DOCSLIB.ORG

MS 337 Title: Lunn Papers Scope: a Collection of Correspo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MS 337 Title: Lunn Papers Scope: a Collection of Correspo University of Sheffield Library. Special Collections and Archives Ref: MS 337 Title: Lunn Papers Scope: A collection of correspondence to and from Dr. John E. Lunn of Sheffield concerning the book “Ralph Vaughan Williams: a pictorial biography” that he wrote with Ursula Vaughan Williams, the widow of Ralph Vaughan Williams. Dates: 1968-1972 Level: Fonds Extent: 1 box Name of creator: John E. Lunn Administrative / biographical history: The collection consists of letters written to and by Dr. John E. Lunn of Sheffield in response to his requests for photographs for inclusion in Ralph Vaughan Williams: a pictorial biography by John E. Lunn and Ursula Vaughan Williams (London: Oxford University Press, 1971). Related collections: None Source: Unknown System of arrangement: Alphabetically Subjects: Music Names: Vaughan Williams, Ralph (1872-1958); Vaughan Williams, Ursula (1911- ) Conditions of access: Academic researchers by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 337 Itemised Listing Arranged alphabetically by correspondent: 337/1 AGNEW, Janet M. Head Librarian, Bryn Mawr College, Pennsylvania, U.S.A. Contacted by JEL for information about the family of Dr. Archibald T. Davison (1883-1959), Professor of Music at Harvard University, U.S.A. a. [Index card]. With notes in JEL’s hand , including draft letter dated Dec 9 1968 to JMA, asking for help in tracing relatives of Archibald Davison. Manuscript. 1 l. b. [Letter]. 1968 Dec 26. JMA to JEL. Explains that AD was not a member of faculty at Bryn Mawr and suggests contacting Music Department at Harvard University. Notes in JEL’s hand, including draft letter dated Jan 19 1969 to Professor Pirrotta of the Music Department at Harvard University (see item nos. 337/7 and 337/36 below). Address: Bryn Mawr, Pennsylvania, U.S.A. Typescript. Signed. 1 l. 337/2 ASKEW, Mrs. Violet With her late husband, Norman Askew, the Music Adviser for Surrey, began and organised the Charterhouse Summer School of Music in 1945, along with RVW. a. [Note]. In JEL’s hand: “Mrs. N. Askew, East Molesey, 15/6/67”. Probably the date of his first request for photographs. Manuscript. 1 l. b. [Letter]. 1968 Jun 18. VA to JEL. Replies to request for photographs, and promises to send them after house move. Address: Chobham, Surrey Typescript. Signed. 1 l. c. [Draft letter]. 1968 Jun 20. JEL to VA. Replies to above and arranges to send reminder about photographs in August. Manuscript. 1 l. d. [Draft letter]. [1968. Aug]. JEL to VA . Reminds VA about photographs as promised in b. above. Manuscript. 1 l. e. [Letter]. 1968 Sep 15. VA to JEL. Encloses photographs as requested and asks for them to be returned. Address: Thames Ditton, Surrey Manuscript. Signed. 1 l. f. [Draft letter]. 1968 Sep 18. JEL to VA. Acknowledges and thanks for photographs and promises to return them. Note in JEL’s hand: “Photos ret 16/10/68 – asked re. further pictures”. Manuscript. 1 l. 337/3 BAX, Miss Evelyn Sister of Sir Arnold Bax (1883-1953), composer and friend of RVW. a. [Index card] With notes in JEL’s hand, including draft letter dated Jan 2 1969 to Professor Aloys Fleischmann, Professor of Music at University College, Cork, asking for help in tracing relatives of Sir Arnold Bax. Manuscript. 1 l. b. [Note]. In JEL’s hand. Gives address of Miss E. Bax, and “written 17/1/69”. Manuscript. 1 l. c. [Letter]. 1969 Jan 20. EB to JEL. Regrets not having any photographs of RVW to supply. Note in JEL’s hand: “Thanked 21/1/69”. Manuscript. Signed. 