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Journal115-1.Pdf
The Delius Society Journal AutumnlWinterAutumnAilinter 1994,1994.Number 115l15 The Delius Society FullFullMembershipMembership and Institutions £f 15l5 per year USA and Canada US$31 per year Africa,Africa. Australasia and Far East £18{18 President Eric Fenby OBE, Hon DMus,D Mus, Hon DLitt,D Litt, Hon RAM, FRCM, Hon FTCL Vice Presidents Felix ApraharnianAprahamianHon RCO Roland GibsonGbson MSc, PhD (Founder Member) Meredith Davies CBE, MA,MA BMus,B Mus, FRCM, Hon RAM Vernon Handley MA, FRCM, D Univ (Surrey)(Suney) Richard Hickox FRCO (CHM)(CfIIvI) RodneyRodnevMeadows Chairman Lyndon B Jenkins Treasurer (to whom membership enquiries should be directed) Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos GL56 9BU Tel: (01386) 700175 Secretary Jonathan Maddox 6 Town Farm, Wheathampstead, Herts AL4 8QL Tel: (01582) 833668 Editor Stephen Lloyd 82 Farley Hill, Luton LUlLUI 5NRsNR Tel: (01582)(01582\ 20075 Please note Editor's change of address CONTENTS Chairman'sMessage. .. ..3 3 RobertLouis Stevenson--A A CentenaryTribute.Tribute . .. .. 4 SeoSea DnftDrift at CarnegieCamegie HallHall. .. '" ,6.6 DeliusAssociation of Florida- 34th AnnualFestivalFestival. ......99 Koanga - LeedsYouth Opera . .12t2 HaverhillSinfonia Anniversary Concert.Concert ..... l313 MidlandsBranch ReportReport: : Brigg l;airFair and In a SummerGarden . .. .1515 Delius'sMusical Apprenticeship.Apprenticeship .. .1616 Book Reviews: Grieg and Delius. 17 0peraOpera as DrqmaticDramatic PoetryPoetry. .20 Henry J Wood:lYood:Maker of the Pnmr'.Proms ... .212l The Coos-sens: Goossens:A Musical Century.Century .23ZJ Peter Warlock: The LifeL~fe of Philip Heseltine.. ... 25 Peter Warlock: A Centenary Celebration.Celebralion. ...... 25 '['he 7he EnglishF,nglishMusical Renaissance 1860-19~01860-1910 . 28 Music in England 1885-1920 .. .28 Record Reviews Beecham conducts Delius ...3030 Stanford and Delius ... -
BMS News August 2018
BRITISH MUSIC SOCIETY nAUGUST 2018 ews THE PIPER OF DREAMS A Ruth Gipps perspective ELGAR ENIGMA Rachel Barton Pine’s magnifica musica Agenda British Music Society’s news and events What you missed at the AGM his report of our Annual General Meeting covers the key areas of the Recordings Chairman’s TBritish Music Society’s activities as The generous bequest from Michael follows: Hurd for recordings has finally come to an end unfortunately and it is only to be welcome E-News expected that new releases by the Society will In the summer of 2017, Harold Diamond be less frequent now in number. New 'll keep my address short as the indicated his need to retire from his position opportunities to record will largely depend Chairman's Report from this as the monthly E-news editor. There were on receipt of grants from other funding year's AGM on June 30 is being difficulties finding another member with the bodies. I necessary time and the increasingly In November 2017, the songs of Arthur reproduced in this edition of Printed demanding technological skills to do this job. Benjamin and Edgar Bainton with Susan News. What it will not tell you is In light of this, the decision was made to Bickley (mezzo), Christopher Gillett (tenor) Dominic Daula, our new Journal employ Michael Wilkinson and Nicholas and Wendy Hiscocks (piano) with some Editor, joined the Committee at the Keyworth of Revolution Arts to conduct the funding from The Edgar Bainton Society AGM and John Gibbons revealed work for an agreed sum of £100 per month. -
Lydia Tang Thesis.Pdf
THE MULTI-FACETED ARTISTRY OF VIOLIST EMANUEL VARDI BY LYDIA M. TANG THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Rudolf Haken, Chair Associate Professor Katherine Syer, Director of Research Associate Professor Scott Schwartz Professor Stephen Taylor Clinical Assistant Professor Elizabeth Freivogel Abstract As a pioneer viola virtuoso of the 20th century, Emanuel “Manny” Vardi (c. 1915-2011) is most widely recognized as the first violist to record all of Paganini’s Caprices. As a passionate advocate for the viola as a solo instrument, Vardi premiered and championed now-standard repertoire, elevated the technique of violists by his virtuosic example, and inspired composers to write more demanding new repertoire for the instrument. However, the details of his long and diverse career have never to date been explored in depth or in a comprehensive manner. This thesis presents the first full biographical narrative of Vardi’s life: highlighting his work with the NBC Symphony under Arturo Toscanini, his activities as a soloist for the United States Navy Band during World War II, his compositional output, visual artwork, an analysis of his playing and teaching techniques, as well as his performing and recording legacies in classical, jazz, and popular music. Appendices include a chronology of his life, discography, lists of compositions written by and for Vardi, registered copyrights, and a list of interviews conducted by the author with family members, former students, and colleagues. -
