Musicalthe Timesestablished in 1844 the musical times winter 2018 vol.159 no.1945 the musical times winter 2018 vol.159 Holst, Vaughan Williams & walt whitman More on Gerard Manley hopkins – composer manzotti’s Excelsior Op.135: beethoven’s ‘Haydn’ Quartet mozart manuscripts: some corrections & additions winter 2018 Important notice In addition to our usual print edition, current and recent back issues of The Musical Times are now available online. n Web-based subscription that can be accessed from any computer, anytime, anywhere. n Access latest and back issues as part of your subscription. n Fully searchable across current and back issues. n Active links for directing readers to web, email, phone and isbn content. n Direct links to articles from Table of Contents. n Musical Times App now available. Please visit www.exacteditions.com/themusicaltimes for details of formats and attractive subscription rates. Through almost 2000 concerts and 60 CDs, the tallis scholars what we really do Now availablehave changed the status of renaissance polyphony for millions of music- the lovers. In doing so they have raised the bar for the appreciation and 8)"5 peter phillips tallis technique of unaccompanied singing worldwide. From under graduates having fun, through the trials of confronting in grained prejudices 8& scholars What Wetowards Really unfamiliar repertoire, Do: to their eventual reception as a cappella second edition ‘rock stars’ (New York Times), what we really do tells the story of this peerless ensemble. Chapters describing what it is like to be 3&"--: constantly on the road are supplemented by appendices quoting from The TallisPhillips’s Scholars eyewitness Spectator articles, and a complete inventory of who has sung in the group. Peter Phillips has written a warts and all account – %0 peter phillips second editionwith a little help from his friends. by Peter Phillips For details and to order, please visit (Photo: Eric Richmond) .VTJDBM5JNFT the www.webscribe.co.uk/products/musicaltimes publications what we really v7.indd 1 30/1/13 11:45:10 Musical THE Times established in 1844 winter 2018 ARTICLES Volume 159 Number 1945 Philippa Tudor Holst, Vaughan Williams and 3 issn 0027 4666 Walt Whitman Published by The Musical Times Publications Ltd Laura Hamer ‘Every impulse and spring of art seems 27 Editor Antony Bye to have died in me, except for music’: e-mail [email protected] Gerard Manley Hopkins as composer Associate Editor Nicholas Williams Publisher Peter Phillips Rodney Stenning Manzotti’s Excelsior, the tableau 43 Designer †Peter Campbell Edgecombe vivant and the cantata scenica of the Subscriptions and back issues primo ottocento: an essay on form and The Musical Times, Unit 4, College Road Business Park, influence College Road North, Aston Clinton, Barbara Barry Op.135: Beethoven’s ‘Haydn’ quartet 59 HP22 5EZ, United Kingdom. tel: 01442–820581 John Arthur The watermark catalogue of the Neue 85 www.mysubcare.com Mozart-Ausgabe: some addenda and UK retail distributor corrigenda PineApple Media Ltd, 78 Springfield Park Road, Chelmsford, Essex, BOOK REVIEWS CM2 6ED, United Kingdom. Andrew Thomson Under canvas 107 www.pineapplemedia.com Debussy: a painter in sound by Stephen Walsh The Musical Times is published quarterly Arnold Whittall Lonely furrows 115 by The Musical Times Plowed time: writings and conversations Publications Ltd. Subscription is US$100 by Klaus Huber per year. Second Class Wolfgang Rihm, a chiffre: the 1980s paid at Newark, New Jersey. and beyond issn 0027 4666. by Yves Knockaert Arvo Pärt’s Tabula Rasa Printed by by Kevin C. Karnes The Print Centre, Berkhamsted, Herts. Index 2018 119 © 2018 The Musical Times Publications Ltd. www.themusicaltimes.blogspot.com www.exacteditions.com/themusicaltimes the musical times Winter 2018 1 2 Letters contributors this issue musiciennes of interwar France, Fellow at the University of 1919–1939, published by London’s School of Advanced philippa tudor completed Routledge earlier this year. Studies. a Modern History DPhil at Oxford University and in recent rodney stenning edgecombe john arthur is a consultant years has been researching is an emeritus of the University in the Department of Books previously unexplored aspects of Cape Town, where he taught & Manuscripts at Sotheby’s, of the life and work of Gustav English for 37 years. He has London. Holst. Her article ‘The composer published 12 books – the most andrew thomson is author and the critic: Gustav Holst and recent being on Thomas Lovell of monographs on Widor Edwin Evans’ was published in Beddoes – and more than 400 (1987) and d’Indy (1996), both the Winter 2016 edition of the articles on topics that range from published by Oxford University MT. Shakespeare to 19th-century ballet and opera. Press. laura hamer is Staff Tutor in barbara barry’s books include arnold whittall’s extensive Music at the Open University, The philosopher’s stone: essays writings include Musical