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Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn
The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence....... -
Daniel Jones Symphonies Nos
Daniel Jones Symphonies Nos. 3 & 5 BBC Welsh Symphony Orchestra conducted by Bryden Thomson ‘The process of writing any piece of music really is one of discovery and the feeling I always have is that what I’m setting myself to write already exists and that what I have Also Available by Daniel Jones Symphonies on Lyrita to do is unveil it, discover it’.1 This characterisation by Daniel Jones of the creative process as one of exploration and excavation seems appropriate for a composer whose Symphony No. 1 BBC Welsh Symphony Orchestra, Bryden Thomson scores have a powerful sense of rightness and inevitability. His lifelong dedication to Symphony No. 10 BBC Welsh Symphony Orchestra, Bryden Thomson.………………..SRCD358 music meant that he was unwilling to compromise by diluting it with other work, such as teaching. When he was mischievously accused of never having had a proper job, his Symphony No. 2 BBC Welsh Symphony Orchestra, Bryden Thomson Symphony No. 11 BBC Welsh Symphony Orchestra, Bryden Thomson…..…..…………SRCD364 response was to tap his manuscript and reply, ‘This is a proper job’.2 Born in Pembroke, South Wales, on 7 December 1912, he was brought up in Swansea Symphony No. 4 Royal Philharmonic Orchestra, Sir Charles Groves Symphony No. 7 Royal Philharmonic Orchestra, Sir Charles Groves where he lived for most of his life, describing it as ‘that magnet city’.3 His mother was Symphony No. 8 BBC Welsh Symphony Orchestra, Bryden Thomson.………………….SRCD329 a singer and his father, Jenkin Jones, was an amateur composer who wrote religious and choral pieces. The young Daniel soon began to compose and by the time he was nine Symphony No. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Songs of Power Sunday 28 July 2019, 3Pm
Inspiration Choir Southampton and Bournemouth Symphony Orchestra present Songs Of Power Sunday 28 July 2019, 3pm Music Director: Pete Harrison WELCOME Welcome to our Summer concert; Songs of Power. Although it has only been four years since we held our first rehearsal in Southampton, I have been incredibly proud of everything we have achieved in that time. We have really grown into a family who rely on each other and help each other out, both musically and in day to day life. Many of our singers had never performed to this level, not to mention singing from memory with a world class For more information: British orchestra. I know you will hear the hard work that www.peteharrison.biz every single one of them has put into today’s concert @PeteBHarrison and see the smiles on their faces as we tackle our usual broad range of music. If you are interested in joining us then our next ‘Open Evening’ rehearsal is on Wednesday 18th September 2019. Our Choir is open to everyone to come and join our happy family so if you fancy coming along to have a look and see what we’re all about, then please do come and join us at Richard Taunton College in Southampton, starting at 7.15pm. No pressure or commitment, but a fun evening guaranteed! Pete Harrison, Inspiration Southampton Music Director About Pete… Pete studied at the Royal College of Music before starting his conducting career in the West End. He is a regular guest conductor and presenter with Bournemouth Symphony Orchestra. Recent concerts include Last Night of the Christmas Proms concerts (since 2010), Classic FM Live at the Royal Albert Hall, their regular series of film music concerts and Proms in the Park. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
The Delius Society Journal Autumn 2016, Number 160
