DOCSLIB.ORG

Journal92-1.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Winter 1986, Number 92 The Delius Society Journal The Delius Society Journal Winter 1987, Number 92 The Delius Society Full Membership £8.00 per year Students £5.00 Subscription to Libraries (Journal only) £6.00 per year USA and Canada US $17.00 year President Eric Fenby OBE, Hon DMus, Hon DLitt, Hon RAM, FRCM, Hon FfCL Vice Presidents Felix Aprahamian Hon RCO Roland Gibson MSc, PhD (Founder Member) Sir Charles Groves CBE Meredith DaviesCBE, MA, BMus, FRCM, Hon RAM Norman Del Mar CBE, Hon DMus Vernon Handley MA, FRCM,D Univ (Surrey) Chairman RB Meadows 5 Westbourne House, Mount Park Road, Harrow, Middlesex Treasurer Peter Lyons 160 Wishing Tree Road, St. Leonards-on-Sea, East Sussex Secretary Miss Diane Eastwood 28 Emscote Street South, BelllIall, Halifax, Yorkshire Tel: (0422) Editor Stephen Lloyd 85a Farley Hill, Luton, Bedfordshire LU15EG Tel: Luton (0582) 20075 2 CONTENTS Thus Spake Zarathustra: Roy Henderson in conversation 3 Roy Henderson’s Delius: a survey of outstanding performances 12 Forthcoming Events 32 Roy Henderson as Guglielmo in Cosi fan tutte, Glyndebourne 1936 Additional copies of this issue £1.50 each, inclusive of postage ISSN-0306-0373 3 THUSSPAKEZARATHUSTRATHUS SPAKE ZARATHUSTRA... Roy Henderson in conversation On 18 August 1986 the Editor talked with the distinguished baritone Roy Henderson at his home in London. The following is an edited transcript of that conversation. From 1925 until 1944 Mr Henderson sang the part of Zarathustra in all British performances of A Mass of Life. Born in Edinburgh in 1899, he studied at the RAM from where he leapt to fame in the 1925lV25 Mass under Klenau, and within aayearyear Musical 'Is Opi';'ionOpinion was asking: 'Is he the long looked-for soloist for Delius's Sea Drift?'Drift?'TheThe conversation ranged over many aspects of an outstanding career, but it began with that notable debutd€but inin1925.1925. Can we start at the very beginning when you sang the part of Zarathustra in A 1 Mass of Life at a Royal Philharmonic Society concert in April 192519251,, with Paul Klenau conducting? Were you still a student? Yes. They say I was 24,24,butbut I was 25.25.I'dI'd won some prizes at the Royal Academy and two members of the Philharmonic committee had adjudicated a couple of them. The trouble was the baritone [Percy Hemin~]Heming2] cried off about a month before the concert. Unfortunately all the well-known baritones couldn't do the rehearsals or the concert. Nobody was available, and they were considering sending to America for a replacement when I think probably Percy Pitt said, 'There's 'There's a young baritone at the Academy I gave a prizepize to a month or so ago .... .'-'- and they risked it. I got a telegram from John Tillett (I was singing in Manchester at the time) asking me if I would sing this part for the noble fee of 10 guineas! Fortunately 1I was able to find a copy in the Manchester library and 1I looked through it and sent a wire (six pence in those days) acceptingacceptirtg the engagement. I took the copy out of the library and lived with it for the three-and­three-and- a-half weeks I had left. 1I was singing in a number of concerts during that period so I hadn't got all the time to study it. I took it to bed with me (I was unmarried at the time!) and 1I used to go to sleep looking at it. To me it was quite modemmodern music for its d:J.y.day. I'd never known any Delius before except for the odd song, but 1I was very lucky with Paul Klenau,3 the conductor, who was exceedingly helpful. He took me through the part. We had perhaps three or four rehearsals with piano and he taught me a good deal about the work. When it came to two days before the concert and we rehearsed for the first time with the orchestra,orchcstra,I 1found 1I could sing it without needing the score. I'd always been taught by my professor, Thomas Meux, never to look at the book, always to learn everything from memory. 1I still believe that's the only thing to do. I don't think you know a work unless you can put the book down. Anyway, when it came to the concert 1I put the book down, thinking nothing of it. As a young man you don't have the nerves you have when you are 40. It was only in the middle of the first solo that I felt a tiny bit of nerves, an anxiety. Fortunately I knew it so well that 1I could go on; just for about six bars I felt very awkward. After that I had no trouble whatsoever; I'd finished with nerves and I thoroughly enjoyed myself. 29 ocroBEROCTOBER 1934 ttA Delius's "A Mass ..A"A MASSOF LIFB''LIFE" DELIUS TRIBUTE of Life" BY B.B.C. IN LONDON - AN ADMIRABLE BEI]OIIA^\TnE]~CIIA31 CONDUCTS PERFORMANCE OVATIONFOR MADAIVTEMADAME .UASTDRPIBCE~IASTERPIECE DBLIUSDELIUS Sir T. Beecham's FrcnrFrom cer Music Critic OV.