Oct2019.Flora&Fauna

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Isles of Scilly U3A Music Appreciation Group Music representing Flora and Fauna Thursday 31 October 2019, Porth Hellick House, 10 am. 1. The Lark ascending, R. Vaughan-Williams Hugh Bean, violin; New Philharmonia Orchestra, Sir Adrian Boult, conductor; 1967. Acclaimed by reviewers as the best recording. 2. Where Corals lie, E. Elgar From ‘Sea Pictures’ op 37; London Symphony Orchestra, Sir John Barbirolli, conductor; Janet Baker, mezzo-soprano. Elgar began composing these songs in July 1899 and the first public performance was by Dame Clara Butt at a Norwich Festival concert in October 1899 with Elgar conducting. Later that month, she sang them to Queen Victoria at Balmoral. There are five songs and ‘where corals lie’ is the fourth, set to a poem by Richard Garnett. 3. Whooper Swans migrating, from Cantus Arcticus, Einojuhani Rautavaara. Einojuhani Rautavaara (1928-2016) is one of the most notable Finnish composers since Sibelius. Cantus Arcticus, op 61, subtitled ‘Concerto for Birds and Orchestra’, incorporates tape recordings of birdsong recorded near the Arctic Circle and on the bogs of Liminka in Northern Finland. Hooper swans migrating is the third movement and is played by the Helsinki Philharmonic Orchestra conducted by Leif Segerstrom. 4. Waltz of the Flowers, P. Tchaikovsky Pyotr Tchaikovsky (1840-1893) was a Russian pianist and composer and probably the first Russian composer whose music made a lasting impression internationally. His compositions were wide-ranging but it is his ballets that are particularly popular. The Waltz of the Flowers comes from the second act of the ballet ”The Nutcracker” and is played here by The Royal Philharmonic Orchestra, conductor uncertain. 2. 5. Evening Primrose, B. Britten From the Five Flower Songs, op 47. Sung by ‘The Sixteen’, conductor Harry Christophers. Britten composed these songs in 1950. In general, they have complex and rather intense harmonies but these are relieved in ‘Evening Primrose’ by a more gentle and simpler texture. 6. An Sproede Schoenen (Rose) Der Schmetterling auf einen Vergissmeinnicht (Butterfly on a forget-me-not), F.X. Mozart Two songs by Franz Xaver Wolfgang Mozart (1791-1844). Franz was Wolfgang Mozart’s youngest son and was born just five months before his father died. He was a frail and sickly child but, like his father, showed considerable musical talent early on. At age 5 he gave his first public performance, singing one of Papageno’s arias from The Magic flute. At eleven, he composed his opus 1, a piano quartet. He made a good career as a pianist. History relates that he was a most charming man and a photo of 1825 shows him to be quite good looking. He and his brother did not marry or have children so the Mozart name died out. The American soprano, Barbara Bonney, in 2004 set out to research the works of the Mozart family with the aim of presenting a concert with a Mozart theme for young singers in New York. She found that Mozart’s father, Leopold, had produced no worthwhile songs and his sister, Nanerl, had apparently left no public works, although she was a talented musician. However, being completely unaware of Franz Xaver’s existence, Bonney with great persistence finally unearthed an impressive batch of 27 songs (fortunately, to her delight), for soprano! Two others had been referred to but had been lost. This recording was made in London in March 2005. Franz Xaver was a contemporary of Franz Schubert, who was 8 years younger, but outlived Schubert by 16 years. An sproede schoenen means ‘to coy beauties’ and compares young women of his acquaintance with roses. Der Schmetterling auf einen Vergissenmeinnicht describes a butterfly clinging to a forget-me-not. (Flora and fauna in the same song!). The singer is Barbara Bonney herself and the pianist, Malcolm Martineau. 7. A little fall of rain, from ‘Les Miserables’ (flowers) “A little fall of rain……will make the flowers grow”. This song, sung by Michael Ball and Frances Ruffelle, features in the musical play of 2012, Les Miserables, based on the French historical novel by Victor Hugo. 3. 8. Mina, Edward Elgar. Mina was the composer’s dog – a Cairn Terrier – and this little serenade was written in 1933, the year before the composer died. 9. Romance from The Gadfly, D. Shostakovich. Dimitri Shostakovich (1906-1975) was a Russian composer and pianist. He had a huge output and is regarded as one of the major composers of the 20th century. The Gadfly suite is an orchestral suite arranged from his music for the film ‘The Gadfly’. There are 12 movements and we chose no. 8 called ‘romance’. Played by the Belgian Radio Orchestra, conducted by Jose Serebrier. 10. Blackbird, P. McCartney & J. Lennon Sung by Jennifer Johnston, soprano; pianist Ian Tracey with the Liverpool Philharmonic Orchestra. ‘Blackbird’ was composed in 1968, inspired by the explosion of racial tensions in the USA in the spring of that year. It symbolized the efforts of the civil rights movement. ‘Bird’ is often used as British slang for ‘girl’, making this ‘blackbird’ to be ‘black girl’. 11. Heidenroeslein (Rose) and Die Forelle (Trout). F. Schubert Two songs by Franz Schubert (1797-1808). Heiden roeslein is an example of a ‘strophic song’ in which each verse uses the same folk-like music. It is set to music by Johann von Goethe. A boy sees a little rose (Roeslein) growing on heathland (Heiden) and looks at it with pleasure. The boys says “I’ll pick you” – the rose says “ I’ll prick you”. The boy was in pain but the rose died. Die Forelle (The trout) is set to a poem by Christian Schubart (with an ‘a’). The poet watches a trout speeding through crystal clear water. A fisherman also watches the fish but the water is so clear that the poet does not think the fish will be caught, However, the fisherman muddied the water and caught the fish while the poet looks on in anger. These two songs are sung here by American soprano Renee Fleming and the pianist is Christopher Eschenbach. 12. On hearing the first Cuckoo in spring, F.Delius Frederick Delius was born in Bradford in 1862 and died in Grez-sur-Loing in France in 1934. The music of Delius is unlike any other composer: there are no predecessors or successors. He wrote many operas and large works but the Cuckoo is a small miniature composed in 1912. It uses a Norwegian folk tune that had originally been orchestrated by Grieg but is given Delius’ own subtle harmonies. 13. Country Gardens, P. Grainger. Percy Grainger was born in Australia but lived most of his life in the UK. He was a renowned concert pianist but best known for his compositions of light music that were often heard on BBC radio. Country Gardens was written in 1918 as a birthday gift for his mother. The Light Music Orchestra is conducted here by Sir Vivien Dunn. 4. 14. Banks of Green Willow, G. Butterworth Butterworth composed this lovely idyll in 1913, just three years before he died in the battle of the Somme, aged 31. Andre Previn conducts the London Symphony Orchestra. 15. Le Coucou, L-C Daquin Louise-Claude Daquin was born in Paris in 1694. He died in 1772. He was a musical child prodigy and performed at the court of Louis XIV at age 6. At the age of 12 he was organist at the Sainte Chapelle. He made his career as an organist and was a dazzling performer at the keyboard of both organ and harpsichord. He composed a certain amount for the harpsichord and Le coucou comes from one of his many suites for harpsichord. Present were: Adrian, Margaret, Alba, Susie, Janet, Maureen C, Brian and Mike. Apologies from D, Joan and Maureen S. After the session, it was agreed that the next meeting would be on Thursday 28th November and the topic will be: Fire, Earth and Water. The venue will be decided later. Suggestions for inclusion on this topic should be sent to Mike, who will compile a programme. .
Recommended publications
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar

    BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar

    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
  • The Elgar Society JOURNAL

    The Elgar Society JOURNAL

    The Elgar Society JOURNAL FIFTIETH ANNIVERSARY ISSUE MARCH 2001 Vol.12 No.1 ELGAR AND WARLOCK (PHILIP HESELTINE) Barry Smith [Until recently Barry Smith was an Associate Professor in the Faculty of Music at the University of Cape Town, and is presently Organist and Master of the Choristers at St George’s Cathedral, Cape Town. He is founder and director of the St George’s Singers, and has made frequent recordings for radio, television and compact disc. He is an Honorary Fellow of the Royal School of Church Music and the Guild of Church Musicians. A noted authority on Peter Warlock, his writings include the widely acclaimed biography Peter Warlock : The Life of Philip Heseltine (OUP, 1994), and Frederick Delius and Peter Warlock : A Friendship Revealed (OUP, 2000). He has also edited a four-volume collection of Warlock’s miscellaneous writings about music (Thames Publishing).] On the surface the coupling of the names Elgar and Peter Warlock (Philip Heseltine) would seem rather far-fetched. Just as there is little of the modal, ‘pastoral’ or ‘folk-song’ elements in Elgar’s music, so are there few traces of nineteenth century German Romanticism in the music of Warlock. Yet, if one delves deeper into their characters and their music, there was much in common between these two composers. Both were self-taught, both felt at times alienated from society, both suffered from bouts of depression, and both have a completely original, uniquely personal quality displayed in their compositions. Besides the innate yet really indefinable ‘Englishness’ of their music, a work by Elgar (despite the obvious influences of the German Romantic school) has a stamp all of its own just as a piece by Peter Warlock (in spite of his early obsession with the music of Delius and later van Dieren and Bartók) has a musical language that is absolutely his and his alone.
  • Zukerman Pinchas

