Bournemouth SO Resound’s Young Composer-in-Association
UK based composers aged 18 to 30 are invited to apply for BSO
Resound’s Young Composer-in-Association, supported by Allianz Musical
This position will offer one young composer the
opportunity to develop their compositional technique and experience
in a year long association with Bournemouth Symphony Orchestra’s
world-renowned disabled-led ensemble, BSO Resound. The Young
Composer-in-Association will get to work with and compose for BSO
Resound, benefit from professional mentorship from Alexander Campkin,
the ensemble’s Composer-in-Residence, and receive a £500 bursary
which is provided by Allianz Musical Insurance, BSO Resound’s
As well as composing for traditional
instruments in the ensemble, the Young Composer in Association will
have the chance to develop their skills in working with new
instruments/ Assistive Music Technology and learn about composing for
an inclusive and accessible ensemble. Lucy Hale was BSO Resound’s
Young Composer-in-Association for 2017/18, she said of the
experience: “Being Young Composer-in-Association with BSO Resound is
a great opportunity. You get to work with first rate musicians who
spend time with your music, you learn about the instruments (one of
which is very unusual), and you can be introduced to BSO’s partner
organisation OpenUp Music to learn about assistive music technology
and see the workings of an inclusive youth orchestra. If I could do
it all again I’d jump at the chance!” To read more about Lucy’s
experience as BSO Resound’s Young Conductor-in-Association, please
In 2018, Bournemouth Symphony Orchestra (BSO) made
history becoming the first orchestra in the world to form a
professional disabled-led ensemble. Six months after the ensemble’s
creation, BSO Resound became the first disabled-led ensemble to ever
perform at the BBC Proms, where they performed the London premiere of
Hoping, the second movement of a piece by Alexander Campkin.
Alexander Campkin, BSO Resound Composer-in-Residence, said “This is
an invaluable opportunity for a composer to gain experience working
with this amazing ensemble. I feel that working with BSO Resound for
the last year has really helped me to develop as a composer, so I
would strongly recommend young composers to apply. The practical
experience of working with professional musicians is immensely
beneficial to a composer.”
BSO Resound celebrated its first
anniversary with a new corporate partnership which celebrates
inclusion. Allianz Musical Insurance, the UK’s No.1 specialist
insurer of musical instruments, became the ensemble’s supporting
partner in January 2019. Clarice Goff, from Allianz Musical
Insurance, said “Allianz Musical Insurance is dedicated to
championing inclusivity and opportunity for everyone, which is why
we’re delighted to be supporting BSO Resound’s Young
Composer-in-Association. We are proud to be supporting the pioneering
work of Bournemouth Symphony Orchestra and BSO Resound, and we’re
excited to watch the next Young Composer-in-Association develop and
BSO Resound’s Young Composer-in-Association is open
to all composers between the ages of 18 and 30, and the BSO
encourages applications from composers who would define themselves as
TO APPLY: Please provide the following to Alison
- A CV and cover letter detailing
why you are interested in this position (approx. 300 words)
Example of pieces of compositional work - Digital Scores / Recordings
/ Audio Exports
The deadline for applications is Friday 10
May 2019 at 12 noon.
For further information, enquiries &
requests please contact: Tamsin Eddey at Bournemouth Symphony
Free streaming access to video of Verdi's Falstaff
Garsington Opera’s acclaimed 2018 production of Verdi’s comic
masterpiece, Falstaff will be available on line for free on
OperaVision for six months at
This hilarious and touching new production, directed by Bruno
Ravella and designed by Giles Cadle, features Henry Waddington
(Falstaff) making his role debut, American soprano Mary Dunleavy as
Alice Ford, Richard Burkhard as Ford and Soraya Mafi as Nannetta.
Victoria Simmonds (Meg Page), Yvonne Howard (Mistress Quickly),
Oliver Johnston (Fenton), Colin Judson (Dr. Caius), Adrian Thompson
(Bardolfo) and Nicholas Crawley (Pistola) complete the cast with the
Garsington Opera Chorus. Richard Farnes (RPS Conductor of the Year
2017) conducts the Philharmonia Orchestra in the second year of their
residency at Garsington Opera. The lighting designer is Malcolm
Rippeth and movement director Tim Claydon.
are delighted to continue their partnership with the streaming site
OperaVision, sharing their productions with a global audience.