\TIONOVATION FOR FATIIERFATHER Triumph nFLEET EET 8m,EEE,STREET. WednesdsyWednesday OF AIR,AIR TIACERACE IIEROHERO The Bt.C.BB,C, could havchave mrdcmade tutno more flttlfflttlnc chotcechoice for the opmtngopening otof thelrtheir By8y RICHARD CAPELL Sir Thomas Beecham conducted the Sir Thomas Bee&en conducted symphony concert oeasonseason tsntghtto-nlght _ ThoThe rintcrwinter conccri!concerts of tbcthe B.B.C.B.B.C, B.B.C. Orchestra and tbethe Philharmonic tbanthan Dellus'sDeUus's ".. A MaEsMass olof Llfe."Life," The OtchcttsOreheatra wcrcWPre belunbegun laltlast niqhtnight at Choir at the first of the B.B.C. Queen'sQucen'e Hall with aa-tributatribute to FrederiekFrAsick occasionoccaslon W:lSwas not onnc:'-ccd:lnnc~"ccd asgS :la Doliu+- in thc pcr(otzrance, Symphony Concerts in the Queen's DeliU8, in the form of as performance. Hall last night, when the programme memorialmemorlal concert, but,but. Inln effect,efleci, the exemplarycxcmplary in beautybcautv and understandinll'uriderrtanding, 3ffI hishb masterpiece,nrost€rpie!€. ..- A YILlIlI of Life." m consisted of Delius's .." Mass of Life." performancep~rformance could not but be a tribute A IIss of ljfe," iir could not but b€ trlbu0c which CharlesClurlei KennedyKennedv Scott'.Scott'r Philhar­Pbillrar. This was to have been sung inln thethc ruog toio the composer WhosewhoEe masterpiecemasterplece monictrrunic Choir lookrook poUt.rrit. Sir ThowasTlroura^r originalortginal German.German, but oWingowing to the illnessillnesr thisthls musl::nust3 Wl1.lI.was. DIlClCh.lmBoochrrnt conducted.conducted.' of Hermann Nissen and Olga Haley (for 'Irue. )Irr. Deliuc of Hermann Nissen and Olga Haley ·rrue. wo beganbegBu withwtth <Ilaappolntmentdlsappolotment Inln lira. DeIJus h3dhrd cocoecqoc Iromfran FraaceFnoo lor whomrtr'hom Roy Henderson and Astra Desmond tlr ccrrion. Whcn learning that the work.rorE. nfterrfler all, waas8s not to the oce....ion. WheD she tooktmk hhcr..r seatseai shesho acted as substitutes).substitutes), it was a!terafter alldl given teaurtug tbst tlro oll. war chared glven w". cheered by thethc ehoirchoir and fiowenflovcn we."wcm in English-a pity,pity. for the German text bcbp given Intn the originalorlghsl Gcrmnn,Gcrmsn. becausebccnuse pre""ntedprcrentcd to her.h"r. contains some beautiful poetry, whilc atof thelhc Ulnelllnc3r.. of oneona ofo( the soloists.tolotsts. No TheThs hlrull..lI wwre•• soldpld out.out, andgrd at thethc endond :~s\a~f~h:O~~li~~~~iifY~d~:~~~l. while most of the English text is doSgerel. EngllshEngltlh trana1at.1onoltranrlatlon ol Nlotzlchr'tNlotzache's "Also" A160 theretlrerc wer"serc ovovdlioru..tiona farfor Sir ThO<'Dla.Tho<ur andond lorfor This, Delius's most ambitious work, islr Sprachsprrch Zaratbuetra"Zrntbultrr " could conveyooryay morenlore thetho priucil',,1prirciprl ...xrloirt,1".. 1. BooyRoy Hendenon.Hcndonon, The fortunately fairly well knownkno*rr now. There Ul&llthtsr anaa outlineoutlhc otof Italtr superman,6upornaD. or morenore nUlhaudlenec..Dee wouldwoukl Dotnot dlsprrsedisperca unt,luntil Jti! hud as are things in it.it, such as the firstfirEt chorus ch,rrur (ffittnq thantlran ar talnttslnt echoecbo atoJ hl.lhb tJloughl.8.tAoucht!. ThatThsc ch.. ",,,, 01ol lot......t'"\( KenDerlyKennaly -PhilhrmorcS<-ott.|icolt, thth... andsnd some of the earlier writing fortor the forrrrder $hlch\\'hlch wasxrr| uladused at thlathtr concertco[cer! liucceedcej.6uccecdcd I"tlnder "Ddrnd trdlll"rtrarncr 01o[ thetirs PhilhannoUlc baritone, which do notDot quite come off,ofl, but Choir.Choir, atst timestlDes only Inln blurringblurrlng thethc outlineorrtlinc audltld even here there is fine music. And as The .-einl{el1iringeru shoutedsltoutsd in unison, U" \Ve wtlntwrnt for the reflectiverellcctive passages andaDd the pas­pas- ,Uenclngouenclog thetho echO.echo. It cancsD bebo admittedtdmltted thattlut SeolLSeutrl"I" anduDd atst, ....Ii.t t ~Ir.}lr. Scott appeared.rpocarql, sages that describe the heat of noonday thereticrc waswo8 alwaysslwsi'! the quickeningquickenlng IUfluenceltrlluettce In ...a rhorthort .•.rymh~h he ouidurd thatthlt he 'vasiris wellmll or the solitudeEolitude of midnight.midnight, and, forlor the f't thetlrc mualcmullc lteeltlta.lf to maltomtLo allell thing.tlrhgs pln:n;plB:n; awar"awsro thattlut the applaapplaun...... wwar... me"ntmcint a.ar much matter of that, the whole of the second ol matter of that. the whole ol t}le second but.bu!. Inhr aI lIOOroaoolio atot thl.lthl,r kind,ktnd, Wherewhcro thetlre lorfor hi.lris 'OD-e.son-L'. W.\v. A...1. Seotl.sco!t, 01of thetho ~lel­.\lel- part as it appears in the presentprcsent version, comp068rcompo66r deliberatelydGllbcr.tely sUbJecUl.ubJects thought andarrd bournbourno ....rririr rruo-ar..ce- .... himself.hirrrself. theythey are superb,supsrb, ravishing, truly the stuftstufi y<rrrrg aenslbl1ltytcnstlrtltty to t.lleUrc mindElad andaDd languagol4nguogo 'le.)( Rp{flrrin'{Roferrinq to ••" thuttlrst young jl(entlf'IJlan's"gentlnnran's " that dreams are made oL rxpl,,;t,erploit, loaho .aidsord hhe.
Recommended publications
  • Theofficialorgan of Thebbg