1 l. 337/4 BOULANGER, Mlle Nadia Teacher at the Paris Conservatory, Ecole Normale de Musique at Paris and the American Conservatory at Fontainebleau; conductor and composer, (1887-1979). Contacted by JEL for information about the relatives of Maurice Ravel, composer, (1875-1937). a [Index card]. With notes in JEL’s hand. Gives NB’s address. Manuscript. 1 l. b [Draft letter]. JEL to NB. Asks for information about relatives of MR. Manuscript. 1 l. c [Letter]. 1968 Nov 10. NB to JEL. Replies to JEL’s letter (see above) and suggests he contact Monsieur Claude Roland-Manuel, the son of Alexis Roland-Manuel (1891-1966), friend and biographer of Maurice Ravel. Address: Paris, France Manuscript. Signed. 1 l. 337/5 BRACEWELL, Miss Brenda M. Manager to Sir John Barbirolli (1899-1970), conductor and friend of RVW. a. [Note]. In JEL’s hand. Gives address of Miss B. Bracewell. Manuscript. 1 l. b. [Draft letter]. 1968 Nov 7. JEL to BMB. Asks for photographs of RVW. Manuscript. 1 l. c. [Letter]. 1968 Dec 9. BMB to JEL. Acknowledges letter and promises to look out photographs. Note in JEL’s hand: “Thanked 16/12/68”. Address: Salford, Lancashire Typescript. Signed. 1 l. d. [Letter]. 1968 Dec 17. BMB to JEL. Describes photographs of RVW and Sir John Barbirolli and invites JEL to look at them. Notes in JEL’s hand: “Shall speak to her over tel. about 20/1/69 and fix up visit”; “Seen 2/4/69. 6 borrowed – 1. 1958 Chelt Fest; 2. Holding nose[?]; 3. With UVW and Roy D[ouglas]; 4. With B[arbirolli]; 5. On stage Manchester; 6. Party – with UVW and Barbirolli”. Notes in other hands: “6 photos returned with thanks 16/4/69”; “For Vi[?] Thurs 13th March 11.00-11.30am”. Address: Salford, Lancashire Typescript. Signed. 1 l. e. [Letter]. 1969 Apr 18. BMB to JEL. Thanks JEL for letter and return of photographs. Address: Salford, Lancashire Typescript. Signed. 1 l. 337/6 DAVIE, Dr. Cedric Thorpe Professor of Music at St. Andrews University, composer and conductor, student of RVW at the Royal College of Music, (1913-1983). a [Letter]. 1969 Jun 30. CTD to JEL. Encloses two photographs of RVW. Note in JEL’s hand: Return promised 3/7/69.Returned 19/7/69 Address: St. Andrews, Fife Typescript. Signed. 1 l. b [Letter]. 1969 Jul 23. CTD to JEL. Gives further information about two photographs. Address: St. Andrews, Fife Typescript. Signed. 1 l. 337/7 DAVISON, Mrs. Alice Widow of Dr. Archibald T. Davison (1883-1959), Professor of Music at Harvard University, U.S.A. (see also item no. 337/1 above and item no. 337/36 below) a. [Letter]. 1969 [Mar]. AD to JEL. Responds to JEL’s request for photographs of RVW and promises to send at least one. Note in JEL’s hand: “Rep 31/3/69. Thanked and reminded of RCM article”. Address: [Linco]ln Center, [Massachussetts, U.S.A.] Typescript. Signed. 1 l. b. [Letter]. 1969 Apr 1. AD to JEL. Encloses promised photograph of RVW and Archibald Davison and gives some information about it. Note in JEL’s hand: “Thanked 3/4/69. Return of photo promised”. Address: Lincoln Center, Massachussetts, [U.S.A.] Typescript. Signed. 1 l. c. [Index card]. With notes in JEL’s hand. Gives details of photograph sent by AD. Manuscript. 1 l. 337/8 DOUGLAS, Mr. Roy Composer, arranger and conductor, and RVW’s “amanuensis” (1907-) a. [Letter]. 1968 Sep 13. RD to JEL. Responds to JEL’s request for photographs of RVW and offers one. Note on front in JEL’s hand: “Thanked 14/9/68”; and on reverse. Address: Tunbridge Wells, Kent Typescript. Signed. 1 l. 337/9 ELGAR BLAKE, Mrs. Carice Daughter of Sir Edward Elgar and President of the Elgar Birthplace Trust, (1890-?) a. [Draft letter]. 1968 Jul 2. JEL to CEB. Asks for photographs of RVW. Manuscript. 1 l. b. [Letter]. 