Launched in 2017, OperaVision streams performances from all over the
world, allowing viewers to watch productions from the greatest
European opera houses and festivals for free from the comfort of
their own home. As well as full-length performances shown with
subtitles, it features extracts, interviews and behind the scenes
Launch of renewed Winterreise resource
an integral element of the developer’s ongoing research into
interpretations of arguably the greatest song-cycle ever written, the
https://diewinterreise.net was recently launched by Iain C.
Phillips. This site d’hommage to Schubert’s Winterreise presents and
will maintain a comprehensive and accurate overview of commercially
available recordings with timings and relevant data, films, books,
online videos, articles, translations, artworks and links to
scholastic sources and other websites. In addition, an up-to-date
listing of upcoming performances of Winterreise around the globe is
available: please feel free to comment and/or contribute with tips
Contributions and suggestions are always
welcome, essential even. The developer needs your help to make and
keep this website the go-to resource for all things Winterreise: be
critical, be thorough, but above all ― be forthcoming! Do let Iain
know what you feel about the website in general, what it could
benefit from, anything else you would like to find on such a
resource, if you encounter any errors or omissions; in short: get and
stay in touch! Please use the contact form on the website or send
e-mail to Iain via
Please note: the
website is very image-rich, so although the website has a responsive
design, your best viewing experience would be on a desk- or laptop,
or a tablet in landscape mode.
Any information about Colin Evans?
After a long search in the internet for some facts about the
composer Colin Evans I finally got to your page http://www.musicweb-international.com/garlands/120.htm.
I'm a German music teacher for flute and recorder, and my students
love to play and to perform the music of Colin Evans. I can't hardly
find anything about him for the moderation of my students' concerts.
Can you help me? Is he the drummer of the Shadows? Is he still
alive? Where was/is he living? I wonder what the titles of his Sun
Dance Suite want to say? "Ikranian Dream" for example. Does there
exist any information about this composer?
Opera on Video - a new website resource
On December 1,
Opera on Video launched a new website with the intention
of eventually providing a complete
overview of opera recorded on video. Each recording is shown with an
excerpt to watch and extensive information about the performance
(venue, opera company, singers, orchestra, stage director and
designer and much more) and the recording. If a recording is
commercially or publicly available on DVD/BD, streaming or download
information and a link is provided too.
Rare Delius opera in performance
Two rare Delius operas live in 2019 and 2020.
Opera Group production of Irmelin in May 2019. Two performances
planned, in Leeds and Bradford. This will be only the second staging
of Irmelin (after Beecham’s).
Investec Opera Holland Park
will present a double bill of Delius' Margot la Rouge and Le Villi in
2020. Set in the seedy Paris underworld, Delius’s only verismo opera
Margot la Rouge was composed for the Sonzogno competition. This will
be performed in its original orchestration. Intended five public
Recording Dame Ethyl Smyth's The Prison
The Experiential Orchestra is in the process of putting together
funding for the first recording of Smth's final work, including a
Kickstarter crowdfunding campaign. For more information, download the
press release here.
John Ansell's Innisfail Suite - any recordings?
For many years, I've tried in vain to find a recording anywhere of
John Ansell's "Innisfail" Suite, with absolutely no luck, save for a
MIDI recording of the Andante from this work. I've checked through
iTunes as well as You Tube, and have just about given up, as it would
be delightful to hear the full work played by an orchestra, although
I suspect this could be a "lost cause".
I have found
the very well-detailed notes about this composer on MWI, and
thought I'd try one more time, to see if perhaps someone who cares
enough to list John Ansell's works so thoroughly, might know of a
recording somewhere. Thank you so much for any word, even if it is
not to be - the andante is beautiful in itself, and I will simply
have to imagine the other movements. I also checked IMSLP in case
some written music of his could be found there, but I see he isn't
listed at all. Such a loss, truly. I appreciate any help, if
Christine Dugdale, Montreal,
Film, Youtube and Computer Games Introduce a New
Generation to Orchestral Music
The following summarises the results of a 2018 survey commissioned by
the Royal Philharmonic about the experiences of children with
Four in five children (80%) aged under 16
have experienced orchestral music – and 76% from as young as the age
of six - although the classroom is no longer the home of music
education, with many children saying their school does not even
encourage them to learn to play a musical instrument.
numbers of young people attending its matinee concerts, The Royal
Philharmonic Orchestra commissioned nationwide research to better
understand how a representative sample of 586 children aged 6-15 were
being introduced to orchestral music. The findings show film, gaming
and online media are replacing the classroom in nurturing an early
interest in the world of orchestral music.
Film has become the
biggest single influence for introducing children to orchestral music
(41%), followed by soundtracks to television programmes (34%).
