Dame Clara Butt (1872 – 1936)
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Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • 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 Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto -
A Night with the Choir Prog 18.5.19 AMC
FAURÉ: CANTIQUE DE JEAN RACINE TAVENER: THE LAMB Welcome... From the DIRECTOR OF MUSIC A very warm welcome to you all and thank you for coming to St Bartholomew’s Church, Orford. The Choir always enjoy singing here with the Church’s beauty, vibrant acoustics, and its relationship with Benjamin Britten, who performed and recorded here on many occasions. Tonight’s concert shows the range of musical styles the Choir sing, from the 15th to the 20th Century. This is our last concert of the Season but we return to Snape Maltings on 23rd November with a performance of the Verdi Requiem and again on 21st March 2020 with a Bach and Vivaldi programme. We return to Orford on 16th May with music by Mozart, Purcell and Haydn. Edmond Fivet From the CHAIRMAN The choir has had a very enjoyable and successful 2018-19 season. No one will forget the atmospheric and sell-out performance of Karl Jenkins’ The Armed Man – A Mass for Peace, last November at Snape, held so close to the 100th anniversary of the signing of the armistice in the Great War. This was followed by a totally contrasting concert in March when we celebrated the genius of The Amazing Mr Handel in a number of his choral and instrumental works. Tonight’s performance gives us an opportunity to display more of the breadth of repertoire undertaken by the choir. At the end of the season on the choir’s behalf I must offer grateful thanks to all our patrons and sponsors for their continuing support. -
Bristol 1927-1933 by John Lyes
Moo o 8Z.Str-t-c-J AN 2715119 0 THE BRISTOL BRANCH'OF THE HISTORICAL ASSOCIATION LOCAL. HISTORY PAMPHLETS IIIIII IIIIIII I IIII II II I IllI 111111111111111 BRISTOL Hon. General-Editor: PETER HARRIS 1927-1933 Assistant GenflralEditor: NORMA KNIGHT Editorial Advisor: JOSEPH BETTEY Life in Bristol at the end of the 1920s and in the early years of the 1930s was to some extent overshadowed by the problems of the unemployed who resented being subject to the means test and having to perform 'test' work Bristol 1927�1933 is the one hundred and eleventh pamphlet in this series. in order to secure relief. There were ugly scenes in the streets as they gave John Lyes is the author of 'A Strong Smell of Brimstone': The Attorneys voice to their protests. In 1930 the responsibility foradministering relief was and Solicitors of Bristol 1740-1840, Bristol 1901-1913, Bristol 1914-1919 transferred from the Guardians to the City Council. Even many of those in and Bristol 1920-1926 (nos. 98, 104, 107 and 109 in this series). work suffered pay cuts. In the Council chamber Labour councillors The publication of a pamphlet by the Bristol Branch of the Historical increasingly challenged the authority of the Citizen ruling party; they were Association does not necessadly imply the Branch's approval of the particularly concerned that the method of appointing aldermen deprived opinions expressed in it. them of the scale of representation that they felt they deserved. The Historical Association is a national body which seeks to encourage During this period the face of the city was changing as a result of interest in all forms of history. -
ARSC Journal
ELISABETH SCHU}~.NN ON THE ART OF SONG INTERPRETATION: MOZART: Das Veilchen; SCHLiF::rr: Lachen unc~ weinen; BRAHMS: Vergebliches Standchen; STRAUSS: Morgen; SCHUBERT: Die Forelle; WOLF: Mausfallen-Spruchlein; In dem Schetteil°meiner Locken (with Ernest Lush, piano) (1950). Pre ceded by MOZART: Il Re pastore--L'amero sero costante; Alleluia (with BBC Symphony; Sir Henry Wood, conductor, 8 September 1936). IGI 274 (Educational Media Association, P. 0. Box 921, Berkeley, California 94701) These lectures have been around before as EJS 328. Schumann opens with some general remarks on singing and teaching in rather quaint but perfectly clear and understandable English. She sings each song through, then offers a few points on interpretation. She places strong emphasis on the importance of the words. There are points about the art of coloring the voice, about breath control and vowel sounds. In Morgen, she says, the singer must be "singing" mentally from the beginning of the prelude, so that when she comes in she is already with it. One remembers her as one of the few singers who really did this. Also in this song, she speaks of the importance of counting the rests in the final lines. Her voice in 1950 was by no means what it had been, but some of the old sparkle was still there, even when the going was not easy. She concludes her talk with encouragement to the young singer - don't worry - have confidence. The lecture is preceded by the Re pastore aria and the Alleluia in a public performance, complete with tumultuous applause. L'amero is less fresh vocally than in her earlier commercial recording; the old radiance is there in the upper voice, but the bottom is rather weak. -