Cheltenham Symphony’
richard witts Shopping and Fricker: the origins of the Cheltenham Festival of Modern British Music and the ‘Cheltenham Symphony’ The author is grateful to t remains a remarkable fact that during World War 2 a civic the late Mrs Ann Wilkinson and the late Mrs Eleanor enter tain ments manager in the Cotswolds planned a festival of modern Budge, whose husbands Imusic. The Tory council supported his idea. He staged it merely five were involved with the weeks after the war’s end, and it continued yearly and continues still. Festival’s creation; Steven Blake, curator of the Cheltenham’s summer festival of music occasionally tweaked its name to Cheltenham Museum; Sue meet the evolving demands of marketing, as Table 1 shows, while the share Robbins, archivist of the Gloucestershire Echo; Sue of new music in it steadily dwindled. Yet it has remained a presence on the Liptrot of the Cheltenham festival calendar and in certain contemporary music circles for 70 years. Reference Library; Meurig I argue here that the festival’s precepts are tied to the political and Bowen of Cheltenham Music Festival; Lewis Foreman, economic strategies of Cheltenham town itself. Even so, the origins of the Simon Frith and, above all, festival in wartime England deserve wider examination for three reasons. Jeremy Tyndall, formerly Head of Cheltenham Firstly, Britain’s integrative national arts policy is based on a 1940s formula Festivals. in which Cheltenham became the first peacetime example of that system in action for new music. Secondly, Cheltenham initiated the postwar arts festival movement. According to the British Arts Festivals Association there are around 140 such festivals in force, and 2,000 in general across the United Kingdom. -
Lyrita New Release Supplement 04 16
New Releases "It is only thanks to Lyrita, the tiny British label founded by Richard Itter in 1959, that we have recordings of some of the finest pieces of British Music…Joubert's [cello concerto], in particular, is as arresting as almost any other such concerto in the English canon…Lyrita offers a gold mine of British Music: get your picks and shovels and discover." Charles Stanford - Piano Concerto No.2 • Gerald Finzi - Eclogue for Piano and String Orchestra • John Foulds - Dynamic Triptych for Piano and Orchestra • Frank Bridge - “Phantasm” Rhapsody for Piano and Orchestra • Ralph Vaughan Williams - Piano Concerto in C Major • Alan Rawsthorne – Piano Concerto No. 1 • Cyril Scott – Early One Morning • John Ireland – Legend for Piano and Orchestra • William Bush – Piano Concerto • E.J. Morean – Rhapsody in F-Sharp Major for Piano and Orchestra • Lennox Berkley – Piano Concerto in B-Flat Major • Alun Hoddinott – Piano Concerto No. 1 • Malcolm Williamson – Piano Concerto No. 3 in E-Flat Major. (4 CDs) SRCD2345 £19.99 Samuel Coleridge-Taylor – Violin Concerto in G Minor • Gustav Holst – Invocation for Cello and Orchestra • Gustav Holst – Lyric Movement for Viola and Small Orchestra • William Bush – Cello Concerto • E.J. Moeran – Concerto for Violin and Orchestra • Edmund Rubbra – Soliloqua for Cello and Orchestra • Roberto Gerhard – Violin Concerto • Peter Racine Fricker – Concerto for Violin and Small Orchestra • Elizabeth Maconchy – Serenata Concertante for Violin and Orchestra • David Morgan – Concerto for Violin and Orchestra • Don Banks – Concerto for Violin and Orchestra • Alun Hoddinott – Nocturnes and Cadenzas for Cello and Orchestra. "The famous Lyrita sound is here in spades, rich, detailed, demonstration class. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 1 of 1 The Harpsichord in Twentieth-Century Britain by Christopher David Lewis Thesis for the degree of Doctor of Philosophy September 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy THE HARPSICHORD IN TWENTIETH-CENTURY BRITAIN by CHRISTOPHER DAVID LEWIS This dissertation provides an overview of the history of the harpsichord in twentieth- century Britain. It takes as its starting point the history of the revival harpsichord in the early part of the century, how the instrument affected both performance of historic music and the composition of modern music and the factors that contributed to its decline. -
The English Theatre Studios of Michael Chekhov And