Children as young as six cite film (44%) and television (34%) as
introducing them to the orchestral genre with YouTube also emerging
as a growing influence on children of all ages (16%).
Only 29% of
children said they had listened to orchestral music at school. In
fact around a third of children aged 6-15 (32%) said their school did
not encourage them to learn a musical instrument, a feeling that rose
(44%) the closer children got to their GCSEs (ages 14-15). Children
that felt their school did not encourage them to learn a musical
instrument were more than twice as likely to say they had never
experienced orchestral music at all (23% Vs. 10%). Further, they were
more than twice as likely to express no interest whatsoever in
discovering any genre of music in their own time (13%, compared to 6%
that say their school encourages them to learn an instrument).
Despite the feeling that schools could do more to nurture children’s
interest in music, the survey suggested that everyday home life
encouraged children to experience orchestral music. One in four
children (25%) said they had been introduced to the genre during a
car journey and 17% said they had heard it on the radio when at home
with their parents.
Computer games also look set to be a new source
of cultural influence for children. Overall, 15% of children said
they had discovered orchestral music as a soundtrack to a computer
game they had played. Boys were more than twice as likely to mention
computer games as a source for hearing orchestral music (21% Vs. 9%
of girls) - and the influence of games starts early: As young as the
age of seven, around 18% of children say computer games introduced
them to orchestral music. At this age, it seems that gaming is more
influential than music lessons (17%) in giving young people a
connection to the genre.
Attending live performances from a young
age also emerged as integral to children’s engagement with the
orchestral genre. Overall, 15% of children said they had been
introduced to orchestral music when visiting the theatre and 11%
mentioned attending a music concert.
Website celebrating stage designer Johan Engels
On what would have been his 66th birthday, a new website
www.johanengels.net was launched on April 4 to celebrate the
extraordinary visionary talent of the late stage designer Johan
Engels. An ongoing project, the website aims to record and present a
comprehensive overview of Engels’ body of work around the globe and
provide a source for research and inspiration to future generations.
One of the most remarkable stage designers of his generation,
Engels’ design was hugely influential in productions ranging from the
Royal Shakespeare Company, Vienna State Opera, Opéra de Marseille,
National Theatre of Norway, Bregenzer Festspiele, and innumerable
Broadway shows. He was nominated for an Olivier Award for Best
Costume Design in 1994, recognised for his imaginative work in
Tamburlaine The Great, which starred Antony Sher as Tamburlaine and
Tracy-Ann Oberman as Olympia; for The Boys in the Photograph, he was
awarded the Naledi Theatre Award for Best Set Design in 2010.
Anybody with any material that might be of interest (photographs,
costumes drawings, clippings, personal reminiscences – anything at
all!) and who would be happy to contribute to the further development
of the website: please contact the developer of the website, Iain C.
Clifton Johns - Information needed
I am interested in finding out any information possible about
the South Australian composer Clifton Johns - both about him and his
He was active in the field of light orchestral music, at
least, probably around the 1950s to 1960s: a composition of his,
"Holiday Bound", is included on a recording of various music under
the same title, as well as on another called "Here's to Holidays".
Another work of his that used to be broadcast occasionally in
Australia was an orchestral medley called "International Journey".
And that is all the work of his that I have ever heard of.
have a slight personal connection with him, in that, as a young boy,
I lived next-door-but-one to him in the Adelaide hills in South
Australia in the early 1960s, where I grew up, and knew his family
casually, if not closely - hence my interest. I would like to know of
any works he composed, and to hear them if I can locate them
anywhere, or to learn about any other musical activity of his, or any
other details about his life. I don't even know if he is still
alive, but he would have to be well into his 90s now if he is. That
he served in World War II would also set his age at not less than
Any details anyone knows would be gratefully
appreciated. Thank you.
Margaret Kitchin website
A new website dedicated to this British pianist has been set up.
Visitors and contributors are welcomed.
Frank Merrick - can anyone help?
Nimbus (through Adrian Farmer) is working with the Merrick family
and Bristol University Special Collections towards what may emerge as
a Frank Merrick Edition.
To date there are three LPs they have been unable to locate. Can
you help please? No one would be expected to 'donate' their LPs; just
to let Nimbus borrow them for copying.
