BMS News January 2018

Total Page:16

File Type:pdf, Size:1020Kb

BMS News January 2018 BRITISH MUSIC SOCIETY nJANUARY 2018 ews MAXWELL DAVIES AND HIS LAST ISLAND HOME THE MUSIC OF BETTY ROE ECHOES OF LAND AND SEA Maria Marchant’s mesmerising journey Agenda British Music Society’s news and events DATE FOR YOUR DIARY Chairman’s welcome he BMS has entered into a new working relationship Twith Revolution Arts who are assisting with the monthly E- Thanks News and the design of the Printed News. A transition pe - Hitchin Symphony a lot riod caused a slight delay in the Orchestra edition you are reading but all is now back on course and past is - 19 May 2018, 7.30pm Harold! sues of Printed News will be St Mary's Church, Hitchin SG5 1HP made available on the home page British Music Society of the BMS website for the wider Conductor Paul Adrian Rooke is hugely grateful to readership. Harold Diamond who Our British Art Song Com - John McCabe Concerto for Chamber Orchestra is now stepping down petition goes from strength to Malcolm Arnold Concerto for viola and after many months of strength in conjunction with the Chamber Orchestra sterling work with E- London Song Festival and plans Soloist Helen Sanders-Hewett News. We are now on are being made for this year’s the lookout for a forthcoming competition. Turn Mendelssohn Symphony No.3 replacement to help to page 17 for more information steer future editions. about BASC 2017 that took place Tickets: 01462 458614 Do get in touch if you in the autumn. BMS member or www.wegottickets.com think you can help. Madeleine Mitchell has just sub - £14* (Adults), £12* (Concessions), Under 16s mitted a report on her BMS Am - free. bassadorship in the USA which * £2 discount if bought by Wednesday will soon be available for mem - preceding the concert. bers to read and comment on, and major work has begun up - Note: John McCabe was President of Hitchin dating the Recording and Publi - Symphony Orchestra from 1984-2015 and his cation pages on the website to widow, Monica is now Life vice-President reflect the entire output of the Society from its very beginning. I wish all our members a healthy and successful 2018 and British Music Society Committee hope to see as many you as pos - Wendy Hiscocks (Chairman), John Gibbons (Vice Chairman), sible at our next AGM this Sum - Stephen Trowell (Treasurer), Advisory roles: Karen Fletcher mer! Wendy Hiscocks Programme designed by Revolution Arts -2- Introducing The Cusp Hannah Nepil is a London-based adaptation of Shakepeare's classical music journalist and *Winter's Tale*, two piano recitals editor, mostly oscillating between at the Southbank Centre, and a the worlds of the Financial Times concert of 17th century English and Gramophone magazine. In tavern music, along with half price addition to this she runs The Cusp, tickets on a production from a magazine which focuses on the Opera Erratica, amongst other intersection between art forms. events. And there will be plenty The Cusp have recently more! introduced a new scheme which All that readers need to do to allows subscribers access to a claim the offers, is to sign up to range of discounted and free their newsletter at tickets to London arts events, both www.thecuspmagazine.com quirky and mainstream. So far, for Subscription is completely example, they have offered free free, and only takes one minute. tickets for a cross-genre Bid to record music of Graham Whettam needs your support BBC Radio 3 LEASE help us achieve our goal solo violin with the aim of reawaken of producing a recording of the musicians' and audiences' interest in ‘In Tune’ Pmusic of Graham Whettam. Graham Whettam's work, and lead to As many members of the BMS will more opportunities for performances appearance know, Graham Whettam (1927–2007) and recordings of his music generally. was a largely self-taught composer who We already have some financial N Wednesday 22 occupies a place in the English support from the RVW Trust and from November BMS chairman symphonic tradition. Spanning a individual donors. A crowdfunding Oand artistic director of period of over 40 years, his works for campaign is currently in place to raise Celebrating Australian solo violin are informed and directed the further £4,200 needed for the Music Wendy Hiscocks together by compositional rigour, technical recording. with singer Christopher Gillett assurance and an analytical musical If you would like to support this gave an interview with presenter grammar but, at the same time, are full project, please visit rupertmarshall- Sean Rafferty (pictured above) on of vivid colour, dramatic inventiveness luck.com where you can donate BBC Radio 3’s IN TUNE. and, above all, a sense of deep through PayPal. Wendy and Christopher humanity. Benefits include a free copy of the talked about the latest BMS Christine Talbot-Cooper, disc upon its release, an invitation to recording with the new Naxos CD Chairman of the Gloucester Music the CD launch event, and the release featuring songs