DOCSLIB.ORG

ELIJAH – an ORATORIO, Opus 70

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FELIX MENDELSSOHN-BARTHOLDY (1809 – 1847) ELIJAH – AN ORATORIO, opus 70 CHARACTERS Elijah (baritone): HAROLD WILLIAMS With The Wireless Singers, Obadiah (tenor): PARRY JONES Berkeley Mason (organ), Angel (alto): CLARA SERENA Angel / Widow (soprano): ISOBEL BAILLIE The BBC National Chorus and, Ahab (bass-baritone): TOM PURVIS Orchestra Conducted by Stanford Robinson The Wireless Singers in 1932 DISC 1 1. Introduction: As God the Lord Harold Williams 0.52 2. Overture Orchestra 2:26 3. Chorus: Help! Lord! Chorus 2:49 4. Recit: The Deeps Afford No Water/ Air: Lord, Bow thine Ear Serena, Baillie, Chorus 2:37 5. Recit: Ye People Rend your Hearts/ Air: If with All your Hearts Parry Jones 3:29 6. Chorus: Yet doth the Lord See it Not Chorus 3:01 7. Recit: Elijah, Get thee Hence / Air: For He shall give him Angels Clara Serena, Wireless Singers 3:15 8. Duet: What have I to do with Thee? Isobel Baillie, Harold Williams 6:02 9. Chorus: Blessed are the Men Chorus 2:49 10. Recit/ Air: As God the Lord of Sabaoth Williams, Purvis, Chorus 3:26 11. Chorus: Baal, we Cry to Thee Chorus 2:55 12. Recit. And Chorus: Call him Louder Harold Williams, Chorus 2:32 13. Recit. and Air: Lord God of Abraham Harold Williams 3:27 14. Quartet: Cast thy Burden Quartet (S,A,T,B) 1:22 15. Recit: O Thou who Makest / Chorus: The Fire Descends from Heaven Harold Williams, Chorus 1:59 16. Recit: Take all the Prophets of Baal / Air: Is not His Word? Harold Williams, Chorus 2:09 17. Air: Woe unto Them Clara Serena 2:47 18. Recit: O Lord thou hast Overthrown Harold Williams, Chorus 2:35 19. Chorus: Thanks be to God Harold Williams, Chorus 4:07 DISC 2 1. Air: Hear ye, Israel Isobel Baillie 5:56 2. Chorus: Be not Afraid Chorus 3:13 3. Recit: Man of God Parry Jones 1:53 4. Air: It is Enough Harold Williams 4:36 5. Trio: Lift thine Eyes / Chorus: He, Watching over Israel Trio and Chorus 3:20 6. Air: O Rest in the Lord Clara Serena 3:05 7. Recit: Night Falleth around Me Harold Williams, Isobel Baillie 1:22 8. Chorus: Behold! The Lord Passed By Chorus 3:37 9. Recit: Above Him stood the Seraphim/ Chorus: Holy, Holy, Holy Quartet, Chorus 1:52 10. Recit: I Go on my Way Harold Williams 0:48 11. Chorus: Then did Elijah the Prophet Chorus 2:27 12. Air: Then shall the Righteous Parry Jones 2:47 13. Chorus: And Then shall your Light Chorus 3:01 Total CD durations: Disc 1: 54:40 Disc 2: 37:58 Jakob Ludwig Felix Mendelssohn, cantata. In addition to settings of psalms, grandson of the distinguished Jewish thinker which include a setting of Psalm 100, Moses Mendelssohn, (the additional surname Jauchzet den Herrn (Praise the Lord) and Bartholdy was adopted on his conversion to sacred and secular cantatas, Mendelssohn Christianity), was born in 1809 in Hamburg, wrote a number of choral songs and a larger the son of a banker. The family moved to quantity of solo songs, a pleasing addition to Berlin, where Mendelssohn was brought up, the repertoire of German song, intended for able to associate with a cultured circle of intimate social gatherings rather than the family friends. He was associated with the concert hall. In the field of oratorio, revival of public interest in the music of however, he unquestionably triumphed. Johann Sebastian Bach and in the early 1830s travelled abroad for his education, ELIJAH is perhaps the most dramatic spending time in Italy and also visiting classical oratorio ever written, and following England, Wales and Scotland. He was later the earlier St. Paul, established Mendelssohn, conductor of the Gewandhaus Orchestra in in Britain at least, as the true successor to Leipzig, where he also established a Handel. Like his orchestral music, the charm Conservatory, his stay there interrupted of the work lies in its lyricism and strength briefly by a return to Berlin. He died in of orchestral colour, used in picturesque and Leipzig in 1847. Prolific and precocious, effective means to convey the drama. The Mendelssohn had many gifts, musically as first performance was given in London in composer, conductor and pianist. His style of 1846, and Victorian England took the work composition combined something of the to its heart immediately, and to this day economy of means of the classical period Elijah and Messiah remain cornerstones of with the romanticism of a later age. the choral repertoire, enjoying numerous performances every year by professional and Mendelssohn wrote a number of works for amateur choral societies alike. The text of the possible church use, both Protestant and English