The missing titles are:
1. Merrick Society, FMS14. Repertoire
2. Rare Recorded Edition, SRRE 139. Field Edition Volume 9.
Repertoire believed to be Piano Concerto No. 6
3. Rare Recorded
Edition, SRRE 156. Repertoire believed to be Merrick Piano Concerto
No. 1 & Tomlinson 'An English Suite'
If you are able to help please contact Nimbus at
Bulgarian composer Konstantin Iliev
Commercially unrecorded, his first symphony is available via a
radio broadcast and is available to download along with three other
works by this composer including his fascinating Moments Musicaux from
Spanish Radio free of charge.
Basil Cameron CD
I wonder if any of you out there can help me track down this Basil
Cameron set (2CDs) seemingly issued on a small scale in the early
2000s. It was only available from Audiosonic in Gloucester.
The Crown Diamonds – Overture
Handel arr. Harty
Water Music – Suite
Zampa – Overture
Dances of Galánta
Capriccio espagnol, Op.34
William Tell – Ballet Music
Rosamunde – Ballet Music in B flat and G
Symphony No.2 in D, Op.43
Liverpool Philharmonic Orchestra, National Symphony Orchestra/Basil Cameron
Catalogue No: BC 101
Replies please to
I have in my possession his original hand-written manuscripts of
Maid of the Midnight Sun' - all the orchestra parts plus the script.
Plus another musical and some individual songs. I don’t know if they
might be of interest to anyone? They are in excellent condition and
make fascinating reading, but I am not sure what to do with them. The
material is so dated, I’m not sure anyone would want to stage it any
more, but do you know if it would be of interest to a museum or
library? Is there any value in old manuscripts?
Jill Stevens (firstname.lastname@example.org)
Can You Help?
Can anyone help me with answers to the following:-
and where was the composer, arranger and songwriter PETER AKISTER born
and when did he die? My researches suggest that he wrote the
signature tune to the classic BBC radio comedy series Take It From
Here, which ran from 1948 to 1960; arranged the music for the
1939 film Discoveries; his quintet played on a few episodes
of the TV series Saturday Special, which ran from 1951 to
1953; he composed the music for two 1956 British comedy films, Dry
Rot and Sailor, Beware! (both starring Peggy Mount);
he orchestrated the music for a couple of episodes of the 1961 BBC TV
series Charlie Chester on Laughter Service; and arranged
the music for the 1963 TV film Dick Whittington.
Where was songwriter RALPH BUTLER (1886-1969) born? He wrote words
or music or both for All by yourself in the moonlight, Give
yourself a pat on the back, There’s a good time coming, I’m happy
when I’m hiking, Let’s all go to the music-hall, and with Noel
Gay Round the Marble Arch, The sun has got his hat on, Run,
rabbit, run, Hey, little hen and We don’t know where we’re
going, not forgetting that Butler and Peter Hart won an Ivor
Novello award in 1956 for Nellie the elephant!
When and where was ROGER ECKERSLEY born and when did he die? He was
Director of Programmes at the BBC and in 1932 wrote the music with
Eric Little’s words for It’s just the time for dancing, the
signature tune of the BBC Dance Orchestra directed by Henry Hall.
Replies please to
You may be aware of the Loder celebrations that took place in Bath
in October 2015, and also of the book Musicians of Bath and Beyond:
Edward Loder (1809-1865) and His Family edited by Nicholas Temperley
(The Boydell Press, 2016).
However, you may not know of the number of recordings of Edward Loder's music that can now
be accessed. Thanks to Professor Temperley's efforts, the online
audio supplement referred to on page 5 of his book now contains much
piano music and several songs by Edward Loder, as well as excerpts
from his operas The Night Dancers (with piano accompaniment) and
Raymond and Agnes (with orchestra, in Professor Temperley's 1966
revision), plus Loder's Flute Sonata and the sole surviving movement
from his six string quartets. There is also a song by each of
Edward's cousins George and Kate Loder. Commercially there is a CD
of Ian Hobson playing Edward Loder's piano works on Toccata Classics
(TOCC0322), and a companion CD of Hobson playing Kate Loder's piano
music (TOCC0321) is due for release on 1 March 2017. In addition, a
recording of Edward Loder's 'Original Theme with Variations for the
Flute' can be found in a collection 'British Flute Music in the Early
Nineteenth Century' played by Gilberto Fornito and Christopher Howell
on the Italian Sheva label (SH156 -
I would add that sheet music of many of Edward
Loder's instrumental and vocal compositions can be downloaded from the
ISMLP/Petrucci Music Library. The site also has some violin music by
Edward's father John David Loder. For the future we can look forward
excitedly to Retrospect Opera's planned recording of the original
version of the opera Raymond and Agnes, now firmly scheduled for
October 2017. The recording is to be conducted by Richard Bonynge,
who has already included the overture to The Night Dancers in his
collection 'Victorian Opera Overtures' (SOMMCD0123). Financial
support for this Raymond and Agnes recording is still sought, and full
details on this can be found on the Retrospect Opera website (www.retrospectopera.org.uk).
