British Music

[JimL]

Thanks, Colin!

P.S.  Perhaps the transfer from whatever the original medium was to the computer to MediaFire upped the tonality by about a half-step.  Or maybe a microtone? 

[eschiss1]

Probably already mentioned, but the Holbrooke bassoon quintet recording was perhaps the one listed at Cadensa from 9 May 1956 (same personnel anyway, Gwydion Brooke/Aeolian Quartet).

[albion]

From Latvian -

Malcolm Lipkin (b.1932) - Symphony No. 3, The Sun (1992)

Many thanks.

[Latvian]

Malcolm Lipkin (b.1932) - Symphony No. 3, The Sun (1992)

One small correction -- I just noticed that Lipkin's website lists the date of this work as 1979-86, not 1992.

[albion]

Thanks, duly corrected.

[Dundonnell]

Indeed, Many Thanks to Latvian for the Lipkin Symphony No.3 .......and what a fine work it is Any lovers of Robert Simpson, for example, would take to it I am pretty sure.

How splendid that this British composer who has been largely ignored by the record companies should be represented now on this site by two out of his three symphonies and by his Second Violin Concerto.

Lipkin has also written a Symphony No.1 "Sinfonia da Roma"(1958-65), a Piano Concerto(1957), Violin Concerto No.1(1951-52), Flute Concerto(1974), Oboe Concerto(1988-89) and Psalm 96 for choprus and orchestra(1969).

Composer's website-

http://www.malcolmlipkin.co.uk/

Isn't it one of these odd quirks of fate that a British composer like Lipkin should be virtually ignored while a composer like David Matthews should currently be enjoying should a vast amount of attention (comparatively speaking, that is ). Lipkin is 80 this year so................

[eschiss1]

I have a recording of Matthews' and Lipkin's piano trios- I regret to say that neither of them has grabbed me as yet, but that is how goes with me (and as yet.)

[albion]

Some recent broadcasts which I specifically requested have been very kindly provided by mikehopf -

Georges Jacobi (1840-1906): excerpts from the ballets The Swans (1884), Oriella (1891) and Carmen (1879)

Jacobi, together with Leopold Wenzel (1847-1923), supplied ballet music to audiences in late-Victorian London at a time when native composers (with the exception of Arthur Sullivan) had little or no interest in the genre. Jacobi was Music Director (and chief composer for) The Alhambra Theatre of Varieties from 1871-1898, with Wenzel occupying the equivalent position at The Empire, another Variety Theatre also in Leicester Square (from 1889).

Although Wenzel was Italian and Jacobi, born in Germany, worked in Paris during the 1860s, both spent the most prominent part of their working careers writing for the London stage (with Jacobi also providing a considerable quantity of incidental music for plays at theatres including the Lyceum, where he collaborated on several occasions with Hamilton Clarke).

This largely-forgotten aspect of British musical theatre was the subject of a programme on Radio 3 on New Year's Eve, which is still available on iplayer - http://www.bbc.co.uk/programmes/b018mp1j.html

Many thanks, Mike

[semloh]

Some recent broadcasts which I specifically requested have been very kindly provided by mikehopf -

Georges Jacobi (1840-1906): excerpts from the ballets The Swans (1884), Oriella (1891) and Carmen (1897)

Many thanks, Mike

Hear, hear! Thank you, indeed, Mike! 

[secondfiddle]

Broadcast of Joubert's Deploration (together with Symphony No 2, NZSO, composer) I have as 2.9.80.

[albion]

Thanks for this broadcast date.

[Dylan]

A good while after initially downloading it, I've finally found time to listen to the very welcome recording of Cyril Rootham's 2nd Symphony...
The little I know of Roothams music is down to two extant cds; the EMI/Hickox of orchestral miniatures, which includes some absolute gems, not least Adonis and the Stolen Child; inward, grave, tender pieces of great beauty. By contrast the Lyrita disc of his 1st Symphony reveals a bluff, breezy extrovert piece, somewhere on the Bax-VW-Moeran axis, all tweeds and pipe-smoke, with a particularly stirring folk-like theme churning through it like a rough wind on the Downs.. I've loved both discs ever since acquiring them, and have longed for many years to hear the 2nd Symphony. So sitting down to listen to his final work, I was not at all sure what to expect, although I had read the word "apocalyptic" in association with the piece....And having now listened to it, I'm still not at all sure what I've just heard! One or two mildly allegro moments apart, I think this may be the least overtly dramatic symphony I've ever heard; it's almost completely placid throughout, with barely a ripple on its surface. VW famously described his 3rd Symphony as being "in 4 movements, all of them slow," but by comparison with the Rootham VWs Pastoral goes like the clappers on steroids! Clearly this is not music that's going to give up its secrets easily, and with the greatest respect and gratitude to dafrieze, the original uploader, it's a shame the recording isn't a little clearer, because one really needs to listen hard to music so implacably determined not to raise its voice...So, two questions; can anyone help with the text of the brief final choral contribution? And has anyone else listened to the piece and have any thoughts on it's (to me) enigmatic mien, and meaning..?

[Dundonnell]

It is a extremely odd title for the work in question, is it not

Knowing the same Rootham as you from disc I was not really expecting an "Apocalyptic Symphony" in any sort of Mahlerian sense but I do find the title, to put it mildly, strange

Possibly Albion will be able to give some information about the chorale finale. All I can add is that it was Rootham's pupil, Patrick hadley, who, as you probably know, completed and orchestrated the work. One can hear Hadley in it.

[albion]

Possibly Albion will be able to give some information about the chorale finale.

The text is adapted from the Book of Revelation and begins with the passage from Chapter 21, [Behold] there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away. Then there is an adaptation from Chapter 22, And there shall be no night; and he shall need no candle, neither the light of a star, for the time is at hand ...



An additional file from mikehopf -

Henry Walford Davies (1869-1941) - Prospice, Op.6 (1894)

Many thanks, Mike.

[Sydney Grew]

Yes, many thanks for the Davies! I have read about this work but have not until now had the opportunity to hear it.

The article in the most recent Grove's Dictionary advises us that: "The setting of Browning's Prospice for baritone and string quartet (or, with its optional double bass part, with string orchestra) has been hailed by Banfield as an 'extraordinary work.' Its breadth of conception, its dramatic pioneering string quartet accompaniment and soaring melody give it a lasting power . . ."

"Banfield" there is Stephen Banfield the English musicologist (born 1951).

Grove's Dictionary of 1904 describes the work as "an interesting experiment," for bass voice and string quartet, written in 1895 and given by Bispham in 1896.

"Bispham" there will have been David Bispham, the American baritone, born in 1857, who sang much Wagner and premièred Brahms's Four Serious Songs in Britain.

My namesake, who was personally acquainted with the composer, lists all Davies's early works and gives the date of composition as 1894.