    Zukerman Pinchas

    PINCHAS ZUKERMAN VAUGHAN WILLIAMS · ELGAR The Lark Ascending Tallis Fantasia Introduction & Allegro In Moonlight ROYAL PHILHARMONIC ORCHESTRA RALPH VAUGHAN WILLIAMS 1872 –1958 1 The Lark Ascending Romance for violin and orchestra * 14.20 2 Fantasia on a Theme by Thomas Tallis for 2 string orchestras 16.03 EDWARD ELGAR 1857 –1934 Serenade for strings in E minor, op.20 3 I Allegro piacevole 3.29 4 II Larghetto 6.13 5 III Allegretto 2.54 6 Salut d’amour, op.12 for violin and orchestra * 3.19 7 Chanson de matin, op.15 no.2 3.23 8 Chanson de nuit, op.15 no.1 4.26 + 9 In Moonlight from In the South , op.50, arr. Julian Milone 3.15 0 Introduction and Allegro, op.47 for string quartet and string orchestra 14.25 Royal Philharmonic Orchestra + PINCHAS ZUKERMAN violin *, viola & conductor World premiere recording + C The Royal Philharmonic Orchestra and Pinchas Zukerman in Cadogan Hall Photo: Bill Hiskett 2 Zukerman plays Elgar and Vaughan Williams lark?’ He said: ‘It’s a bird!’ The music came performed in Gloucester Cathedral on about 10.15 p.m. I opened it up and said 6 September; but only a few of those This disc, reflecting the love affair Pinchas Hall, who in 1916 would make a heavily cut ‘It’s okay, not so bad’, and then I opened the present, such as Herbert Howells, Zukerman has had with English music since recording of Elgar’s Violin Concerto with next page and said ‘Too many notes!’ [Next recognised it as his first masterpiece, and the late 1960s, contains the most beloved Elgar conducting.
  • Vol.11 No.2 July 1999

    Vol.11 No.2 July 1999

    The Elgar Society JOURNAL JULY 1999 Vol.11 No.2 ELGAR’S TE DEUM & BENEDICTUS John Winter [Dr Winter is Senior Lecturer at Trinity College of Music, London. He is a general freelance musician, and holds a PhD from the University of East Anglia on contemporary church music.] There is arguably no better way to understand a piece of music than to rehearse it thoroughly before performing it. When this rehearsal involves work with an amateur choir the learning process is even greater. This has recently been my experience with Elgar’s Te Deum and Benedictus, and Give unto the Lord, working with a non-auditioned, all-ability choir, teaching virtually every note and explaining every subtlety of rubato. My appreciation of these works’ structure is all the greater for this preparation. Elgar’s liturgical music rarely gets a good press. There is barely a reference, and that a derogatory one, in New Grove. At best it gets mentioned in passing; at worst it is derided under the label of Victorian triumphalism. Worst of all, apart from Ave verum corpus, it is rarely performed. The Te Deum and Benedictus in F, Op 34, dates from 1897, and thus comes not only at the climax of Elgar’s ‘formative’ period, but also at the height of his ‘imperialist’ style. Op 32 was the Imperial March, his first major commission for a London audience, to celebrate Queen Victoria’s Diamond Jubilee. Op 33 was The Banner of St George, and Op 35, Caractacus. John Allison’s book, Edward Elgar : Sacred Music,1 is exceptional in giving due consideration to the lesser-known works and incomplete fragments, along with valuable background to this particular work.
  • STRING PLAYERS by David Milsom of STRING PLAYERS CONTENTS