Altogether these various enterprises represent a very
gratifying outcome to the Loder Project initiated in 2012.
All good wishes
Transfer of analogue recordings
In retirement I now have the time to pursue various projects.
One of these is transferring cassettes and tape reel-to-reels of
off-radio broadcasts and private recordings to CDR.
There is a
sad history of valuable and occasionally irreplaceable recordings on
cassettes and reels ending up in landfill when the music enthusiast
dies. Other enthusiasts have these tapes and reels but lack the
equipment to play them.
On a friendly, amateur, voluntary and
non-commercial basis I have been transferring interesting recordings
to CDR for friends and colleagues. I have on occasion travelled to
the enthusiast's home (in the UK) and collected the reels and/or
cassettes. I then take these home and make the transfers onto CDR. I
keep one copy for myself and return the original reels/cassettes with
a CDR to the enthusiast. No charge is made. Obviously large numbers
take a long time but I hope that this might be helpful to people and
would also extend the life of these recordings and my knowledge of the
repertoire and of performances.
I would invite people to contact me
Ida Gardner question
I have a early Edison Diamond Disc 80424 (thick record) from about
1917-18 of George Clutsam's Ma Curly-Headed Babby. The singer on it is
Ida Gardner. Does anyone know if she was an African-American singer?
I know she was known as "the Georgia nightingale" If anyone has any
additional info on her, please contact me at
Those interested in being kept up to date with Medtner news should
email Wendelin Bitzan to register their interest: email@example.com
Gaze Cooper website
Sarah Bradwell has written to us about her grandfather, the
English, Nottingham-based composer, Walter Gaze Cooper (1895-1981).
She would like to promote interest in his music and his life story. A
recently established website for the composer and a performance in
Nottingham of his Oboe Concertino all justify fresh attention.
a small interview on Radio Nottingham in June 2016,
with some fascinating photographs.
Gaze Cooper's scores are housed in the Nottinghamshire
Archive. The family hold a cuttings book from the orchestra with many
news cuttings and programmes. They also hold letters which are going
to be put into presentation wallets and eventually kept in the
archive so that as much information as possible is in one place. There
is also a comments book which guest performers who played with the
orchestra wrote in; fascinating reading.
Several interesting, historic radio recordings have recently been placed
on YouTube by James Stuart (who has previously uploaded many other recordings
of Arnold, including film music, and other 20th century British composers).
Symphony No 1. Rumon Gamba/BBC Philharmonic. 80th birthday performance,
Symphony No 2. George Hurst/London Symphony Orchestra. BBC transcription
Symphony No 3. John Pritchard/Royal Liverpool Philharmonic Orchestra.
1st broadcast performance, 1958
Symphony No 4. Malcolm Arnold/BBC Symphony Orchestra. Premiere, 2 Nov
Symphony No 5. Malcolm Arnold/BBC Northern Symphony Orchestra. Broadcast
premiere, 1 May 1966
Symphony No 6. Malcolm Arnold/BBC Northern Symphony Orchestra. Premiere,
28 June 1968
Symphony No 7. Edward Downes/BBC Philharmonic. 21 Oct 1986
Symphony No 7. Charles Groves/BBC Philharmonic. 19 Nov 1991, Manchester
Symphony No 8. Charles Groves/BBC Northern Symphony Orchestra. UK premiere
2 Oct 1981
Symphony No 8. Julius Hegyi/Albany Symphony Orchestra. World Premiere,
Symphony No 9. Charles Groves/BBC Philharmonic. Premiere, 20 Jan 1992
Symphony for Brass. Jerzy Maksymiuk/brass section of the BBC Scottish
Commonwealth Christmas Overture. Alexander Gibson/London Philharmonic
Orchestra. Broadcast early 1960s
Barry Wordsworth/BBC Concert Orchestra.
Fantasy on a Theme of John Field. Edward Downes/BBC Philharmonic/Martin
Roscoe. 21 Oct 1986
Harmonica Concerto. Ole Schmidt/BBC Scottish Symphony Orchestra/Tommy
Reilly. 25 July 1983
Homage to the Queen. Malcolm Arnold/BBC Northern Symphony Orchestra.
