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'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
RVW Final Feb 06 21/2/06 12:44 PM Page 1
RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Compiled by CJA Cope March 2018 List of Works of Gustav Holst
List of Works of Gustav Holst (Dates of composition, H numbers, description and whether recorded). Compiled by C J A Cope March 2018 Glossary TBR To be recorded P1 Project One P2 Project Two P3 Project Three P4 Project Four If music is no longer available (ie in private collection), no recording is possible. The Society lists 233 works. There are, in addition, a number of works which bear no H numbers (designated by Holst's daughter, Imogen) and which may be regarded as youthful - for others to judge as to quality. If anyone visiting our website is unable to find a recording of a particular work, send us an email ([email protected]) and we will try to assist. Chamber or string orchestra (6 works) Year H No Work Recorded 1906 H88 Two Songs without Words Yes 1913 H118 St Paul's Suite Yes 1928 H173 Nocturne from Moorside Suite Yes 1928 H173 Moorside Suite Yes 1933 H190 Brook Green Suite Yes 1933 H190a Gavotte (Discarded from Brook No Green Suite. Arranged for recorder quartet by Imogen Holst). Chamber ensembles (18 works) Year H No Work Recorded 1894 A1/33 Short Trio in E Yes 1894 A1/31 Duo Concertante for Trombone/Organ Yes 1896 H8 Air and Variations Yes 1896 H11 Quintet in A Yes 1896 H9 Variations No 1896 H10 Sextet in E Minor Yes 1897 H23 Scherzo No 1902 H51 Lied ohne Worte Yes 1903 H67 Quintet in A flat Yes 1903 H52 Spring Song Yes 1903 H53 Ländler (2 violins/piano) Yes 1903 H54 Greeting Yes 1904 H55 Maya Yes 1904 H56 Valse - Etude Yes 1906 H93 Seven Scottish Airs Yes 1910 H8a Three Pieces Yes 1916 H135 Phantasy Quartet on British -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
Durham Research Online
Durham Research Online Deposited in DRO: 07 March 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Dibble, Jeremy (2015) 'War, impression, sound, and memory : British music and the First World War.', German Historical Institute London bulletin., 37 (1). pp. 43-56. Further information on publisher's website: http://www.ghil.ac.uk/publications/bulletin/bulletin371.html Publisher's copyright statement: Additional information: 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 DRO • 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 DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk German Historical Institute London BULLETIN ISSN 0269-8552 Jeremy C. Dibble: War, Impression, Sound, and Memory: British Music and the First World War German Historical Institute London Bulletin, Vol 37, No. 1 (May 2015), pp43-56 WAR, IMPRESSION, SOUND, AND MEMORY: BRITISH MUSIC AND THE FIRST WORLD WAR JEREMY C. D IBBLE The First World War had a profound effect upon British music. -
Vol. 13, No. 6 November 2004
Chantant • Reminiscences • Harmony Music • Promena Evesham Andante • Rosemary (That's for Remembran Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenad Capricieuse • Serenade • The Black Knight • Sursum Corda Snow • Fly, Singing ournalBird • From the Bavarian Highlands • The L Life • King Olaf • Imperial March • The Banner of St George • Te and Benedictus • Caractacus • Variations on an Original T (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Characteristic Pieces • The Dream of Gerontius • Serenade Ly Pomp and Circumstance • Cockaigne (In London Town) • C Allegro • Grania and Diarmid • May Song • Dream Chil Coronation Ode • Weary Wind of the West • Skizze • Offertoire Apostles • In The South (Alassio) • Introduction and Allegro • Ev Scene • In Smyrna • The Kingdom • Wand of Youth • How Calm Evening • Pleading • Go, Song of Mine • Elegy • Violin Concer minor • Romance • Symphony No 2 • O Hearken Thou • Coro March • Crown of India • Great is the Lord • Cantique • The Makers • Falstaff • Carissima • Sospiri • The Birthright • The Win • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Un dans le Desert • The Starlight Express • Le Drapeau Belge • The of England • The Fringes of the Fleet • The Sanguine Fan • Sonata in E minorNOVEMBER • String Quartet 2004 in E Vol.13,minor •No Piano.6 Quint minor • Cello Concerto in E minor • King Arthur • The Wand E i M h Th H ld B -