by Edgar Society and a Vice-President and opportunity to attend the recording Bainton an Arthur Benjamin. In Administrator of the Piano Trio Society sessions. addition, they performed four of and I are working with the acclaimed - Rupert G. Marshall-Luck MA the songs from the CD live in front label EM Records to present World (Cantab) MMus (Distinction) of a studio audience. Première recordings of his works for -3- Reviews Maurice Jacobson: Themes and Variations Looking back to this recently rediscovered BMS recording issued on Naxos 8.571351, June 2014 S I prepared to listen lected works has been Great War (11 November dental pieces — all written to this unfamiliar made possible with assis - 1918) he studied composi - between 1935 and 1949. Acomposer, I unwit - tance from the Michael tion with Charles Villiers These interpretations tingly stifled a yawn. Then, Hurd Bequest, support by Stanford and Gustav Holst. with the composer's pianist within the first bars, my the British Music Society In 1923 he joined the son Julian Jacobson reap undivided attention was and dedication by the com - music publishing firm of J the benefits of access to captured. I discovered an poser's younger son, pi - Curwen & Sons as a music original manuscripts and unfailing clarity in Maurice anist Julian. reader. Ten years later he an unparalleled intimacy Jacobson's workmanship. While Maurice Jacob - was made its director and with the composer's inten - His expertise was clear son is hardly a household later its chairman (1950- tions. Julian has performed as themes were worked out name among the British 1972). In 1971 he was all of Beethoven sonatas with admirable craftsman - concert music public, he awarded the OBE. during a single day on three ship. The shape and dura - has left some four-hun - Jacobson senior was occasions. tion of each work was dred-and-fifty composi - born into a Jewish London Following the third judged to a nicety. More - tions. By the age of sixteen family and was immersed such marathon in 2013, The over he steered a course he had memorized the in the great 'classic' Austro- Daily Telegraph wrote: 'A well away from composi - Well-Tempered Clavier and German and French reper - disarming technique cou - tional experiments sweep - all thirty-two Beethoven toires. The works recorded pled with an undoubted in - ing through Middle Europe Sonatas. He studied at the here include two sets of tellectual mastery made early in the twentieth cen - Modern School of Music theme and variations, two Julian Jacobson's recital an tury. and Royal College of Music. biblical settings, five piano awe-inspiring experience. This programme of se - And with the end of the miniatures and five inci - - Howard Smith A contemplative version of Elgar’s Violin Sonata British Music for and-circumstance’ days. bow-work breathes revi - The remaining 10 short The work was written in talised life into this vintage tracks literally bubble with a Violin and Piano a secluded cottage in West collection of some of vivaciously charming display Elgar, Violin Sonata plus a Sussex, in sharp contrast to Britain’s well-treasured, of the best of British. The collection of 19 short pieces those feverish imperial Ed - vivid, little gems, ranging recording includes endear - by British composers wardian march days that at through works from highly- ing titles like Country Dance, Clare Howick: violin the time made Elgar so pop - acknowledged masters like Lullaby, Gentle Maiden, John Paul Ekins: piano NAXOS 8.573291 ular. The Sonata for Violin Bridge, Delius, Ireland and Bumble Bee and Cavatina and Piano was premiered in Scott. which all sum up the joyous DEEPLY contempla - 1919 at a meeting of the This 22-track budget attraction of this infectious tive version of Ed - British Music Society. collection boasts some deft release. Award Elgar’s very Clare Howick (violin) keyboard playing from The last word comes personal Violin Sonata opens and with the excellent, expe - Ekins.. The serious Sonata from Elgar himself with an up this otherwise collection rienced pianist, John Paul teems with vintage Elgarian affirmative, punchy, perfor - of appealing British minia - Ekins, perform convincingly themes and ideas which the mance of his Mazurka (1899) tures. The nationalist mas - together, showing a great composer’s wife, Alice, said which bursts with verve and ter’s compelling chamber understanding between key - was inspired by the ‘wood jollity. music is totally at odds with board and strings. magic’ of a copse near the - Chris Bye Elgar’s vivacious ‘pomp- Ms Howick’s impressive couple’s home. -4- REVIEWS Ubiquitous pen of a British master Ralph Vaughan The subliminal open - ing cor-anglais theme is Williams gently and seductively de - The Poisoned Kiss veloped into the full or - overture; Three Portraits chestral plaintive cry, from ‘The England of coaxing listeners into the Elizabeth’; Bucolic Suite; In magical, mystical mists of the Fen Country; Fantasia on Sussex Folk Tunes; the Fens.