10 Oct 1969
Philharmonic Concerto. Edward Downes/BBC Philharmonic. 21 Oct 1986
Rinaldo & Armida. Malcolm Arnold/BBC Northern Symphony Orchestra.
6 Nov 1971
for Malcolm Arnold Society
I am undertaking some research into the life and works of “Elsie
April” (1885-1950), composer, pianist, accompanist and musical
“secretary” to Noel Coward in the 1930s. The BMS ran an article about
Elsie in 2010 submitted by Pat Jacob, her granddaughter. I wondered if
anyone would be able to help me with the following:
1. I am
trying to track down a photograph of Elsie. Can anyone assist?
2. I would very much like to make contact with Pat Jacob. Is there
anyone out there who knows where she or other members of the family
can be contacted. If so please get in touch with me or please pass my
email address to her or them.
3. Further information about
I firmly believe that Elsie’s work merits wider
recognition, hence my research. Any assistance in this is very much
Obituaries of classical musicians at The Independent
The Independent newspaper has ceased its print version,
and will now only exist online. It will apparently no longer
continue to publish obituaries, but its archive remains freely
available, and there is a significant number of obituaries, many of
classical musicians available
British Library Sound Archives
A treasure trove of recordings. Examples include:
Matyas Seiber in one place
Vintage artists - chamber music
116 recordings made by the violinist Derek Collier (1927-2008) - some
intriguing things here including Swedish, British and Italian
Can anyone help me find out who the critic 'Capriccio' was? He
was writing in Musical Opinion and Music Trade Review
during the First World War. I have a review 'Concert Notices'
by him dated June 1915 pp604/5.
Regards and thanks
Nystroem broadcast help
Can anyone help our Editor, Rob Barnett with a off-air recording
of Gosta Nystroem's Sinfonia del mare with soprano Ailish
Tynan and the BBC SO/John Storgards, broadcast on 30 June 2008
It's a work I have reviewed twice for MWI and have my fingers
crossed that someone will be able to help. Anyone who might be
able to help can contact me at the usual email address:
Violin concertante ebook
The second and revised edition of Tobias Broeker's free ebook
"The 20th century violin concertante" is now online and available
from his website www.tobias-broeker.de.
Tobias has also expanded his research from information and
recordings to rare scores and manuscripts, and has started to
typeset the manuscripts into a scorewriting program and make the
pdfs available for interested persons. The first few pdfs are
online, but more will follow soon.
Sibelius Violin Concerto - US Premiere
The Maud Powell Society has a substantial article on her
performance of the Sibelius concerto in New York in 1906 - read it
Searching for the music for Eleanor Farjeon's Sussex Alphabet
This concerns a project that I am developing with South Downs National Park. As I am sure you are aware this is the newest of the National Parks to be created in the UK, though in terms of the time it took, it's almost the oldest! As part of the celebration of its existence we are planning both to republish Eleanor Farjeon's Sussex Alphabet - a series of poems characterised by fantasy, humour and deep love of the county. At the same time we will produce a new set of poems which we hope the school children in the Park will write - and publish these as A Southdowns Alphabet.
Beside these lovely poems and, of course, Morning Has Broken - set to music by Cat Stevens - Eleanor also wrote a poem On The Road to Alfriston which is, in fact, the village where I live.
Though her original Sussex Alphabet was published by Pear Tree Press in 1939 she actually wrote the poems in 1924 and these were set to music by her brother, Harry.
My colleague Peter Robinson has a copy of both the Pear Tree publication and the musical poems.
However, as Peter wrote: It seems my scarce copy of the Sussex Alphabet set to brother Harry Farjeon's music, is only Vol. 1 of 2. It takes us up to 'N': Nightingales. However, for our purposes it has the all important 'D': Downs poem. Incidentally, you will see that this was in fact Harry Farjeon's own copy -it is signed bottom right on the front cover.
We are trying urgently to do four things and this led us to Mr Scowcroft's web site and your name. We would like to try to find the two volumes of this music and, if possible, get everything in a form so that a pianist and and eventually a school choir could sing these poems again - and eventually sing our new poems too. So this will require another composer, but we'll deal with the first problem at the moment.
Thank you for your advice and help. I can be reached on 01323 870073 or at firstname.lastname@example.org
Julian Lloyd Webber’s last ever filmed performance as a cellist available to watch now
On 3 April 2014, Julian Lloyd Webber, along with wife Jiaxin and accompanist Pam Chowhan, launched Rhinegold LIVE with music from their recent Tale of Two Cellos tour. Just a few weeks later Julian announced his retirement from performance due to a herniated disc in his neck.