Columbia Records Catalogue 1922
Complete to Supplement No. 60.1 CURRENT PRICES OF COLUMBIA RECORDS. DARK BLUE LABEL (Doable,S,ided)v__I'sges_60 to 103 10 inch 3/6 12-inch 516 .. ... Hebrew-Jewish Records-see page 110. Wm. McEwan Sacred Album 42/- . each The Children's Bo:-" (see 103) 21/- page - LIGHT BLUE LABEL ('J Pc.'er 9 42 uble-Sided; , to 10-inch 5/- each 12-inch 7/6 ea -a "Daughter of Madame Angot " A1Lum 13 s."."EEN LABEL. Pages 43 to 59 PINK LABS L, GRAND OPERA (Single-Side d Page 1C 12-inch 1246 iva-dica only. ... .. ... each BROWN LAB-Z.. ITALIAN OPERA ;Double-Sided) 104 to :106 516 10-inch :3/6 each ... )'L iach eac" RMEN' Ai .um, compieta 0 1.'Sa i i)A " Aihurn, containing Complete Opera £ r "i?ICOLETfO"Album,containingCompleteOpera . £4 8n. `IteCards. '::tng txdn>,flcru/t4 ruder P.rittlA! CAUTION..--Cuwnrbta 3ety '4;,stralian Zealand Parents, naý" ný: b! aal for :slr! ar offered fir salt at less than Al autfori,ed pries: fixed tAo,* liaFls eannrrier respa,iaýrly. euir,{;;r rendering LRtk ells:- ant pýr'`arer to damage for infringe sent"-ssýwýwý++.ýmr ýrnllls.. ý7s8 BRIT'S}-?!NST;TUTE QE SOUND, 922 SUPPLEMENTARY CATALqQIWTION;(7DFD ROAD, i iris Supplementary Catalogue includes all Columbia Records issued in the supplements Nos. 61 to 65 and Special Issues. and with the 1922 Catalogue comprises the complete Columbia repertoire to the No. 65 and " Lady of re Rose " Supplements. I ORPLE LABEL-12-In. Single-Sided. 716 LIGHT BLUE LABEL-12-in.-contd. 72:18 (Carmen-My Mother I Behold ILe Chasseur Ntaudit (Tbe Accursed l Duct: Shaba Mullings and 1.1423{ Hunter). -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music The English Voice of the Mid-Twentieth Century: Ferrier, Deller and Pears by Xin Ying Ch'ng Thesis for the Degree of Doctor of Philosophy March 2016 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the Degree of Doctor of Philosophy THE ENGLISH VOICE OF THE MID-TWENTIETH CENTURY: FERRIER, DELLER, PEARS Xin Ying Ch’ng This thesis explores how the reception of Kathleen Ferrier, Alfred Deller and Peter Pears’s voices gave new insights into the constructions of national musical identity in mid- twentieth century Britain. I highlight how an exploration of the ‘national voice’ constitutes both an idealisation of musical sound and national belonging. Through voice, I offer not only a new methodological approach to the question of musical nationalism, but also an understanding of its embodiment through concepts of gender and sexuality. -
Defining the Contralto Voice Through the Repertoire of Ralph Vaughan
DEFINING THE CONTRALTO VOICE THROUGH THE REPERTOIRE OF RALPH VAUGHAN WILLIAMS Sarah M. Daniels, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Jeffrey Snider, Major Professor Stephen F. Austin, Committee Member Paula Homer, Committee Member Stephen F. Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Daniels, Sarah M. Defining the Contralto Voice through the Repertoire of Ralph Vaughan Williams. Doctor of Musical Arts (Performance), May 2014, 41 pp., 32 musical examples, bibliography, 62 titles. At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. -
Prominent Women Performers in Voice, Piano and Violin, Born Since 1840
PROMINENT WOMEN PERFORMERS IN VOICE, PIANO AND VIOLIN, BORN SINCE 1840 BY ELIZABETH ADELLE McCLURE THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Digitized by the Internet Archive in 2013 http://archive.org/details/prominentwomenpeOOmccl UNIVERSITY OF ILLINOIS J}ine_^5 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Elizabeth Adelle McClure ENTITLED P?.P.in.ine.n^.. Jp.?^e.A...Pe^^ .yiQl.in.,....BQrA...S.lng.a..aMQ.. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF Bs^Q]^elQX...Q.t..MMQXG.. Approved HEAD OF DEPARTMENT OF....SC:hool.. of ..Musio. 408271 UlUC " INTRODUCTION Women have had a certain handicap in nnieical matters, but they have furnished the great body of amateurs, without which, the profeseional artistic world would have had a sorry time. In former ages women were confined to the duties of the household. They managed their domestic duties well, regardless of the fact, that there were no women's clubs to assist them. Their educational outlook was narrow, and the fact that they were confined to their homes, gave them opportunities to study the arts, that the men of the time did not possess. Later women's opportunities enlarged and today they are thoroughly "emancipated." They attend the same colleges as their brothers, engage in the same occupations and enter the same pro- fessions. Women are given an equal chance of representation on programs as men and axe welcomed as performers, "Woman has been called the Queen of the home." However, since the arts and sciences have been open to women, they are no longer satisfied with this. -
Journal July 1998
