Concert Programmes, 1915-1938 Philip
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Church and Organ Music. Rhythm in Hymn-Tunes Author(S): C
Church and Organ Music. Rhythm in Hymn-Tunes Author(s): C. F. Abdy Williams Source: The Musical Times, Vol. 62, No. 938 (Apr. 1, 1921), pp. 275-278 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/909413 Accessed: 03-05-2016 18:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 128.197.26.12 on Tue, 03 May 2016 18:20:53 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES-APRIL I 192I 275 Caruso pours out his voice lavishly as ever in 'A Granada'-in fact he pours out so much of it Cbthlch anli b rgant fluic. that in a small room one instinctively looks round THE ROYAL COLLEGE OF ORGANISTS for shelter. This stirring record owes a good deal to the excellent orchestral part, in which some The following letter has been sent to the stout work is done by the castanets. members: That fine baritone, Titto Ruffo, is heard to advan- The Royal College of Organists, tage in 'Nemico della patria?' ('Andrea Ch6nier'). -
Performing National Identity During the English Musical Renaissance in A
Making an English Voice: Performing National Identity during the English Musical Renaissance In a 1925 article for Music & Letters entitled ‘On the Composition of English Songs’, the British musicologist Edward J. Dent urged the ‘modern English composer’ to turn serious attention to the development of ‘a real technique of song-writing’.1 As Dent underlined, ‘song-writing affects the whole style of English musical composition’, for we English are by natural temperament singers rather than instrumentalists […] If there is an English style in music it is founded firmly on vocal principles, and, indeed, I have heard Continental observers remark that our whole system of training composers is conspicuously vocal as compared with that of other countries. The man who was born with a fiddle under his chin, so conspicuous in the music of Central and Eastern Europe, hardly exists for us. Our instinct, like that of the Italians, is to sing.2 Yet, as he quickly qualified: ‘not to sing like the Italians, for climactic conditions have given us a different type of language and apparently a different type of larynx’.3 1 I am grateful to Byron Adams, Daniel M. Grimley, Alain Frogley, and Laura Tunbridge for their comments on this research. E. J. Dent, ‘On the Composition of English Songs’, Music & Letters, 6.3 (July, 1925). 2 Dent, ‘On the Composition of English Songs’, 225. 3 Dent, ‘On the Composition of English Songs’, 225. 1 With this in mind, Dent outlined a ‘style of true English singing’ to which the English song composer might turn for his ‘primary inspiration’: a voice determined essentially by ‘the rhythms and the pace of ideal English speech – that is, of poetry’, but also, a voice that told of the instinctive ‘English temperament’. -
Maryna Terlecka
Kwartalnik Młodych Muzykologów UJ nr 42 (3/2019), s. 33–52 doi 10.4467/23537094kmmuj.19.009.11142 www.ejournals.eu/kmmuj Maryna Terlecka Uniwersytet Warszawski Irène Régine Wieniawska – próba rekonstrukcji życia i twórczości Abstract Irène Régine Wieniawska: An Attempt to Reconstruct the Life and Work of the Composer Irène Régine Jessy Maria Wieniawska was born on 16th May 1879 in Brussels as the youngest child of an outstanding Polish violinist and composer of the 19th century, Henryk Wieniawski, and Isabelle Bessie Hampton-Wieniawska. As the only one of Wieniawski’s children, she followed the footsteps of her father and chose the profession of a musician. This work brings focus to the lesser known facts from the composer’s life, which greatly impacted the formation of her creative character, including the fact that Irène Wieniawska used a considerable number of pseudo- nyms, which allowed her to keep her anonymity and therefore resulted in part of her work to be forgotten for many years. As in several cases of other female composers of the