Contemporary References 1930-1934
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CONTEMPORARY REFERENCES 1930-1934 SELECTED FROM THE DATABASES BRITISH NEWSPAPER ARCHIVE AND TIMES DIGITAL ARCHIVE During these years, Ketèlbey was at the height of his popularity, but from 1933 there was a sharp drop in the number of recordings of his music. – TMcC Derbyshire Advertiser and Journal, Friday 17th January 1930 TINGES OF EASTERNISM. … Yet another Ketelbey piece, “In a Camp of the Ancient Britons,” is played by the composer’s own orchestra (Columbia 12in.) and is worthy to rank with such favourites as “Monastery Garden” and “Persian Market.” Charming melody and skilful development of the main idea is a feature of the composition. This issue, by the way, completes the second Ketelbey Album. Yorkshire Evening Post, Friday 17th January 1930 IMPRESSIVE RECORDS OF ORCHESTRAS. … Albert Ketelby has taken us into a few queer places in his time; but “In a Camp of the Ancient Britons” is one of the least convincing of his excursions. However, conducting his own orchestra, he makes “A Fight with the Romans” so realistic that one can almost see the grease paint on the soldiers… The Times, 21st January 1930, page 12 THE CARILLON IN HYDE PARK - PROGRAMMES FOR TO-DAY The following programmes of the recitals to be given to-day by Mr. Clifford Ball on the Wellington (New Zealand) War Memorial Carillon in Hyde Park are issued by the Daily Sketch: ... "The Sanctuary of the Heart" (Ketelby) [This carillon had been made in Croydon by Gillett & Johnston] Sheffield Daily Telegraph, Wednesday 22nd January 1930 THE GRAMOPHONE. …Albert W. Ketelbey, the composer, and his Concert Orchestra, have, in their record of “In a Camp of the Ancient Britons,” set a standard of descriptive playing that would be difficult to surpass, and the reproduction throughout is equally good… Bath Chronicle and Weekly Gazette, Saturday 5th April 1930 NOTES BY THE WAY Mr. Albert Ketelbey, who conducted a performance of his own orchestral works on Friday evening at the Pump Room, Bath, has a wonderful popularity with such compositions as “In a Monastery Garden,” “A Persian Market,” and the special genre in which he seems to have made his forte. Well does the writer remember Mr. Ketelbey’s first published item, a solo for ‘cello, with orchestral and pianoforte accompaniment, entitle “The Phantom Melody,” which won a prize of £50 for a composition to succeed “The Broken Melody,” the solo rendered – in the play of the same name – by Van Biene, the famous ‘cellist. [Actually, he had already had over 150 pieces published before The Phantom Melody] Western Daily Press, Saturday 5th April 1930 EVENTS AT BATH. ALBERT KETELBY TAKES PART IN FESTIVAL OF MODERN ART. Known throughout the country as the composer of the melodious “In a Monastery Garden,” Albert Ketelby attracted a large audience to the Pump Room last evening at one of the concluding concerts of the Festival of Contemporary Arts. Many of the audience found it a welcome relief to hear some “low brow” music, writes “F.H.L.,” if the popular melodies of Ketelby can be called “low brow.” They are certainly more tuneful than some of the [other] composers’ works which have been heard at Bath recently. Some of the audience regretted that “In a Monastery Garden” was not included in the programme, but there was plenty of variety from “Chal Romano” to “A Cockney Suite.” The large audience greatly enjoyed seeing the composer himself at the piano for the novelty “The Clock is Playing,” which was conducted by the Pump Room musical director, Mr Edward Dunn… Sheffield Evening Telegraph, Monday 21st April 1930 Sheffield Choir’s Fine Concert in London. The Sheffield Orpheus Male Choir, with their young mascot, Master Teddy James, paid another visit to London yesterday, and last night they were again the principal attraction at the National Sunday League’s concert at the Palladium. With … Ketelby’s “Lord have mercy upon us,” … the choir gave the huge audience the enchantments of perfect choral technique… “Ould John Braddleum,” with its Yorkshire humour, was a great favourite with the audience, and so also was “Lord have mercy upon us,” with Master Teddy James singing the solo part. In the latter fine song the voices blended in organlike tone… [The review of a concert by the same artists in Sheffield on 6th April 1930 makes it clear that the Ketèlbey work in question was In a Monastery Garden] Exeter and Plymouth Gazette, Tuesday 22nd April 1930 THE GRAMOPHONE. … Albert Ketelbey’s latest compositions, “The clock and the Dresden figures” and “Wedgewood Blue,” as played by the composer’s concert orchestra for the mid-April Columbia list, are very pleasing pieces, which should command a wide public. In the former, which pictures a group of Dresden figures coming to life, Mr. Ketelbey himself plays the important part on the piano, the tone of which has