Unsungs' lives cut short by World War 1

[Marcus]

World War 1 was responsible for the deaths of many young British composers, all showing great promise, and who would have made an enormous contribution to music in "the land without music":
George Butterworth 1885-1916 (arguably the greatest British loss)
Ernest Farrar 1885-1918
W.D.Browne  188-1915
C.Coles 188-1918

E.Granados 1867-1916 was on a passenger ship sunk by the Germans in 1916.

There must be many more names of composers from Europe & elsewhere.
WW2 was responsible for countless deaths, and it would be difficult to list them all. Those who died under the Nazis would be a substantial list by itself.

[Alan Howe]

Although his life wasn't cut short by WW1, the composer Percy Sherwood (1866-1939) had had a major reputation in Germany before 1914, only to find that, upon his return after the war, his high-visibility career was effectively over. He is certainly a major composer awaiting rediscovery. His music, mostly in manuscript, is in the Bodleian Library in Oxford. This is my update of the entry in Grove:


Percy Sherwood (b Dresden, 23 May 1866; d London, June 1939). Anglo-German composer and pianist. His father, John Sherwood, was an English university lecturer in Dresden, and his mother, Auguste Koch, was a German singer. His uncle was the organist and composer Edward Lawrance (b.1836). Percy Sherwood studied piano and composition at the Dresden Conservatory (1885–8) with Felix Draeseke and Theodor Kirchner, and in 1889 he was awarded the Mendelssohn Prize for a Requiem for solo voices and orchestra. He was appointed a teacher at the Dresden Conservatory in 1893, and professor in 1911. He made a name for himself as a pianist, composer and lecturer/teacher in Germany; in Dresden the Villa Sherwood was apparently a centre of musical life and hospitality. A particular speciality of his was the piano sonatas of Beethoven, all thirty-two of which he could play by heart. A group of students formed a 'Beethoven-Bund' to study the sonatas under his direction.
He and his wife subsequently moved to Hampstead, London where they found themselves at the outbreak of war in 1914 (whether by accident or design is unclear). After the First World War, as well as continuing to compose, Sherwood seems to have earned a living by giving private lessons in piano, harmony and counterpoint, advertising himself as visiting Oxford and Cambridge weekly (Musical Times, 1 August 1931) and, in his later years, lived in Nayland, Suffolk.
Sherwood's compositions include five symphonies (two of which are lost) and several concertos, including two apiece for piano and cello, one for violin (dedicated to Marie Hall) and one for violin and cello. He also wrote a considerable amount of chamber music. The majority of his published works appeared in Germany; they contain a large proportion of small-scale character-pieces for piano, although he is better represented by two substantial cello sonatas.
In general his music belongs to the German tradition of his time. His Symphony no.3  gives evidence of a first-class, professional composer, using the harmonic vocabulary of the period with its Wagnerian overtones, but also showing a certain reserve. A collection of about 40 autograph manuscripts by Sherwood (also copyist's full scores of his Requiem and Piano Quintet) was deposited in the Bodleian Library, Oxford in 1978, allowing a reassessment of his work.

WORKS
many MSS in GB-Ob
Vocal: Requiem, S, A, T, B,chorus, orch (1889); Sechs Lieder, op.2 (Dresden, 1893); 5 Songs from the Golden Treasury, op.16 (Boston, 1908); Elfin Song, op.17 (Boston, 1908)

Orch: Symphony no.1, C (1887), no.2, b (1892), no.3, E flat (1905-7), [Sym nos. 4 and 5 lost]; Serenade no.1, F (1897), no.2, B flat (1920); Konzertouvertüre (1890); Ouvertüre: 'Götz von Berlichingen' (before 1897, lost?); Suite, fl, ob, cl, hn, str orch (1925-6); Pf conc. no.1, C (1887), no.2, E flat (1931-2); Vn conc., F (1902); Episode, vn, orch (1922); Vc conc. no.1 (1890, rev. 1893), no.2, d (1902); Conc. for vn, vc (1908)

