Edwin Lemare News
British musician (1866-1934)
Commemorations 2024 (Death: Edwin Lemare)
- organ
- United Kingdom, United Kingdom of Great Britain and Ireland
- organist, composer, music teacher
Last update
2024-03-29
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2021-10-03 11:37:00
As a Wagner conductor he has no equal
[…] contemporary composers such as Jan Mul from the Netherlands. Goodall was also a virtuoso organist and his repertoire included Tournemire, Widor, Vierne and Dupré.The reputation of the St Alban’s Choir rapidly spread, and in December 1934 the boys sang in the first public performance of A Boy Was Born by an up and coming young composer called Benjamin Britten. The occasion was one of the contemporary music concerts promoted by a trio of women, Iris Lemare, the violinist Anne Mcnaghten, and the composer Elisabeth Lutyens who featured herself in an article here recently. This early collaboration was the start of a working relationship between 'Ben' and 'Reggie' which was to bear important fruits.Goodall’s pioneering work was not confined to choral music. He also worked with the amateur Bishopsgate orchestra where just one of his concerts included the first British performances of two works by German composers, a neo-classical divertimento by […]
2016-09-07 20:47:07
She may not have hit the heights like Marin Alsop (Editorial, 30 August; Letters, 2 and 7 September) but Iris Lemare was, in 1937, the first female conductor of the BBC Symphony Orchestra and during the 1940s and postwar years the Lemare Orchestra brought music and opera to the north of England with soloists such as Joan Hammond and Benno Moiseiwitsch. She continued introducing contemporary works by British composers as she had done in London in the early 1930s when she co-organised the Macnaghten-Lemare concerts and premiered new works, some by women, which were not being heard elsewhere. In her late 80s she started one of the first music groups in York’s University of the Third Age, playing and discussing the music of Vaughan Williams, Britten, Tippett, Holst etc, referring to them by their first names as they were friends or fellow students at the Royal College of Music. In her […]
The Boston Musical Intelligencer
2012-08-24 18:48:20
[…] of Thee Are Spoken. His performance was an engaging tour of some of the organ’s plethora of solo reeds and flutes; it was also notable for Cornils’s bravura pedaling in the fourth variation and concluding fugue. The Kotzschmar is a prominent example of symphonic organ-building, a trend reaching its peak in the early part of the 20th century. It was only logical that Portland’s third Municipal Organist (1921-23) was the world-renowned British performer Edwin H. Lemare, whose transcriptions of beloved orchestral pieces were legendary. Conte gave us a lush rendering of Lemare’s arrangement of the “Pilgrim’s Chorus” from Richard Wagner’s Tannhäuser; Conte’s execution was orchestral from the start with a wealth of colors (the massed string stops were a highlight) and constant crescendos/decrescendos. After a grandiloquent climax, the very extended tapering off was wonderfully smooth and seamless. At the conclusion, the seraphic softest string celestes became so delicate it was […]
The Boston Musical Intelligencer
2012-08-23 19:42:23
When A Community Values Music: Portland’s Organ
[…] lent stature and credibility to the festival but made Saturday’s “Performathon” tolerable. The performers I heard ranged from mediocre to quite good, representing a wide range of literature from Bach to Widor. J. S. Bach’s Dorian Toccata in D minor and “Nimrod” from the Enigma Variations of Elgar were ably played by Bruce Fithian. Peter Plumb, an attorney by profession and FOKO mover and shaker, appropriately played two former Kotzschmar Civic Organists’ works, Edwin H. Lemare’s Andantino and Alfred Brinkler’s Variations on a Ground Bass. Oberlin sophomore Katelyn Emerson’s strong technique and fiery musicality was especially evident in the “Allegro” of Widor’s Symphonie VI. She is indeed a “Rising Star” in the organ world. Keep an eye out for her. It was an enjoyable and enlightening morning, but one would have liked a greater representation of the kinds of pieces that are the bread and butter of a symphonic organ […]
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