The Delius Society Journal Winter/Spring 1996, Number 118
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Dark Unknown History
Ds 2014:8 The Dark Unknown History White Paper on Abuses and Rights Violations Against Roma in the 20th Century Ds 2014:8 The Dark Unknown History White Paper on Abuses and Rights Violations Against Roma in the 20th Century 2 Swedish Government Official Reports (SOU) and Ministry Publications Series (Ds) can be purchased from Fritzes' customer service. Fritzes Offentliga Publikationer are responsible for distributing copies of Swedish Government Official Reports (SOU) and Ministry publications series (Ds) for referral purposes when commissioned to do so by the Government Offices' Office for Administrative Affairs. Address for orders: Fritzes customer service 106 47 Stockholm Fax orders to: +46 (0)8-598 191 91 Order by phone: +46 (0)8-598 191 90 Email: [email protected] Internet: www.fritzes.se Svara på remiss – hur och varför. [Respond to a proposal referred for consideration – how and why.] Prime Minister's Office (SB PM 2003:2, revised 02/05/2009) – A small booklet that makes it easier for those who have to respond to a proposal referred for consideration. The booklet is free and can be downloaded or ordered from http://www.regeringen.se/ (only available in Swedish) Cover: Blomquist Annonsbyrå AB. Printed by Elanders Sverige AB Stockholm 2015 ISBN 978-91-38-24266-7 ISSN 0284-6012 3 Preface In March 2014, the then Minister for Integration Erik Ullenhag presented a White Paper entitled ‘The Dark Unknown History’. It describes an important part of Swedish history that had previously been little known. The White Paper has been very well received. Both Roma people and the majority population have shown great interest in it, as have public bodies, central government agencies and local authorities. -
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....... -
In Concert AUGUST–SEPTEMBER 2012
ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer. -
Journal81-1.Pdf
January 1984, Number 81 The Delius Society Journal The Delius Society Journal-_._- January 1984, Number 818l The Delius Society Full Membership £8.00f,8.00 per year Students £5.0095.00 Subscription to Libraries (Journal only) £6.00f,6.00 per year USA and Canada US $17.00 per year President Eric Fenby OBE, Hon DMus,D Mus, Hon DLitt,D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM Meredith Davies CBE, MA, BMus,B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon DMusD Mus YemonVernon Handley MA, FRCM·,FRCM, D Univ (Surrey) Chairman RBR B 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, Bell Hall, Halifax, Yorkshire Tel: (0422) 5053750537 Editor Stephen Lloyd 41 Marlborough Road, Luton, Bedfordshire LU3 lEFIEF Tel: Luton (0582)(0582\ 2007520075 2 Contents Editorial . .33 lamesJamesFarrar: Poet, Airman and Delian by Christopher PalmerPalmer. .4 LeslieLeslieHewardbyLyndonJenkinsHeward by Lyndon lenkins .....1313 Fennimore and Gerda at the Edinburgh Festival by Gordon LovgreenIovgreen. .1616 Correspondence .....212] ForthcomingForthcomingEventsEvents ...2121 Acknowledgements The cover illustration is an early sketch of Delius by Edvard Munch reproduced by kind permission of the Curator of the Munch Museum, Oslo. The two photographic plates in this issue have been financed by a legacy to the Delius Society from the late Robert Aickman. ISSN 0306 0373 3 Editorial Perhaps the most keenly anticipated event to have occurred within the past three months has been the publication of Lionel Carley's Delius: A Life in Letters 1862-19081862-1908 (Scolar Press, £25). -
NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection. -
TESTAMENT Booklet Note English
