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These intimate memoirs of one of the greatest composers of classical music, Ethel Smyth, are first-hand accounts of the remarkable woman’s life in music and in the suffragette movement. Ethel Smyth (1858–1944) was an English composer and the first woman in her field to be granted a damehood. First published in 1919, this autobiography highlights her wit and humour, while giving personal and reflective insights into her childhood and working life. Detailing her career journey, exploring her relationships with some of history’s biggest names, and disclosing information regarding her activism for women’s suffrage, Ethel Smyth’s memoirs are a fascinating and insightful read. This volume is divided into three parts: - The Smyth Family Robinson - Germany and Two Winters in Italy - In the Desert
IMPRESSIONS THAT REMAINED emoirs By ETHEL SMYTH Introduction by ERNEST NEWMAN NEW YORK ALFKED A. EDSTOPF 1 946 FIRST PUBLISHED 1919 by Longmans, Green Co., Ltd RESET AND REPRINTED September 1946 INTRODUCTION COPYRIGHT 1946 by Alfred A. Knopf, Inc. All rights reserved. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who may quote brief passages or reproduce not more than three illustrations in a review to be printed in a magazine or newspaper. Manufactured in the United States of America. Published simul taneously in Canada by The Ryerson Press. This is a Borzoi Book, published by Alfred A, Knopf, Inc. The Author, agd afam jfk e IN MEMORY OF M E P THE HON. LADY PONSONBY AND OF OUR LONG FRIENDSHIP 1890 1916 1 find Lady Ponsonby, the wise judge the firm Liberal, more and more de lightful at last one feels she is getting old she is eighty-two. She is like a fine flame kindled by sea-logs and sandlewood good to watch and good to warm the mind at, and the heart too. EDITH SICHELL 1914 INTRODUCTION Ethel Smyths Impressions That Remained when it was first published in England I expressed the opinion that this was one of the half-dozen best autobiographies in the English language. This estimate has been confirmed by a recent re-reading of it for the present American edition. But there are several other books by the same author equally worth reading, for Ethel Smyth was one of the most remarkable women of her epoch and I am glad that a request from Mr. Alfred Knopf to furnish an Introduction to this new edition affords me an opportunity of telling the American musi cal public more about her than is contained in her firstbook. The autobiography may be trusted to tell its own story so far as it goes. But it was issued in 1919, and a great deal happened be tween then and the authors death in 1944. The memoirs, apart from a brief reference in the Epilogue to friends or incidents of the years immediately following, carry us only as far as 1892. Writing as she did in 1918 her scope was necessarily restricted here and there by the fact that several people who had played a considerable part in her life-story were still alive. One of these was the Ex-Empress Eug6-nie of France, with whom she was on terms of close friendship for more than a quarter of a century from 1890 onwards, the Empresss English estate at Farnborough Hill being close to the Smyth house at Frimley and to later residences of Ethel. It would obviously have been impossible for the author to write about the Empress at any length or with any freedom while she was still alive. She died, at the age of ninety-five in July 1920 a year or so after the publication of the Impressions and in her second book, Streaks of Life 1921, Ethel Smyth painted a portrait of her that is not only fascinating in itself but of value to students and historians of the Second Empire. The passing of the Empress from the scene also placed the author Introduction at liberty to indulge in some amusing reminiscences of the old Queen Victoria, with whom she had come into contact through Eug6nie they include the rich story, told with rich humour, of the dreadful breach of etiquette of which Ethel was innocently guilty at an after-dinner reception at Balmoral. At one end of the large room was a fireplace, and in front of this a hearthrug on which, in remote dignity, the Queen wasstanding with the Empress. Lead ing up to the two august ladies, says Ethel, was an avenue composed of royal personages ranged, as I afterwards found out, in order of precedence, the highest in rank being closest to the hearthrug which avenue, broadening towards its base, gradually became mere ladies and gentlemen of the Court, and finally petered out in a group of Maids of Honour huddled ingloriously in the bay-window...
Die englische Komponistin Ethel Smyth (1858-1944) zählt zu den interessantesten Persönlichkeiten ihrer Epoche. In einer Zeit, in der Frauen kreative Schaffenskraft oft abgesprochen wurde, beschritt sie unbeirrt ihren Weg als professionelle Komponistin und schrieb eine Reihe von Opern sowie Orchesterwerke, Kammermusik und Lieder, die zu ihren Lebzeiten mit Erfolg aufgeführt wurden. Der Band dokumentiert die Beiträge zu zwei wissenschaftlichen Symposien, die anlässlich von Ethel Smyths 150. Geburtstag im Jahre 2008 in Detmold und Oxford stattfanden. The English composer Ethel Smyth (1858-1944) stands out as one of the most intriguing artistic figures of her day. Despite living at a time when women were often held to be utterly lacking in creative powers, she made her way unswervingly as a professional composer, writing several operas, orchestral works, chamber music and songs - works that were performed with success during her lifetime. This volume brings together papers delivered at two conferences held in Detmold and Oxford in 2008 on the occasion of the 150th anniversary of Ethel Smyth's birth.
During the past two decades, there has emerged a growing need to reconsider the objects, axioms and perspectives of writing music history. A certain suspicion towards Francois Lyotard’s grand narratives, as a sign of what he diagnosed as our ’postmodern condition’, has become more or less an established and unquestioned point of departure among historians. This suspicion, at its most extreme, has led to a radical conclusion of the ’end of history’ in the work of postmodern scholars such as Jean Baudrillard and Francis Fukuyama. The contributors to Critical Music Historiography take a step back and argue that the radical view of the ’impossibility of history’, as well as the unavoidable ideology of any history, are counter-productive points of departure for historical scholarship. It is argued that metanarratives in history are still possible and welcome, even if their limitations are acknowledged. Foucault, Lyotard and others should be taken into account but systematized viewpoints and methods for a more critical and multi-faceted re-evaluation of the past through research are needed. As to the metanarratives of music history, they must avoid the pitfalls of evolutionism, hagiography, and teleology, all hallmarks of traditional historiography. In this volume the contributors put these methods and principles into practice. The chapters tackle under-researched and non-conventional domains of music history as well as rethinking older historiographical concepts such as orientalism and nationalism, and consequently introduce new concepts such as occidentalism and transnationalism. The volume is a challenging collection of work that stakes out a unique territory for itself among the growing body of work on critical music history.
My book begins with a brief consideration of what we mean by “English music” and what factors are involved. I explain the reasons behind my choice of composers for consideration, and for the omissions from the survey.
Choice Outstanding Academic Title A Curious Peril examines the prose penned by modernist writer H.D. in the aftermath of World War II, a little-known body of work that has been neglected by scholars, and argues that the trauma H.D. experienced in London during the war profoundly changed her writing. Lara Vetter reveals a shift in these writings from classical "escapist" settings to politically aware explorations of gender, spirituality, nation, and imperialism. Impelled by the shocking political crises of the early 1940s, and increasingly sensitive to imperialist logics, H.D. began to write about the history of modern Europe using innovative forms and genres. She directed her well-known interest in mysticism and otherworldly themes toward the material world of empire-building and perpetual war. Vetter contends that H.D.'s postwar work is essential to understanding the writer's entire career, marking her entrance into late modernism and even foretelling crucial aspects of postmodernism.
Notes for Cellists: A Guide to the Repertoire is a collection of accessible essays about key compositions for the cello from the seventeenth century to the present. Each essay provides historical context and a brief analysis of a composition. This book will be of interest to enthusiasts of the cello and students of all levels seeking to enrich their understanding of cello music, and a much-needed reference guide for teachers and professional players.