early 20th century, the name Wieniawska is currently poorly recognised, even though she was a known composer and performer in London between the years 1900–1932. Wieniawska’s songs were very popular, and her creative legacy remains equally interesting, which I would like to draw attention to in my paper and discuss the latest catalogue of her works, developed by me. 33 Kwartalnik Młodych Muzykologów UJ, nr 42 (3/2019) Keywords Irène Régine Wieniawska, Poldowski, Irène Régine Wieniawska’s catalogue of works, 19th- and 20th-century music W polskiej literaturze muzykologicznej nie odnajdziemy zbyt wie- lu pozycji poświęconych Irène Régine Wieniawskiej. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
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. -
Vaughan Williams
1 It was a Lover and his Lass † * 1:53 Five Mystical Songs * 17:23 2 The Lawyer * 1:50 @ I. Easter 4:38 DDD (with Louisa Fuller, Violin) # II. I got me flowers 2:26 The English Song Series • 3 8.557114 3 The splendour falls † 4:16 $ III. Love bade me welcome 5:05 4 The Water Mill † 3:55 % IV. The call 2:14 5 Tired * 2:07 ^ V. Antiphon 3:01 6 Silent Noon * 4:32 Ralph 7 Searching for Lambs † 2:22 On Wenlock Edge † ‡ 22:35 (with Louisa Fuller, Violin) & I. On Wenlock Edge 3:45 8 Nocturne * 3:50 * II. From far, from eve and morning 1:57 VAUGHAN 9 Joy, Shipmate, Joy! * 1:06 ( III. Is my team ploughing? 4:06 0 Lord, come away † 3:22 ) IV. Oh, when I was in love with you 0:48 WILLIAMS (with John Metcalfe, Viola) ¡ V. Bredon Hall 7:45 ! Come Love, come Lord † 3:55 ™ VI. Clun 4:14 (with John Metcalfe, Viola) £ Dirge for Fidele † * 3:50 On Wenlock Edge Five Mystical Songs Anthony Rolfe Johnson, Tenor † • Simon Keenlyside, Baritone * Graham Johnson, Piano The Duke Quartet ‡ Louisa Fuller & Rick Koster, Violins John Metcalfe, Viola Anthony Rolfe Johnson, Tenor Ivan McCready, Cello Simon Keenlyside, Baritone Graham Johnson, Piano Duke Quartet 8.557114 20 Ralph Vaughan Williams (1872-1958) ‘Tis a long way further than Knighton, Fear no more the lightning-flash, Five Mystical Songs • On Wenlock Edge A quieter place than Clun, Nor the all-dreaded thunder-stone; Where doomsday may thunder and lighten Fear not slander, censure rash; Ralph Vaughan Williams was born in the had by now begun to make a reputation for himself as And little ‘twill matter to one. -
Gwen Farrar and Norah Blaney - an Introduction to Their Lives and Careers
Gwen Farrar and Norah Blaney - an introduction to their lives and careers By Jeremy Palmer Gwen Farrar was born July 14th, 1897, the third of an eventual six daughters of Sir George Herbert Farrar and Lady Ella Farrar nee Waylen. Sir George had prospered in gold mining activities in South Africa, and during the Boer War would be mentioned in dispatches and awarded the D.S.O. In 1902 he was knighted, and after the Boer War became leader of the opposition in the first Transvaal Parliament. In 1911 he was created Baronet Farrar, for his role in the creation of the Union of South Africa. During WW1 Sir George was sent to South Africa, but in 1915 while repairing damaged water boreholes, he was killed in a rail accident. Thereafter Lady Farrar returned to the family residence at Chicheley Hall, Buckinghamshire, until her death on Dec 29th 1922 following an accident moving furniture. Gwen inherited a fortune, albeit a fortune controlled by a trustee, indicating that her father was not confident it would be used wisely. She was educated at an exclusive girls school in Ascot, from which she ran away. She studied classical music and was taught cello by Herbert Walenn, England’s leading exponent of the instrument. She also developed a remarkable baritone speaking voice, and a deep, lugubrious singing tone. In January 1917 she qualified with Honours for violoncello playing from the London Royal Academy of Music. Her soon-to-be partner Norah Blaney was born Norah Mignon Cordwell, on 16 July 1893 in Fulham, taking her stage name Blaney from her maternal grandmother. -