rhe Elgar Society JOURNAI Edwards El^ar. JULY 1998 Vol.10, No.5 The Elgar Society Journal 107 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER Tel: 0181 - 506 0912 Fax; 0181 - 924 4154 e-mail; hodgkins @ compuserve.com CONTENTS Vol.lO, No.5 July 1998 Articles Elgar and Gerontius; the early performances (Part 1) 206 Reactions to Elgar/Payne Symphony no 3 230 Elgar and Light Music - further observations 244 Record Reviews 245 Letters 249 100 years ago... 255 Front cover : After the performtince of The Dream of Gerontius in Diisseldorf in December 1901, Elgar was awarded a laurel wreath. This photograph accompanied one of the complimentary reviews which appeared in the German press (see pp 226-230) *************************************************************************** The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. ELGAR SOCIETY JOURNAL ISSN 0143 - 1269 ELGAR & GERONTIUS; the early performances Lewis Foreman (This Study was first prepared as an evening for the London Branch, and was given on 3 February 1997. In presenting an oral treatment, the aim was to try to give as vivid a feeling as possible for the singers in those early performances. Although no music from Gerontius was recorded until Clara Butt made her four sides of extracts in 1916, now available on an Elgar Society CD, many of the early soloists made records, often sounding surprisingly vivid despite the primitive acoustic process, / and giving an idea of how they must have tackled their roles in Elgar's music. A selection of these was played during the evening, and the discography of the main singers involved and the characteristics thus revealed, are discussed during the paper that follows.I . -
The Late-Romantic English Cello School –
THE LATE-ROMANTIC ENGLISH CELLO SCHOOL – Whitehouse, Stern, Walenn, Squire, Such, Mukle, James, Trowell, Salmon, Sharpe, Harrison, Kennedy, Pini, Kilby, Cameron, Clark, Reiss, Butler, Hampton, Hooton, Joseph and Pleeth prepared by David Johnstone AN IMPORTANT NOTE FROM johnstone-music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are very pleased for you to have a copy of this article, which you may read, print or save on your computer. You are free to make any number of additional photocopies, for johnstone-music seeks no direct financial gain whatsoever from any download; whether it be an original work, a transcription-arrangement, or an article, though the name of THE AUTHORS should be clearly attributed if any document is re-produced. Information on Arnold Trowell is included with the permission of Martin Griffiths (original author) Also full credit should be given to Joseph Stevenson for information on Thelma Reiss, and Margaret Campbell for information on Antonia Butler Also a big thank you to Jonathan Hunt for making a number of most useful further comments, and *cough* for pointing out a few small errors! If you feel like sending any (hopefully favourable) comment about this, or indeed about the johnstone-music web in general, simply visit the ‘Contact’ section of www.johnstone-music.com and leave a message with the details - we will be delighted to hear from you ! We have to mention that many cellists are accompanied by photos and/or short musical extracts of only a few bars duration. In many cases it is impossible to know the origin or owner of these. -
The Prince's of Park Row the University, Bristol
BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION THE PRINCE'S OF PARK ROW THE UNIVERSITY, BRISTOL Price 90p. 1983 Don Carleton BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION LOCAL HISTORY PAMPHLETS Hon. General Editor: PATRICK McGRATH Assistant General Editor: PETER HARRIS The Prince's Theatre, Bristol is the fifty-fifth pamphlet to be published by the Bristol Branch of the Historical Association. THE PRINCE'S THEATRE The author, Don Carleton, is Information Officer in the University of Bristol and West of England correspondent for Drama and for Plays and Players. His great interest in the history of the theatre in general and of the Prince's Theatre in particular Sunday 24 November 1940 was a typical late autumn day in has enabled him to paint a fascinating picture of a theatre which Bristol. All day there were dull leaden skies with a light mist for many years was very dear to the hearts of Bristolians. towards sunset. As darkness came there was an air-raid. Showers The author wishes to acknowledge the help he has received of incendiary and high explosive bombs fell upon the city. During from many Bristolians who gave him personal recollections in the first hour 20 fires were reported and rescue services were writing or on the telephone and who showed him memorabilia of called to 86 separate occurrences. For many hours the fires raged, their visits to the Prince's Theatre. He owes particular debts of their fury such that they gave the intensity of daylight to the city gratitude to Adrian Varcoe, the distinguished Bristol variety centre. -
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