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Home , Aubrey Brain, Cedric Sharpe, Clarence Raybould, Frederick Thurston, Hamilton Harty, Henry Lazarus

THE DRAPER FAMILY by A Musical Legacy Malcolm IN MUSIC, WORDS AND PICTURES McMillan

CC0074

1 TRACKLIST

1 MOHR 2nd Air Varie 2:51 16 BRAHMS Quintet Op.115 Allegro, Adagio piu lento 7:58 Charles Draper & band Charles Draper, J.Levy, T.Petre, H.Waldo Warner, C.Warwick-Evans John Bull Record B63b (1-64072-6302-t) Columbia L1219 (75876/7)

2 VERDI/BASSI Air from Rigoletto 3:08 17 BRAHMS Trio Op.114 mvt.1 Allegro 7:39 Charles Draper & band Haydn Draper, W.H.Squire, Hamilton Harty Homophon Co. 1008 (60253-241011A) Columbia L1609 (AX692/3)

3 MOHR Air Varie 4:10 18 BRAHMS Trio Op.114 mvt.2 Adagio 7:35 Charles Draper & band Haydn Draper, W.H.Squire, Hamilton Harty Zonophone Record Z-046000) Columbia L1610 (AX694/5)

4 BARTHE Passacaille 2:54 19 BRAHMS Trio Op.114 mvt.3 Scherzo 4:23 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Haydn Draper, W.H.Squire, Hamilton Harty Edison Bell 3476 (06671A) Columbia L1611 (AX696)

5 BEETHOVEN Op.20 mvt.1 Adagio, Allegro con brio 8:44 20 BRAHMS Trio Op.114 mvt.4 Allegro 4:01 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Haydn Draper, W.H.Squire, Hamilton Harty Columbia LX109 (WAX5432/3) Columbia L1611 (AX697)

6 BEETHOVEN Septet Op.20 mvt.2 Adagio Cantabile 8:51 21 ANON. Carnival of Venice 2:57 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Charles Draper & band Columbia LX110 (WAX5434/5) Homophon Co. 752 (667A)

7 BEETHOVEN Septet Op.20 mvt.3 Tempo di Minuetto 3:13 22 CASELLA Tarantella from Serenata 3:17 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday , Paul Draper, George Eskdale, Jean Pougnet, Antony Pini Columbia LX111 (WAX5436) Columbia DB1788 (CA16221-1)

8 BEETHOVEN Septet Op.20 mvt.4 Tema con Variazioni 7:38 23 TRAD./CLARKE Comin’ Thro’ the Rye with variations 2:25 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Haydn Draper Columbia LX111/2 (WAX5437/8) Pathé 79188 (69207-RA)

9 BEETHOVEN Septet Op.20 mvt.5 Scherzo, Allegro molto, Trio 3:01 24 TRAD./CLARKE Comin’ Thro’ the Rye 4:30 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Charles Draper & pf Columbia LX112 (WAX5439) Marathon 231 (401 ICL)

10 BEETHOVEN Septet Op.20 mvt.6 Andante con moto alla marcia, Presto 6:36 25 ANON. Espanol 2:41 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Charles Draper & band Columbia LX113 (WAX5440/1) Homophon Company 750 (A291026

11 BIZET 3:56 26 LAZARUS Fantasia Scotch Melodies 2:58 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Charles Draper & band Edison Bell 517 (X1149D) John Bull Record B63a (1-64071-6301-t)

12 BRAHMS Quintet Op.115 mvt.1 Allegro 9:23 27 HAYDN Presto 3:11 Charles Draper, J.Lener, S.Roth, I.Hartmann Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Columbia L2228/9 (WAX4258/60) Edison Bell 1093 (8226A)

13 BRAHMS Quintet Op.115 mvt.2 Adagio 9:50 28 BISHOP Home Sweet Home 2:51 Charles Draper, J.Lener, S.Roth, I.Hartmann Charles Draper & band Columbia L2229/30 (WAX4289/91) Odeon A42863 (Lxo1942)

14 BRAHMS Quintet Op.115 mvt.3 Andantino, Presto non assai 4:56 29 BISHOP Home, Sweet Home 2:59 Charles Draper, J.Lener, S.Roth, I.Hartmann Charles Draper & band Columbia L2231 (WAX4292/3) Homophon Company 1089 (60267-251011A)

15 BRAHMS Quintet Op.115 mvt.4 Con moto 8:09 30 SELECTION Instruments of the 0:58 Charles Draper, J.Lener, S.Roth, I.Hartmann Charles Draper Columbia L2232 (WAX4294/5) HMV C1311 (Cc9532-1)

2 31 TRAD. Kemp’s Jigg 3:06 46 MOZART Quintet K.581 mvt.2 Larghetto 5:23 Gordon Walker, Charles Draper, Avril de Jersey, Alfred Hobday, Cecil Sharp Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker Columbia RO51 (CA12547) National Gramophone Society YY (NGS22/3)

32 GOUNOD Kermesse 4:04 47 MOZART Quintet K.581 mvt.3 Menuetto 5:03 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker Edison Bell 519 (X1150D) National Gramophone Society ZZ (NGS23/4)

33 KROEPSCH In Cellar Cool with variations 2:19 48 MOZART Quintet K.581 mvt.4 Allegretto 7:25 Haydn Draper Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker Pathé 79187 (69206-RA) National Gramophone Society ZZ/AAA (NGS25/6)

34 LEFEBVRE Finale to Suite 3:11 49 ONSLOW Scherzo 2:54 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Winner 3476 (06671A) Edison Bell 1093 (8225A)

35 LAZARUS Ma Normandie 2:47 50 PIERNÉ Pastorale 4:01 Charles Draper & band Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Jumbo-Record 935 (Lxo1940) Edison Bell 515 (X1147G)

36 MOZART Concerto K.622 Slow Movement 6:28 51 PFYFFER Serenade Op.4 3:05 Haydn Draper, orch, Clarence Raybould Robert Murchie, Haydn Draper, pf Columbia DB834 (CA12482/3) Columbia 3288 (73206)

37 MOZART Concerto K.622 mvt.1 Allegro 10:32 52 RAVEL Intro. & Allegro 9:09 Haydn Draper, orch, C.Powell Robert Murchie, Charles Draper, John Cockerill, , Edwin Virgo, Brunswick 20076 (BA126/7) Raymond Jeremy, Cedric Sharpe HMV C1662/3 (Cc15828/30) 38 MOZART Concerto K.622 mvt.2 Adagio 6:31 Haydn Draper, orch, C.Powell 53 RAVEL Septette 9:25 Brunswick 20077 (BA128/9) Robert Murchie, Haydn Draper, G.Mason, Woodhouse, Dinsey, Tomlinson, James, Ravel (cond.) Columbia L1518/9 (AX171/4) 39 MOZART Concerto K.622 mvt.3 Rondo 8:50 Haydn Draper, orch, C.Powell 54 SAINT-SAENS Tarantelle 2:55 Brunswick 20078 (BA130/1) Robert Murchie, Haydn Draper, pf Columbia 3288 (73205) 40 MOZART O dolce contento 3:07 Robert Murchie, Haydn Draper & pf 55 SCARLATTI Andante & Allegro 3:51 Columbia 3240 (73203) Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 515 (X1148L) 41 MOZART Quintet K.581 mvt.1 Allegro 6:45 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann 56 SCHUBERT Op.166 mvt.1 Adagio, Allegro 11:34 Columbia L2252 (WAX4228/9) Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2108/9 (WAX3416/8) 42 MOZART Quintet K.581 mvt.2 Larghetto 6:20 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann 57 SCHUBERT Octet Op.166 mvt.2 Andante un poco mosso 11:05 Columbia L2253 (WAX4230/1) Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2109/10 (WAX3419/21) 43 MOZART Quin tet K.581 mvt.3 Menuetto 6:51 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann 58 SCHUBERT Octet Op.166 mvt.3 Scherzo 3:36 Columbia L2254 (WAX4232/3) Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2111 (WAX3422) 44 MOZART Quintet K.581 mvt.4 Allegretto 7:58 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann 59 SCHUBERT Octet Op.166 mvt.4 Air & Variations 7:32 Columbia L2255 (WAX4234/5) Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2111/2 (WAX3423/4) 45 MOZART Quintet K.581 mvt.1 Allegro 6:27 Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker 60 SCHUBERT Octet Op.166 mvt.5 Menuetto 4:32 National Gramophone Society XX (NGS20/1) Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2112 (WAX3425)