    STRING PLAYERS by David Milsom of STRING PLAYERS CONTENTS

    STRING PLAYERS by David Milsom of STRING PLAYERS CONTENTS Acknowledgements ...................................................................................................5 CD Track Lists ...................................................................................................................6 Bonus Area Website .................................................................................................18 Preface ..............................................................................................................................20 BIOGRAPHIES ................................................................................................................27 Credits ............................................................................................................................. 664 About the Author .................................................................................................... 665 3 of STRING PLAYERS of STRING PLAYERS ACKNOWLEDGEMENTS Thanks are due to the editorial team at Naxos for their unfailing patience and humour in a lengthy and, at times, frustrating project – my particular gratitude goes to Genevieve Helsby and Pamela Scray!eld. I would also like to thank all those who have given me the bene!t of their wisdom and expertise including, notably, George Kennaway, David Patmore, Tully Potter and Jonathan Summers – all of whom have provided elusive missing information and a considerable amount of helpful advice – as well as Robert Webb, who gave me a useful boost in terms of research
  • Dorking Celebrates VW in This Issue

    Journal of the No.21 June 2001 EDITOR Stephen Connock RVW (see address below) Society Dorking Celebrates VW In this issue... A striking new statue of Vaughan Williams, located outside Scott of the Antarctic Dorking Halls, was unveiled on Thursday 19th April 2001. Part 2 Ursula Vaughan Williams was the Guest of Honour and she was accompanied by the sculptor, William Fawke. The G ceremony was attended by over a hundred people. Uniquely, Sinfonia Antartica Brian Kay conducted the gathering in the street in a Introduction and CD Review memorable rendering of VW’s Song for a Spring Festival to by Jonathan Pearson . 3 words by Ursula Wood. Leith Hill Music Festival G The music for Scott of the Antartic Councillor Peter Seabrook referred to RVW’s long by Christopher J. Parker . 11 connection with Dorking. As a child he had lived at Leith Hill Place and he returned to live near Dorking from 1929 to 1953. He was conductor of the Leith Hill Music Festival The Times, The Times from1905 to 1953, an astonishing 48 years, and returned after and the Fourth 1953 to conduct performances of the St Matthew Passion until 1958. RVW had also supported the building of the Symphony Dorking Halls, so the placing of the statue outside the Halls by Geoff Brown . 15 was entirely right. Finally, Councillor Seabrook paid tribute to the sculptor, William Fawke, and to Adrian White CBE whose financial support for the project had been vital. And more …… Recognition CHAIRMAN Stephen Connock MBE It is welcome news that Surrey County Council 65 Marathon House, commissioned this lifelike sculpture to add 200 Marylebone Road, further recognition to Vaughan Williams’ London NW1 5PL remarkable contribution to English music in Tel: 01728 454820 general and to Dorking in particular.
  • RVW Final.Ps - 6/21/2005 13:40 PM

    RVW Final.Ps - 6/21/2005 13:40 PM

    1-28.ps - 6/21/2005 2:17 PM Journal of the No.33 June 2005 EDITOR RVW William Hedley Society Albion Records plans four CDs In this issue... The RVW Society is to go ahead with its own CD label called Albion Records. A dedicated fund has been set up to support this exciting venture and money has been provided by The VW and Religion: Garland Appeal to get things going. Our first recording project will be the complete songs of Ralph Vaughan Williams ● John Barr on Religion Over 100 songs will be included in the four CDs and they will be grouped as follows: page 2 Songs from the Operas ● Byron Adams on Religion Youth and Beauty – The early years Songs of Romance and Nobility page 4 Songs of Maturity ● RVW: What might have been There will be many world premiere recordings in these CDs including Willow Wood, for baritone by Colin Lees and piano – this work was recently recorded by Roderick Williams and conducted by David Lloyd- Jones in the orchestral version for Naxos. The Dirge for Fidele will be recorded in the original page 10 version for two mezzo-sopranos. Some of the early Tennyson songs will also be world premieres. ● A “Desert Island” List Do but look on her eyes We will launch our CD project with the Songs from the Operas. This includes: by Jeffrey Davis Page 15 Ten songs from Hugh the Drover Two songs from Sir John in Love Seven songs from The Pilgrim’s Progress and more . Eleven of these songs will be world premiere recordings in this format.
  • SCANDINAVIAN, FINNISH & BALTIC CONCERTOS from the 19Th

