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Ivor Gurney day in Gloucester
The Ivor Gurney Society's event at St Andrew's Church Centre (Station
Road, Churchdown, Gloucestershire GL3 2JT) is on Saturday 11 May,
and we have a poetry recital by Philip Gross, a talk on Sir Hubert
Parry by Jeremy Dibble, and a piano recital by Jonathan Musgrave (RCM).
It starts at 12.30 with lunch (optional £7.50 for sandwiches/cake/fruit/soft
drink - or bring your own!), and the first speaker is at 1.30. The
recital is at 3.45. A ticket for the speakers, afternoon tea and cakes,
and the recital is £15.
All are welcome. If wishing to book in advance contact John Phillips
on 01432 363103 or email@example.com - this is essential if ordering
lunch. Cheques to 'The Ivor Gurney Society' or drop a line to me to
pay using Paypal. For those bringing their own lunch, feel free to
turn up on the day and pay at the door!
There is also a poetry walk on Sunday 12 May around Gurney's Maisemore,
led by Eleanor Rawling - meet at Maismore Village Hall at 10.45 (no
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 firstname.lastname@example.org
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
NMC Contemporary Opera Appeal
Please help us spread the word - a re-tweet, sharing our appeal via
Facebook, e-newsletters or blogs.
Thank you for supporting contemporary British music!
Of all contemporary music, opera is perhaps the genre that epitomises
NMC’s unique role in promoting British composition at its most
innovative. The financial and artistic risks inherent in new opera,
the paucity of repeat runs and the unwillingness of many mainstream
record labels to take up this repertoire require NMC to step into
the breach and make these works permanently available to a global
audience. NMC has recorded over a dozen contemporary British operas
to date, and Gawain is perhaps the work that we are most frequently
asked to release.
As a registered charity, NMC strives to find ways to fund and release
as many contemporary works as possible. We need to raise £43,000
from individual donors and from trusts/foundations to make this special
part of our anniversary celebrations happen (our 25th anniversary
is in 2014). In return we will credit supporters on our website, share
project updates, invite them to a 25th anniversary event and have
the discs available to purchase before the official release at a discounted
price. Those who contribute £500 or more will receive signed
complimentary copies of the three releases and CD booklet credits.
THE THREE OPERAS
Harrison Birtwistle - Gawain (BBC Radio 3 live recording, Royal Opera
House / Elgar Howarth,1994) Originally released on Collins Classics
'An opera of compelling power and grandeur ... John Tomlinson is in
outstandingly noble voice' Gramophone on Gawain
Judith Weir - The Vanishing Bridegroom (BBC studio recording, BBC
Symphony Orchestra / BBC Singers / Martyn Brabbins, 2008)
'The Vanishing Bridegroom is a huge compendium of western Scottish
folklore, music, mystery and imagination, intertwining family stories
from several generations ... NMC’s opera recordings covering
a 40-year period of stage works from Maxwell Davies and Birtwistle
to Sawer and Rushton have consolidated the existence of a very significant
era of new British Opera' Judith Weir
Gerald Barry - The Importance of Being Earnest (BBC Radio 3 live
recording, Barbican, BCMG / Thomas Adès, 2012)
'Gerald Barry’s music has been a source of wonder and astonishment
to me for many years and I have loved piece after piece as his work
has developed and he has conquered new creative worlds. It has been
a culminating joy for me to watch closely as that extraordinary energy
and invention collide with that of Oscar Wilde to create this thrilling
and dazzling explosion' Tom Adès, conductor
Details on how to donate can be found on our Annual Appeal page here
Rupert Marshall-Luck email@example.com
has been investigating the Violin Sonatas of David Moule-Evans, the
manuscripts of which were tracked down to the National Library of
Wales. Both are extremely interesting works, although they have never
been published. Rupert would like to take them on for the EMF (English
Music Festival) and possibly for EM Records and EM Publishing, too.
The problem is that Moule-Evans's works are still in copyright. This
appears to be held by a Miss Mary Mitchison who, it seems, lived in
or near Canterbury in 1988 at the time she gifted the manuscripts
to the Library. Does anyone have contact details for Miss Mitchison.
If so, or if you can think of any other avenues we might explore,
Rupert and Em Marshall-Luck would be hugely grateful! With many thanks,
and all best wishes,
Rupert G. Marshall-Luck · MA (Cantab) MMus (Distinction)
VIOLINIST · VIOLIST · MUSICOLOGIST
General Editor: EM Publishing
+44 (0)7762 023 710