    Theofficialorgan of Thebbg

    Radio Times, duly 9th, 1926, THE WIRELESS SERMON. i naa a AERO DuAOFES sal (Ea? —_ 7 FONg 7 a IRELae! AEWA ent eames Meat LEFOS-aeaorogo AoE eer | Lever aPoo PRecLay et (ALAI \ ql bayer rigs PanaeeTER eeSHERRIE LO alt get Cia se Promt:ere (Recah we F cea) & a AaTauNGrant S08 40508 LA Lay LonDon ot Prtetas _— pe vnaourtl sntt act | PNEd8T i T R a g e ATTYnn ' : A i aTIT THEOFFICIALORGAN OF THEBBG Thelater cal at Live, Vol.1:12,No. 145, GP. as a Wewepapnr, ‘EVERYFFRIDAY. aes Pence.e. eaiiaeiieetetlicemma ~ -——_—o SS <<— An Editor. Looks at the Mininknnd: By Si ROBERT DONALD, G.B.E., LL.D. HERE is a coming issue which cannot be this direction and the American- Press has newspaper with international athhiations. ignored—the extent to which broad- not been affected by the competition. lts readers, or subscribers, will demand more easting will interiere. with the progress of We are approaching the stage, however, news, and if the Press and news agencies the Press, or change its character. At this put an embargo on the supply, the B.B.C. stage of development, radio is an ally, Will be foreed to collect its own: news af rather than a rival. It i¢ a supplementary all important events. It has been urged service, not an alternative. At first, wireless” that it is beyond the means and the capacity telegraphy was regarded as supplementary of -a broadcasting organization to collect to cables. Now, it is looked upon as a serious foreign news and that &-must temain competitor, Radio is a ‘cheap universal dependent on existing agencies, That is not information, “news, education, and enter- the case, a5 broadcasting stations could tainment service which is delivered into.
  • Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn

    Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn

    The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence.......
  • August 1935) James Francis Cooke

    August 1935) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1935 Volume 53, Number 08 (August 1935) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 53, Number 08 (August 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/836 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE AUGUST 1935 PAGE 441 Instrumental rr Ensemble Music easy QUARTETS !£=;= THE BRASS CHOIR A COLLECTION FOR BRASS INSTRUMENTS , saptc PUBLISHED FOR ar”!S.""c-.ss;v' mmizm HIM The well ^uiPJ^^at^Jrui^“P-a0[a^ L DAY IN VE JhEODORE pRESSER ^O. DIRECT-MAIL SERVICE ON EVERYTHING IN MUSIC PUBLICATIONS * A Editor JAMES FRANCIS COOKE THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A monthly journal for teachers, students and all lovers OF music PHILADELPHIA, PENNA. VOL. LIIINo. 8 • AUGUST, 1935 The World of Music Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everyw er THE “STABAT NINA HAGERUP GRIEG, widow of MATER” of Dr.
  • Robin in Context

    Robin in Context

    Robin in context Introduction Robin produced some 115 compositions, among them a symphony, a violin concerto, a ballet, a masque, an opera, two oratorios, chamber music, pieces for piano and for organ, songs and choral works, both small- and large-scale. However, in addition to being the composer’s favourite and most personal genre, the songs for solo voice and piano are Robin’s largest and most condensed genre. These compositions will now be considered here within the context of early twentieth century English music and later through critical analysis. By the time Robin commenced song composition, a school of English song was well established through the work and compositions of such ‘main’ composers as Parry, Stanford, Vaughan Williams, Gurney, Warlock and Finzi. However, in the contextualisation of Robin’s songs, other aspects need to be considered in addition to the main composers of song. These include the existence of a twentieth century English musical renaissance and its main composers; Robin’s studies at the Royal College of Music; contemporary composition students at the RCM; the ‘organ loft’ song composers; the friendship with Balfour Gardiner; and the development of music publishing, the British Broadcasting Company (subsequently, Corporation), musical education in schools and amateur music-making (including the many local musical festivals throughout the country). 1 The twentieth-century English musical renaissance Howes (1966) and Hughes/Stradling (1993) suggest and have proven the existence of a twentieth century ‘English musical renaissance’. Having argued the necessity for such a phenomenon, these writers explain its development, including a revival in the music of the Tudors and Bach, and a systematic preservation of and belief in English folksong.
  • Disability and Music

    Disability and Music

    th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves.
  • 1965 Bach Festival Program

    1965 Bach Festival Program

    v; lJ:) ~ ~ ~ :::: en ....~ Co! 1:: - rl i4 .... Co! Q ~ tl)" ..1::< Q Q ~ a ,E ~ ~ N ..... Q tl\ Q a ~ t-...." ~ Ill - 1:: IJ:) ~ ~ ~ ~ - Co! ,.p 1:: :+.. ~ ~ ':!' ~ e ~ 1:: ~ tn ;:; tn :.... lJ:)" -;:; a a Q .s ...... @ ...e. 1:: i4 ....e" ~ (>! .... 1:: Q • (>! ......... ..... i4 ..... 1:: Ill ~ ...e. ~ ~ :::: $::; tl\ ~ .... (>! ~ :.... M " - (>! 1:: ~ (>! ..1::< ...e. ...e. $::; ~ ~ ...!:! tl\ ~~ E (>! $::; (>! O,f (>! ..... 1:: - ....e" .... tl\ ~ - ~ ] ~ :+.. ..1::< Q $::; 1:: tl\ 2rv ~ :.... i4 Q - ~ ..a 1:: ~ ~ ~ ~ at ~ THE BACH FESTIVAL COUNCIL PROGRAM NOTES Dr. Russell Hammar, Director Dr. \Veimer K. Hicks, Honorary Chairman Miss Barbara \Veller, Administrative Secretary by Lawrence R. Smith Dr. James Miller, Honorary Member Dr. Henry Overley, Director Emeritus First Concert Dr. Harold Harris, Executive Co-Chairman ( 1962-65) Mrs. R. Bowen Howard, Executive Co-Chairman ( 1963-66) The fifth of Bach's six Brandenburg Concertos displays as dramatically as any other work his intense mastery in fusing the traditions of the past, which he derived from the works of the ARTISTS COMMITTEE PATRON-SPONSOR COMMITTEE Venetian masters; the currents of his own time, in which his greatest single inRuence was from Mr. E. Lawrence Barr 1962-65 Mrs. Lester Start, Chairman Vivaldi; and his own forward-looking inventiveness. The colorful instrumentation of the work, Dr. J. M. Calloway Mrs. Russell Carlton 1963-66 using a string instrument, the violin; a woodwind, the flute; and a keyboard instrument, the Mrs. Maynard Conrad 1964-67 Mr. Neill Currie 1964-67 harpsichord, as the concertina group against the mass of the string ripieno, reflects the polychoral Mrs. Marion Dunsmore 1964-67 Mrs. John Correll 1964-67 productions of Gabrieli and his followers at Venice at the juncture of the Renaissance and Mrs.
  • DELIUS BOOKLET:Bob.Qxd 14/4/08 16:09 Page 1