    SCANDINAVIAN, FINNISH & BALTIC CONCERTOS from the 19Th

    SCANDINAVIAN, FINNISH & BALTIC CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Composers R-Z JAAN RÄÄTS (b. 1932, ESTONIA) Born in Tartu. He studied piano at the Tartu Music High School and graduated from the Tallinn Conservatory as a composition student of Mart Saar and Heino Eller. Subsequently, he worked as a recording engineer at the Estonian Radio, chief editor of music programs, and then chief director and music manager of the Estonian Television and chairman of the Estonian Composers' Union. Most significantly, he has taught composition at the Estonian Academy of Music and his pupils include many of the most prominent Estonian composers of the present generation. He has composed orchestral, chamber, solo instrumental, choral, vocal and electronic music as well as film scores. His other orchestral works include Concerto for Chamber Orchestra No. 2 for Strings, Op.78 (1987) and the following concertante works: Piano Concertos Nos. 1, Op. 34 (1968) and 3, Op. 83 (1990), Concerto for Piano and Chamber Orchestra, Op. 41 (1971), Concerto for Piano, Four Hands and Orchestra, Op. 89 (1992), Concerto for Two Pianos and Orchestra, Op. 77 (1986), Concerto for Two Pianos, String Orchestra and Percussion, Op. 22 (1963), Concerto for Piano Trio and Orchestra, Op.127 (2006), Mini Concerto for Piano and Orchestra (2000), Violin Concerto, Op. 51 (1974), Concerto for Violin and Chamber Orchestra No. 3, Op. 96 (1995), Cello Concerto No.1, Op. 43 (1971, recomposed as Op.59 (1977), Cello Concerto No. 3, Op. 99 (1997), Concerto for Cello and Chamber Orchestra No.
  • The Delius Society Journal Spring 2011, Number 149

    The Delius Society Journal Spring 2011, Number 149

    The Delius Society Journal Spring 2011, Number 149 The Delius Society (Registered Charity No. 298662) President Lionel Carley BA PhD Vice Presidents Roger Buckley Sir Andrew Davis CBE Sir Mark Elder CBE Bo Holten RaD Lyndon Jenkins RaD Richard Kitching Piers Lane BMus Hon FRAM ARCM LMusA David Lloyd-Jones BA Hon DMus FGSM Julian Lloyd Webber FRCM Robert Threlfall Website: http://www.delius.org.uk ISSN-0306-0373 1 DSJ 149 Spring 2011.indd 1 19/04/2011 09:12 Chairman Martin Lee-Browne CBE Chester House, Fairford Gloucestershire GL7 4AD Email: Chairman@The DeliusSociety.org.uk Treasurer and Membership Secretary Peter Watts c/o Bourner Bullock – Chartered Accountants Sovereign House 212-224 Shaftesbury Avenue London WC2 8HQ Email: [email protected] Secretary Lesley Buckley c/o Crosland Communications Ltd The Railway Station Newmarket CB8 9WT Tel: 07941 188617 Email: [email protected] Journal Editor Paul Chennell 19 Moriatry Close Holloway, London N7 0EF Tel: 020 7700 0646 Email: [email protected] Front cover: ‘Beside the River’ (Grez), Robert W. Vonnoh (1858-1933) Back cover: A View of Hardangervidda The Editor has tried in good faith to contact the holders of the copyright in all material used in this Journal (other than holders of it for material which has been specifically provided by agreement with the Editor), and to obtain their permission to reproduce it. Sometimes, however, he has received no reply. Any breaches of copyright are unintentional and regretted. 2 DSJ 149 Spring 2011.indd 2 19/04/2011 09:12 Delius at the 1929 festival with Philip Heseltine and Jelka courtesy of The Peter Warlock Society 3 DSJ 149 Spring 2011.indd 3 19/04/2011 09:12 CONTENTS CHAIRMAN’S NOTES..................................................................................
  • Journal September 1993

    Journal September 1993

    rhe Elgar S6ciety JOURNAL SEPTEMBER 1993 CONTENTS Page Editorial 103 Articles Elgar as a Conductor - Part 111 104 "The Fair Maud" 108 Elgar and the Class Society - Part I 114 Obituary : Melville Cook 119 Annual General Meeting 1993 120 Random Ramblings... 122 Concert Diary 126 Concert Review 128 Music Review 129 Video Review 130 Book Reviews 131 Record Reviews 134 Branch Reports 144 Letters 146 Subscriptions Back cover The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. The cover portrait is reproduced by kind permission of RADIO TIMES ELGAR SOCIETY JOURNAL ISSN 0143-1269 The Elgar Society Journal 115 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER 081- 506 0912 EDITORIAL Vol.8, No.3 September 1993 The present upheaveal and turmoil in education must cause concern, not least in music. The effect of the combination of financial cutbacks and local management by schools has yet to be seen; but there are many who are already worried about a long­ term detenoration in the quality of instrumentalists, with a knock-on effect on orchestral standards, particularly as the decline in local authority supervision casts doubt on the network facUities they once provided, such as youth orchestras , wind bands, and the like. Several university professors of music wrote to The Times earlier this year to voice their fears on this issue. Another serious problem which has existed for some time is the decline in singing. As recently as 1935 "singing" - but not "music" - was one of a core curriculum of subjects issued by the Board of Eklucation.
  • Tasmin Littleviolin Paul Watkinscello Sir Andrew Davis