version, from Biblical sources, was Catholic. Of these the best known must be written by W. Bartholomew. Hear my prayer, a favourite with boy trebles, and immortalised in the famous recording by Telling of the triumph of fate over the forces Ernest Lough. The carol Hark, the Herald of evil, the story of the prophet Elijah is used Angels Sing was adapted by W. H. to convey a warning to the wicked and the Cummings from a chorus in a secular hope of salvation for the righteous. With the original 78 rpm records used for this CD, necessary for the purpose of recording, the was the text of a sermon written, probably in utmost care has been exercised and only such the early 1930s, by the records’ clergyman excisions made as competent judges have agreed owner, who seems to have been rather ahead as permissible. In all cases the omissions are of his time in presenting his sermon with indicated (as they are here – see text), and musical illustrations. He says: “This evening comparison with the vocal score will show the exact passages not here included”. Andrew the story of Elijah is going to be told to us in Rose, transfer engineer, comments on the music. If you listen, you will find that the process: music tells you as much about the story as the words. Ahab had led practically the “The transfer of these discs presented perhaps the whole of Israel to worship Baal, and the lives greatest challenge I’ve ever faced from a set of of people, like Elijah, who still worshipped 78rpm discs. Things started very promisingly – by the Lord God of Moses, were in danger. It using a relatively narrow-profile stylus I was able to was the task of Elijah, God’s prophet, to go get a good, clean transfer of a number of the sides. to Ahab and rebuke him for his evil ways However, I did notice an increasing tendency towards quite nasty swishing, more than would be and tell him of punishments which would digitally treatable. Using a broader stylus made follow if he did not repent”. matters worse, so I started to dig deeper, and I had to use the narrowest stylus I’ve ever encountered for THE RECORDING – TECHNICAL NOTE 78rpm playback in order to get the best sound reproduction. This has the unavoidable side-effect of This was the first ever substantially complete introducing more crackle to the audio, which is still recording of Elijah to be made. It was made noticeable in some passages, but is far less annoying between 25 February and 8 March 1930 at than the dreadful swishing I’d heard earlier. Central Hall, Westminster, London and released Wherever possible I’ve crossfaded between stylii in April 1930, on Columbia’s dark blue label on midway during sides to maintain maximum sound 15 10-inch discs. The set remained in the quality. Despite these difficulties we felt the catalogue until February 1948. The matrix performances all merited the work required in numbers and exact recording dates are given putting this recording together, finding the overall below, not in the track list, as the tracks on this musical quality quickly dispelling any minor queries CD do not match the “somewhat arbitrary” side about sound quality. I’d like to offer a big thank you breaks on the original discs. While to Expert Stylus Ltd. of Ashtead, Surrey, for their “substantially complete”, some cuts were made, priceless advice and tireless work in providing ever slimmer stylii in order for us to complete this and we quote from the original 1930 programme project.” note; “In the slight abridgment of the work Columbia Masterworks Album no. 133 Recording session details. The final digit of each matrix number denoted the take used in the published set. (also released in auto-coupled format as DB 8000-8014). DB49: WA10140-1 2.3.1930 DB57: WA10178-1 8.3.1930 WA10156-2 5.3.1930 WA10179-2 8.3.1930 DB50: WA10135-2 1.3.1930 DB58: WA10115-2 25.2.1930 WA10112-1 25.2.1930 WA10118-1 26.2.1930 DB51: WA10157-3 5.3.1930 DB59: WA10158-2 5.3.1930 WA10133-2 1.3.1930 WA10141-1 3.3.1930 DB52: WA10119-2 26.2.1930 DB60: WA10142-3 3.3.1930 WA10120-2 26.2.1930 WA10134-1 1.3.1930 DB53: WA10162-2 6.3.1930 DB61: WA10169-2 7.3.1930 WA10113-2 25.2.1930 WA10116-2 25.2.1930 DB54: WA10163-2 6.3.1930 DB62: WA10145-2 4.3.1930 WA10143-2 4.3.1930 WA10180-1 8.3.1930 DB55: WA10170-2 7.3.1930 DB63: WA10117-1 25.2.1930 WA10144-1 4.3.1930 WA10164-2 6.3.1930 DB56: WA10114-1 25.2.1930 WA10171-2 7.3.1930 ________ THE PERFORMERS on the set were style of singing, and she also found success among the top recording stars of their day, on the operatic stage.
Recommended publications
  • Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words

    Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words

    Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes.
  • August 1935) James Francis Cooke

    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 ^uiPJ^^at^Jrui^“P-a0[a^ L DAY IN VE JhEODORE pRESSER ^O. 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.
  • The Authenticity of Genius Transcript

    The Authenticity of Genius Transcript

    The Authenticity of Genius Transcript Date: Tuesday, 15 February 2011 - 1:00PM Location: Museum of London Gresham Lecture, 15 February 2011 The Authenticity of Genius Professor Christopher Hogwood You see that I have arrived with eight accomplices today, all named on the programme sheet. I shall just tell you how we arrived at this and the purpose. As you know, the overriding theme of these six lectures, this year has been the theme of authenticity. We have done various aspects such as whether the piece in question is what it says on the tin and that sort of thing. Last time, there were many fakes. The next lecture was going to be taking the story of music, as it were, from the manuscript, or from the library stage, into the sort of thing you can pick off the shelf and buy – i.e. the work of the musicologist, the librarian and the historian. The final lecture will carry that story on - dealing with the business of picking the printed volume off the shelf and deciding to include it in a recital, in a concert, in a recording, and for that, I will be joined by Dame Emma Kirby. We will talk about what goes on in a performer’s life and in a performer’s mind when faced with a new piece of repertoire and how you bring it to life respectably from the silent piece of music that you took from the library or bought off the shelf. That does seem to leave one stage missing - the stage before the thing hits the paper, which is what goes on to create this music, and that is why we have “Authenticity of Genius” today.
  • Felix Mendelssohn's Career As a Composer

    Felix Mendelssohn's Career As a Composer

    10-27 Sat Mat.qxp_Layout 1 10/18/18 2:07 PM Page 29 Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair String Quintet in B-flat major, Op. 87 Felix Mendelssohn elix Mendelssohn’s career as a composer was not strictly that of the mainstream. As a Fand conductor was flourishing in 1845. result, certain of his works — such as the first He was considering competing job offers and last movements of this quintet — can from two crowned heads (the Kings of Prus - sometimes sound less like classic chamber sia and of Saxony), he was deriving satisfac - music than like little string symphonies, re - tion from his pet project of elevating the flecting a hierarchy in which the first violin Leipzig Conservatory into a world-class in - spends more time in the spotlight than the stitution, and he enjoyed great happiness on lower-lying “accompanying” instruments. In the home front, the more so when he and his fact, his interest in those first and last move - wife greeted the arrival of their fifth child, ments seems fixed less on the themes them - Lili. There is no way that the composer, who selves than on the harmonic and structural was only 36 years old, could have known processes used in developing them. Wilhelm when he wrote the B-flat-major Quintet that Altman, writing in the classic Cobbett’s Cyclo - it would be among his last works. He died two pedic Survey of Chamber Music , perspica - years later after a series of strokes.
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors

    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors

    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
  • Mendelssohn's Elijah

    Mendelssohn's Elijah

    Boston University College of Fine Arts School of Music presents Boston University Symphony Orchestra and Symphonic Chorus Mendelssohn’s Elijah Ann Howard Jones conductor Monday, April 11 Symphony Hall Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphonic Chorus April 11, 2011 Boston University Symphony Orchestra Symphony Hall Ann Howard Jones, conductor The 229th concert in the 2010–11 season Elijah, op.
  • MUSICWEB INTERNATIONAL Recordings of the Year 2019

    MUSICWEB INTERNATIONAL Recordings of the Year 2019

    MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec.
  • JOAN SUTHERLAND John Pritchard (1918–89)

    JOAN SUTHERLAND John Pritchard (1918–89)