1968 Jul 3. CEB to JEL. Refers JEL to Alan Webb, the Curator of the Birthplace Museum, for photographs. Note in JEL’s hand: “Thanked 4/7/68”. Address: Elgar Birthplace Trust, Broadheath, Worcester Manuscript. Signed. 1 l. c. [Letter]. 1968 Jul 5. CEB to JEL. Asks JEL to acknowledge the EBT if using the photographs. Note in JEL’s hand: “Rep and assured 8/7/68”. Address: Elgar Birthplace Trust, Broadheath, Worcester Manuscript. Signed. 1 l. 337/10 FERRIER, Mrs. Winifred M. Sister of the singer, Kathleen Ferrier (1912-1953) a. [Index card]. With notes in JEL’s hand. Gives WMF’s address. Manuscript. 1 l. b. [Letter]. 1969 Apr 16. WMF to JEL. Regrets not having any photographs of RVW to supply. Note in JEL’s hand: “Thanked 18/4/69”. Address: Kingston-upon Thames, Surrey Manuscript. Signed. 1 l. 337/11 GLOVER, Mr. Cedric Author. a. [Note]. In JEL’s hand: “Cedric Glover, 17/6/68”. Probably the date of his first request for photographs. Also William Narraway’s address (see b. below) Manuscript. 1 l. b. [Letter]. 1968 Jun 26. CG to JEL. Advises JEL to approach William Narraway (see no. 337/31 below) for photograph of portrait he painted of RVW. Note in JEL’s hand: “Thanked 27/6/68”. Address: Savile Club, Brook Street, London Manuscript. Signed. 1 l. 337/12 GOONAN, Miss Z. Catalogued Sir John Barbirolli’s collection of photographs. a. [Draft letter]. 1968 Oct 5. JEL to ZG. Asks for photographs of RVW. Manuscript. 1 l. b. [Letter]. 1968 Oct 20. ZG to JEL. Mentions single photograph she has, and refers him to Sir John Barbirolli’s secretary, Miss B. Bracewell (see no. 337/5 above). Address: Blackley, Manchester Manuscript. Signed. 1 l. c. [Draft letter]. 1968 Oct 22. JEL to ZG. Thanks ZG for information and asks for loan of photograph. Manuscript. 1 l. 337/13 GORDON CLARK, Mrs. A.A. (Barbara) Wife of Alfred Alexander Gordon Clark, barrister and judge, for whose wedding RVW composed Passacaglia on B.G.C. AAGC was also a thriller writer under the pseudonym “Cyril Hare”. a. [Postcard].
Load more

Recommended publications
  • Choral Evensong
    CHORAL EVENSONG 5:00 P.M. SUNDAY, FEBRUARY 5, 2017 THE FIFTH SUNDAY AFTER EPIPHANY CHRIST CHURCH 118 N. Washington St. Alexandria, VA 22314 www.HistoricChristChurch.org CHORAL EVENSONG is the service of Evening Prayer with choral music. It is sung in cathedrals with choral foundations on a more or less daily basis, and in many parish churches around the world. The Prayer Book of 1662 established the pattern for Choral Evensong which remains in common usage throughout the worldwide Anglican Communion. Since the earliest Christian times, the need to mark the passing of time with prayer has been recognized. The monastic cycle of prayer began in the desert with Anthony in the fourth century and continues to this day. By the Reformation, Vespers had become an elaborate musical celebration in the evening. The English Reformation demanded that the vernacular be the language of worship and resulted in the liturgical simplicity of Thomas Cranmer’s services of Morning and Evening Prayer. The provision of music for this structure and these words was the task of men like Tallis, Byrd, Gibbons, and Tomkins, whose creativity laid the foundations of Anglican choral worship. Choral Evensong is the quintessence of such worship. The canon of music for Evensong continues to grow, with composers from around the world contributing to it. Unlike the Eucharist, which follows the movement of the Church calendar, and unlike private prayer, which follows the events of our lives, the daily office follows its own rhythm. The readings are done “in course,” and are not specifically chosen to make a particular point, and the canticles (Magnificat and Nunc dimittis) are the same each day.