3 61 SCHUBERT Octet Op.166 mvt.6 Finale 8:33 70 WEBER Concertino 3:52 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Charles Draper & band Columbia L2113 (WAX3426/7) Gramophone Monarch 06000 (3633f)

62 MOHR Second Air Varie 2:32 71 WEBER Concerto 3:02 Charles Draper & band Charles Draper & band Jumbo-Record 831 (A22246) Jumbo-Record 935 (22254-Lxo1944)

63 VERDI/BASSI Selection from Rigoletto 2:16 72 WEBER Grand Duo Concertante mvt.1 2:54 Charles Draper & band Haydn Draper, Lilian Bryant Jumbo-Record 831 (A22245-Lxo1939) Pathé 79185 (70091-RA)

64 SCHUBERT Shepherd on the Rock 8:25 73 WEBER Grand Duo Concertante mvt.3 2:52 Charles Draper, Bella Baillie, G.Ison Haydn Draper, Lilian Bryant Columbia 9613 (AX4080/1) Pathé 79186 (69084-RA)

65 TRAD. The Wedding 2:51 74 WILCOCKE Valse de Concert 3:12 Gordon Walker, Charles Draper, Avril de Jersey, Alfred Hobday, Cecil Sharp Robert Murchie, Haydn Draper, pf” Columbia RO51 (CA12548) Columbia 3240 (73204)

66 THUILLE Sextet mvt.1 4:17 75 LAZARUS Ye Banks & Braes 2:29 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Charles Draper & band Edison Bell 612 (X1228B) Edison cylinder 405

67 THUILLE Sextet mvt.2 4:23 76 LAZARUS Ye Banks & Braes 2:23 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Charles Draper & pf Edison Bell 612 (X1229G) Homophon 1039 (60268)

68 THUILLE Sextet mvt.3 3:45 77 LAZARUS Ye Banks and Braes 4:14 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Charles Draper & pf Edison Bell 613 (X1230A) Marathon 231 (400 ICL)

69 THUILLE Sextet mvt.4 4:13 78 LAZARUS Ye Banks und Braes 2:53 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Charles Draper & band Edison Bell 613 (X1231A) Odeon Record A.42864 (Lxo1943)

CC0074 ADD/MCPS 24 bit & Classics 58 Crescent Road, E13 0LT, UK ℗ This Compilation 2018 © Clarinet & Saxophone Classics 2019 Made in the UK This compilation was selected and transferred by macsworks Mastered by Classical Media www.samekmusic.com THE DRAPER FAMILY by A Musical Legacy Malcolm IN MUSIC, WORDS AND PICTURES McMillan

The second half of the nineteenth century was in a very real sense a period of gestation in the musical life of Great Britain. No one living in those early years of Queen Victoria’s reign could have foreseen the tremendous revival of British music making - in respect of both composition and public performance. This activity reached its fullest development by the time of the monarch’s demise - with the advent of the gramophone, followed eventually by radio and then television. No one living at that time could have dreamt that within the next century London alone would boast five full-size symphony , and that other similar orchestras around the country would be playing to large audiences in a variety of provincial centres. would be performed all around the land by not only skilled amateurs, but by established professional musicians in the presence of enthusiastic and appreciative audiences. Some of the more prestigious events would also be heard by millions in the privacy of their own homes – owing to the pioneering work of the Gramophone Company and the BBC. No doubt the general advance in the standard of living in the country as a whole and the improvement in musical education in schools, colleges and universities had also played a significant roll in this efflorescence of music activities. It is therefore not surprising that parallel with this extraordinary renaissance there appeared several generations of composers and interpreters who responded to the renewed public demand for home-grown music - a situation it had not enjoyed since the days of Purcell and Handel. After a century or two of obscurity British music was being promoted and taken seriously outside of its own domain - standing comparison with the best that any country in the World could offer. Beginning with Sullivan, Stanford and Parry the revival continued with the work of Elgar, Delius and Holst, through to Vaughan Williams, Walton, Bliss, Rawsthorne, Britten and Tippett.

5 Meanwhile an ever-increasing number of executants of all musical instruments were required to match this remarkable development and the second half of 19th Century saw the establishment of several colleges of music and a myriad of amateur music societies. Thus, following the formation of the Philharmonic Society in 1813 and the in 1822, the Guildhall School of Music & Drama was established in 1880 and the in 1883. There were also the military – Royal Marines School in Deal and Kneller Hall. Other colleges followed in London and the provinces (notably those in , , Leeds and Glasgow) and, later on, universities incorporated their own departments or schools of music. Before all this the two main sources contributing to the main stream of musical activity were the Royal Court and the Church. For centuries they had been the chief patrons of music making in this country and most of Europe. The Court required composers and musicians (often combined in the same person) for its masked balls and other festivities and where a church could not afford an organ it could always find a small group of instrumentalists to play the musical accompaniment for the hymns and anthems of the religious services. Such a combination existed in the village of Odcombe (near Yeovil) where Paul Draper was born in 1854. His grandfather had been for many years previously the leader of the village church orchestra, in which Paul’s father Samuel had played the and flute. Paul was thus brought up in a musical environment and, more especially, in an instrumental atmosphere – where he acquired an adequate knowledge of several instruments, enabling him to join the Samuel Draper local volunteer band at the age of 12. There he acquired considerable experience in military band work and received private tuition on bassoon his chosen instrument. Indeed all of Samuel’s children were actively engaged in music making – all the boys played instruments whilst the girls sang in the choir at church services. When his first wife died in 1873 most of the family moved to Penarth, a small seaside town on the Welsh side of the Bristol Channel. Samuel’s seventh son Charles (born in 1869) joined the family here at an early age and was taught music and, specifically, the clarinet by his elder brother Paul. Charles was destined to become one of the greatest virtuosi of the clarinet of his generation. Paul Draper was a versatile musician and a gifted teacher of most instruments and may be said to have pioneered military music in South Wales. Penarth in fact enjoyed considerable fame in the region for its regular concerts in the town’s Alexandra Gardens. He formed the Cardiff Borough Police Band, the Cardiff Railway Band, Spiller’s Band

