0"asNaineper.t EVERY FRIDAY. Two Pence. * eSee ee a EB = = - OFFICIAL _ What Is Time? PROGRAMMES By J. C. W. Reith, Managinz Director of the B.B.C, yt maj have noticed « paragraph in. these about the time, The sundial was the favourite pages recently to the effect that watch- method of keeping to time, and one supposes takers are benefiting considerably from the they were late if the day were dull. THE BRITISH witeloss signals which are’ broadcast, aa people ‘* .& ih are discovering faults in their clocks and watches Their interests were lose wide than nowadays BROADCASTING and wish them to po better, If a censua wore too, and one must remember that. the 25-mile taken of all the clocks and watches in the howses radius which to ns means the range of « of London, I wonder how many would be found cryatal get meant to them the limit of their COMPANY. to be correct to within sixty seconds, and how visting list and business interests. Oniside that many would be going at all. radius they rarely ventured, and. cared little r- - s = * witet happened beyond it, Small wonderthat the For the Week Commencing Some clocks ate mathematical problems. I sundial wae sufficient for their needs. once heart a clock etrike five when the hands the rushing world of to-day deniands greater SUNDAY, APRIL 6th. -
Download Booklet
110957 bk Sammons2 US 29|04|2003 2:19 PM Page 5 Producer’s Note GREAT VIOLINISTS • Albert Sammons Matrix: CA 12845-2 ADD First issued on Columbia DB 1008 The present transfers came from a variety of different sources: the Mozart from a combination of American Historical Recordings 1926-1935 Great Violinists • Sammons 8.110957 Columbia “Royal Blue” shellacs and laminated Australian Columbias, the rare Nachez (in print for less than a 7 MASSENET: year), the Sammons piece and Londonderry Air from laminated English Columbias, the Massenet from a laminated MOZART: Sinfonia concertante in E flat Thaïs: Méditation 3:57 Australian Columbia; the Schubert and Dvor˘ák from post-EMI merger unlaminated English Columbias, and the for Violin and Viola, K. 364 29:57 Gerald Moore, piano Elgar from the best sides of four American Columbia mid-1930s pressings. The records from the 1926 and 1928 1 Allegro maestoso 15:17 Recorded 2nd March 1928 MOZART sessions have a significant amount of pitch fluctuation in the original recordings which I have tried to correct. 2 Andante 8:33 Columbia Studios, Petty France, London 3 Presto 5:58 Matrix: WAX 3336 Sinfonia Concertante for Violin and Viola Mark Obert-Thorn Lionel Tertis, Viola First issued on Columbia 9415 London Philharmonic Orchestra, Hamilton Harty ELGAR Recorded 30th April 1933 8 SAMMONS: Violin Sonata in E minor EMI Abbey Road Studio No. 1, London Bourrée 3:38 Mark Obert-Thorn Matrices: CAX 6824-2, 6825-2, 6826-2, 6827-2, With an unidentified pianist 6828-2, 6829-2, 6830-1 and 6831-1 Recorded 9th September 1926 Albert Sammons, Violin • Lionel Tertis, Viola • William Murdoch, Piano Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. -
INSTRUMENTAL 78 Rpm Discs JOHN AMADIO [Flute] 3253
INSTRUMENTAL 78 rpm Discs JOHN AMADIO [flute] 3253. 12” Red Orth. Vla 9695 [Cc17488-IV/Cc17489-III]. THE CARNIVAL OF VENICE (arr. Briccialdi) / HUNGARIAN PASTORAL FANTASIE (Doppler). Orch. dir. George Byng. Tiny rim flake side two not to grooves, few lightest rubs, cons. 2. $8.00. AMAR STRING QUARTET: LICCO AMAR, WALTER CASPAR, PAUL HINDEMITH, RUDOLF HINDEMITH 3938. 12” Blk. EE Polydor 66422-66424 [429bg-434bg]. STRING QUARTET, Op. 22 (Paul Hindemith). Six sides. Just about 1-2. $50.00. ROBERT ARMBRUSTER [pianist]. Philadelphia, 1897-Los Angeles, 1994. After studying piano with Constantin von Sternberg, Armbruster made his debut at the age of eight as a soloist with the Philadelphia Orchestra. In addition to his concert piano work, he became a noted radio and film conductor and was head of the MGM Music Department for a number of years. 1565. 10” Brown Shellac Vocalion 14929 [13827/13944]. PRELUDE IN C# MINOR, Op 3, No. 2 (Rachmaninoff) / RUSTLE OF SPRING (Sinding). One LSS. Lt. rubs, 2. $10.00. CLAUDIO ARRAU [pianist] 2859. 12” Blk. PW Eng. Parlophone E10871 [XXB8225/XXB8226]. FOUNTAINS AT THE VILLA D’ESTE (Liszt). Two sides. Arrau’s name is given on these labels as “Arram”. Excellent pressing. Just about 1-2. $12.00. 2911. 12” Blue PW Polydor 95113 [953bm/954½bm]. ISLAMEY (Balakierev). Two sides. Cons. 2. $12.00. 4082. 12” Blue PW Telefunken E.1629 [019250-1/019251-1]. SPANISCHE RHAPSODIE (Liszt). Two sides. A few superficial rubs, 2. $12.00. YVONNE ASTRUC [violinist] 2764. 12” Red Brunswick Polydor 95034 [1029-3GPP/1030GPP]. CONCERTINO DE PRIN- TEMPS FOR VIOLIN AND ORCHESTRA] (Darius Milhaud). -