    Tasmin Littleviolin Paul Watkinscello Sir Andrew Davis

    Delius Double Concerto • Violin Concerto • Cello Concerto Tasmin Little violin Paul Watkins cello BBC Symphony Orchestra Sir Andrew Davis Frederick Delius, with his wife, Jelka (Helene,néeRosen) Jelka Delius,with hiswife, Frederick Lewis Foreman Collection Frederick Delius (1862 – 1934) Concerto for Violin, Cello, and Orchestra*† 21:43 For May and Beatrice Harrison 1 Quietly – 0:50 2 With moderate speed – Rather quicker – Rather quieter – Quicker – Quietly – Rather slower, molto tranquillo – Vigorously – 5:54 3 Slowly and Quietly – Molto tranquillo, rather quicker – Rather slower – [Cadenza.] Quicker – Rather slower – 7:20 4 Tempo I – Rather quicker, tranquillo – Quicker – Rather slower – Rather more lively – 4:10 5 Very quietly – Molto tranquillo, tempo I – Very quietly, slow 3:27 Violin Concerto* 25:28 For Albert Sammons 6 With moderate tempo – Rather quicker – Rather slower – Broad – Slower and very quietly – Vigorously – Maestoso – 5:58 7 Slower – 6:01 8 [Cadenza] – 3:23 3 9 Tempo I – Very broad – With vigour – Rather quicker – Rather slower – With vigour – 3:11 10 Allegretto – Più moderato – Rather quicker – 4:10 11 Broadly 2:43 Concerto for Cello and Orchestra† 21:23 Edited by Sir Thomas Beecham and Dr Eric Fenby 12 Slow – Not quick; quietly – 1:30 13 Meno mosso – Becoming slower – 4:38 14 Slow – Quicker – Rather slower – Rather quicker – Very slow – Very quietly – 6:51 15 Con moto tranquillo – Becoming slower and slower – 1:46 16 With animation – Becoming slower – 2:09 17 Rather slower, very quietly – Tempo I – Rather slower –
  • British and Commonwealth Concertos from the Nineteenth Century to the Present

    British and Commonwealth Concertos from the Nineteenth Century to the Present

    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Ralph Vaughan Williams (1872-1958) Born in Down Ampney, Gloucestershire. Generally acknowledged as England’s greatest nationalist composer, Vaughan Williams was taught at the Royal College of Music by Hubert Parry and Charles Stanford and received his musical doctorate at Cambridge. He had additional lessons from Max Bruch and Maurice Ravel. During his long life he prolifically produced music in all forms from chamber music to operas. His 9 Symphonies represent the peak of a large orchestral output that includes, in addition to the works listed below such ever-popular favorites as his Fantasia on a Theme by Thomas Tallis, English Folksong Suite and Serenade to Music. Piano Concerto in C major (1926-31, also arranged for Two Pianos and Orchestra, 1944) Victor Babin and Vitya Bronsky (pianos)/Sir Adrian Boult/London Philharmonic Orchestra ( + Job) EMI BRITISH COMPOSERS CDM 567220-2 (1999) (original LP release: HMV ASD2469 (1969) Kenneth Broadway and Ralph Markham (pianos)/Sir Yehudi Menuhin/Royal Philharmonic Orchestra ( + Symphony No. 5 and Nielsen: Symphony No. 4 and Violin Concerto {Arve Tellefsen – violin}) VIRGIN 561925-2 (2 CDs) (2001) (original CD release: VIRGIN CLASSICS CDZ 61105) (1989) Piers Lane (piano)/Vernon Handley/Royal Liverpool Philharmonic Orchestra ( + Vaughan Williams: Piano Concerto and Finzi: Eclogue) CLASSICS FOR PLEASURE 575983-2 (2003) (original CD release: EMI EMINENCE EMX2239)