The Delius Society Journal Autumn 2016, Number 160 The Delius Society (Registered Charity No 298662) President Lionel Carley BA, PhD Vice Presidents Roger Buckley Sir Andrew Davis CBE Sir Mark Elder CBE Bo Holten RaD Piers Lane AO, Hon DMus Martin Lee-Browne CBE David Lloyd-Jones BA, FGSM, Hon DMus Julian Lloyd Webber FRCM Anthony Payne Website: delius.org.uk ISSN-0306-0373 THE DELIUS SOCIETY Chairman Position vacant Treasurer Jim Beavis 70 Aylesford Avenue, Beckenham, Kent BR3 3SD Email: [email protected] Membership Secretary Paul Chennell 19 Moriatry Close, London N7 0EF Email: [email protected] Journal Editor Katharine Richman 15 Oldcorne Hollow, Yateley GU46 6FL Tel: 01252 861841 Email: [email protected] Front and back covers: Delius’s house at Grez-sur-Loing Paintings by Ishihara Takujiro The Editor has tried in good faith to contact the holders of the copyright in all material used in this Journal (other than holders of it for material which has been specifically provided by agreement with the Editor), and to obtain their permission to reproduce it. Any breaches of copyright are unintentional and regretted. CONTENTS EDITORIAL ..........................................................................................................5 COMMITTEE NOTES..........................................................................................6 SWEDISH CONNECTIONS ...............................................................................7 DELIUS’S NORWEGIAN AND DANISH SONGS: VEHICLES OF -
(WA Opera Society
W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season. -
MALCOLM WILLIAMSON (1931-2003) 1 Overture ‘Santiago De Espada’ (1957) (6’33”) Elevamini – Symphony No
SRCD.281 STEREO ADD MALCOLM WILLIAMSON (1931-2003) 1 Overture ‘Santiago de Espada’ (1957) (6’33”) Elevamini – Symphony No. 1 (1957) (29’49”) 2 1st movement: Lento (13’27”) Malcolm 3 2nd movement: Allegretto (5’45”) 4 3rd movement: Lento assai - Allegro (10’37”) Sinfonia Concertante for three tumpets, piano and strings (1958/61) * (18’46”) Williamson 5 1st movement: 'Gloria in excelsis Deo' (5’17”) 6 2nd movement: ‘Salve Regina’ (5’16”) 7 3rd movement: ‘Gloria Patri’ (8’13”) Piano Sonata No. 2 (1957 rev.1971) ** (17’28”) Overture ‘Santiago de Espada ’ 8 1st movement: Quasi lento (6’35”) 9 - 2nd movement: Poco adagio (7’19”) Elevamini – Symphony No. 1 10 3rd movement: Allegro assai (3’34”) Sinfonia Concertante (72’43”) * Martin Jones, piano Piano Sonata No. 2 ** Malcolm Williamson, piano Royal Liverpool Philharmonic Orchestra Martin Jones conducted by Malcolm Williamson Sir Charles Groves Royal Liverpool 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 1976 ** ൿ 1972 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England Philharmonic Orchestra This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England © 2007 Lyrita Recorded Edition, England. Made in the UK Sir Charles Groves LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK hough Malcolm Williamson lived in London for fifty years, many of the titles central movement, in A flat; it was conceived as a set of variations on a theme related T and first performance venues of his works confirm that he was at heart an to the first movement, but in simpler and less astringent language. -
Wagner March 06.Indd
Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson. -
Ken Russell the Great Composers Elgar; the Debussy Film; Song of Summer
Ken Russell The Great Composers Elgar; The Debussy Film; Song of Summer These astonishing documentaries, by ground- breaking director Ken Russell (Valentino, The Devils) were originally broadcast in the BBC TV arts documentary strands Monitor and Omnibus during the 1960s. On 28 March 2016 they will be released together on DVD and Blu-ray in a Dual Format Edition by the BFI. Each film has an audio commentary, and in a new filmed interview, film editor Michael Bradsell talks about working with Ken Russell. Also included is rarely-seen archival footage of Sir Edward Elgar. Elgar (1962), Russell’s tribute to the music he loved, is remarkable for its sensitive portrayal of the rise of a young musician from an underprivileged background to international fame. The Debussy Film (1965), co-written by Melvyn Bragg, is a truly experimental work that culminates in a sublimely ethereal finale. Perhaps the finest of Russell’s 1960s biographical BBC productions, Song of Summer (1968) is an immensely moving story of sacrifice, idealism and musical genius which charts the final five years in the life of Frederick Delius. Ken Russell The Great Composers is released alongside its companion, Ken Russell The Great Passions, which features Always on Sunday (1965), Isadora (1966) and Dante’s Inferno (1967). Special features Newly remastered and presented in both High Definition and Standard Definition Land of Hope and Glory (1931, 3 mins): footage of Sir Edward Elgar conducting the LSO at the opening of the new HMV (now Abbey Road) studios Elgar and the