    [Show full text]
  • Tempus Magazine February 12, 2021
    RE:VIEW RE:VIEW ITALIAN STYLE STEPS THE SUMMER OF MUSIC BEGINS WITH THE RETURN OF THE BBC PROMS ONTO THE PODIUM Plus + • Earl Spencer dives into English history • HOFA Gallery celebrates the mothers of mankind • Start your engines for Salon Privé • Save the Date: your luxury events calendar PROUD TO BE THE OFFICIAL TOAST OF FORMULA 1® #FERRARITRENTOF1 DRINK RESPONSIBLY The F1 logo, FORMULA 1, F1, GRAND PRIX and related marks are trademarks of Formula One Licensing BV, a Formula 1 company. All rights reserved. 90 91 MUSIC | BBC PROMS Summer of sound PARALLEL UNIVERSES Composer Britta Byström presents a world premiere inspired by the notion of a ‘hierarchical multiverse’ The world’s biggest classical festival returns to and violinist Jennifer Pike takes on Sibelius’ Violin Concerto in D minor, op.47. the Royal Albert Hall for six weeks of music 10 August STRAVINSKY FROM MEMORY The Aurora Orchestra returns to the Proms to mark the 50th anniversary of Igor Stravinsky’s death with a rendition of his Firebird Suite, performed entirely from memory. 11 August ABEL SELAOCOE: AFRICA MEETS EUROPE South African cellist Abel Selaocoe redefines his instrument in this blend of traditional styles with improv, singing and body percussion. A delight of boundary-crossing fusion. 15 August THE BBC SINGERS & SHIVA FESHAREKI Experimental composer and turntable artist Feshareki joins conductor Sofi Jeannin and the BBC Singers for a choral playlist that brings the Renaissance to the present day. 19 August his year, the Royal Albert Hall marks it was an opportunity to build a repertoire of its 150th anniversary, and what better rare and under-performed works, as well as T way to celebrate than by welcoming introducing new composers.
    [Show full text]
  • The Choir of Men and Boys ∙ the Parish of All Saints, Ashmont
    The Choir of Men and Boys ∙ The Parish of All Saints, Ashmont 209 Ashmont Street, Dorchester Boston, Massachusetts 02124 Telephone 617–436–3520 [email protected] FAX 617–436–7320 FREDERICK BACKHAUS, Organist & Master of Choristers CHORAL MUSIC – Advent to Last Epiphany, 2008-09 (Year B) YEAR B Advent I The Gentlemen of the Choir November 25, 2008 The Great Litany in Procession (Thanksgiving weekend) Missa brevis (TTBB) – Denis Bedárd Psalm 122 (Tone I) Ecce advenit – William Byrd Remember me, O Lord – Thomas Tomkins Advent II The Choir of Men & Boys December 7, 2008 Matin Responsory and ‘Come, thou Redeemer of the earth’ Communion Service in F – William H. Harris Psalm 72:1-8 (Tone I) There is no rose – Joel Martinson O come, O come, Emmanuel – Andrew Carter Advent III The Choir of Men & Boys December 14, 2008 The Great Litany in Procession Communion Service in F – Herbert Sumsion Psalm 146:4-9 (Tone VII) This is the record of John – Orlando Gibbons Lessons & Carols (7:00 pm - Saturday) The Choir of Men & Boys December 20. 2008 St. John the Evangelist R.C. Church, Winthrop Advent IV Chamber Choir December 21, 2008 Missa brevis – Leslie Betteridge (SSA) Psalm 24:1-7 (Tone I) Ave Maria – Claudio Monteverdi (SSA) Lessons & Carols (4:00 pm - Sunday) The Choir of Men & Boys December 21, 2008 The Parish of All Saints, Ashmont Hymn: Once in royal David’s city (Irby) – David Willcocks This is the truth sent from above – Philip Moore Jesus Christ the apple tree – Anthony Piccolo There is no rose – Joel Martinson Up! good Christen folk, and listen – G.R.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Joy and Pineapples
    Joy and Pineapples Since the Chili Cook Off was such a favorite Weeping may linger for the night, but joy with everyone, we will be having a cooking contest at comes with the morning. Psalm 30:5 this event also. The rules for this one are that you One of the things that I wish we would talk can make whatever type of dish that you want to more about at church is Joy! After all it is one of the cook; the most important rule is that the dish you gifts of the Spirit that we read about in Galatians prepare must contain Pineapple!. It 5:22. can be a main course, a side dish or a dessert. The most creative use of I love the verse (above) from Psalm 30. Pineapple will win a special prize. As in Every one of us goes through difficult times in life. It the past, the identity of the cook will be is just a part of being human. Many times in my life I kept a secret until all of the voting is have held on to this verse to remind myself that hard completed. times never last forever. We are always under God’s care. When we cry or hurt, God cries and Pineapples were first discovered by hurts with us. I truly believe this with all of my heart. Columbus in his sailings and exploration. He took them back to Europe where they were Now, we at Living Faith do a pretty good job enthusiastically received. Europeans soon of having fun and laughter together.