Poldowski Art Songs
Poldowski Art songs Angelique Zuluaga, soprano Gwendolyn Mok, piano Alexander String Quartet Ryan Zwahlen, oboe d’amore DE 3538 1 DELOS DE 3538 POLDOWSKI DELOS DE 3538 POLDOWSKI Poldowski | Art songs Down by the Sally* Gardens ♦ O! Let the Solid Ground ♦ To Love ♦ Song ♦ Reeds of Innocence ♦ Narcisse ♦ Sérénade ♦ L’heure exquise ♦ Dans une musette ♦ Mandoline ♦ Effet de neige ♦ A Clymène ♦ Cythère ♦ Dimanche d’Av r i l ♦ Spleen ♦ Cortège ♦ Bruxelles ♦ A Poor Young Shepherd ♦ Berceuse d’armorique ♦ Dansons la gigue ♦ Pierrot ♦ Colombine ♦ En Sourdine ♦ Soir • • ART SONGS ART SONGS ART CLAUDE DEBUSSY: Pierrot Angelique Zuluaga, soprano REYNALDO HAHN: En sourdine** LOUIS AUBERT: Soir ** Gwendolyn Mok, piano Total Playing Time: 65:28 Alexander String Quartet Ryan Zwahlen, oboe d’amore variant spelling of “Salley”* alternate settings of the Tracks 1,2,4 and 5: world premiere recordings Poldowski treatments** ORIGINAL ORIGINAL DIGITAL DIGITAL Poldowski Art songs 1. Down by the Sally† Gardens (1:08) 21. CLAUDE DEBUSSY: Pierrot (1:44) 2. O! Let the Solid Ground (2:53) 22. POLDOWSKI: Colombine (2:00) 3. To Love (1:53) 4. Song (2:17) 23. REYNALDO HAHN: En sourdine (3:23) 5. Reeds of Innocence (1:45) 24. POLDOWSKI: En sourdine (2:53) 6. Narcisse (2:32) * 25. LOUIS AUBERT: Soir (4:50) 7. Sérénade (2:26) 26. POLDOWSKI: Soir (4:39) ** 8. L’heure exquise (2:41) 9. Dans une musette (3:50) Total Playing Time: 65:28 10. Mandoline (1:40) 11. Effet de neige (2:38) † (var. of Salley) 12. A Clymène (2:14) 13. Cythère (1:06) Tracks 1, 2, 4 and 5: world premiere recordings 14. -
Poldowski Rediscovered
Technological University Dublin ARROW@TU Dublin Articles Conservatory of Music and Drama 2010-07-01 Poldowski Rediscovered David Mooney Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusart Part of the Musicology Commons Recommended Citation Mooney, D. (2010) Poldowski Rediscovered. Viva Voce Magazine, Germany, 2010 This Article is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Articles by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License VIVA VOCE MAGAZINE ARTICLE Poldowski was the pseudonym of Lady Irene Dean Paul, born Irene Regine Wieniawska, youngest daughter of the celebrated violinist and composer, Henryk Wieniawski. She was born in Brussels in 1879 but never knew her famous father due to his early death in 1880. As a composer she was largely self-taught and she enjoyed a successful career as a pianist. She studied piano and composition at the Brussels Conservatoire and is known to have begun composing at an early age but it was not until she moved to London sometime around 1900 that she began to have her compositions published. Her first published works, two songs with piano accompaniment appeared in 1900, published by Chappell in London. In 1901 she married an aristocrat, Sir Aubrey Dean Paul, Bart. and gave birth to her first son, Aubrey Donald in 1902. -
Arr. David Jackson Paul Verlaine
22 Mélodies sur les poèmes de Paul Verlaine (1900-1910) 1. L’heure exquise [2:26] Irène Régine Wieniawska (1879-1932) arr. David Jackson 2. Impression fausse [2:34] Paul Verlaine (1844-1896) 3. Le faune [1:19] 4. Circonspection [3:06] 5. Fantoches [1:17] 6. En sourdine [2:21] Ensemble 1904 7. Brume [1:57] David Jackson director 8. L’attente [2:18] 9. Bruxelles [1:41] David Jackson piano & arrangements 10. Dimanches d’avril [2:57] Jazmin Black-Grollemund soprano 11. Dansons la gigue ! [1:41] Angélique Charlopain violin 12. Andante Languido [6:38] Jérémie Decottignies double bass (extrait de la Sonate pour Violon et Piano) 13. Colombine [2:00] 14. Crépuscule du soir mystique [2:38] 15. Cortège [1:22] 16. Cythère [1:02] 17. Mandoline [1:44] 18. Effet de neige [2:53] 19. Sur l’herbe [2:06] 20. À Clymène [2:07] 21. A poor young Shepherd [2:53] 22. Spleen [2:27] 23. Nous Deux [2:24] About Ensemble 1904: (Donc, ce sera par un clair jour d’été) ‘The complete musician, Jackson is attentive to all the Total playing time [54:05] dimensions of playing [...] Strongly supported by the strings who are equally distributed, Jazmin Black-Grollemund, operatic, uses her superb timbre to support a clear diction and a vast range of nuances.’ La Lettre du Musicien Introduction from her selection of twenty-two poems, ten have only ever been set to music by Poldowski. During their itinerant and cosmopolitan lives, A handful of Poldowski’s mélodies are Poldowski and Verlaine explored and occasionally performed, but never has the celebrated the culture of the European entire catalogue of twenty-two songs been continent. -
Paradise Remembered
Journal of the No.24 June 2002 EDITOR RVW Stephen Connock Society In this issue... Paradise Remembered RVW and Distinguished Conductors The RVW Society is delighted and wonderful times with Ralph and Ursula, honoured to be able to publish Ursula of musical evenings, of RVW premières G Conducting RVW Vaughan Williams’s autobiography and of friends long gone. Lord Paradise Remembered. The 225-page Armstrong added that the book was an by Michael Kennedy . 2 book was launched at a celebratory party ideal accompaniment to Ursula’s held at Cecil Sharp House on Saturday biography of her husband, full of insight G Glory, Pity and Anger: 23 March 2002. Over 80 of Ursula’s and affection. British Conductors in friends and family attended, including her sister Rosemary, Simona Pakenham, Ralph and Ursula the music of RVW Eva Hornstein and Michael and Joyce Ursula completed the autobiography in by William Hedley . 6 Kennedy. 1972. The early chapters of the book deal with her army life, marriage to G Malcolm Sargent, Vivid recollections Captain Michael Wood and the onset of Vaughan Williams and Lord Armstrong, son of the composer war. Her life changed totally after Sir Thomas Armstrong, congratulated meeting Ralph Vaughan Williams in the Ninth Symphony Ursula on writing an autobiography 1938. Their friendship, close artistic by Robin Barber . 8 which he found highly collaboration and subsequent marriage evocative, in 1953 are described with candour, G Stokowski and humour and affection. There are 40 Vaughan Williams illustrations from Ursula’s extensive collection, many appearing in print for by Edward Johnson . 12 the first time. -
Single-Page Format
EDWARD ELGAR : COLLECTED CORRESPONDENCE SERIES I VOLUME 2 AN ELGARIAN WHO'S WHO COMPILED BY MARTIN BIRD § § § Supplement 1 APRIL 2015 ELGARWORKS 2015 INTRODUCTION This is the first supplement to An Elgarian Who’s Who, published in 2014 by Elgar Works in the Edward Elgar: Collected Correspondence series. It comprises the following: & Correction of errors & Additional information unavailable at the time of publication & Additional entries where previously unknown Elgar correspondents have come to light. & Additional cross referencing & Family trees In the alphabetical entries which follow on pages 1–29, amendments and additions to the original text appear in red. Family trees have been compiled for the families of Alice’s innumerable cousins and aunts – the Dighton, Probyn, Raikes, Roberts and Thompson families. An editorial decision was made to exclude these from the original publication owing to their complexity, even in an abbreviated form. However, it is conceded that they are necessary as an aid to understanding the tangled relationships of Alice’s family, and so are included here. Names appearing in the trees in bold type are those members of the families mentioned in the Who’s Who, while spouses appear in italics. A tree is also included for the family of Roynon Jones. He, through his children and grandchildren, provided many spouses for the above-mentioned families. The family trees had been grouped together on pages that can be downloaded and printed separately on A3 or A4 paper. A-Z ABERDARE, LORD 1851–1929 Henry Campbell Bruce, 2nd Aberdare, was the eldest son of Henry Bruce, 1st Baron Aberdare, who had served as Home Secretary.