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/57044 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The English Theatre Studios of Michael Chekhov and Michel Saint-Denis, 1935-1965 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature Thomas Cornford, University of Warwick, Department of English and Comparative Literary Studies May 2012 1 Contents List of illustrations........................................................................................... 4 Declaration..................................................................................................... 8 Abstract........................................................................................................... 9 Preface............................................................................................................ 10 Introduction 1 The Theatre Studio in Context........................................ 12 Introduction 2 Chekhov and Saint-Denis in Parallel............................... 28 Section 1 The Chekhov Theatre Studio at Dartington, 1936- 1938............................................................................... -
The Up-Hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work
2014 © Valerie Dart, Context 38 (2014): 53–57. RESEARCH REPORT The Up-hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work Valerie Dart My research began with an interest in finding new viola repertoire. Realising that there was a wealth of British viola music that didn’t get much attention, and finding it often to be out of print, I started to become interested in researching this field. Being British myself, and having studied with Cecil Aronowitz, one of Britain’s finest viola and chamber music players, I have a natural connection with this music and have become quite passionate about this research and am excited by every new discovery. The research will look at the difficulties facing British viola players and composers in the late nineteenth and the early twentieth centuries; how performers and composers worked together to raise the standard of viola playing in Britain, inspiring and encouraging writing for the viola, both as a solo instrument and as a more prominent orchestral instrument; and how they brought about a change of attitude in the musical community towards the viola. The leading figures, Lionel Tertis and William Primrose, are well known. Their autobiographies and the writings of scholars such as John White, David Dalton and Maurice Riley, give insight into the plight of the viola at this time. British viola repertoire went through a stage of being neglected until only fairly recently. Some of today’s foremost viola soloists—Roger Chase, Lawrence Power, Martin Outram, Sarah Jane Bradley, Simon Rowland Jones and others—have lately revived some of this beautifully lyrical and passionate music. -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Elizabeth Maconchy: The Early Years, 1923 - 1939 A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Erica Janice Siegel August 2016 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Rogerio Budasz Dr. Walter Clark Copyright by Erica Janice Siegel 2016 The Dissertation of Erica Janice Siegel is approved: Committee Chairperson University of California, Riverside Acknowledgements This dissertation would have been impossible to complete without the assistance of several individuals. First and foremost, I would like to thank Dr. Nicola LeFanu for her incredible kindness, generosity, and assistance. I am also indebted to Dr. Jenny Doctor, Dr. Sophie Fuller, and Dr. Rhiannon Mathias, who have all made important contributions to scholarship on Maconchy and women composers in Britain. I would especially like to thank my advisor, Dr. Byron Adams, for his unwavering support, as well as my committee members Dr. Rogerio Budasz, Dr. Walter Clark, and Dr. Leonora Saavedra. Much of this research would have been impossible to complete without the generous funding of an IHR Mellon Dissertation Research Fellowship, and I’d like to thank Dr. Lawrence Goldman and Vanessa Rockel for their support during my year as a Mellon Fellow at the Institute of Historical Research. Several individual also offered their time and assistance over the course of my research in the UK, and I am particularly grateful to Dr. Dan Grimely, Dr. Leanne Langley, and Hugh Cobbe for their advice and guidance. I would also particularly like to thank Clara Colvin for her generous hospitality. -
Proceedings of the 43Rd International Viola Congress Cremona, October 4-8, 2016 Table of Contents