6 conducting the New Queens Hall Orchestra in a Columbia studio on 2nd July 1919 – and the Aberdere Military Band. The latter becoming an awesome outfit H.D. peering at the camera from behind the oboes! consisting a flute, oboe, bassoon, 2 Eb clarts, 8 Bb clarts, 5 cornets, 3 french horns, euphonium, 3 trombones, 2 Eb basses and a contrabass tuba. Among his many activities he appeared as a bassoonist in the S.Wales area and appeared at the National Eisteddfod in Swansea and Llanelli and became a member of the Cardiff Chamber Music Society. He later became the conductor of the Second Volunteer Artillery Band and professor of wind instruments at Joseph Parry’s College in Cardiff and had a number of well- known pupils including his brother Charles, who played in Penarth until his departure in 1889. Paul Draper’s eldest son Haydn (1889-1934) was taught the clarinet by his father and played in his father’s military band as a soloist from the age of 7. At 13 he was principal clarinet with the Savoy Opera Company and at 17 he won a scholarship to the Royal College of Music, where he became a pupil of Julian Egerton (1848-1945) and later his uncle Charles, who had only recently been appointed clarinet professor. On graduating from the RCM Haydn was immediately plunged into the London musical scene by replacing Charlesworth Fawcett as principal clarinet in the Queens Hall Orchestra under the direction of Mr Henry Wood. His composition “Fantasia on British Sea Songs” was written for the Promenade Concerts and includes an exacting clarinet cadenza specifically written for Haydn. He stayed with this orchestra for 15 years. Other positions Haydn held at the time were in the Orchestra at , with whom he toured to Germany in 1911, Sir ’s recently re-formed Royal Philharmonic Orchestra and Oscar Hammerstein’s magnificent London Opera House orchestra. Other engagements included the Russian Opera seasons at Drury Lane and the Leeds Festival orchestra. Amidst all this activity in London Haydn accepted the position of principal clarinet in the City of Birmingham Symphony Orchestra in 1920 and commuted from London for a while – as did his colleagues Leon Goossens, Wilfred James and Aubrey Brain. His chamber music needs were fulfilled by the formation of the London Wind Quintette - with Robert Murchie (flute), Leon Goossens (oboe), Frederick Wood (bassoon) and Aubrey Brain (horn). They were contracted to record a series of chamber works for Edison Bell. On one occasion in 1926 they recorded Janacek’s Mladi Suite with the composer in the studio and Haydn’s brother Mendelssohn Draper was invited to play the part. On 9th October 1927 Bela Bartok joined the group to

perform Mozart’s Quintet for piano and wind for an early BBC radio broadcast. Leos Janacek with Aubrey Brain, Haydn & Mendelssohn Draper, Fred Wood, Robert Murchie and Leon Goossens in London 1926 7 Haydn’s great musical gifts were recognised by the Lener String Quartet who invited him to join them on a tour playing the quintets by Mozart and Brahms. Some of these concerts were apparently broadcast by the fledgling BBC, although the author has found no proof of this. Milestones in Haydn’s career must have been when he gave the first UK performance of Busoni’s Concertino in the Aeolian Hall on 6th May 1921 and being appointed clarinet professor at the Royal Academy of Music – a post succeeded from E.J.Augarde in 1923 and held until his death on 8th November 1934. Amongst his pupils there was the young Yorkshireman Sidney, Richard, Reginald Kell – an all-time virtuoso exponent of the lyrical Benjamin, Paul, qualities of a newly created “alternative school of British Samuel, Charles clarinet playing”. and William In 1927 the BBC formed its Wireless Military Band under the direction of Walton O’Donnel and Haydn Draper was the obvious choice to lead the clarinet section. They made fine quality recordings of both established and new military band music, primarily to be sent to all corners of the British Empire. All his life he had suffered from chronic arthritis and it is that which probably finished his career and life at the age of forty-two. Among the many notable tributes after his sudden death were that of Sir Henry Wood, who at RCM rehearsal referred to the “loss of a great friend and great artist” and that of Sir Hamilton Harty, addressing the members of LPO, who said he “deplored the loss of HD as a personal friend, who he considered to be the greatest artist he had ever known”. His passing evoked extraordinary and widespread gestures of respect and sympathy. There were at least 60 of the most prominent members of the music profession at the funeral with magnificent floral tributes from people like Charles Woodhouse, Fred Wood, Charles Leggett, George Anderson, Frederick Thurston, Ralph Clarke, Edward Chapman, James Hughes, Ernest Hall and representatives for Boosey & Hawkes, BBC and LPO. Haydn’s sister Marion (b.1887) was taught the violin and piano by their father and Marion, Mendelssohn, Paul, Haydn and Elizabeth went on to be awarded a Glamorgan Scholarship to study abroad. But her father, being a stern disciplinarian, was unwilling to let her leave home so early. A report in the Penarth Times said of her “Miss Marion Draper, aged 12, played difficult accompaniments with precision and taste at a Tuesday evening concert at Andrews’ Hall. Her part in the delightful Quintet for piano and strings by Prout, being extremely well played”. It is no exaggeration to suggest that Paul Draper and his family helped to establish a strong musical tradition in South Wales. 8 The last of his off-spring was Mendelssohn (1891-1970). He showed great talent from an early age and entered the music profession as a clarinettist and became sought-after as a specialist on the bass clarinet. He landed jobs in LSO (1919-23 & 1930-48), Queen’s Hall and Covent Garden orchestras and was clarinet professor at RAM for a while. Paul’s brother Charles was probably the most distinguished and talented musician of the Draper family. In 1888, at the age of 19, Paul sent him to London to have lessons with the former clarinettist of the New Philharmonic and Covent Garden Orchestras Henry Lazarus (1815-95). The latter was so impressed with the young man that he recommended him to be awarded a scholarship to the Royal College of Music the next year, where he could continue lessons with him. From the statutary term of 3 years his scholarship was extended to 5 years and Lazarus Charles Draper complimented Paul Draper on the manner in which he had trained his brother. in his Q.V.Private Band Uniform On 27th November 1890 Charles performed the Mozart with fellow students (RCM College Concert No.120), a year later Beethoven’s Septet (No.137) and in June 1892 Brahms’ Clarinet Quintet (No.150). In fact his clarinet playing was a regular feature of these College concerts – clocking up at least eight in three years and playing music as diverse as that of Spohr, and Thuille. A contemporary clarinettist at RCM, who also appeared in some of these concerts was George Anderson (1867-1951), who later, in 1904, joined Manuel Gomez (1859-1922) as founder members of the LSO, staying there until 1943 and taught several first-class players, including Bernard Walton and Georgina Dobreé. Lazarus retired in 1894 and was succeeded by Julian Egerton, who instilled into Charles the importance of rhythm and articulation. Charles soon made his mark as an orchestral musician and to a large extent created a modern school of British “clarionet” playing, possessing great technical dexterity and richness of tone. In 1895, when a pupil of Egerton, he changed from the old Simple to the clarinet, a move inspired by Manuel Gomez. Choosing the wide- bore instruments of Martel helped to produce his characteristic broad tone - utilising his established double-lip embouchure from his earliest days. He was appointed to the desk of Principal Clarinet at the Crystal Palace and, from 1899 to 1901 was made a member of Queen Victoria’s private band. In this capacity he played at the coronation of Edward VII in 1901 and as Musician in Ordinary of the King he played at the coronation of George V in 1911. In this capacity as Court musician he taught several members of the Royal Family, Julian Egerton accompanied including Prince Leopold. by his young wife On 29th January 1902 Charles premiered Stanford’s at a Bournemouth Symphony Orchestra concert with the composer conducting. It was deemed a great success Henry Lazarus and so a second performance was given at the fifth Concert of the Philharmonic Society on as a young man 2nd June 1904 still with Stanford conducting. He had originally dedicated the work to Brahms’ favoured clarinettist Richard Muhlfeld but was more than happy to have it premiered by Charles Draper. He went on to dedicate his Op.129 to Charles in 1911. 9 In November of that year Charles recorded Weber’s Concertino for the Gramophone Co. in a small studio on the first floor of a house in Maiden Lane (next to Rule’s Restaurant in Covent Garden). The recording was supervised by Will Gaisberg, brother of Fred the pioneer of disc gramophone recording and became a best-seller, representing a great landmark in the popularity of the clarinet as a solo instrument. Its historical importance lies in the fact that it is the first ever single-sided 12” disc of solo music issued by the Gramophone & Typewriter 1 Company (06000 mtx 3633f) and sold for 7/6 (37 /2p!). It was later issued on His Masters Voice label and remained in the catalogues until 1922 (by now a double-sided plum label number C487). Charles also recorded at the same address Mohr’s “Air Varié” (Z-046000 mtx.3552), which was issued on the cheaper Zonophone label for 3/- (15p) the same year. It is a fact that Charles made more recordings than any other clarinettist in the world during these early years of acoustic recording, clocking up dozens of titles with all the major recording companies in UK. The following year witnessed a major move by a small group of London-based professional musicians taking the plunge and investing their own savings and future careers in a project that was regarded as audacious and risqué – Charles, together with flautist Eli Hudson and violinist John Saunders formed the New Symphony Orchestra, whose primary function was to supply a regular recording studio orchestra of a high standard. Their reputations and business acumen helped raise sponsorship and support from like-minded businessmen and they managed to put together and rehearse the orchestra until their first public performance a year later in 1906. Two years later the young Thomas Beecham was hired as their conductor-in-chief and then, in 1910, Sir Landon Ronald took over and made many pioneering recordings with them. Among their guest conductors was another young protégé Leopold Stokowski, who made his London debut with this orchestra. In 1916 they changed their name to the Orchestra. 1907 proved to be an interesting year – Charles had acquired a copy of Mozart’s Concerto and went to Birmingham to try it out with their local orchestra the CBSO. An article in the Birmingham Daily Post on 13th November reports: “Mr Charles Draper showed a fine command of the expressive qualities of the clarinet in a concerto for that instrument by Mozart, which, apart from the slow movement, was not of very great musical interest….. E.N.” an example of how critics can get it so wrong! Meanwhile Charles had not only been appointed clarinet professor at the Guildhall School of Music, Trinity College, the RCM and Kneller Hall, but had started getting involved with musical soirees at the home of the seventh Lord Howard de Walden – one of Charles’ private pupils. By 1912 these had developed into the so-called Chelsea Concerts at the Aeolian Hall.