Recommended publications
  • NABMSA Reviews a Publication of the North American British Music Studies Association
    NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination.
    [Show full text]
  • Autumn 2005 No
    FRMS BULLETIN Autumn 2005 No. 143 Ed i tor: CONTENTS Ar thur Baker 4 Ramsdale Road, page Bramhall, Stockport, EDITORIAL page Cheshire SK7 2QA THE REGIONS Tel: 0161 440 8746 The Fu ture 2 or E-Mail: Fare well 2 Cen tral Re gion 19 [email protected] Sus sex Re gion 22 Ed i to rial dead lines: York shire Re gion 23 NEWS Spring is sue — 31st De cem- ber Hyperion Copy right Case 3 Society Regeneration Au tumn is sue — 30th June Toccata Clas sics 3 Mar ket ing Man ager: Christ mas Cards 3 Ickenham & Ruislip 26 Tony Pook (see page 37). West Wickham RMS 27 Ad ver tise ments are avail able LETTERS from £35.00, de tails from THE SOCIETIES him. Wil liam Hurlestone 4 Cir cu la tion Man ager: AGM Motion 4 Eastbourne 28 Allan Child (see back page Classicalmania 5 Thurso 29 for ad dress). E-mail: Wellington G S 31 [email protected] FEATURES BOOK REVIEWS Copies are distributed to all Busoni and Faust 6 Federation affiliates with Red Rays… 9 Cockaigne 32 additional copies through Reverse Tran scrip tion 11 Bay reuth 33 society secretaries. Estimated Rob ert Simpson 13 readership is well over 10,000. CD REVIEWS Individual Subscriptions are DAVENTRY available at £6.80 for four Busoni — Doktor Faust 34 issues. Direct orders and Mu si cal Week end 16 Sibelius — Sympho nies 35 subscriptions for the Bulletin should be sent to the FRMS CROSSWORD Treasurer (see back page). The cover picture is ‘Chess at Cross word 36 Daventry’ ©Arthur Baker.
    [Show full text]
  • A Critical Analysis of “On Wenlock Edge” by Ralph Vaughan Williams
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1966 A Critical Analysis of “On Wenlock Edge” by Ralph Vaughan Williams Gary Michael Lawler Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Higher Education Commons, and the Liberal Studies Commons Recommended Citation Lawler, Gary Michael, "A Critical Analysis of “On Wenlock Edge” by Ralph Vaughan Williams" (1966). All Master's Theses. 565. https://digitalcommons.cwu.edu/etd/565 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A CRITICAL ANALYSIS OF "ON WENLOCK EDGE" BY RALPH VAUGHAN WILLIAMS A Thesis Presented to the Graduate Faculty Central Washington State College • in Partial Fulfillment of the Requirements for the Degree Master of Education by Gary Michael Lawler June, 1966 f!l9881 N01!:>3110'J l\11:>3dS 01 APPROVED FOR THE GRADUATE FACULTY ________________________________ Mary Elizabeth Whitner, COMMITTEE CHAIRMAN _________________________________ Wayne S. Hertz _________________________________ Dohn A. Miller TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION . 1 Statement of the Problem 1 Importance of the Study 2 Procedures to be used 2 DEFINITIONS OF TERMS USED IN STUDY . 3 Folk song 3 Song cycle 3 Modes 3 Tremolo 4 Recitative . 4 Pentatonic . 4 Strophe 4 After-song 4 Bar 5 Plainsong 5 Figured bass 5 Ostinato . 5 Pedal tone . 6 Tone cluster . 6 Augmentation . 6 DEFINITIONS OF TERMS USED IN THE POETRY 6 Holt .