The concert was filmed, and four videos are now available to watch at Rheingold UK. The four videos represent Julian’s last ever filmed performance as a cellist:
- Summer Sunset, by Roger Quilter
- Moon Silver, by William Lloyd Webber
- Prelude from ‘The Gadfly’, by Dmitri Shostakovich
- All I Have to Do Is Dream, The Everly Brothers
The videos are available as part of Rhinegold LIVE’s commitment to offering accessible and affordable music to all. Also available is a live audio recording of the informal Q&A that followed their recital, in which the trio discuss stories from their most recent tour, William Lloyd Webber’s centenary year, the differences between playing classical and rock, Julian’s passion for Leyton Orient and the importance of music education.
All Rhinegold LIVE material is recorded using the AKG C414, and Pam plays a Schimmel Konzert Grand kindly donated by Peregrine’s Pianos.
This concert was sponsored by Teacher Stern solicitors.
Online Polish music resource
I would like to draw your attention to the new project dedicated to Polish renowned composers Witold Lutoslawski, Henryk Mikołaj Górecki and Krzysztof Penderecki. The aim of the project is to make works of these composers avaiable to the wider public. It is a venture of the National Audiovisual Institute of Poland, a government agency under the Ministry of Culture with a mission to digitize, archive, record, share and promote Polish audiovisual heritage.
To celebrate the jubilee anniversary of the birth of Lutoslawski, Gorecki and Penderecki we have launched www.threecomposers.pl an on-line music collection containing almost all the works by Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The recordings, at full lenght, have been carefully selected for the highest artistic level or their special historical value.
The whole content of the collection is available to the public all over the world for free.
The collection comprises nearly 300 pieces composed since 1924 up to present (in at least one audio recording), which have been enriched with 950 articles in Polish and English language version, concerning genesis or the circumstances of creating a given composition. This service have been developed by a team of experts - musicologists and music critics. Moreover, the collection consists of a number of additional contextual, iconographic and film materials, providing information on the life and works of the artists. Over 70 per cent of the collection comprises recordings from the archives of Polish Radio, digitized at our initiative.
Among the recordings available, one can listen to performances of the world-renowned instrumentalists and bands, including inter alia Anne-Sophie Mutter performing Lutosławski’s "Chain II. Dialogue for Violin and Orchestra", conducted by Jan Krenz; Krystian Zimmerman performing for the very first time in Poland Lutosławski’s "Piano Concerto" dedicated to him, under the baton of the composer; Mstislav Rostropovich in Penderecki's "II. Concerto for Cello” or the Kronos Quartet in registrations of string quartets of the Three Composers.
On some recordings, the great composers also perform as instrumentalists, for example Witold Lutosławski playing his "Folk Melodies", "Bucolics" and "Three Pieces for youth" on the piano; Henryk Mikołaj Górecki, accompanies Wanda Warska at the piano, who sings "Three fragments to the words of Wyspiański" and Krzysztof Penderecki, also playing the piano (!), accompanies Eugenia Umińska while she performs "Three miniatures for violin and piano".
Moreover, at the website one can find recordings that had never before been recorded for commercial purposes, such as Penderecki’s opera "Black Mask" performed at the Teatr Wielki in Warsaw (September 1988) directed by Robert Satanowski; and the world premiere records of such works as Lutosławski’s "String Overture " from 1949 recorded in Prague under the direction of Grzegorz Fitelberg.
The collection includes also some very rare musical "gems" such as a two-minute fanfare "Wratislaviae gloria" composed by Górecki in 1968 for Andrzej Markowski, the then head of the Wroclaw Philharmonic Orchestra, or electronic "Aulodia" by Penderecki - the first proposal of a piece that was supposed to dignify the opening ceremony of the Olympic Games in Munich in 1972.
National Audiovisual Institute of Poland
My name is Steve Pazin and I am a member of the Clovis Community Band of Clovis, California. The band is going to play a selection named “Normandy Veterans March” by Chris North. I can not find any performance notes regarding this selection. I know that he was born around 1910 and died around 1949. I assume he composed this march recognizing the Veteran’s who were part of the Normandy invasion on June 6, 1944.
I would appreciate any information you or any of your colleagues could pass along to me. We’re going to perform this march this weekend.
Anyone who can help, please email Rob Barnett.