10 It is hardly surprising that a musician of such outstanding qualities should have attracted the attention of Sir . He inscribed Charles’ name in his scores wherever important clarinet passages occurred in his compositions. Charles was familiar with the great man’s work, having contributed to the first performance of “The Dream of Gerontius” under the composer’s baton in Birmingham in 1900 and, in 1913, doing the same honours with the NSO in Elgar’s symphonic poem “Falstaff”. During his time at the RCM he met and eventually married (1895) a gifted pianist Elizabeth Carrington, whose father Sidney Carrington was a well-known violinist from Bristol. Their first home at 32 Whitely Road, Gypsy Hill was the birthplace of their first son Charles Carrington Draper (b.1897). His untimely death cut short a possibly brilliant career as a violinist. The family moved to 29 Allfarthing Lane, Wandsworth in 1910, where four more children were born, after which they moved to 40 Clarendon Road, Putney. This was the house that was nicknamed “The Music Box” by neighbours because of the 7 instrumentalists at work and play all day and Elgar conducting night! his “Carissima” in a Gramophone Their second son Paul Samuel Beaumont Draper was born on 15th November Co. studio on 1898 and learnt to play the bassoon. He, like most of the family, spent his early 20th January years playing in military bands, a notable one being the Reid Orchestra, where he 1914 – C.D.sitting prominently in the served from 1918-21. Eventually he won a scholarship to RAM where he received background! lessons from Wilfred James. He took the courageous step by being one of the pioneers of the British bassoon school to adopt the newly designed German Heckel bassoon and quickly made a name for himself as a leading exponent, holding major positions for many years despite serious health issues contracted whilst being a prisoner-of-war. His London career started off in the Royal Albert Hall Orchestra, followed by engagements with RPO (1930-4), LSO – Glyndebourne (1934-9), Covent Garden (1946-51), Paul Samuel Philharmonia (1953-5) and LSO (1955-8). He joined the London Baroque Ensemble under Karl Beaumont Haas and was a founder member of the Melos Ensemble of London performing in the first Draper of their of South Place concerts on 10th January 1952. His distinctive timbre was partly due to the Mollenhauer instrument he played on from 1926 to 1950. It had a rosewood tenor joint specially made for him by the Louis Company to Heckel proportions and fingering system. Despite his frailness he lived until 1971. Charles’ third son, William Baden Draper, was born on 19th May 1900 and became a gifted cellist. But he chose to make engineering his profession and spent most of his life in Luton, Bedfordshire working as chief inspector at the Vauxhall car plant. It was at Bill’s home that his father spent most of his time after retiring.

11 His only daughter, Elsie, was born on 13th February 1902 and became a pianist and teacher. The youngest son, Theodore, followed the next year on 27th December. He became a professional clarinettist for several years, occasionally deputising for his father in theatre and provincial orchestras and even played under Beecham and other leading conductors of the time. He obviously didn’t like the risky existence of being a freelance orchestral player and got himself qualified as a chartered accountant in 1928. The move proved to be a wise decision and in 1934 he landed a good job with Hendersons Ltd. hardware merchants in Jamaica, moving on to Bermuda in 1955. In 1923 Charles formed the Louis Musical Company Ltd., with himself as director and his son “Theo” as Secretary. The business was set up at 2 Burnstall Terrace, Kings Rd, Chelsea explicitly to manufacture woodwind instruments. The Loreé model was normally used as a template for the making of oboes and the Martel model for . Tabor pipes were also manufactured on old models to supply the popular folksong movement. Charles had a rather cavalier attitude towards the business’ finances – only requiring about £200 yearly profit each for himself and Theo, but devoted quite a lot of his time to tuning the instruments – some of which are marked such. Their biggest customers were the many military units throughout the land and the company thrived for over twenty years. But Charles had to face the fact that occasionally sales of his rather highly-priced instruments waned and he responded by insisting on his pupils buying these in preference to their cheaper continental and American rivals. Unfortunately the parents of one of these pupils complained of this action and Charles was encouraged to leave his post at RCM in 1931. Later Louis & Co. was merged with the famous flute manufacturer Rudall Carte Co.Ltd., which in its turn became a subsidiary of Boosey & Hawkes. Up to 1940 Charles was fully occupied with teaching and playing in and around London, but at the age of 71 and World War II well under way, he wanted a change of environment. His wife had just died and so he decided to cancel all engagements and go to live with Theo’s family in Kingston, Jamaica! There he enjoyed the warmer climate and a much more relaxed atmosphere, playing, teaching and organising musical events in his newly claimed locality. He stayed 7 years before returning to UK but didn’t stop very long. Paradise beckoned! He returned for a short while before finally settling down at his daughter Elsie’s home in Surbiton, Surrey; where he could also be close to his other son Bill, who lived in Bedford. He passed away the following year (21 October 1952) and now rests in Putney Vale Cemetery, Wimbledon Common. Charles relaxing in Jamaica