Chbr: Sonata, vn, pf, no.1, F, op.12 (1898/1906) no.2, G (1902), no.3, c (1920-1); Sonata, va, pf, C (1908); Sonata, vc, pf, no.1, D, op.10 (Leipzig, 1898), no.2, A, op.15 (Hanover, 1908); 5 Kleine Stücke, vc, pf; Suite, 2 vn, op.23 (Leipzig, 1913); Trio, pf, ob, hn (1901); Pf Trio, f sharp (played London, 1913, now lost?); Str Qt, A (1922-30), b (193?) [4 others lost, incl. G]; Pf Qnt (1907); Sextet, pf, hn, str (1889)

Pf: 10 Miniaturen für das Klavier, op.1 (Dresden, 1892); Walzer, op.3 (Dresden, 1894); 3 Romanzen, op.11 (Berlin, c1899); Humoresken, op.20 (Berlin, 1900); Nachgesang und Nachtstück, op.21 (Berlin, 1900); Sonata, c, 2 pf (1901); Sonatine, B flat (1905), 2 Sonatine, op.22 (Leipzig, 1913); Idyls (1920)

[Mark Thomas]

Fascinating stuff Alan, thanks. Has any Sherwood been performed in living memory?

[Alan Howe]

Not that I know of - more's the pity!

[peter_conole]

Hi all

Mr Sherwood should be an ideal candidate for Dutton, Alan and Mark. Apart from the symphonies, those six concertos made my mouth water. Yes please.

A few more sad losses re World War 1:

Cecil Coles (1888-1918) -British
Frederick Kelly (1881-1916) -Anglo-Australian (mentioned elsewhere)
Rudi Stephan (1887-1915) - Germany
Guillaume Apollinaire (1880-1918) - France
Alberic Magnard (1865-1914) - France, though his best work may have been behind him.

regards
Peter

[Steven Eldredge]

Marcus,

Ah, George Butterworth! Now there was someone who wrote some gorgeous music. On the Banks of Green Williow, etc. So wonderful.


This whole thread makes me think of Britten's War Requiem, and the poetry of Willfred Owen. So sad.

[edurban]

"...Alberic Magnard (1865-1914) - France, though his best work may have been behind him..."

Every dead man's best work is behind him--after all, all his work is behind him-but I can't imagine why this should particulary apply to Magnard.  Not only was his magnificent 4th symphony completed in 1913, but we know that many of his manuscripts were destroyed in the fire set by the German soldiers, and who knows what was lost.  He was hardly a fellow to rush things into print.

David

[Marcus]

Hello Alan, It is interesting to read of Percy Sherwood, another of the many composers I haven't heard of.
There must be hundreds of such composers, in Britain & elsewhere, awaiting discovery. Lets hope Dutton, Chandos, Hyperion, and even Sterling will begin recording the English unsung /unknown composers. There is plenty to chose from.
CPO released Gordon Sherwood's (USA b.1929),Symphony no1 , Piano Concerto & Sinfonietta in 2004,but obviously no relation.
A few more English romantics awaitng discovery:
J.Barnett (1802-1890)(symphony, chamber music, opera,operettas),  his nephew J.F.Barnett (1837-1916), who taught at the RCM, was a household name in his time, wrote in most genres & his Symphony in A minor was praised in high circles. Charles Lucas, like Barnett, won prizes for his Symphonies (3), was chief conductor at the RAM, & its principal , wrote symphonies, concertos, chamber music, operas & songs.
Mike Dutton over to you !

Marcus.

[Gareth Vaughan]

Not to put a damper on all this enthusiasm but, you must remember that where works exist only in MS (a) someone must come along and evaluate the MS; then (b), provided they consider it of sufficient musical worth, produce a fair copy of it (some of these MSS are extremely messy - others very good). In some cases, this will amount to producing an edition, if there are apparent confusions or errors, and using a good deal of their own judgement (the composer no longer being around to answer questions like: "Did you really mean this chord here?", etc.); then (c) interest a record company in recording it (expensive, with orchestral works), and, finally (d), produce a set of orchestral parts. The process can collapse at any stage. This is going to be the case with people like Percy Sherwood, Roger Sacheverell Coke, etc.
(a) and (b) are the most time-consuming - and (c) the most dispiriting. If you use notation software (d) follows on from (b) with relatively little trouble.
That's why writing things like "Come, on Dutton" or "One for you, Chandos" on this forum is a pointless exercise. Do (a) first - and (b) if you have the time and skill - then you can do (c) with something concrete to show them: either your notes on the musical value of the work in MS (or a clear photocopy of the MS); or, better still, a nice, easy-to-read full score and the information that a set of parts can be produced quite quickly if and when needed.