In Remembrance in Remembrance
IN REMEMBRANCE IN REMEMBRANCE SOMMCD 0187 Chapel Choir of the Royal Hospital Chelsea Chelsea Pensioners’ Choirf Céleste Series Katy Hilla & Leah Jacksonb sopranos Gareth Brynmor Johnc baritone James Orfordd & Hugh Rowlandse organ William Vann director 1 Greater Love Hath No Man bce 5:56 REQUIEM IN D MINOR John Ireland (1879-1962) Gabriel Fauré (1845-1924) (arr. Iain Farrington*) 2 Jerusalem ef 2:41 C. Hubert H. Parry (1848-1918) bl Introit et Kyrie d 5:54 3 For the Fallen 1:20 bm Offertoire cd 8:03 Douglas Guest (1916-96) bn Sanctus e 2:59 4 They are at rest 3:34 Edward Elgar (1857-1934) bo Pie Jesu ad 3:28 5 O Valiant Hearts ef 3:22 bp Agnus Dei d 5:59 Charles Harris (1865-1936) bq Libera Me cd 4:23 6 There is an old belief 5:04 br C. Hubert H. Parry In Paradisum e 3:09 7 I Vow to Thee, My Country ef 2:34 Gustav Holst (1874-1934) bs Requiem aeternam e* 5:50 8 Justorum animae 3:57 Ian Venables (b.1955) Charles Villiers Stanford (1852-1924) Total duration: 80:30 9 Ode to Death d 12:13 Gustav Holst (arr. Iain Farrington*) *First recording Recorded at Temple Church, London, on January 13-14, 2018 Producer: Siva Oke Recording Engineer: Adaq Khan Front cover: 'Over the Top’. 1st Artists’ Rifles at Marcoing, 30th December 1917 John Nash (1893-1977) © Imperial War Museum Choral Music by Design and Layout: Andrew Giles Booklet Editor: Michael Quinn Ireland · Holst · Parry · Elgar · Fauré · Venables DDD © & 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Chapel Choir of the Royal Hospital Chelsea · William Vann director Made in the EU In the centenary anniversary year of the end of the First World War and on the eve of Perhaps most poignant of all is its second line: “Love is strong as death; greater the 80th anniversary of the beginning of the Second World War, the aftershocks of love hath no man than this, that a man lay down his life for his friends”. -
1 Gustav Holst
Gustav Holst: The Final Years – Lecture at English Music Festival May 2019 At the end of June 1919, Holst returned to the UK having spent eight months away on war service in Salonika in Greece. He was reunited with his wife Isobel in Thaxted. They had never been apart for so long. Holst resumed his usual activities, teaching at St Paul’s Girls’ School and at Morley College, conducting, composing and walking. In August 1919, he began work on the Ode to Death. This work was motivated by the waste of life and the futility of war. The words were by Walt Whitman. It is a particularly fine, but neglected work. In the late summer of 1919, Holst began work on his satirical opera, The Perfect Fool. He needed a librettist. He turned to Clifford Bax who declined. He didn’t think that the plot was very amusing. Holst decided to do it himself. There were increasing numbers of performances of The Planets. However, from time to time, he was asked to conduct movements from The Planets, ending with Jupiter, considered to be a more positive note than Neptune. Holst disliked this, but accepted that even truncated performances did publicise the new work. He was invited and accepted a new teaching appointment at University College Reading. He was also taken on the staff at the Royal College of Music. Because of these commitments, he resigned from James Allen’s Girls’ School. Nevertheless, this still left him with four teaching positions. The Reading appointment involved teaching composition. He made pupils question the value of every note. -
Symphony Hall, Boston Huntington and Massachusetts Avenues
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 »®§toim Syinmpliioifir INC. PIERRE MONTEUX, Conductor FORTY-SECOND SEASON. 1922-1923 rogram WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD. Assistant Manager 825 <UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up. Convenient terms. Used pianos taf^en in exchange. STEINWAY O 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE s-ji; ! Boston 3jEinp3ii©ey Drclhestra Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor ;l Violins.