12 As teachers Charles and Haydn were each responsible for the two main “schools” of clarinet playing in the UK during the 1920s and 1930s. Among Charles’ pupils were the distinguished clarinettists Frederick “Jack” Thurston (1901-53), Sidney Fell (1920-94), Stephen Waters (1914-1991) and Ralph Clarke (1901-85), while Haydn’s prize pupil was Reginald Kell (1906-81). George Draper (b.1911), no relation, was taught by both uncle and nephew! Other pupils of Charles include Wilfred Kealey (1908-84), Richard Temple-Savage (1909-96), Pauline Juler (1914-2003), Walter Lear (1894-1981), Alfred Pratt and Reginald Shipway. Unquestionably no one has done more for British clarinettistry than Charles Draper, forming a strong and cohesive link between the old and the new schools of playing – regarding style, tone and technique. Even while still a scholar at RCM he changed the fingering of the instrument and, inspired by Lazarus, he developed a fine well-nourished tone and combined it with a more fluent technique. In 1843 Lazarus had already recommended the Boehm system instrument, although he didn’t make use of it himself! The tradition of using this system had to wait until the engagement of Spaniard Manuel Gomez as LSO’s first Principal Clarinet in 1904. Later, about 1930, ’s foremost player Frederick Thurston adopted a newly designed version made by Boosey & Hawkes - with a larger bore than the original French, utilising a wider mouthpiece. The result was a warm but firm, clear sound with improved resonance at the traditionally weak parts of its range. Meanwhile, Haydn Draper encouraged his pupils to develop more individual styles of playing, still embracing all the technical advances in the instrument’s design, but adopting a more flexible musical approach – possibly to blend in better with the Charles Draper in later life latest advances in flute and oboe playing, which was becoming more “vocal” in quality. complete with wig! Fortunately we are now in a position to appreciate the excellence of both “schools”, Charles Draper’s and Haydn Draper’s, through their chamber music recordings made during the formative years of studio recording. In their new reconditioned state these recordings, and those of their pupils Frederick Thurston and Reginald Kell are a delightfully fitting memorial to a very great period of British wind playing. The strong musical tradition of the Draper family was further exemplified by the activities of Samuel’s other children: William (24 Dec.1852-1903) played the cornet. Paul (14 Nov.1854-1922) was mainly a violinist but could also play bassoon – he taught both instruments.

13 Benjamin (12 Apr.1856-1915) played the euphonium. Benjamin’s son Arthur made his name as a pianist, organist and teacher and had also received bassoon lessons from his uncle Paul during his army service in WW1. His son, Arnold (b.1940) is an accomplished pianist and lecturer in the music department of University College, Cardiff. Richard (22 Oct.1857 – 3 Jan.1938) specialised on bassoon and became a member of the Queens Hall Orchestra under Henry Wood. His summer seasons were spent playing in a salon orchestra in Douglas from 1902 to 1914 and other engagements included Paul’s band in Penarth, the Gamorgan Imperial Yeomanry Band, the Royal Artillery and the Cardiff Post Office bands. For many years he played at the Prince of Wales and New Theatres in Cardiff and toured the country with the D’Oyle Carte and Carl Rosa Opera companies. Touring seemed to appeal and he joined the Cardiff Orchestral Society to regularly visit his favourite haunts – like Bath’s Pump Room and Torquay’s Municipal Theatre Sidney (19 Jan.1858-1943) was a clarinettist. Samuel (b.13 Jan.1863) played oboe and cello, his son Horace became a clarinettist. There were five daughters some of whose children carried on the family tradition in London. It seems to have been a common scenario at the time – many musicians came from families of instrumentalists. Examples are those of Brain, Egerton, Fawcett, Goossens, James, Kell, Whittaker and Wood.

The Draper Family Tree

14 OTHER MUSICIANS ASSOCIATED WITH THE DRAPER FAMILY

Frank Almgill E.W.Hinchcliff Aubrey Brain in 1936 Edward “Eddie” Walker Alfred Brain Reginald Kell in 1940 (colleague of C.D.) (colleague of C.D.) (colleague of H.D) (colleague of P.D.) (colleague of H.D.) (pupil of H.D.)

Walter Lear Stephen Waters Richard Temple-Savage Wilfred Kealey (pupil of C.D.) (pupil of C.D.) (pupil of C.D.) (pupil of C.D.)

Frederick “Jack” Thurston & Ralph Clarke (pupils of C.D.) (1st & 2nd from right)

Malcolm McMillan The author wishes to thank Alun Cooper and Christopher Steward for their endless research endeavours and Martin Robertson and Arnold Draper for supplying family anecdotes and photographs.

15 THE DRAPER FAMILY ON THE RADIO

DATE PIECES / PERFORMERS PERFORMERS STATION

18/05/1925 Bishop: Lo, Here the Gentle Lark; Weber: Concertino E.Penville (fl), C.Draper London

22/05/1925 Le Thiere: Les Alsaciennes C.Draper London

02/06/1925 Brahms:Quintet C.Draper, London Stg.4tet London

11/06/1925 Mozart:Concerto C.Draper, The Wireless Orch, Featherstone(cond.) Bournemouth

30/10/1925 Lefevre:Quintet (Canon, Andantino, Presto); Scarlatti:Suite (Pastorale, Burlesque) R.Murchie, L.Goossens, H.Draper, W.James, F.Salkeld - London Wind 5tet. London

01/11/1925 Brahms:Trio; cl.solo; Mozart:Concerto H.Draper, Doris Lear(vc), E.L.Bainton(pf), Station Orch, E.Clark(cond.) Newcastle

13/01/1926 Brahms:Sonata; Weber:Concertino C.Draper, Wireless Aug.Orch, Featherstone(cond.) Bournemouth

17/11/1926 Coleridge Taylor:Quintet in F#m (1st b/cst) C.Draper, S.Kutcher, G.Whittaker, J.Lockyer, A.Gauntlett 2LO

R.Murchie, L.Goossens, H.Draper, F.Wood, Al.Brain - LWQ 09/05/1927 Lefèvre:Quintet; Beethoven:Quintet; S-S:Tarantella; Roussel:Divertissement London w.V.Hely-Hutchinson

12/06/1927 Mozart:concerto C.Draper, Wireless Orch., John Ansell London

H.Draper, M.Draper, R.Murchie, L.Goossens, F.Wood, Al.Brain - 09/10/1927 Mozart:Quintet; Janacek:Mladi; Onslow:Movements from 5tet. 5GB exp LWQ & Bela Bartok (pf)

06/02/1928 Chamber Music:- Foerster:Quintet op.95; Selection R.Murchie, Halstead, H.Draper, F.Wood, Al.Brain, Kathleen Long (pf) 2LO + 5XX

H.Draper, Charles Woodhouse String Quartet 11/03/1928 Chamber Music:- Howells:Rhapsodic Quintet; Mozart:Quintet in A 5GB (C.H, H.Kinsey, E.Yonge, C.Crabbe)

The Wireless Harp Quintet - F.Almgill, C.Draper, David Wise, A.Gauntlett, 10/04/1928 A Short Programme - music specially written and arranged by Kenneth A.Wright 2LO + 5XX S.Goossens, S.Robinson(dir)

Wright: Quintet “Swanee River”; Walthew: Suite in F - 1 mvt(cl & pf); Debussy: 2 Epigraphs The Wireless Harp Quintet - F.Almgill, C.Draper, David Wise, A.Gauntlett, 25/04/1928 2LO + 5XX Antiques; arr. Wright: Killarney; Charlie is my Darling S.Goossens, Robinson(dir)

Wright: Quintet “Swanee River”; arr. Wright:S ummer is Calling; Walthew:Suite in F - 1 mvt (cl 15/05/1928 & pf); Debussy: 2 Epigraphs Antiques; Satie: Gymnopedie; Palmgren: The Bad Conscience; F.Almgill, C.Draper, D.Wise, E.J.Robinson (vc), S.Goossens - Erin Harp 5tet. 2LO + 5XX arr. Wright: Killarney; Charlie is my Darling