    [Show full text]
  • The Music of Samuel Coleridge-Taylor (1875-1912): a Critical and Analytical Study
    Durham E-Theses The music of Samuel Coleridge-Taylor (1875-1912): a critical and analytical study Carr, Catherine How to cite: Carr, Catherine (2005) The music of Samuel Coleridge-Taylor (1875-1912): a critical and analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2964/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. The Music of Samuel Coleridge-Taylor (1875 - 1912): A Critical and Analytical Study Catherine Carr A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) University of Durham Music Department
    [Show full text]
  • LP Auction Catalogue 120810-Web
    Sale by Auction Mint Condition Lyrita LPs Lyrita Recorded Edition From the private archive of Lyrita Proprietor Richard Itter Lyrita Recorded Edition & Wyastone Estate Ltd are pleased to make available for sale by auction 97 titles from the original Lyrita LP catalogue. All copies come from the private archive of Lyrita’s founder and proprietor, Richard Itter. The LPs, which are all ‘Nimbus’ pressings, were Sale by Auction manufactured in the company’s Monmouth premises during the mid 1980s. Every LP is in its original sleeve. Mint Condition Lyrita LPs These examples have never been shipped for sale and have been stored upright in their factory boxes in dry, dark, temperate conditions since manufacture. th Closing date: 6 December 2010 This release of 1,987 LPs constitutes the major part of the Lyrita archive, only a handful of reference copies are being retained. Operation of the Auction The auction will open at 09.00 on 1 September 2010 and will close at 24.00 on 5 December 2010. Bids will only be accepted if made by post, fax or e-mail, an order form is attached to this catalogue. LPs will be allocated solely on the highest value bid. Successful bidders will be contacted after the auction has closed at which time we will confirm the allocation, calculate postage and collect payment details. Lyrita wishes to make these LPs widely available so will only allocate 1 example of any title per bid. However, in the event that all bids are satisfied and some LPs remain these will be allocated to any bidders requesting multiple copies and solely on the highest value bid.
    [Show full text]
  • Download Booklet
    ENGLISH PIANO TRIOS Rosalind Ellicott (1857-1924) Piano Trio No. 1 in G major 28:54 1 I Allegro con grazia 9:07 2 II Adagio — Poco andante — Adagio 11:13 3 III Allegro brillante 8:31 Samuel Coleridge-Taylor (1875-1912) Trio in E minor for piano, violin and violoncello 8:48 4 I Moderato con expressione — Allegro con moto 4:36 5 II Scherzo: Allegro leggiero 1:43 6 III Finale: Allegro con furiant 2:26 Rutland Boughton (1878-1960) 7 Celtic Prelude: The Land of Heart’s Desire 7:10 James Cliffe Forrester (1860-1940) 8 Trio: Folk Song Fantasy 13:00 Harry Waldo Warner (1874-1945) Trio for piano, violin and violoncello, Op. 22 19:40 9 I Quasi fantasia: Moderato con qualche licenza 8:21 10 II Scherzo: Presto — Pochissimo meno presto — Presto 4:10 11 III Finale: Andante moderato — Allegro e ritmico 7:05 Total duration 77:53 THE COMPOSERS AND THEIR MUSIC Rosalind Ellicott (1857-1924) Piano Trio in No.1 in G (1889) I – Allegro con grazia II – Adagio – Poco andante – Adagio III – Allegro brillante Rosalind Ellicott showed musical precocity at an early age. Although her father, the Bishop of Gloucester, had little interest in music, her mother supported and encouraged her engagement with music. First taking lessons from the cathedral organist Samuel Wesley at the age of twelve, she then studied piano at the Royal Academy of Music under the guidance of Frederick Westlake. It was around this time that she also began singing, subsequently making appearances as a soprano at various events, including the Three Choirs Festival.