    [Show full text]
  • 16-12 Prog.Pdf
    Fanfare for Christmas The title of our concert is taken from our opening song for the full choir - Fanfare for Christmas Day: Gloria in Excelsis Deo, an anthem, by Martin Shaw. Martin Edward Fallas Shaw OBE FRCM (1875 – 1958) was an English composer, conductor and (in his early life) theatre producer. His over 300 published works include songs, hymns, carols, oratorios, several instrumental works, a congregational mass setting (the Anglican Folk Mass) and four operas including a ballad opera With a voice of Singing is another of his anthems in our repertoire, performed several times in the past at Kowhai Singers concerts. Conductor Peter Cammell (BA, Post Grad. Dip. Mus.) studied music at Auckland and Otago Universities and then taught in secondary schools in both Auckland and London. He has sung in the Dorian Choir, Auckland Anglican Cathedral Choir, Cantus Firmus, The Graduate Choir, Musica Sacra, Viva Voce, and is currently with Calico Jam. As director of the Kowhai Singers for 21 years Peter has worked hard to extend the choir's repertoire and singing skills and thereby their musical understanding. Accompanist Riette Ferreira (PhD) has been the choir's pianist for most of the time since August 2003 except when personal commitments such as study towards her PhD degree in Music has taken her away from us. She has wide experience teaching music in both South African and New Zealand schools and is frequently engaged as director and/or keyboard player for musical theatre productions at Centrestage Theatre, Orewa. Introit - Beata Viscera Marie Virginis† (words 12th C) Pontin Fanfare for Christmas Day: Gloria in Excelsis Deo Martin Shaw While shepherds watched their flocks (with the congregation) Welcome, Yule! (Anon.
    [Show full text]
  • Gloucester Cathedral Lay Clerks
    GLOUCESTER CATHEDRAL ORGAN SCHOLARSHIP The Dean & Chapter of Gloucester Cathedral annually seek to appoint an organ scholar for each academic year. He/She will play a key role in the Cathedral music department, working closely with Adrian Partington (Director of Music), Jonathan Hope (Assistant Director of Music), Nia Llewelyn Jones (Singing Development Leader) and Helen Sims (Music Department Manager). The organ scholarship is open to recent graduates or to gap-year applicants of exceptional ability. Duties The organ scholar plays for Evensong every Tuesday, and in addition plays the organ or directs the choirs as necessary when the DoM or the ADoM is away. He/She will also play for many of the special services which take place in the Cathedral, for which additional fees are paid (see remuneration details below). The organ scholar is fully involved with the training of choristers and probationers and the teaching of theory and general musicianship. They will also be expected to help with the general administration of the music department, attending a weekly meeting and assisting other members of the department in the music office. Gloucester Cathedral Choir Today’s choir is the successor to the boys and monks of the Benedictine Abbey of St Peter, who sang for daily worship nine centuries ago. The choir of today stems from that established by Henry VIII in 1539, consisting of 18 choristers (who receive generous scholarships to attend the neighbouring King’s School), 12 lay clerks and choral scholars. The choir plays a major part in the internationally renowned Three Choirs Festival, the world’s oldest Music Festival, which dates back to 1715.
