Bernard Stevens (1916–1983)
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Durham E-Theses
Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ 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 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain. -
Letters to the Editors
LETTERS 67 LETTERS TO THE EDITOR from ALAN POULTON Enthusiasts of British Music may be interested to know that a Dictionary of Modern British Composers, 1893-1923 is being compiled by Alan Poulton and Stewart Craggs. A total of 40 composers are surveyed and their complete output, including film and incidental music, is listed chronologically. As well as including such data as first performancc(s), the dictionary includes information on Dedicatees, Instrumentation, Publishers, and MS location, plus a useful artist cross-reference index. Thanks to the co-operation of the composers, their families and their publishers, as well as the BBC, British Library and the British Film Institute, some 6000 of the potential 10,000 entries have now been entered onto a word processor since compilation began in 1986. The following is a typical example of one entry in the Lutyens catalogue: 'The Ring of Bone"* for piano (with optional speaking voice) Op.106 (1915) Commissioned by the Manchester the Manchester New Music Forum for a concert celebrating the composer's 70th birthday. Dur: 10' f.p. Peter Lawson - Royal Northern College of Music, Manchester, May 1976 f.Lon.p. Jeremy Brown-Wigmorc Hall, 1 May 1977 f.broad.p. Peter Lawson - 20July 1977 Pub: Olivan (* The title is taken from Samuel Beckett's novel Imagination Dead Imagine and the speaker's text consists of fragments by Elisabeth Lutyens) It is expected to take a further four years to complete the survey and publication is anticipated in 1993. The 40 featured composers are: 1. Eugene Goosscns 15. MatyasScibcr 29. Humphrey Searlc 2. -
BERNARD STEVENS Catalogue of Works
BERNARD STEVENS Catalogue of works BERNARD STEVENS 1916 - 1983 Bernard Stevens was born in London in 1916. His musical talent was first revealed as a pianist in his early teens when the late Harold Samuel, the great Bach exponent, showed great interest in him and gave him much free help. Composition, however, became more and more his prime concern, and at eighteen he went to Cambrid ge to study with E.J. Dent and Cyril Rootham, graduating in English Literature and Music. His preoccupation with English poetry which developed in this period greatly influenced the character of his music. At twenty-one he went to the Royal College of Music where he studied Composition with R.O. Morris (who had taught many other leading composers), piano with Arthur Benjamin and Frank Merrick, orchestration with Gordon Jacob and conducting with Constant Lambert, gaining the highest awards for composition - the Leverhulme Scholarship and the Parry Prize. He left in 1940 to serve in the army for six years, but found time to compose. The Piano Trio (Clements Memorial Fund prize in 1942), Violin Concerto (first performed by Max Rostal, 1946), the Symphony of Liberation (first prize in the Daily Express Victory Competition in 1946) and the Ricercare for strings all belong to this period. On demobilisation he lived for a few years in London, his compositions including music for feature films starring such actors as James Mason and Dirk Bogarde. He was also active conducting and composing for choirs, and working for the promotion of contemporary music. In 1951 he moved to an Essex village, seeking a peaceful environment in which to compose. -
The Music and Politics of Alan Bush with Reference to the Application of His Socialist Principles to His Workers’ Choral Music and Songs Between 1926 and 1939
The Music and Politics of Alan Bush with Reference to the Application of his Socialist Principles to his Workers’ Choral Music and Songs between 1926 and 1939 Emer Bailey, B.A. Music (Hons) Thesis submitted in fulfilment of the requirement for the Degree of Master of Arts by Research Supervisor: Dr David Rhodes Waterford Institute of Technology Submitted to Waterford Institute of Technology, September 2013 Declaration I hereby declare that this thesis is my own work and has not been submitted previously for any other degree or qualification. Where reference is made to the work of others due acknowledgment is given. Signed: Candidate Signed: Supervisor Date: ii Contents Declaration ii Abstract v Acknowledgements vii Glossary of Abbreviations ix Introduction x Literature Review xvi Chapter 1 – Life and Music I: Early Life (1900-1928) 1 Chapter 2 – Life and Music II: Socialism (1929-1935) 25 Chapter 3 – Life and Music III: Communism (1936-1939) 61 Conclusion 96 Bibliography (a) Books, dissertations and articles 104 (b) Articles and other material from the Bush Archive 109 (c) Personal communications with Emer Bailey 112 (d) Radio Interviews 113 (e) Internet Sites 113 (f) CD Liner Notes 117 (g) Musical Scores 117 iii Appendices Appendix A: Table of Workers’ Choral Music and Songs 119 Appendix B: Song to Labour (1928) 120 Appendix C: To the Men of England (1927-1928) 121 Appendix D: Songs of the Doomed: Epilogue (Op. 14, 1929) 130 Appendix E: The Road (Op. 13, 1929) 136 Appendix F: Question and Answer (1931) 140 Appendix G: Song of the Hunger -