having spent four years as head in the transformation of musical composition in the 20th century of music at Liverpool Hope structure (2000) and Lebewohl: and Exploring 20th-century University. Her most recent reconstructions of death and leave- music: tradition and innovation. major publication is Female taking in music (2013). She is He continues to work on British composers, conductors, performers: currently a Honorary Research music after Britten. –––––––––––––––––––––––––––––––––––––––––––––––––––– www.themusicaltimes.blogspot.com www.webscribe.co.uk/magazine/musicaltimes www.exacteditions.com/themusicaltimes laura hamer ‘Every impulse and spring of art seems to have died in me, except for music’: Gerard Manley Hopkins as composer erard manley hopkins (1844–1889) is best known as a poet, a convert to Roman Catholicism, and a Jesuit priest. He also composed Gmusic.1 Given both Hopkins’s status as a poet, and the musicality of his poetry, interest in his musical compositions, on first sight, would appear well justified. Hopkins, however, came only late in life to composition, writing music sporadically from the age of 36, until the end of his life. He wrote merely 27 compositions, of which only 15 are extant. Hopkins himself 1. I am grateful to my believed that he had created a new musical style, writing to his friend Robert colleague Dr Guy Cuthbertson for drawing Bridges (1844–1930) in June 1880 that ‘I wish I could pursue music; for I Hopkins’s compositions to have invented a new style, something standing to ordinary music as sprung my attention. A preliminary rhythm to common rhythm: it employs quarter tones’.2 He also claimed, version of this article was first read at the ‘Hopkins in his final letter to Bridges (who also composed), that in music he had at Hope Symposium’, created ‘a new art’.3 Others, however, have tended to look somewhat less organised at Liverpool Hope University on 28 April 2015 favourably on his endeavours. Humphry House, for example, has described to commemorate Hopkins’s his compositions as the ‘most elementary work which would have been time as a Jesuit priest at Saint Francis Xavier’s undertaken by a beginner in Composition. The settings of songs are judged Church, Liverpool. I am also to be very ordinary, and rather surprisingly showing no marked talent or extremely grateful to the even eccentricity.’4 Master and Community of Campion Hall, University It is difficult, however, to agree with House’s assessment that there is of Oxford, who very nothing ‘eccentric’ in Hopkins’s extant compositions. As is acknowledged, generously allowed access to Hopkins manuscripts in many of Hopkins’s poetic innovations – the most well known of which is their possession. I would probably ‘sprung rhythm’ (discussed further below) – prefigure those of the like particularly to thank their Archivist, Professor literary Modernists. Christopher R. Wilson, for example, has commented Peter Davidson, for his kind that ‘his poetic style is so unusual and idiosyncratic that it seems to belong assistance. to the modern rather than Victorian era’.5 Kevin O’Connell, meanwhile, 2. Hopkins to Bridges (18 June 1880), in Claude He composed many hymns. ensured their posthumous and Richard Watson Dixon Colleer Abbott, ed.: The Hopkins and Bridges first publication. (London, 1955), p.169. letters of Gerard Manley met at Oxford in 1863. Hopkins to Robert Bridges, They remained close friends 3. Hopkins to Bridges 5. Christopher R. Wilson: second edition (London, and corresponded until (29 April 1889), in Abbott, ‘Nineteenth-century musical 1955), p.103. Having initially Hopkins’s death. Due to ed.: Letters, p.305. agogics as an element in trained and practised as a his status as a Jesuit priest, Gerard Manley Hopkins’s doctor, Bridges was also few of Hopkins’s poems 4. In Claude Colleer Abbott, prosody’, in Comparative a poet. He served as poet were published during ed.: The correspondence of Literature vol.52 no.1 (Winter laureate from 1913 to 1930. his own lifetime. Bridges Gerard Manley Hopkins 2000), pp.72–86, at p.72. the musical times Winter 2018 27 28 Gerard Manley Hopkins as composer has referred to Hopkins as the ‘Victorian poet [who] was the day-star of the modern’.6 In a similar vein, in his search for new means of musical expression, particularly with regards to rhythmic and melodic innovations, Hopkins’s musical preoccupations actually foreshadow many of those of 6. Kevin O’Connell: ‘The second muse of Gerard the early musical Modernists. As O’Connell has further remarked, ‘Hopkins Manley Hopkins’, in The can be credited with anticipating the metrical shifts of Stravinsky and the Musical Times vol.148 7 no.1901 (Winter 2007), free-verse poets of the 1910s and 1920s’. Hopkins’s lack of technical pp.49–62, at p.61. expertise, however, prevented him from realising his aesthetic goals in 7. ibid., p.59. musical terms. Before judging his music too harshly, however, it is very 8.