    [Show full text]
  • Wexford Carol                                   1
    q = 64 Wexford Carol 1. Good peo - ple all, this Christ-mas- time, con - si - der well and 2. The night be - fore that hap - py tide, the no - ble Vir - gin 3. Near Beth- le - hem did shep-herds keep theirflocks of lambs and 4. With thank-ful heart and joy - ful mind, the shep-herds went the 5. There were three wise men from a - far di - rec - ted by a bear in mind what our good God for us has done, in and her guide were long time seek - ing up and down to feed -ing sheep; to whom God's an - gels did ap - pear, which babe to find, and as God's an - gel had fore - told, they glo-rious star, and on they wan - dered night and day un- send-ing his be -lo - ved son. With Ma - ry ho - ly find a lodg - ing in the town. But mark how all things put the shep - herds in great fear. "Pre - pare and go," the did our Sav - ior Christ be - hold. With - in a man - ger til they came where Je - sus lay. And when they came un - WORDS: Traditional English and Irish (Mt. 1:18-2:11; Luke 2:1-20) WEXFORD CAROL MUSIC: Traditional Irish melody, arr. Martin Shaw (1875-1958) LMD Published by The General Board of Discipleship of The United Methodist Church, PO Box 340003, Nashville TN 37203. Website www.gbod.org/worship Source: The Oxford Book of Carols, compiled and edited by Percy Dearmer, R. Vaughan Williams, Martin Shaw.
    [Show full text]
  • NABMSA Reviews a Publication of the North American British Music Studies Association Vol
    NABMSA Reviews A Publication of the North American British Music Studies Association www.nabmsa.org Vol. 3, No. 2 (Fall 2016) In this issue: • Cecilia Björkén-Nyberg, The Player Piano and the Edwardian Novel • John Carnelly, George Smart and Nineteenth-Century London Concert Life • Mark Fitzgerald and John O’Flynn, eds., Music and Identity in Ireland and Beyond • Eric Saylor and Christopher M. Scheer, eds., The Sea in the British Musical Imagination • Jürgen Schaarwächter, Two Centuries of British Symphonism: From the Beginnings to 1945 • Heather Windram and Terence Charlston, eds., London Royal College of Music Library, MS 2093 (1660s–1670s) The Player Piano and the Edwardian Novel. Cecilia Björkén-Nyberg. Abingdon, UK and New York: Routledge, 2016. xii+209 pp. ISBN 978-1-47243-998-7 (hardcover). Cecilia Björkén-Nyberg’s monograph The Player Piano and the Edwardian Novel offers an intriguing exploration of the shifting landscape of musical culture at the turn of the twentieth century and its manifestations in Edwardian fiction. The author grounds her argument in musical discussions from such novels as E. M. Forster’s A Room with a View, Max Beerbohm’s Zuleika Dobson, and Compton Mackenzie’s Sinister Street. Despite the work’s title, the mechanical player piano is—with rare exception—ostensibly absent from these and other fictional pieces that Björkén-Nyberg considers; however, as the author explains, player pianos were increasingly popular during the early twentieth century and “brought about a change in pianistic behaviour” that extended far beyond the realm of mechanical music making (183). Because of their influence on musical culture more broadly, Björkén-Nyberg argues for the value of recognizing the player piano’s presence in fictional works that otherwise “appear to be pianistically ‘clean’ ” of references to the mechanical instruments.
    [Show full text]
  • The Founding Years Sir Thomas Beecham Conducts the London Philharmonic Orchestra
    THE FOUNDING YEARS SIR THOMAS BEECHAM CONDUCTS THE LONDON PHILHARMONIC ORCHESTRA MOZART Symphony No.35 Haffner CHABRIER España Excerpts from: SIBELIUS The Tempest MOZART Mass in C minor HANDEL Israel in Egypt SIR THOMAS BEECHAM AND THE LONDON PHILHARMONIC ORCHESTRA AT THE 1934 LEEDS FESTIVAL Though few realised it, the 1930s would see A Mass of Life (and the première of Walton’s the end of many of the great British provincial Belshazzar’s Feast, although he handed that choral festivals, at least in the way in which over to assistant conductor Malcolm Sargent). they had held sway in England for a couple of Another bonus was that, as the choral pieces hundred years. Some, like the Three Choirs, were prepared by local chorus masters, he had dated back to the early eighteenth century and, more time to prepare orchestral works and at the beginning of the twentieth, important he could invite eminent soloists. Orchestrally, festivals were still being held in Birmingham, the 1934 festival was especially rich, with Leeds, Norwich and Sheffield. They were Schnabel in Brahms’s Second Piano Concerto gargantuan affairs: although generally and Szigeti playing Mozart’s Violin Concerto lasting less than a week, with morning as No.4, while the symphonies included both well as evening concerts the musical ground Brahms’s and Sibelius’s Second; there was covered was formidable. Sir Thomas Beecham Tchaikovsky’s Third Orchestral Suite, Delius’s (1879-1961), who had known them all his Paris, Strauss’s Till Eulenspiegel and – of life, was inclined to write disparagingly of outstanding interest – the first performance them, especially their orchestral standards, in England of Sibelius’s incidental music but he was being no more than truthful for The Tempest, among the most recent when he described how ‘within three or works to come from the composer’s pen.