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 H-Z PATRICK HADLEY (1899-1973) Born in Cambridge. He studied there with Cyril Rootham and Charles Wood and then at the Royal College of Music with Vaughan Williams and R.O. Morris. He taught at Cambridge and composed mostly vocal music. "The Trees so High" is essentially a symphony with a vocal finale. He wrote a few short works for orchestra of which only "One Morning in Spring" has been published and recorded. The Trees So High (Symphonic Ballad in A minor) (1931) Matthias Bamert/David Wilson-Johnson (baritone), Philharmonia Chorus/Philharmonia Orchestra ( + Philip Sainton: The Island) CHANDOS CHAN 9181 (1993) Vernon Handley/Thomas Allen (baritone), Guildford Philharmonic Choir/Philharmonia Orchestra ( + Finzi: Intimations of Immortality) LYRITA SRCD.238 (2007) (original LP release: LYRITA SRCS.106) (1979) IAIN HAMILTON (1922-2000) Born in Glasgow but brought up in London. After some informal musical training he began studying piano and composition when he was 25 years of age at the Royal Academy of Music with Harold Craxton and William Alwyn. He held teaching positions at Morley College in London and then at Duke University in North Carolina. He composed a vast amount of music in practically all genres. He wrote 4 numbered Symphonies: No. 1, Op. 3 (1948), No. 2, Op. 10 (1951), No. 3 in G major "Spring" (1981) and No. 4 in B major (1981). His orchestral catalogue also includes a Sinfonia Concertante for Violin, Viola and Chamber Orchestra (1989), 2 Piano Concertos, 2 Violin Concertos, Clarinet Concerto and Symphonic Variations. -
1-Amdt 19 BMS RECORDS
I - 1-Amdt 19 BMS RECORDS - CATALOGUE SECTION I MANAGEMENT & ADMINISTRATION Subject A Minutes of Executive Committee Meetings Subject B Minutes of Annual General Meetings Subject C BMS Personnel . Subject D General Correspondence Subject E Particular Correspondence Subject F General Press notices and Publicity Subject G Rules, Constitution, Charitable Status, Jerwood Library agreement, Copyright ,copying & archival agreements, Charity Commission, Reports. Subject H Account Books Subject J Website There is, inevitably, a considerable amount of unavoidable and un-recorded cross referencing between this and other Sections (particularly Section III Recordings) and between Subjects in this Section (particularly D General Correspondence and E Particular Correspondence) I - A - 1 - orig BMS RECORDS - CATALOGUE Section I - Management & Administration Subject A MINUTES OF EXECUTIVE COMMITTEE MEETINGS Volume 1. 1978 - 1997 Volume 2 1998 - I - B -1- orig BMS RECORDS - CATALOGUE Section I - Management & Administration Subject B MINUTES OF ANNUAL GENERAL MEETINGS Volume 1 1978 - 1997 Volume 2 1998 - I - C - 1 - Amdt 25 BMS RECORDS - CATALOGUE Section I - Management & Administration Subject C BMS PERSONNEL 1978 - Pages 1. Persons at Inaugural Meeting; Founding Fathers 2. Founder Members 3. Presidents 4. Vice-Presidents 5. Advisory Board 6. Berkeley Medallists 7 Executive Committee - Officers 8. Executive Committee - Members 9. International Representatives 10. Auditors. 11. Invited Competition Judges and Officials 12. Trustees of BMS Trust 13. Benefactors -
Song in Gold Pavilions Ronald Stevenson on Music
Song in Gold Pavilions ������������������������������������������������������������������� �������������������������������������������������������������������� ������������������������������������������������������������������� ��������������������������������������������������������������������� ����������������������������������������������������������������������� ������������������������������������������������������������������ �������������������������������������������������������������������� �������������������������������������������������������������������� ���������������������������������������������������������������� ������������������������������������������������������������������� ���������������������������������������������������������������������� �������������������������������������������������������������������������� Ronald Stevenson on Music �������������������������������������������������������������������� ������������������������������������������������������������������������ ���������������������������������������������������������������� ������������������������������������������������������������������� ����������������������������������������������������������������� ������������������������������������������������������������������� ��������������������������������������������������������������������� ��������������������������������������������������������������������� ����������������������������������������������������� ������������������������������������������������������������������ ��������������������������������������������������������������������