TESTAMENT booklet note English SBT 1310 Maurice Gendron which formed most of the basis of the pastiche, but persuaded Pablo Casals to conduct his recording of it. Gendron published a number of The French school of cello playing had a most distinguished history in the transcriptions and was a superb deviser of cadenzas for classical twentieth century. First came Maurice Maréchal (1892-1964) and then the concertos such as those by Haydn – he also made the first critical edition trio of Pierre Fournier (1906-86), André Navarra (1911-88) and Paul of the D major Concerto. He taught in Saarbrücken (from 1954), at the Tortelier (1914-90). They have often been represented as the Three Menuhin School and at the Paris Conservatoire (1970-87), but acquired a Musketeers of the cello; and their d’Artagnan was the slightly younger reputation as a tyrannical taskmaster and did not produce any notable Maurice Gendron. For various reasons his career did not have the staying pupils. In the early 1970s he suffered a fearful car accident in which a power of theirs, and so this reissue – which takes us back to quite an shoulder was severely damaged. He fought his way back and in 1985 early stage in his progress – is particularly timely. reappeared in London for a 40th anniversary recital, but was not the same Born in Nice on 26 December 1920, Gendron was brought up in a force as before. He died on 20 August 1990 at the riverside home in poor household by his mother and grandmother, his father having Grez-sur-Loing where he and his wife, a former violinist, had lived for deserted them. -
Christoph Eschenbach Dirigiert Mahler 6
Eschenbach dirigiert Mahler 6 Samstag, 08.04.17 — 19.30 Uhr Lübeck, Musik- und Kongresshalle GUSTAV MAHLER Sinfonie Nr. 6 a-Moll ChristopH ESchenbAcH Dirigent „Glück flammt hoch am Rande des Grauens“ Am 20. Mai 1906 machte sich Gustav Mahler auf die Meine VI. wird Reise nach Essen, um die Uraufführung seiner Sechs Rätsel aufgeben, ten Sinfonie vorzubereiten – mit gemischten Gefüh len. Denn zum einen zweifelte er an der Leistungs an die sich nur fähigkeit des Essener Orchesters, das qualitativ dem eine Generation Kölner GürzenichOrchester, mit dem er zwei Jahre zuvor seine Fünfte erarbeitet hatte, klar unterlegen heranwagen darf, NDR ELbpHilharmoNiE war. Zum anderen hatte man aufgrund der großen die meine ersten Orchester Besetzung das Orchester der Stadt Utrecht zur Verstär kung holen müssen, über dessen Güte sich Mahler fünf in sich auf- zuvor bei seinem Freund Willem Mengelberg zwar genommen hat. ausführlich erkundigt hatte und beruhigt worden war. Doch würden sich beide Orchester problemlos zu Gustav Mahler im Jahr 1904 einem Klangkörper zusammenfügen lassen? Mahlers Bedenken sollten sich als unbegründet erweisen. „Sehr zufrieden von der 1. Probe!“, heißt es Gustav Mahler (1860 – 1911) in einem Brief an Alma Mahler vom 2. Mai 1906. Sinfonie Nr. 6 aMoll „Orchester hält sich famos und klingen thut Alles, Entstehung: 1903 – 04 | Uraufführung: Essen, 27. Mai 1906 | Dauer: ca. 85 Min. wie ich es wünschen kann.“ Dennoch wurde die Pre I. Allegro energico, ma non troppo. miere am 27. Mai 1906 im Essener Saalbau nur ein Heftig, aber markig Achtungserfolg, bei dem laut den Erinnerungen des II. Scherzo. Wuchtig – Trio. Altväterisch, grazioso damals anwesenden Dirigenten Klaus Pringsheim III. -
Suite No. 1 in G Major, BWV 1007