Klughardt:5tet; Beethoven:5tet; Lotter: Aubade (1st perf); Chopin:Prelude; 03/06/1928 H.Draper w. LWQ 5GB Raff:Rigaudon; Stainer:Scherzo (1st perf)

Lefebvre: 5tet; Scarlatti/Greenbaum: 5tet; Janacek: Mladi; Mozart/Halton Sonata 19 12/08/1928 H.Draper, M.Draper, LWQ, E.Lush (pf) 5GB (fl,cl,bn); Barthe: Aubade, Passacaille; Haydn/Hermann: Presto

16 DATE PIECES / PERFORMERS PERFORMERS STATION

02/09/1928 Chamber Music - Honegger:Sonatine; Brahms:Trio H.Draper, May Mukle, Leslie Heward 5GB

An Orchestral Concert - Mozart:Clarinet Concerto 07/10/1928 C.Draper, The Wireless Orchestra, John Ansell 2LO, 5xx

Blumer:Dance Suite; Hindemith:5 Pieces op.24/2; T.Wood:Brew House at Bures; 25/03/1929 H.Draper w. LWQ LonDav Lefebvre:Suite

Klughardt:Quintet in C; Creith:Sextet; Barthe:Aubade; Pierne:Pastorale; Scarlatti/ 19/05/1929 H.Draper w. LWQ, G.Creith(pf) Dav5GB Greenbaum:Pastorale & Burlesque

08/09/1929 Lendvai:Quintet; Rubinstein:Quintet; Pierne:Pastorale; Haydn:Presto (5tet in C) H.Draper w. LWQ, R.Paul(pf) LonDav

R.Murchie, H.Draper, R.Newton(bn), E.Hall(tp), Kutcher(vn), Cameron(vc) 03/02/1930 Popoff:Septet op.2 Dav5GB ,Watson

Fogg:Quintet; S-S:Tarantelle & Aubade; Lefebvre:quintet 15/03/1930 H.Draper LWQ, M.Cole(pf) Regional

Klughardt:5tet op.79; Randerson:Andante & Allegro Assai; Blumer:op.53; Scarlatti: Scherzo, H.Draper LWQ 03/07/1930 Lon Pastorale & Burlesque; Stainer:Scherzo

Barthe:Aubade; T.Wood:the Brewhouse at Bures; Rowley: Shepherd’s Garland; Jadassohn/ R.Murchie, L.Goossens, H.Draper, F.Wood, E.Chapman - LWQ, V.Hely- 15/11/1930 Regional Stainer:Scherzo Hutchinson

06/04/1931 A Light Classical Concert M.Ritchie, C.Draper, K.Jacobs, J.Kadish Regional

Janacek:Mladi; Mussorgsky:Peep Show; C.Wood:5tet in F; Roussel:Divertissement 22/05/1931 H.Draper, M.Draper, LWQ, V.Hely-Hutchinson(pf) Regional

Blumer:Dance Suite op.53; Sobeck:Quintet in Gm op.14; Pirani:Quartet(f,o,c,b); 09/11/1931 Pessard:Prelude & Minuet; Stainer:Scherzo H.Draper, LWQ, E.Lush(pf) Nat

Milhaud:Sonata (f,o,c,p); Magnard:5tet(f,o,c,b,p); Lefebvre:5tet 26/03/1932 H.Draper, LWQ, E.Lush(pf) Regional

Cartan:Sonata(f,c); Ibert:Trois Pieces breves; Scarlatti/Greenbaum:3 Sonata 31/07/1932 H.Draper, LWQ Lon

Mozart/Weigelt:Divertimento in Bb K.270; Fogg:Quintet; Roussel:Divertissement 19/12/1932 H.Draper, LWQ, Helen Perkin(pf) Nat

Poulenc:Sextet - 1st UK perf 05/07/1933 R.Murchie, L.Goossens, H.Draper, F.Wood, E.Chapman - LWQ, F.Poulenc(pf) Lon

Ravel:Intro.& Allegro 03/01/1934 R.Murchie, C.Draper

17 DATE PIECES / PERFORMERS PERFORMERS STATION

Vinter:Suite; Bergt:Scherzo (trio); Weissenborn:Polka 22/05/1936 Draper bassoon Trio - P.Draper, G.Alexandra, G.Vinter Regional

Chamber Music 13/07/1936 C.Draper, W.Primrose, A.Morrison Nat

27/09/1936 Charles Draper and Quartet C.Draper, Quartet Nat

Warlock:An Old Scotch Song(f,o,c,h,stgs); Lambert:3 Poems of Li-Po; Poulenc:Rapsodie 05/12/1936 Negre Cardiff Ens., w.M.Jones(sop), C.Langdon(bar), Mabel Draper(pf) West

Falla:Harpsichord Concerto H.Evans, M.Keel, F.Clements, F.Thomas, G.Griffiths - Cardiff Ens.CO, Harding 20/02/1937 W/W w.M.Draper(pf!)

Chamber Music - Frank:Suite 07/10/1937 P.Juler, M.Draper, C.James, G.Vinter, A.Hyde, J.Mason Regional

Rossini:Quartet No.4; Lefebvre:Suite op.57 15/02/1940 Murchie, Whittaker, W.J.Matthews, P.Draper, Chapman

Senaille:Allegro Spiritoso 27/03/1942 P.Draper, BBC Military Band

Mozart:Divertimento K.270; Pierne:Pastorale; Lefebvre:Suite 01/09/1946 R.Murchie, Newbury, Matthews, P.Draper, Del Mar - LWQ Home

Milhaud:Symphony 10 winds; Lutyens:Concerto 9; Berg:Chamber Conc. A.Gleghorn, A.Ackroyd, A.Whittaker, D.Bridger, R.Kell, F.Hughes, M.Draper, 27/01/1947 Third J.Alexandra, V.Elliott, White, Probyn, Jackson, Thorpe, Grinke

Music in Miniature F.Thurston, P.Juler, P.Draper, Szekely, Moskowsky, Koromzay, Palotai, 06/02/1947 Light P.Stalden

Music in Miniature 12/02/1947 F.Thurston, P.Juler, P.Draper, Z.Szekely, A.Moskowsky, D.Koromzay, V.Palotai Home

Music Anthology - 19 Mozart 25/03/1947 F.Thurston, P.Juler, P.Draper, J.Moore Third

A.Gleghorn, A.Ackroyd, A.Whittaker, D.Bridger, R.Kell, F.Hughes, M.Draper, 08/06/1947 Berg:Chamber Concerto Third J.Alexandra, V.Elliott, R.White, F.Probyn, H.Jackson, A.Thorpe, E.Clark (cond.)

Webster Booth, Louis Kentner, F.Thurston, S.Waters, P.Draper, D.Martin, 07/08/1947 “Music in Miniature” Light F.Riddle, J.Whitehead

J.Francis, J.Boughton, P.Graeme, P.Draper, Parry, Parikian, Geiger, Davis, Roth, 03/12/1950 Bach:The Art of Fugue Third Gauntlett, Beers, Silver

18 DATE PIECES / PERFORMERS PERFORMERS STATION

18/04/1951 Arne & Milhaud E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burden Third

27/10/1951 Arne & Milhaud E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burdon - Virtuoso Wind 5tet Third

23/12/1951 Rossini:Quartet in F; Lefebvre:Suite; Hindemith:Kleine Kammermusik E.Walker, MacDonagh, F.Thurston, P.Draper, Burden - VWQ Third

19/08/1952 Jacob: E.Walker, S.Sutcliffe, F.Thurston, P.Draper, Burden - VWQ Third

02/02/1953 Stone:Suite for wind & harp - 1st b/cast Walker, MacDonagh, S.Fell, P.Draper, Burden - Virtuoso WQ, J.Chevreau(hp) Third

14/09/1953 Carwithen:5 Diversions - 1st perf. E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burden - Virtuoso WQ Third

R.Adeney, P.Graeme, G.de Peyer, P.Draper, Sanders, Goren, McMahon, 13/02/1955 Wellesz:Suite op.73 Third Aronowitz, Weil, Beers - Melos Ens.