    JOAN SUTHERLAND John Pritchard (1918–89). Walthamstow-born, John Pritchard learned his craft as principal conductor of the Derby String Orchestra, before joining the music staff of Glyndebourne in 1947. Appointed Chorus Master in 1949, he was soon sharing major Mozart productions with Fritz Busch, conducting the London Philharmonic Orchestra there and swiftly expanding his repertoire. The company’s Musical Director from 1969 to 1977, he was also a regular guest at the Royal Opera, where in 1955 he conducted the premiere of Tippett’s A Midsummer Marriage. His opera and concert work encircled the globe, with periods at the helm of many companies and orchestras, notably the Royal Liverpool Philharmonic and BBC Symphony. He was knighted in 1983. Though his full diary could result in perfunctory routine, fiery theatricality and a grasp of essentials inform his best work – not least in many studio and off-air recordings made with his ‘home’, Glyndebourne company, and for BBC radio. Joan Sutherland (1926–2010). The world-renowned soprano Joan Sutherland left her Sydney home for London in 1952, with the ultimate aim of singing Wagner. Contracted to Covent Garden, she felt her future lay in heavy, dramatic roles; and her early assignments there included Amelia in Verdi’s Un ballo in maschera and the title role in Aida. Soon her breathtaking agility, crystalline staccatos and unique stratospheric purity became evident – not least as Jenifer in Tippett’s The Midsummer Marriage, followed swiftly by the doll Olympia in Offenbach’s Les contes d’Hoffmann (both 1955). Although increasingly identified with the bel canto repertoire, until her 1959 Covent Garden triumph in Donizetti’s Lucia di Lammermoor she kept her options open.
  • RVW Final Feb 06 21/2/06 12:44 PM Page 1

    RVW Final Feb 06 21/2/06 12:44 PM Page 1

    RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000.
  • Dame Joan Hammond (1912-1966) 2

    Dame Joan Hammond (1912-1966) 2

    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended.
  • Newsletter Wednesday 10Th March 2021

    Newsletter Wednesday 10Th March 2021

    Winchester City Festival Choir NEWSLETTER WEDNESDAY 10TH MARCH 2021 Welcome to another edition of ramblings from the conductor! I hope the newsletter continues to find you well. When Vaughan Williams met Shakespeare I think Ralph Vaughan Williams (1872 – 1958) has the accolade of being the composer to gett the most mentions in these newsletters! I make no apology for this, or for bringing his music to your attention again this week! I’m going secular for a change, and focusing on some of his music which uses the words of William Shakespeare (1564 – 1616). I’m going slightly off track this week as the first piece isn’t technically written for a choir, so it isn’t choral, but it could be… and is often sung by choirs with four soloists. Before we get to our first piece of music, a little history of the English conductor Sir Henry Wood (1869 – 1944), best known for his association with London's annual series of promenade concerts, known as the Proms. Indeed, it has been said that Henry Wood made the Proms and the Proms made Henry Wood! Wood studied at the Royal Academy of Music and at first seems to have intended a career as a composer, but his conducting abilities were to win out, particularly from 1895 when still only 26, he assumed the conductorship of a new series of Promenade Concerts to be given at the recently built Queen’s Hall in Langham Place. Nobody would have guessed that the series would survive two world wars and (hopefully) a pandemic! That it did was testament to Henry Wood’s devotion and sheer hard work over a 50-year period.
  • Journal50-1.Pdf

    Journal50-1.Pdf

    January 1976 Number 5o Itditor Chris topher Rerlwoo<l Editoria-l Address 4 Tabor Crove, London SW19 lrliB Telephone 01-946 5952 Cover .f-l-lustration F Delius by Dawn Redwood (af ter l(app) Desigmed bg Lucie Martin Printed b9 The Copy Centre Ltd, London rssN-0306-0373 ftrtryttas$orierlt /ournu/ The Delius Societv President Eric Fenby OBE, Hon RAI'I Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM l"leredith Davies I'fA, B llus, FRCM, Hon RAM Chaitnte,n RB Meadows Esq 5 Westbourne House, Mount Park Road, Harrow, Middlesex Treasutet GH Parfitt Esq . 31 Lynwood Grove, Orpington, Kent BR6 OBD Secretarg JK White Esq 16 Slade Close, Walderslade, Chatham, Kent Membership of The Delius Society Fu1l Membership f.3.OO per year Students f,1.50 Library Subscription (Journal only) 82.00 per year Content s Edi torial Flecker, Dean and Delius: The History of tHassant Part I Dawn Redwood Delius at the Proms Stephen LTogd News from America tA Village Romeo and Julietr 1975 Book Review tFrederick Deliusr sir Thonas Beecham News from the Midlands Peter Thotp For Sale Correspondence Forthcoming Events (c)The Delius Society L976 Published quarterly, in January, April, July and October Additional copies of this issue 4Op eactr, inclusive of postage Material for inclusion in the next issue should reach Ehe Editor by 29 Irebruary 1976 Edi tori a1 O So far this season the Delius Society has held two meetings in London.