Suite No. 1 in G Major, BWV 1007 [18:08] (1 Prelude [2:47]; 2 Allemande [5:00]; 3 Courante [2:28]; 4 Sarabande [2:57]; 5 Minuet I and II [3:27]; 6 Gigue [1:30]) Suite No. 2 in D Minor, BWV 1008 [20:13] (7 Prelude [3:42]; 8 Allemande [3:43]; 9 Courante [2:01]; 10 Sarabande [4:55]; 11 Minuet I and II [3:18]; 12 Gigue [2:34]) Suite No. 6 in D Major, BWV 1012 [33:35] (13 Prelude [5:27]; 14 Allemande [8:52]; 15 Courante [3:52]; 16 Sarabande [5:48]; 17 Gavotte I and II [5:00]; 18 Gigue [4:37]) Suite No. 3 in C Major, BWV 1009 [22:50] (1 Prelude [3:58]; 2 Allemande [3:45]; 3 Courante [3:10]; 4 Sarabande [4:43]; 5 Bourrée [I and II 4:14]; 6 Gigue [2:59]) Suite No. 4 in E flat major, BWV 1010 [26:04] (7 Prelude [5:20]; 8 Allemande [4:39]; 9 Courante [3:34]; 10 Sarabande [4:26]; 11 Bourrée I and II [5:24]; 12 Gigue [2:40]) Suite No. 5 in C minor, BWV 1011 [28:08] (13 Prelude [6:30]; 14 Allemande [6:57]; 15 Courante [2:14]; 16 Sarabande [4:41]; 17 Gavotte I and II [5:08]; 19 Gigue [2:33]) "Nothing in the world is more precious to me than these suites". So commented the great Russian cellist Rostropovich as he reflected on a lifetime of association with these works although he did not record them as a complete cycle until he was 63. -
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. -
June 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1911 Volume 29, Number 06 (June 1911) 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 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570 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]. 361 THE ETUDE -4 m UP-TO-DATE PREMIUMS _OF STANDARD QUALITY__ K MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by JAMES FRANCIS COOKE », Alaska, Cuba, Porto Kieo, 50 WEBSTER’S NEW STANDARD 4 DICTIONARY Illustrated. NEW U. S. CENSUS In Combination with THE ETUDE money orders, bank check letter. United States postage ips^are always received for cash. Money sent gerous, and iponsible for its safe T&ke Your THE LAST WORD IN DICTIONARIES Contains DISCONTINUANCE isli the journal Choice o! the THE NEW WORDS Explicit directions Books: as well as ime of expiration, RENEWAL.—No is sent for renewals. The $2.50 Simplified Spelling, „„ ...c next issue sent you will lie printed tile date on wliicli your Webster’s Synonyms and Antonyms, subscription is paid up, which serves as a New Standard receipt for your subscription. -
Delius Appalachia • the Song of the High Hills
SUPER AUDIO CD Delius Appalachia • The Song of the High Hills BBC Symphony Chorus BBC Symphony Orchestra Sir Andrew Davis © Lebrecht Music & Arts Photo Library Frederick Delius, 1911 Frederick Delius (1862 – 1934) Appalachia* 35:36 Variations on an Old Slave Song with Final Chorus for baritone, chorus, and orchestra Revised and edited by Sir Thomas Beecham To Julius Buths 1 [Introduction I.] Molto moderato – Tranquillo – 3:47 2 [Introduction II.] Poco più vivo ma moderato – 2:13 3 [Theme.] Andante – 0:29 4 [Variation I.] Un poco più – Moderato – 0:45 5 [Variation II.] Più vivo – 1:00 6 [Variation III.] Molto moderato – Poco più mosso – Lento – Moderato (molto ritmico) – 4:09 7 [Variation IV.] Con moto – Un poco più tranquillo – 0:53 8 [Variation V.] Giocoso. Allegro moderato – Meno mosso. Più tranquillo – 2:42 9 [Variation VI.] Lento e molto tranquillo – Misterioso. Più mosso – Un poco meno – 4:10 10 [Variation VII.] Andante con grazia – Calando – 1:38 11 [Variation VIII.] Lento sostenuto e tranquillo – Un poco più – Tempo I – 2:49 12 [Variation IX.] Allegro alla marcia – Adagio – 1:42 13 [Variation X.] Marcia. Molto lento maestoso – 1:33 14 [Song.] L’istesso tempo – Misterioso lento – Lento – Più mosso 7:43 3 The Song of the High Hills† 28:34 for chorus and orchestra Edited by Sir Thomas Beecham 15 In ruhigem fließendem Tempo – Tranquillo. Very quietly but not dragging – With vigour – Not too slow – Rather quicker – Slower. Maestoso (not hurried). With exultation – 9:27 16 Very slow (The wide far distance – The great solitude) – Slow and solemnly – Very quietly – Slow and very legato – 11:45 17 Tempo I – Più mosso ma tranquillo – With exultation (not hurried). -
Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’.