16/04/1957 “Moment Musical” R.Adeney, P.Graeme, G.de Peyer, P.Draper, Sanders - Melos Ens. Home

02/06/1957 Tate:Songs of Sundry Natures(bar,f,c,b,h,hp) R.Adeney, G.de Peyer, P.Draper, Sanders, O.Ellis - Melos Ens, Case(bar) Home

R.Adeney, P.Graeme, G.de Peyer, P.Draper, Hurwitz, Aronowitz, Weil, Ellis 29/04/1958 Bliss:Conversations; Tate:Songs of Sundry Natures Third Melos Ens, Case (bar)

Early cylinder recordings made by Charles Draper in 1908

19 THE DRAPER FAMILY ON DISC

[click] on the highlighted items to listen to a 30 second extract WARNING – these recordings were made around a century ago on wax cylinders and discs, so the sound quality will be poor! These items will be available to purchase – the longer pieces in separate movements.

LABEL NUMBER MATRIX COMPOSER PIECE DATE

Berliner: 7” 6018 4191 Lazarus Ye Banks & Braes 01/10/1901 DRAPER C

Berliner: 7” 6020 4193a trad. arr.Hartmann Auld Robin Gray 01/10/1901 DRAPER C

Berliner: 7” 6019 4194 Mohr Second Air Varie 01/10/1901 DRAPER C

Brunswick: 12” 20076/8 BA126/131 Mozart Concerto in A K.622 01/01/1929 DRAPER H, Powell (cond.)

Clarion: 10” 10006 5012 Weber Concertino, op.26 01/10/1909 DRAPER C

Clarion: Record Cylinder (2m) 118; 802 trad. arr.Clarke The Ash Grove 01/03/1908 DRAPER C

Clarion: Record Cylinder (2m) 213; 801 Lazarus Ye Banks & Braes 01/09/1908

Clarion: Record Cylinder (2m) 257; 803 Massenet Les Alsaciennes 01/11/1908 DRAPER C

Clarion: Record Cylinder (2m) 361 Mohr Air Varié 01/01/1909 DRAPER C

Columbia: 10” 3240 73203 Mozart O Dolce Contento (Magic Flute) 01/02/1923 MURCHIE R, DRAPER H Columbia: 10” 3240 73204 Wilcocke Valse de Concert 01/02/1923 MURCHIE R, DRAPER H

Columbia: 10” 3288 73205 Saint-Saens Tarantelle, op.6 01/02/19 MURCHIE R, DRAPER H

Columbia: 10” MURCHIE R, DRAPER H 3288 73206 Pfyffer Serenade, op.4 01/02/1923

Columbia: 10” DB 834; DO 766 CA12482/3 Mozart Concerto in A K.622 - Adagio 01/04/1932 DRAPER H, Raybould (cond.)

Columbia: 10” RO 51 CA12547 arr.Foster Kemp’s Jigg 29/03/1932 WALKER G, DRAPER C, Avril, de Jersey, Hobday, Sharpe

Columbia: 10” RO 51 CA12548 arr.Foster The Wedding 29/03/1932 WALKER G, DRAPER C, Avril, de Jersey, Hobday, Sharpe

Columbia: 10” RO 52 CA12549 Greensleeves & Yellow Lace 29/03/1932 WALKER G, DRAPER C, Avril, de Jersey, Hobday, Sharpe

20 LABEL NUMBER MATRIX COMPOSER PIECE DATE

Columbia: 10” RO 52 CA12550 The Way to Norwich 29/03/1932 WALKER G, DRAPER C, Avril, de Jersey, Hobday, Sharpe

Columbia: 10” DB 1788; DB 1304; CA16221-1 Casella Serenata, op.50 - Tarantella 01/02/1937 KELL R, DRAPER P, ESKDALE G, J.Pougnet, A.Pini CHM 5

Columbia: 12” Brahms Trio in a, op.114 DRAPER C Columbia: 12” Quintet in Bm, op.115 - Allegro; DRAPER C, London Stg.Quartet (J.Levy, T.Petre, H.Waldo Warner, L 1219 75876/7-1 Brahms 13/06/1917 Adagio piu Lento C.Warwick-Evans) Columbia: 12” MURCHIE R, DRAPER H, G.Mason, Woodhouse, Dinsey, Tomlinson, L 1518/9; 67091/2D AX171/4 Ravel Introduction & Allegro 19/10/1923 James, Ravel (dir.) Columbia: 12” L 1609/11; 67101/3D AX692/7 Brahms Trio in a, op.114 21/10/1924 DRAPER H, W.H.Squire, H.Harty Columbia: 12” L 2108/13; DRAPER C, HINCHCLIFF E, BRAIN AU, J.Lener, Smilovitz, S.Roth, GQX 10961/6; WAX3416/3427 Schubert Octet in F, op.166 23/03/1928 I.Hartman, C.Hobday 67457/62D Columbia: 12” [not known] WAX4046 Schubert The Shepherd on the Rock, op.129 13/09/1928 DRAPER C, I.Baillie, G.Ison

Columbia: 12” 9613 WAX4080-1/1-2 Schubert The Shepherd on the Rock, op.129 24/09/1928 DRAPER C, I.Baillie, G.Ison

Columbia: 12” L 2252/5; LFX WAX4228/35 Mozart Quintet in A, K.581 02/11/1928 DRAPER C, J.Lener, Smilovits, S.Roth, I.Hartman - Lener Quartet 253/6; 67664/7D

Columbia: 12” L 2228/32; WAX4258/60,4289/95 Brahms Quintet in Bm, op.115 07/11/1928 DRAPER C, J.Lener, Smilovits, S.Roth, I.Hartman - Lener Quartet 67613/7D Columbia: 12” LX 109/13; DRAPER C, HINCHCLIFF E, BRAIN AU, J.Lener, S.Roth, I.Hartman, WAX5432/41 Beethoven Septet in Eb, op.20 05/03/1930 68096/100D C.Hobday Edison Bell: 10” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, SALKELD F - VF 1093 8225B Onslow Scherzo from Quintette 01/06/1924 London Wind Quintette Edison Bell: 10” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, SALKELD F - VF 1093 8226A Haydn Presto from String Quartet in C 01/06/1924 London Wind Quintette Edison Bell: 12” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - VF 515 x1147G Pierné Pastorale op.14 No.1 London Wind Quintette, J.Batten (pf)

21 LABEL NUMBER MATRIX COMPOSER PIECE DATE

Edison Bell: 12” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - VF 515 x1148L Scarlatti Andante & Allegro London Wind Quintette Edison Bell: 12” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - VF 519 x1149D Bizet Quintet (act 2 Carmen) London Wind Quintette Edison Bell: 12” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - London VF 519 x1150D Gounod La Kermesse - scene (Faust) Wind Quintette Edison Bell: 12” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - London VF 612/3 x1228/31A Thuille Sextet pts.I-IV Wind Quintette, C.Woodhouse (pf) Edison Bell: Gold mld cylinder (2m) 401; 5720 Verdi arr.Bassi Rigoletto Fantaisie DRAPER C

Edison Bell: Gold mld cylinder (2m) 402; 5721 Auber Le Cheval de Bronze DRAPER C

Edison Bell: Gold mld cylinder (2m) Bishop arr.Le 403; 5723 Home, Sweet Home - fantasia DRAPER C Thiere