[Mark Thomas]

Gareth's right, I'm afraid. I've been closely involved in the production of five CDs so far and the obstacles are significant in getting from manuscript to finished article, even if, as in my case, there was no need for steps a. and b. There really is no shortage of good unknown music to record and no shortage of people who suggest to labels that they should record it. What usually oils the wheels is cash. If you are able to back up your enthusiasm with your own, or somebody else's, money as a substantial contribution to the cost to the label of producing the recording, then you stand a much better chance of seeing your cherished music in a jewel case.

The music may have been recorded and broadcast by a radio station, but not issued on CD. Some labels are adept at doing licensing deals which are very much cheaper for everyone than making a new recording.

If the music was published and a set of parts can be borrowed (from the Fleischer collection in Philadelphia or some other benign institution) then that avoids the need to prepare performing material from the manuscript, as Gareth has described. That's not a cheap exercise, I know. Obviously the artists and recording engineers need to be paid, although many up and coming soloists and conductors are sufficiently keen to have recordings to their name that they can come quite cheap. Orchestras, on the whole, won't but some labels are able to get cheap use of certain orchestras through contra-deals with radio stations or other such quirks. Your composer may have decendents or relatives who might be happy to fork out some money to see their forebear's music preserved and there are quite a few bodies which may be prepared to make grants to help out too, if your project meets their criteria. The more of these boxes you can tick before you send off your email to the recording label, the better chance you'll have of success.

Finally, it'll do no harm to work your contacts. Find out who knows people in your label or labels of choice and ask their advice on who to apprach, and how to do it. Bottom line is, though, it'll probably cost the folding stuff...

That said, I know of at least one case where a major label has been enthused enough to commit to record a big work  by sending them a score and making a good case for the work

[Marcus]

Yes, good points Gareth & Mark.
If I had the money & expertise, I would devote all my spare time to doing such work. Unfortunately, I am just the enthusiastic amateur who contributes to turnover. I have 3500 Cds so far & still counting, so I have done my piece there, but you know, enthusiasm can be infectious, and some Cd label executive, might agree with offerings by myself or others. If that leads to just one more unknown being unearthed, I & the many like me, will feel we have contributed something. But I am a realist, I am not holding my breath !  Meanwhile, I will be content to discuss, wish & hope, via this forum. Talk is cheap isn't it ?

Cheers !
Marcus.

[giles.enders]

William Baines 1899-1922. His health was badley damaged by the war and died through the after effects in 1922. I realy like his piano music and have a terrible amateur recording, of his symphony.
Another composer killed in an entierly different war, the battle of Saarfeld, is Prinz Louis Ferdinand von Preussen 1772-1806.  His chamber music is well worth investigating.

[JimL]

Another composer killed in an entierly different war, the battle of Saarfeld, is Prinz Louis Ferdinand von Preussen 1772-1806.  His chamber music is well worth investigating.

Quite an interesting figure, this Louis Ferdinand.  IIRC Jan Dussek was in his employ at the time of his death.  If I'm not mistaken, Dussek and Prince Louis premiered Dussek's Two Piano Concerto the day before the battle of Saarfeld.

[jimmattt]

While my friend Bob in California did most of the nurturing and arranging the performance, one time I did throw a bit of the folding stuff toward the resurrection of the Zeisl piano concerto, I had heard of it and corresponded with his grandson (who is also Schoenberg's grandson) about the unplayed concerto years ago, then after meeting Bob, (who by the way assisted with the Scharwenka symphony release on Sterling), it became our project. The grandson sent a copy of the messy score to Bob, who had a college student clean it up on computer, then it was performed by the Saratoga SO of Saratoga CA by Dan Glover and Jason Klein. From there, I suggested we give the score back to the family, and I don't know if they used it or not but soon CPO released the Zeisl concerto. So, sometimes not much money can apparently go a long way, most thanks to Bob and his contacts. Lots of people with skills, if not money can be interested in something if an instigator starts out passionately enough with the idea. Wish I were rich, unfortunately as unlikely as learning anything real about music besides "I know what I like..." So good luck to those of you who can make things happen.