    [Show full text]
  • On Christmas Night
    On Christmas Night Eleanor Farjeon (1881 –1965) / Christopher Steel (1938 –1991) Phillips Brooks (1835 –1893) / Henry Walford Davies (1869 –1941) 1 People, look east 3.13 10 O Little Town of Bethlehem 4.33 Johannes Brahms (1833 –1897) Anon. ( c.1300) / Benjamin Britten (1913 –1976) 2 Chorale Prelude for organ ‘Es ist ein Ros entsprungen’ 2.47 11 A Hymn to the Virgin 3.05 Op.122 No.8 Traditional French carol (arr. Stephen Jackson) Anon. 15th century / Robin Nelson (b.1943) 12 Noël nouvelet 4.30 3 Out of your sleep 2.44 Christina Rossetti (1830 –1894) / Harold Darke (1888 –1976) Thomas Campion (1567 –1620) / Richard H. Lloyd (b.1933) 13 In the bleak midwinter 4.29 4 View me, Lord 2.41 Herbert Sumsion (1899 –1995 ) Johann Sebastian Bach (1685 –1750) 14 Prelude for organ on ‘The holly and the ivy’ 4.33 5 Chorale prelude for organ ‘Wachet auf, ruft uns die Stimme’ 4.02 BWV 645 Bruce Blunt (1899 –1957) / Peter Warlock (1894 –1930) 15 Bethlehem Down 4.23 Anon. 15th century / William Mathias (1934 –1992) 6 A babe is born 3.21 John Rutter (b.1945) 16 Shepherd’s Pipe Carol 3.08 Traditional Czech carol ‘Hajej, nynjej’ (trans. Percy Dearmer) / Traditional Czech melody (collected Martin Shaw, Traditional English folk carols (collected Cecil Sharp & arr. Edward Higginbottom) Ralph Vaughan Williams) / Ralph Vaughan Williams (1872 –1958) 7 Rocking 2.16 17 Fantasia on Christmas Carols 12.45 Marcel Dupré (1886 –1971) 69.02 8 Variations on ‘Il est né le divin enfant’, offertory for organ 4.02 Choir of Magdalen College, Oxford Anon.
    [Show full text]
  • Lorenzo Mango
    Lorenzo Mango CRAIG AND IBSEN TEXT PERFORMANCE AND PRODUCTION* In one of the very first volumes to study the considerable transformations in early twentieth-century theatre Sheldon Cheney makes a very interesting remark: ‘There are two great revolutionary figures in the history of the modern theatre: Henrik Ibsen and Gordon Craig’, immediately afterwards specifying that while the former had revitalized tradition in its best aspects, the latter had radically subverted it. His conclusion was that ‘Ibsen is the great reformer, Craig the great secessionist’.1 Cheney’s reading presents the two as avenues to modernity: radical reform of theatre writing on the one hand and the ‘secession’ of dramatic form itself, out and out revolution, on the other. Two roles and functions which met in Craig’s staging of three Ibsen plays: The Vikings of Helgeland which premiered under the title The Vikings in 1903, Rosmersholm, in 1906, and The Pretenders, in 1926.2 The Craig-Ibsen relationship was singular and tortuous. Of the three productions two – the second and third – stemmed from external commissions, only one being the result of explicit choice. The temptation exists to reduce the significance of the ‘great reformer meets great revolutionary’ not to any specific interest but to opportunity tinged with opportunism, given Ibsen’s almost invasive presence on the European scene in the early twentieth century. Craig’s measuring himself against Ibsen, in other words – the fact that three of his total of nine productions were dedicated to Ibsen – is simply further proof of the dramatist’s importance in the birth of stage directing.3 However, while this ground-breaking moment certainly offered the opportunity for * Translated by Anita Weston, Università degli Studi Internazionali di Roma.
    [Show full text]