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Philip Ross Bullock looks at the life and works of Rosa Newmarch (1857-1940), the leading authority on Russian music and culture in late nineteenth- and early twentieth-century England. Although Newmarch's work and influence are often acknowledged - most particularly by scholars of English poetry, and of the role of women in English music - the full range of her ideas and activities has yet to be studied. As an inveterate traveller, prolific author, and polyglot friend of some of Europe's leading musicians, such as Elgar, Sibelius and Jan?k, Newmarch deserves to be better appreciated. On the basis of both published and archival materials, the details of Newmarch's busy life are traced in an opening chapter, followed by an overview of English interest in Russian culture around the turn of the century, a period which saw a long-standing Russophobia (largely political and military) challenged by a more passionate and well-informed interest in the arts Three chapters then deal with the features that characterize Newmarch's engagement with Russian culture and society, and - more significantly perhaps - which she also championed in her native England; nationalism; the role of the intelligentsia; and feminism. In each case, Newmarch's interest in Russia was no mere instance of ethnographic curiosity; rather, her observations about and passion for Russia were translated into a commentary on the state of contemporary English cultural and social life. Her interest in nationalism was based on the conviction that each country deserved an art of its own. Her call for artists and intellectuals to play a vital role in the cultural and social life of the country illustrated how her Russian experiences could map onto the liberal values of Victorian England. And her feminism was linked to the idea that women could exercise roles of authority and influence in society through participation in the arts. A final chapter considers how her late interest in the music of Czechoslovakia pi
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 Symphonic Poem in Britain 1850-1950 aims to raise the status of the genre generally and in Britain specifically. The volume reaffirms British composers' confidence in dealing with literary texts and takes advantage of the contributors' interdisciplinary expertise by situating discussions of the tone poem in Britain in a variety of historical, analytical and cultural contexts. This book highlights some of the continental models that influenced British composers, and identifies a range of issues related to perceptions of the genre. Richard Strauss became an important figure in Britain during this time, not only in terms of the clear impact of his tone poems, but the debates over their value and even their ethics. A focus on French orchestral music in Britain represents a welcome addition to scholarly debate, and links to issues in several other chapters. The historical development of the genre, the impact of compositional models, issues highlighted in critical reception as well as programming strategies all contribute to a richer understanding of the symphonic poem in Britain. Works by British composers discussed in more detail include William Wallace's Villon (1909), Gustav Holst's Beni Mora(1909-10), Hubert Parry's From Death to Life (1914), John Ireland's Mai-Dun (1921), and Frank Bridge's orchestral 'poems' (1903-15).
Publisher Description
This edition provides the full set of letters in English translation. It is complemented by the letters' online availability in their original language. Rosa Harriet Newmarch [1857-1940] was well-known in her lifetime as the leading British authority on Russian music, yet she also enjoyed a long and close friendship with the Finnish composer, Jean Sibelius [1865-1957]. This edition traces a personal and professional relationship that lasted more than three decades, as documented in more than 130 letters, notes and telegrams currently held in the National Archives of Finland. The correspondence, conducted in a mixture of French and German, reveals the intense friendship between Sibelius and Newmarch, sheds detailed light on Newmarch's contribution to the development of musical life in Britain, and provides some of Sibelius's most intimate commentary on his own works, as well as on those of other composers. This edition contains the complete extant correspondence between Newmarch and Sibelius in English translation, complemented by comprehensive commentaries on the events and personalities referred to, and is prefaced by an extensive introduction outlining Newmarch's definitive role in promoting Sibelius and his music in early twentieth-century Britain. An appendix reproduces a previously unknown programme note that Newmarch wrote for the first British performance of Sibelius's Fourth Symphony. The book's translation and publication of the letters in English is complemented by the letters' online availability in their original language. PHILIP ROSS BULLOCK is University Lecturer in Russian at the University of Oxford, and Tutor and Fellow at Wadham College, Oxford.
Issues consist of lists of new books added to the library ; also articles about aspects of printing and publishing history, and about exhibitions held in the library, and important acquisitions.