Edison Bell: Gold mld cylinder (2m) 404; 5726 Auber Fra Diavolo, selection DRAPER C

Edison Bell: Gold mld cylinder (2m) 405; 861; 10060 Lazarus Ye Banks & Braes DRAPER C

Edison Bell: Gold mld cylinder (2m) 406; 5730 Weber Concertino, op.26 DRAPER C

Edison Bell: Gold mld cylinder (2m) 407; 891; 5733 Mohr Air Varié DRAPER C Edison Bell: Winner 10” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - London 3476 06671A Barthe Passacaille Wind Quintette Edison Bell: Winner 10” MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - London 3476 6670F Lefebvre Suite, op.57 - Finale Wind Quintette Edison: cylinder gold (4m) 891 Mohr Air Varié 01/01/1909 DRAPER C

Favorite: 10” 404a 6301-t Lazarus Fantasia on Scotch Melodies 27/11/1911 DRAPER C

Favorite: 10” 404b 6302-t Mohr Second Air Varié 27/11/1911 DRAPER C

22 LABEL NUMBER MATRIX COMPOSER PIECE DATE

G&T: 12” C 487 3633f Weber Concertino, op.26 01/09/1904 DRAPER C HMV: 10” BRAIN L, SUTCLIFFE S, ALEXANDRA J, DRAPER P, BRAIN D, HMS 80 Mozart Divertimento No.16 in Eb K.289 SANDERS N HMV: 12” C 1662/3 Cc15828/30 Ravel Introduction & Allegro 04/02/1929 MURCHIE R, DRAPER C, J.Cockerill, Virtuoso 4tet

HMV: 12” C 1311 Cc9532 I Instruments of the Orchestra pt.2 01/01/1926 DRAPER C

Homophon: 10” 750; 160 (anon) 16610A Espagnol DRAPER C

Homophon: 10” 752 27610A Benedict The Carnival of Venice w.Variations DRAPER C

Homophon: 10” 1008 60253 Verdi Rigoletto - air 03/10/1911 DRAPER C

Homophon: 10” Bishop arr.Le 1039 60267 Home, Sweet Home w.Variations 04/10/1911 DRAPER C Thiere

Homophon: 10” 1039 60268 Lazarus Ye Banks & Braes 04/10/1911 DRAPER C

Homophon: 10” 1008 60269 Mohr Air Varié 04/10/1911 DRAPER C

Lambert: Permanent Gold Moulded Record cylinder 117 Lazarus Ye Banks & Braes DRAPER C

Lambert: Permanent Gold Moulded Record cylinder Bishop arr.Le 118 Home, Sweet Home - fantasia 01/12/1904 DRAPER C Thiere

Lambert: Permanent Gold Moulded Record cylinder 118 Verdi Rigoletto 01/10/1905 DRAPER C

Lambert: Permanent Gold Moulded Record cylinder 120 Auber Le Cheval de Bronze DRAPER C

Lambert: Permanent Gold Moulded Record cylinder 121 Auber Fra Diavolo DRAPER C

Lambert: Permanent Gold Moulded Record cylinder 122 Mohr Air Varié DRAPER C

Lambert: Permanent Gold Moulded Record cylinder 123 Weber Concertino, op.26 DRAPER C

Lyric Record: 10” 309 Old Scotch Melody - Fantasia DRAPER C (W.Howard)

23 LABEL NUMBER MATRIX COMPOSER PIECE DATE

Marathon: 10” 147 Weber Concertino, op.26 01/01/1912 DRAPER C

Marathon: 10” 231 400 I.Cl. Lazarus arr. Clarke Ye Banks & Braes w. Vtns 01/01/1913 DRAPER C

Marathon: 10” 231 401 I.Cl. trad. arr.Clarke Comin’ Thro’ the Rye - Vtns. 01/01/1913 DRAPER C

Nat.Gram.Soc.: 12” 47/50; XX/AAA 20/26 Mozart Quintet in A, K.581 01/01/1925 DRAPER C, Spencer Dyke 4tet

Odéon: 25cm 0781 Lxo1939 Verdi arr.Bassi Fantasia on Airs from Rigoletto DRAPER C (Cyril Rohan)

Odéon: 25cm Lxo1940 Lazarus Ma Normandie 01/12/1912 DRAPER C

Odéon: 25cm 0781 Lxo1941 Mohr Second Air Varié DRAPER C

Odéon: 25cm Bishop arr.Le A 42863 Lxo1942 Home, Sweet Home - fantasia DRAPER C Thiere

Odéon: 25cm A 42864 Lxo1943 Lazarus Ye Banks und Braes (!) 01/02/1913 DRAPER C

Odéon: 25cm A 22254 Lxo1944 Weber Concerto 01/12/1912 DRAPER C

Odéon: 30cm 14700 117000/1 Verdi arr.Bassi Fantasia on Airs from Rigoletto 01/01/1912 DRAPER C (Cyril Rohen) Parlophone: 12” MCDONAGH/SUTCLIFFE, JAMES N, THURSTON/BRYMER , DE R 20604/6; SW CXE13730/5 Dvorak Serenade in d, op.44 06/12/1951 PEYER/TCHAIKOV , JAMES , DRAPER/WILSON , O’LOUGHLIN/ 8132/4(auto) PARRY, BRAIN, SANDERS, BEERS, Joseph, Merritt, London Baroque Pathé: 23cm 79187 69206-RA trad. arr.Kroepsch In Cellar Cool - Vtns DRAPER H

Pathé: 23cm 79188 69207-RA trad. arr.Clarke Comin’ Thro the Rye - Vtns. DRAPER H

Pathé: 25cm 8466; 40097 79189 Lazarus Ye Banks & Braes 01/01/1912 DRAPER H

Pathé: 25cm 8466; 40097 79190 Lazarus Ma Normandie 01/01/1912 DRAPER H

Pathé: 29cm 70091-RA 6, 69084- Grand Duo Concertant op.48 - mvts.1 54; 40085; 20276 Weber 01/01/1911 DRAPER H, L.Bryant RA 8 & 3

24 LABEL NUMBER MATRIX COMPOSER PIECE DATE

Pathé: 29cm Grand Duo Concertant op.48 - mvts.1 5130 79185/6 Weber 06/06/1923 DRAPER H, L.Bryant & 3

Pathé: cylinder Bishop arr.Le 10841 10841 Home, Sweet Home - fantasia DRAPER C Thiere

Philharmonic: Record 10” 33 Mohr Second Air Varié DRAPER C (Richard Horsfield)

Robeyphone Grand: 10” 953 22206 Lazarus Ye Banks & Braes DRAPER C Victor: 12” MURCHIE R, DRAPER C, JAMES W, LEGGETT C, Weist-Hill, Royal A-20 Alexander’s Ragtime Band 01/09/1912 Victory Band Victor: 12” MURCHIE R, DRAPER C, JAMES W, LEGGETT C, Weist-Hill, Royal A-18 Bogey Walk 01/09/1912 Victory Band Victor: 12” MURCHIE R, DRAPER C, JAMES W, LEGGETT C, Weist-Hill, Royal A-20 Botsford Grizzly Bear 1/09/1912 Victory Band Zonophone: 10” 206 10597e Lazarus Ye Banks & Braes 31/07/1909 DRAPER C (R.Mackenzie)

Zonophone: 12” 3852f Mohr Air Varié 28/07/1909 DRAPER C

Zonophone: 7” 46002; 6018 4191 Lazarus Ye Banks & Braes DRAPER C (R.Mackenzie)

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