And all the trumpets sounded by Ronald Corp
Commissioned by the Highgate Choral Society and completed in 1989, the cantata is a setting of verses from the Latin poem Dies irae and war poems by Charles Hamilton Sorley, Wilfred Owen, Rupert Brooke, and Edward Thomas. The central section is a setting of Vigil Strange by Walt Whitman which tells of the death of a young comrade in battle.
And all the trumpets sounded was intended as a companion piece to Vaughan Williams’ Dona nobis pacem and owes a debt to Britten’s War Requiem.
Reviews after the first performance in Highgate:-
‘......a major work which should find a place in our great choral repertory’ (The Hampstead and Highgate Express)
‘Even after a single hearing there is no doubt that And all the trumpets sounded deserves to find a place in the programme of our choral societies, and I recommend it to the Three Choirs Festival. (Musical Opinion)
Now on CD - Dutton Epoch CDLX7280
Mark Stone (baritone); New London Children’s Choir: The London Chorus: Bournemouth Symphony Orchestra/Ronald Corp
International Record Review - April 2012
‘the shadow of Britten may inevitably loom, and with textures dominated, as you would expect from the title (drawn from John Bunyan, not otherwise set here) by trumpets and bass drum, there is no avoiding the fact. All the same Corp is his own man, for the most part steering clear, or so it seems to me, of Britten’s sometimes biting astringency’ (Piers Burton-Page)
Fanfare July/August 2012
‘this is first class music of a sort sorely needed’......’from the first bar to the last this is a moving, powerful piece’ (James A Altena)
The work is scored for baritone soloist, SATB choir with optional children’s choir (or soprano solo) and modest orchestra - 2222.2300. timp perc (2) and strings.
Duration 38 - 40 minutes
Published by Stainer and Bell
Web site: www.ronaldcorp.com
March 1st 2013
I am presently researching the late Victorian / Edwardian composer,
arranger and teacher, Wilfred Ellington Bendall (1850-1920), who was
friend and secretary to Sir Arthur Sullivan, and professor of piano
at the recently formed Guildhall School of Music (from c.1888-c.1905).
I shall be interested to hear anything that anybody has to tell me
about Bendall, particularly anything relating to autograph manuscripts
of his music, or the whereabouts of band parts, vocal score material
etc for any of his stage shows.
I am especially keen to find photographs of Wilfred Bendall, and would
also be thrilled to discover any living relations.
Please contact me directly at email@example.com
Questions concerning Bliss’s Things to Come (TTC) film score
and concert suite:-
1. According to the BBC John Curwen & Sons Ltd. provided the orchestral
parts for the Proms premiere Sept 12 1935. Why Curwen and not Chappell
& Co? Did Chappell outsource parts to Curwen and was this common
with Bliss’s scores?
2. Given the above, have Curwen ever been contacted about Bliss’s
TTC score? What happened to Curwen’s archive and music plates?
3. I own a rare score, the full symphonic edition of the March by
Novello. The year of publication is 1939 (Lewis Foreman catalogue
lists 1937?). The remaining five movements of Bliss’s definitive
concert suite are copyright dated 1940. Why the difference in years?
Also, the back cover of the March Novello full score lists seven movements
including World in Ruin and Machines . As the definitive suite does
not include World in Ruin was this simply a typo error by Novello?
If not, could Novello still hold a plate for World in Ruin? Altogether
I have counted four different versions of the concert suite: Proms
1935, Proms 1936, the Novello full symphonic edition from 1939/40
and Bliss’s recording 1957.
4. A letter (April 6 1938) from Doris Silver, London Films to Basil
Gray, BBC lists eight movements to the film score but for some reason
omits completely the March. Any views why and is there any possible
connection here with the year 1939 mentioned above and transfer of
the rights for the March from Chappell to Novello?
5. Following on from this, what exactly was the arrangement over the
score rights between Chappell & Co. and Novello?
6. With regard to the Idyll movement, is there any physical evidence
this music was later recycled by the composer?
7. Does anyone own a copy of Decca matrix TA 1734 (untitled, possibly
Bliss’s abandoned Idyll music).
8. Have any BMS members spoken to Bliss in person about the missing
film score and why only Attack on the Moon Gun survived?
9. Did Bliss sanction use of his No.1 of 3 Jubilant Fanfares (or a
variant thereof) in the film?
10. Does anyone have knowledge of the so-called Utopian Hymn recorded
& discarded by Denham Film Studios (78 rpm recording owned by
the late John Huntley).
Thank you for any help or suggestions you are able to offer