    DELIUS BOOKLET:Bob.Qxd 14/4/08 16:09 Page 1

    DELIUS BOOKLET:bob.qxd 14/4/08 16:09 Page 1 second piece, Summer Night on the River, is equally evocative, this time suggested by the river Loing that lay at the the story of a voodoo prince sold into slavery, based on an episode in the novel The Grandissimes by the American bottom of Delius’s garden near Fontainebleau, the kind of scene that might have been painted by some of the French writer George Washington Cable. The wedding dance La Calinda was originally a dance of some violence, leading to painters that were his contemporaries. hysteria and therefore banned. In the Florida Suite and again in Koanga it lacks anything of its original character. The opera Irmelin, written between 1890 and 1892, and the first attempt by Delius at the form, had no staged Koanga, a lyric drama in a prologue and three acts, was first heard in an incomplete concert performance at St performance until 1953, when Beecham arranged its production in Oxford. The libretto, by Delius himself, deals with James’s Hall in 1899. It was first staged at Elberfeld in 1904. With a libretto by Delius and Charles F. Keary, the plot The Best of two elements, Princess Irmelin and her suitors, none of whom please her, and the swine-herd who eventually wins is set on an eighteenth century Louisiana plantation, where the slave-girl Palmyra is the object of the attentions of her heart. The Prelude, designed as an entr’acte for the later opera Koanga, makes use of four themes from Irmelin.
  • RCA LHMV 1 His Master's Voice 10 Inch Series

    RCA LHMV 1 His Master's Voice 10 Inch Series

    RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op.
  • Operaharmony

    Operaharmony

    #OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
  • A Village Romeo and Juliet the Song of the High Hills Irmelin Prelude

    A Village Romeo and Juliet the Song of the High Hills Irmelin Prelude

    110982-83bk Delius 14/6/04 11:00 am Page 8 Also available on Naxos Great Conductors • Beecham ADD 8.110982-83 DELIUS A Village Romeo and Juliet The Song of the High Hills Irmelin Prelude Dowling • Sharp • Ritchie Soames • Bond • Dyer Royal Philharmonic Orchestra Sir Thomas Beecham Naxos Radio (Recorded 1946–1952) Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime • Near-CD Quality www.naxosradio.com 2 CDs 8.110982-83 8 110982-83bk Delius 14/6/04 11:00 am Page 2 Frederick Delius (1862-1934) 5 Koanga: Final Scene 9:07 Royal Philharmonic Orchestra • Sir Thomas Beecham (1879-1961) (Royal Philharmonic Orchestra and Chorus) Recorded on 26th January, 1951 Delians and Beecham enthusiasts will probably annotation, frequently content with just the notes. A Matrix Nos. CAX 11022-3, 11023-2B continue for ever to debate the relative merits of the score of a work by Delius marked by Beecham, First issued on Columbia LX 1502 earlier recordings made by the conductor in the 1930s, however, tells a different story, instantly revealing a mostly with the London Philharmonic Orchestra, in most sympathetically engaged music editor at work. comparison with those of the 1940s and 1950s Pulse, dynamics, phrasing, expressive nuance and All recordings made in Studio 1, Abbey Road, London recorded with handpicked players of the Royal articulation, together with an acute sensitivity to Transfers & Production: David Lennick Philharmonic Orchestra. Following these two major constantly changing orchestral balance, are annotated Digital Noise Reduction: K&A Productions Ltd. periods of activity, the famous EMI stereo remakes with painstaking practical detail to compliment what Original recordings from the collections of David Lennick, Douglas Lloyd and Claude G.
  • Information to Users

    Information to Users

    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl 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 phnt, 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 UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed 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 comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
  • Performing National Identity During the English Musical Renaissance in A

    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’.