    [Show full text]
  • W.W. Cobbett's Phantasy: a Legacy of Chamber Music in the British Musical Renaissance
    HODGES, BETSI, D.M.A. W. W. Cobbett’s Phantasy: A Legacy of Chamber Music in the British Musical Renaissance. (2008) Directed by Dr. Andrew Harley. 73 pp. The purpose of this dissertation is to determine the role that Walter Willson Cobbett (1847-1937) played in the British Musical Renaissance by his initiation of a series of chamber music competitions, beginning in 1905, each of which required the composition of a phantasy. The phantasy was Cobbett’s reinvention of an older genre, the fancy, or fantasia, which had been popular in sixteenth- and seventeenth- century England. A vast number of new British chamber compositions was generated from these competitions. After examining the events of Cobbett’s life that contributed to his involvement and passion for music, the paper discusses some of the events and issues that caused England to experience a musical renaissance. This leads to a discussion of the history of the fancy in the sixteenth and seventeenth centuries. Cobbett’s reinvention of the genre and some of the reactions to it are subsequently examined. The competitions themselves are presented in great detail with the results and descriptions and/or reviews of some of the winning compositions. Other important contributions of Cobbett are shown, such as his eleven commissions for phantasies, his sponsorship of prizes at the Royal College of Music, and the endowed medal for services to chamber music issued each year by the Worshipful Company of Musicians. Concluding statements portray the lasting legacy Cobbett has had on British chamber music. W.W. COBBETT’S PHANTASY: A LEGACY OF CHAMBER MUSIC IN THE BRITISH MUSICAL RENAISSANCE by Betsi Hodges 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 2008 Approved by Dr.
    [Show full text]
  • The Trio in G Minor for Clarinet, Bassoon and Piano by William Yeates Hurlstone
    The Trio in G Minor for Clarinet, Bassoon and Piano by William Yeates Hurlstone a Critical Reassessment - 13th May 2004 1st revision 9th July 2004 2nd revision 29th September 2004 3rd revision 21st October 2004 4th revision 21st January 2005 5th revision 25th February 2005 6th revision 23rd November 2006 - Richard J Moore [email protected] 364 Catherington Lane Waterlooville HANTS PO8 0TU UK Richard J Moore Copyright © 2004 Introduction The Trio in G Minor by William Hurlstone is one of only a handful of works written for clarinet, bassoon and piano; as such, it will be of interest to clarinettists and bassoonists alike. This attractive piece, written in the late 19th century, provides a valuable addition to the repertoire. It has both audience and player appeal; however, from a performer's perspective it is a frustrating work to prepare. The parts and score of the only publicly available source abound with inconsistencies. Even with the latest Emerson edition, while matters of inconsistency have been addressed, it is still difficult to decipher exactly the intent of the composer; the gratuitous overuse of expression marks is particularly troublesome. In comparison, Hurlstone's Four Characteristic Pieces for Clarinet and Piano and his Sonata for Bassoon and Piano are both finely crafted works. It is therefore a mystery as to why the Trio should be so uncharacteristic of Hurlstone's usual attention to detail. The first printed (Emerson) edition1 of the Trio was based on the only publicly accessible source: a professional copy of the autograph made during the 1930s. This source suffers not only from having had alterations made by Parr2, but in its original form it was hardly a faithful reproduction of the autograph.
    [Show full text]
  • From Oldham to Oxford: the Formative Years of Sir William Walton
    From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Abraham Kaplan Giselle E. Wyers Program Authorized to Offer Degree: School of Music © Copyright 2014 Gary D. Cannon University of Washington Abstract From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon Chair of the Supervisory Committee: Professor Geoffrey Boers Choral Conducting, School of Music The formative years of William Walton (1902–1983) are rarely considered when studying the composer’s life and works. However, careful study of that period indicates many of the directions that the adult Walton would take. Industrial Lancashire was more musically active during the period of Walton’s youth (covering the years 1902 to 1912) than is generally considered. His time as a chorister and later undergraduate at Christ Church, Oxford (1912 to 1920), is replete with influential interactions with talented adults and fellow students. Detailed consideration of Walton’s juvenilia reveals a keen thinker who assimilated these various influences in a unique manner. Far more than merely a springboard for a future talent, these years resulted in inspired works and a firm purpose for the budding composer. From Oldham to Oxford The Formative Years of Sir William Walton Contents Introduction..................................................................................................................................................
