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A picture of a highly creative music critic, notable for his humane commentary, as well as his promotion of contemporary French and British music. The music critic Felix Aprahamian (1914-2005) was a remarkable self-made man whose enormous influence in musical circles was deeply founded in his practical experience of promoting music in London, notably British and French composers. Early on he became interested in the organ and was soon corresponding with the leading French names of the day - André Marchal, Charles Tournemire, Maurice Duruflé and the young Olivier Messiaen. In 1933, the nineteen-year-old Aprahamian visited Frederick Delius in France, and while in Paris, met the aged Charles-Marie Widor. The surviving diaries, published here complete for the first time, document these events in detail. During the Second World War he acted as concert director of the London Philharmonic Orchestra, was the guiding spirit behind the influential Concerts de Musique Française and became assistant to Sir Thomas Beecham. After the liberation of Paris, a wide circle of outstanding French musicians and composers including Francis Poulenc, Messiaen, Pierre Bernac and Pierre Fournier became personal friends. Aprahamian made his name as music critic on The Sunday Times, where from 1948to 1989 he was required reading. He helped numerous young musicians to develop their careers and was associated with many musical organizations, notably the Delius Trust and Society. Prefaced by an illuminating biography, this collection sheds new light on Aprahamian's life and work. His diaries and BBC broadcasts uniquely illuminate London concert life from the 1930s to the 1960s, while his articles on many composers and musicians - nearly all friends and colleagues - testify to his promotion of French and British music. Examples of his record and concert reviews are included, and the book evokes the almost vanished world of a music criticism both humane and strict, paying tribute to music's spontaneous and absolute qualities. It will be of interest to anyone following London concert life in the twentieth century; British and French music; writing about Debussy, Poulenc, Messaien and, in particular, Delius; as well as organ music. LEWIS FOREMAN is a writer on British music and the editor of The John Ireland Companion (The Boydell Press, 2011) and author of Bax: A Composer and His Times. SUSAN FOREMAN is author of various books on Whitehall and, together with Lewis Foreman, London. A Musical Gazetteer (2005).
Die britische Sinfonik ist erst in jüngster Zeit ins allgemeine Interesse gerückt. Ein Überblick über die sinfonische Entwicklung im Vereinigten Königreich seit den Anfängen im 18. Jahrhundert bis ins 20. Jahrhundert blieb aber bis heute ein Desideratum. Der hier vorgelegte Überblick zeigt, wie sich die Identität einer britischen Sinfonik über mehr als hundert Jahre entwickelte, geprägt durch Einflüsse vom europäischen Kontinent und von dem Bedürfnis, eigene Wege zu finden. Gegen Ende des 19. Jahrhunderts nahm das sinfonische Schaffen in Großbritannien stark zu, brachte jedoch erst mit Edward Elgar einen prominenten Vertreter von internationalem Rang hervor. Ein besonderer Schwerpunkt dieser Publikation liegt auf jenen Werken, die zu einem gewissen Grade von anderen überschattet wurden, unveröffentlicht oder unaufgeführt blieben. Das Ergebnis ist das Bild einer vielgestaltigen sinfonischen Landschaft Großbritanniens, das die ästhetischen Perspektiven der einzelnen Komponisten wie auch ihre soziokulturellen Kontexte erhellt. Ein umfangreiches Verzeichnis aller bekannten Werke und eine ausführliche Bibliographie laden zu weiterer Erkundung des Sujets ein. Only in relatively recent times has any real attention been given to British symphonies. So a comprehensive survey, showing what exists and how the situation in the United Kingdom developed, from the beginnings in the 18th century until well into the 20th century, is long overdue. The preliminary survey presented here shows how a British symphonic identity gradually took shape over more than a century, through influences from abroad and, at home, enterprising attempts to find new ways of expression. By the end of the 19th century, British symphonists had produced an impressive body of work, yet only with the appearance of Elgar’s two symphonies in the following decade did this flourishing school find a champion of international renown. In this publication, light is shone on those works that have to some extent been overshadowed, as well as on those that have remained unpublished or unperformed. The result is a multi-faceted panorama of British symphonism, offering many insights into the composers’ thinking and their socio-cultural contexts. A comprehensive catalogue of all known works and an extensive bibliography invite readers to delve further into the subject.