International Influence on the Development and Reception of Cello Playing in England, 1870–1930: Robert Hausmann, Auguste Van Biene, and Guilhermina Suggia
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2020 International Influence on the Development and Reception of Cello Playing in England, 1870–1930: Robert Hausmann, Auguste Van Biene, and Guilhermina Suggia Hannah E. Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INTERNATIONAL INFLUENCE ON THE DEVELOPMENT AND RECEPTION OF CELLO PLAYING IN ENGLAND, 1870–1930: ROBERT HAUSMANN, AUGUSTE VAN BIENE, AND GUILHERMINA SUGGIA by HANNAH E. COLLINS A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2020 © 2020 HANNAH E. COLLINS All Rights Reserved ii International Influence on the Development and Reception of Cello Playing in England, 1870–1930: Robert Hausmann, Auguste Van Biene, and Guilhermina Suggia by Hannah E. Collins This manuscript has been read and accepted by the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. ____________________ __________________________________________ Date Philip Ewell Chair of Examining Committee ____________________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: Norman Carey, advisor Edward Klorman, first reader Marcy Rosen Philip Ewell THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT International Influence on the Development and Reception of Cello Playing in England, 1870–1930: Robert Hausmann, Auguste Van Biene, and Guilhermina Suggia by Hannah E. -
The Late-Romantic English Cello School –
THE LATE-ROMANTIC ENGLISH CELLO SCHOOL – Whitehouse, Stern, Walenn, Squire, Such, Mukle, James, Trowell, Salmon, Sharpe, Harrison, Kennedy, Pini, Kilby, Cameron, Clark, Reiss, Butler, Hampton, Hooton, Joseph and Pleeth prepared by David Johnstone AN IMPORTANT NOTE FROM johnstone-music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are very pleased for you to have a copy of this article, which you may read, print or save on your computer. You are free to make any number of additional photocopies, for johnstone-music seeks no direct financial gain whatsoever from any download; whether it be an original work, a transcription-arrangement, or an article, though the name of THE AUTHORS should be clearly attributed if any document is re-produced. Information on Arnold Trowell is included with the permission of Martin Griffiths (original author) Also full credit should be given to Joseph Stevenson for information on Thelma Reiss, and Margaret Campbell for information on Antonia Butler Also a big thank you to Jonathan Hunt for making a number of most useful further comments, and *cough* for pointing out a few small errors! If you feel like sending any (hopefully favourable) comment about this, or indeed about the johnstone-music web in general, simply visit the ‘Contact’ section of www.johnstone-music.com and leave a message with the details - we will be delighted to hear from you ! We have to mention that many cellists are accompanied by photos and/or short musical extracts of only a few bars duration. In many cases it is impossible to know the origin or owner of these. -
THE DRAPER FAMILY by a Musical Legacy Malcolm in MUSIC, WORDS and PICTURES Mcmillan
THE DRAPER FAMILY by A Musical Legacy Malcolm IN MUSIC, WORDS AND PICTURES McMillan CC0074 1 TRACKLIST 1 MOHR 2nd Air Varie 2:51 16 BRAHMS Quintet Op.115 Allegro, Adagio piu lento 7:58 Charles Draper & band Charles Draper, J.Levy, T.Petre, H.Waldo Warner, C.Warwick-Evans John Bull Record B63b (1-64072-6302-t) Columbia L1219 (75876/7) 2 VERDI/BASSI Air from Rigoletto 3:08 17 BRAHMS Trio Op.114 mvt.1 Allegro 7:39 Charles Draper & band Haydn Draper, W.H.Squire, Hamilton Harty Homophon Co. 1008 (60253-241011A) Columbia L1609 (AX692/3) 3 MOHR Air Varie 4:10 18 BRAHMS Trio Op.114 mvt.2 Adagio 7:35 Charles Draper & band Haydn Draper, W.H.Squire, Hamilton Harty Zonophone Record Z-046000) Columbia L1610 (AX694/5) 4 BARTHE Passacaille 2:54 19 BRAHMS Trio Op.114 mvt.3 Scherzo 4:23 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Haydn Draper, W.H.Squire, Hamilton Harty Edison Bell 3476 (06671A) Columbia L1611 (AX696) 5 BEETHOVEN Septet Op.20 mvt.1 Adagio, Allegro con brio 8:44 20 BRAHMS Trio Op.114 mvt.4 Allegro 4:01 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Haydn Draper, W.H.Squire, Hamilton Harty Columbia LX109 (WAX5432/3) Columbia L1611 (AX697) 6 BEETHOVEN Septet Op.20 mvt.2 Adagio Cantabile 8:51 21 ANON. Carnival of Venice 2:57 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Charles Draper & band Columbia LX110 (WAX5434/5) Homophon Co.