    [Show full text]
  • Samuel Coleridge-Taylor (1875 –1912)
    Samuel Coleridge-Taylor (1875-1912) BLACK EUROPEANS: A British Library Online Gallery feature by guest curator Mike Phillips Taylor, Samuel Coleridge, composer, was born on 15 August 1875 at 15 Theobalds Road, Holborn, London - just round the corner from Fetter Lane, which Dickens described as the “dingiest collection of shabby buildings ever squeezed together in a rank corner as a club for tom cats”. His parents were registered as Daniel Hugh Taylor, surgeon, and Alice Taylor, formerly Holmans. Biographers are agreed that his father was in fact Dr Daniel Peter Hughes Taylor (c.1848-1904), who returned to his native Sierra Leone after studying at Taunton and King’s College, London; but contrary to the claim in Samuel’s birth certificate, there is no record of Dr Taylor’s marriage to Alice. There is a mystery, also, to do with the fact that the mother with whom he grew up was known as Alice Hare Martin, (1856-1953) – the daughter of Emily Ann Martin - not Holmans. It appears, however, that a couple named Sarah and Benjamin Holman had a hand in Samuel’s upbringing, and Holman gave young Samuel his first violin, along with his first violin lessons. The confusion might well have been a deliberate strategy to circumvent the stigma of illegitimacy. On the other hand, if the Alice of the birth certificate was the same woman as Alice Hare Martin, it is not clear how or why she and her son shifted with such ease from the worst slum in the city to the relative safety of suburban Croydon, and the warm bosom of a respectable working-class family.
    [Show full text]
  • Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works
    Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works Item Type text; Electronic Dissertation Authors Van Klompenberg, Martin J. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 10:26:41 Link to Item http://hdl.handle.net/10150/595633 Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works by Martin J. Van Klompenberg _____________________ Copyright © Martin J. Van Klompenberg, 2015 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College of THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Martin J. Van Klompenberg entitled Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ______________________________________________ Date: 09/09/2015 William Dietz ______________________________________________ Date: 09/09/2015 Jerry Kirkbride ______________________________________________ Date: 09/09/2015 Daniel Katzen Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • William HURLSTONE Complete Piano Music
    William HURLSTONE Complete Piano Music Five Miniatures (c. 1895–1904) 7:25 Hungarian Air with Variations (1897) 10:48 1 I La Simplicité 1:33 19 Hungarian Air: Theme 0:22 2 II Valse Miniature 1:14 20 Var. 1 0:29 3 III Negro Song 1:40 21 Var. 2 0:40 4 IV Rustic Song 1:29 22 Var. 3 0:37 5 V Alla Mazurka 2:29 23 Var. 4 1:21 24 Var. 5 0:50 6 Capriccio in B minor (1897) 6:06 25 Var. 6 0:46 Sketches (c. 1891) 6:44 26 Var. 7 0:29 27 Var. 8 0:27 7 I March 0:54 28 Var. 9 1:44 8 II Allegretto 1:02 29 Var. 10 1:20 9 III [untitled] 1:11 30 Var. 11: Finale 1:43 10 IV Mazurka 1:13 11 V La Fête 1:26 Five Easy Waltzes, Op. 1 (c. 1885) 3:42 12 VI Tambourin 0:58 31 No. 1 0:57 Two Albumleaves (1891) 3:09 32 No. 2 0:46 33 No. 3 0:41 13 I Aria 1:39 34 14 II Demons’ Dance 1:30 No. 4 0:33 35 No. 5 0:35 15 Caprice (1892) 1:34 36 Work for piano duet (1894) 2:06 16 Paganini arr. Hurlstone: Étude in E flat major (1901) 1:13 Piano Sonata in F minor (1894)* 25:44 37 I Allegro 8:57 17 Wieniawski arr. Hurlstone: 38 II Andante ma non troppo 8:49 Mazurka in G major, Op.
    [Show full text]