Proceedings of the 43rd International Viola Congress Cremona, October 4-8, 2016 Table of Contents Lingue ufficiali: inglese e italiano Official Languages: English and Italian Index of Authors ALEIXO APVdA BARALDI BIRMINGHAM DART DE BIAGGI GHEDIN GIURANNA HART MEEUWSEN OZZARD-LOW PEZZANI POUNDS PUCHHAMMER SALVELLI SCHAAL GOTTHARDT SEROVA SMALT VALOTI ZAPPALÀ Alessandro Rolla and the Birth of the Italian Viola Repertoire Pietro Zappalà Pietro Zappalà completed his Master’s studies at the University of Pavia, receiving his Ph. D. in Musical Philology. Initially serving as a librarian, he was appointed a Research Fellow and later Associate Professor of Musicology in the Department of Musicology and Cultural Heritage of the University of Pavia. His scholarly activities embrace musicology as well as library science and bibliography as they apply to music. Among his musicological interests are composers of the 18th-19th centuries (Locatelli, Rolla, Mendelssohn, Bottesini, Ponchielli) as well as publishing documents and music scores. In the field of library science he has dealt with the theory of cataloging, as well as the organization of music archives. Recently he has turned his attention to the digitization of historic music archives-manuscripts, early printed editions and vinyl recordings. Lecture given on Thursday, October 6, 2016 - 10:00 a.m. - Auditorium, Chamber of Commerce Pietro Zappalà rd Proceedings of the 43 International Viola Congress 5 Cremona, October 4-8, 2016 back to Table of Contents back to Authors INDEX of Composers PROGRAM Opening Remarks by Pietro Zappalà Concertante for violin and viola in E flat major, Op.5 Allegro Spiritoso, Andantino, Thema e variazioni, Rondo .......................................................... -
British and Commonwealth Symphonies from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH SYMPHONIES FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KATY ABBOTT (b. 1971) She studied composition with Brenton Broadstock and Linda Kouvaras at the University of Melbourne where she received her Masters and PhD. In addition to composing, she teaches post-graduate composition as an onorary Fellow at University of Melbourne.Her body of work includes orchestral, chamber and vocal pieces. A Wind Symphony, Jumeirah Jane was written in 2008. Symphony No. 1 "Souls of Fire" (2004) Robert Ian Winstin//Kiev Philharmonic Orchestra (included in collection: "Masterworks of the New Era- Volume 12") ERM MEDIA 6827 (4 CDs) (2008) MURRAY ADASKIN (1905-2002) Born in Toronto. After extensive training on the violin he studied composition with John Weinzweig, Darius Milhaud and Charles Jones. He taught at the University of Saskatchewan where he was also composer-in-residence. His musical output was extensive ranging from opera to solo instrument pieces. He wrote an Algonquin Symphony in 1958, a Concerto for Orchestra and other works for orchestra. Algonquin Symphony (1958) Victor Feldbrill/Toronto Symphony Orchestra ( + G. Ridout: Fall Fair, Champagne: Damse Villageoise, K. Jomes: The Jones Boys from "Mirimachi Ballad", Chotem: North Country, Weinzweig: Barn Dance from "Red Ear of Corn" and E. Macmillan: À Saint-Malo) CITADEL CT-601 (LP) (1976) Ballet Symphony (1951) Geoffrey Waddington/Toronto Symphony Orchestra (included in collection: “Anthology Of Canadian Music – Murray Adaskin”) RADIO CANADA INTERNATIONAL ACM 23 (5 CDs) (1986) (original LP release: RADIO CANADA INTERNATIONAL RCI 71 (1950s) THOMAS ADÈS (b. -
TWO YOUNG BRITISH COMPOSERS in WARTIME AMERICAN EXILE by Lewis Foreman
TWO YOUNG BRITISH COMPOSERS IN WARTIME AMERICAN EXILE by Lewis Foreman Te two young British composers represented on this album were products of the Royal College of Music (RCM) in the 1930s who found themselves in the USA on the outbreak of war in 1939, and whose early careers prospered in an international setting in consequence. Richard Arnell, known to all as ‘Tony’, was the son of a builder and property developer. Afer University College School in Hampstead, north London, he studied at the Royal College of Music between 1935 and 1939. A prizewinning composition student with the composer John Ireland, Arnell was attracted from the frst to the solo violin, and an early violin concerto of his was played at the RCM in 1938. Tat year he married Charlotte Augusta Cronin-Lowe, and the couple sailed to New York for the World’s Fair of 1939. In September the outbreak of war meant they could not easily return. Te British Consul in New York recommended not travelling unless there was an overriding reason to do so, and as a consequence Arnell’s early career as a composer unexpectedly took of in the USA. A daughter was born there in 1940. Initially Arnell found making a living from music in New York to be difcult, but he composed incessantly and developed a circle of contacts, fnding a variety of casual musical jobs. Eventually, he was employed by the BBC North American service. Finding themselves part of the Greenwich Village scene, Arnell soon established a reputation as a composer. Te celebrated Galimir String Quartet performed his First String Quartet (written in 1939) at the New York Public Library in 1940.