First published in 1998, Carley collates twelve essays by an international group of contributors reflects the truly cosmopolitan nature of Delius’s life and his music. They reveal the manner in which he absorbed the culture of the nations he came to know, their music, art and literature, and the influences they brought to bare on his own work. Also discussed are some of the often mixed, but rarely equivocal reactions that performances of his music have reactions over the years, with Lionel Carley’s in-depth study of the first production of Foleraadet in 1897, and a wide ranging analysis by Don Gillespie and Robert Beckhard of the critical reception of Delius’s music in the United States between 1909 and 1920.
Maurice Duruflé (1902-1986) is best known as composer of the hauntingly beautiful and moving Requiem of 1947, and as organist during his long tenure at the church of Saint-Etienne-du-Mont in Paris. He studied composition and organ with Tournemire, Vierne, Gigout, and Dukas among others, and became well known outside France through tours and conferences, often attended with his wife, the late Marie-Madeleine Chevalier. Ebrecht has brought together in this centenary tribute a fine collection of articles on Duruflé's life and work that will enthrall all those who have come under the spell of this great master of French Impressionism. About the contributors: Marie-Claire Alain the renowned French organist, recording artist, and teacher was one of Duruflés first harmony students at the Paris Conservatoire. James Frazier has studied liturgy and music at several universities, and was a Fulbright scholar in France, where he studied privately with Madame Duruflé. Maria Rubis Bauer concluded her doctoral dissertation on Duruflé at the University of Kansas. Jeffrey Reynolds is Associate Professor of Humanities and chair of the music department at the University of Alabama, Birmingham. Herndon Spillman's landmark recording of the complete works of Duruflé won him a Grand Prix du Disque in 1973. He is Professor of Music at Louisiana State University. Eliane Chevalier was the sister of Marie-Madeleine Duruflé, with whom she shared a passion for music. Ned Tipton is Director of Music of the American Cathedral in Paris.
The essential companion to musical London
Up-close and personal views, by the renowned music critic and orchestra administrator, of musical luminaries from Alfred Brendel to Jessye Norman and beyond. Star Turns and Cameo Appearances is the entertaining and insightful memoir by veteran music critic Bernard Jacobson. Its pages are populated by eminent composers ranging from Hans Werner Henze to Andrzej Panufnik and by renowned performers, including Georg Solti, Daniel Barenboim, Sviatoslav Richter, and Jessye Norman. As a music critic and orchestra administrator, Jacobson has had the opportunity to observe these outstanding musicians andmany of their colleagues at close quarters. Assisting Riccardo Muti at the Philadelphia Orchestra for eight years, he saw sides of that maestro not visible to the music-loving public. Throughout Star Turns and Cameo Performances, Jacobson adds his own sensitive and sympathetic view to public perceptions of musical luminaries of yesterday and today, helping to explain and illuminate their artistry. Bernard Jacobson has worked in the music field for over fifty years, including stints as recording executive, music critic of the Chicago Daily News, artistic director and adviser for international orchestras in Holland, and visiting professor at Roosevelt University's Chicago Musical College. He has also performed and recorded as narrator of concert works and opera.
With access to Messiaen's private archive, the authors have been able to trace the origins of many of his greatest works and place them in the context of his life. --book jacket.
Frederick Delius is among the most celebrated English composers of the 20th century. Widely studied and performed, his works are considered models of the British impressionist school and continue to fascinate students and scholars centuries later. This research guide serves as a ready reference for students and scholars, but will also be interesting to read and useful for anyone who wants to know where to begin to learn more about this important composer.
The British horn player Dennis Brain (1921-1957) is commonly described by such statements as "the greatest horn player of the 20th Century," "a genius," and "a legend." He was both a prodigy and popularizer, famously performing a concerto on a garden hose in perfect pitch. On his usual concert instrument his tone was of unsurpassed beauty and clarity, complemented by a flawless technique. The recordings he made with Herbert von Karajan of Mozart's horn concerti are considered the definitive interpretations. Brain enlisted in the English armed forces during World War II for seven years, joining the National Symphony Orchestra in wartime in 1942. After the war he filled the principal horn positions in both the Philharmonia and Royal Philharmonic Orchestras. He later formed his own wind quintet and began conducting. Composers including Benjamin Britten and Paul Hindemith lined up to write music for him. Even fifty years after his tragic death at the age of 36 in an auto accident in 1957, Peter Maxwell Davies was commissioned to write a piece in his honor. Stephen Gamble and William Lynch have conducted numerous interviews with family, friends, and colleagues and uncovered information in the BBC archives and other lesser known sources about recordings that were previously unknown. This volume describes Brain's life and analyzes in depth his musical career. Its appendices of information on performances will appeal to music historians, and its details on Brain's instruments and equipment will be useful to horn players.