been splendidly caught by the microphone. This disc (No. DX 27) is the dark blue 12in section, and can be thoroughly recommended to all who like Ketelbey’s sentimental type of music… Sheffield Daily Telegraph, Wednesday 23rd April 1930 GRAMOPHONE NOTES. … The Albert W. Ketelbey Concert Orchestra performs two of the conductor’s own compositions, “The Clock and the Dresden Figures” and “Wedgwood Blue,” The former is especially attractive and tuneful… Gloucester Citizen, Saturday 10th May 1930 KETELBEY CULT GROWING. What has been described as the Ketelbey cult, should gain many fresh adherents as the result of the issue of a new Columbia record that carries two delightfully dainty numbers by the popular composer – The Clock and the Dresden Figures and Wedgewood Blue. The composer himself shares in the performance by taking the pianoforte part, and he has the support of his own concert orchestra… The Times, 1st July 1930, page 19 MEMORIAL SERVICES - LIEUTENANT-COLONEL A.C. TURNOR ... The Royal Horse Guards and a detachment of the Life Guards were present. The band of the Royal Horse Guards played Gounod's "Judex" as a voluntary, and at the conclusion of the service, a ceremonial march "Knights of the King" (Ketelbey), which was specially dedicated to Lieutenant- Colonel A.C. Turnor. Hull Daily Mail, Monday 25th August 1930 TWO POPULAR COMPOSERS. PERSONAL VISITS TO BRIDLINGTON The Bridlington Entertainments’ Committee provided visitors to the town on Saturday and Sunday with a celebrity week-end… Then, on Sunday, the Floral Pavilion at the Parade was crowded to hear a concert given by Mr Alfred Barker’s orchestra, conducted by Mr Albert W. Ketelby, famous in another school of musical thought. The programme consisted entirely of Mr Ketelby’s popular compositions, and the applause he received must have made his visit to Bridlington well worth while. Hull Daily Mail, Wednesday 27th August 1930 How a Popular Tune – It might be said that every piece of music, from “Three Blind Mice” to a Nocturne by Chopin, has some story behind it. It is so in the case of “In a Monastery Garden,” and that story concerns Bridlington. Played, sung, hummed, and whistled in almost every corner of the world, this tune – or rather, the idea of writing it, first occurred to the composer, Mr Albert W. Ketelby on the Royal Prince’s-parade at Bridlington. It is recalled by Mr Ketelby’s visit to the Parade on Sunday last, when he conducted Mr Alfred Barker’s orchestra through a programme of his own popular compositions. It was during the latter years of the war that Mr Ketelby had a conversation with his friend, Signor Enrico Scoma, whose orchestra was then playing on the Parade. Signor Scoma had played the clarionet in an orchestra directed by Mr Ketelby in London and the two were personal friends. - Came to be Written. One day on the Parade Signor Scoma complained to his friend, the composer, that he was finding it difficult to introduce a note of originality into his programmes on the Parade, and he urged Mr Ketelby to write something for him. He wanted something of real value and yet a tune which he could announce as new to the musical ear of the country. A few days after their talk Mr Ketelby and Signor Scoma went out together on a motor trip. They stopped at a ruined monastery and here Mr Ketelby was inspired, by the atmosphere of peaceful resignation, the singing of the birds, etc., to write what was to become one of the world’s best-known tunes. He dedicated it to his friend, Signor Scoma, musical director at the Parade, Bridlington. The tune was not published until three years after it had been written, and during that time was very often played on the Bridlington Parade. [This story was re-told over the years with different details. See my introduction to In a Monastery Garden in the Ketelbey Discography webpages] The Times, 30th August 1930, page 8 HYDE PARK CARILLON To-day and to-morrow the first of the final series of three week-end recitals will be given on the Wellington (New Zealand) Memorial Carillon in Hyde Park. The Grenadier Guards Band and the Royal Parks Band have arranged intervals in their programmes to allow of late evening recitals by Professor Staf Gebruers. The week-end programme is as follows: ... Tomorrow (8.15 to 8.45)... "In a Monastery Garden" (Ketelbey) Bedforshire Times and Independent, Friday 12th September 1930 GRAMOPHONE NOTES … Another 12-inch disc contains “Bells across the meadow” a fanciful and tuneful composition by Ketelbey. The bell effects are extraordinarily good, and the air of the piece is sure to become popular. It is played by the London Palladium Orchestra. On the reverse side is “The Phantom Melody” … [By this time, at least 7 recordings of Bells across the Meadows had been issued, but this was the first for The Phantom Melody in an orchestral version] Rugby Advertiser Friday 17th October 1930 GRAMOPHONE NOTES.