Roger Quilter Video
compositore britannico
- Regno Unito, Regno Unito di Gran Bretagna e Irlanda
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2024-04-28
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Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
Percy Whitlock Briggs Vaughan Williams Charles Hylton Stewart Stiff Barber Brahms Elgar Parry Delius Rachmaninoff Quilter Warlock Bedford Coventry Cathedral 1903 1936 1979 1993
Percy Whitlock +••.••(...)): Organ Sonata in C minor (1936) - David Briggs at the Cathedral of St John the Divine, NYC In the immediate aftermath of the passing of HRH The Duke of Edinburgh, it seems appropriate to present an organ piece which really couldn’t be more English! I have always loved the music of Percy Whitlock +••.••(...)) and am more than delighted to act as his musical ambassador today. Next Saturday is the 75th anniversary of PW's premature passing: Whitlock was evidently a sensitive character, quite fragile in health, leading to his early death from complications of hereditary hypertension at the age of only 42. But, in my experience, sensitive people often make the best musicians. Percy Whitlock studied at the RCM under Stanford and Vaughan Williams, and was for some years Assistant Organist at Rochester Cathedral, under Charles Hylton-Stewart. Later he took positions at St Stephen’s, Bournemouth (a wondrous John Loughborough Pearson anglo catholic church, where sadly he fell out with the plainsong choir director and resigned after only 3 years) and at the Bournemouth Pavilion, where he presided over (and largely maintained) the great Compton Organ. When he married his wife, Edna, rather amusingly he planned their three-day honeymoon centered on the Compton organ works, in London. She said in a 1979 interview that she was ‘bored stiff’! Whitlock was very mechanically-minded and made clocks out of Meccano. During their courtship, much of their time was spent train spotting, perched high up on a railway bridge near Rochester. Percy would assiduously write down the numbers of the steam locomotives. They were clearly very happily married, though. Edna lived on until 1993 and never remarried. Like many teenage organists of my generation, I grew up listening to the iconic LP of the Whitlock Sonata (1936) played by Graham Barber at Coventry Cathedral (which sadly never quite made it to CD format). I’ve played the first three movements quite frequently, since then. Several years ago, a close musical confidante said to me that they thought the last movement was far too long, and lets the Sonata down. One of several silver linings of the Covid-19 pandemic, however, has been to have the time to learn new repertoire - and the last movement of the Whitlock was a very welcome addition to the list. I have actually come to the conclusion that it makes a gloriously uplifting, varied and kaleidoscopic culmination to the Sonata - and isn't too long at all! You can certainly hear the influences of Brahms, Elgar, Parry, Delius - but one of the endearing facets of Whitlock’s music is his generously ripe harmonic language, somehow all his own. The sweeping Rachmaninoff-inspired tune in the last five minutes is so moving, with its inevitable and driving crescendo upwards, and the wonderful distillation of energy and complete calmness of the final bars certainly pulls at the heart strings. Technically it’s really quite demanding at times - PW must certainly have been a very good pianist! Sadly no Whitlock manuscripts are thought to exist, as he destroyed them all directly after OUP had received the final copy. This Sonata is such a passionate, dramatic and emotional piece - it feels like looking right into his eyes, sometimes. After the bold, rhapsodic introduction, the first movement oscillates between an enticingly stormy, almost Brahmsian first subject group and a second subject of ravishing lushness and warmth. The Canzona follows, with an apparent simplicity perhaps rather reminiscent of the English song composers Quilter and Warlock, but developed in a way to further showcase Whitlock's voluptuous harmonies. The Scherzo, with its irregular metre, is very joyful and reminds me of the lightweight, enthusiastic jingle of a vintage Bedford Ice Cream van, parading merrily along the crowded Bournemouth seafront, with the jovial, childlike innocence you associate with a large dollop of vanilla ice cream, dangerously careering down the poor unsuspecting cone underneath, all mysteriously held together by a delicious and inevitable Cadbury's Flake . The last movement, named 'Chorale' is a real musical smorgasbord. It boasts everything from a traditional hymn tune through to an Allegro of truly Elgarian military bombast and swagger, a Bachian fugato (in 2 parts!), a high-voltage, extremely virtuosic Scherzo (again with Brahmsian cross rhythms), and a big tune which almost beats Rachmaninoff at his own game. I’m very happy to share my love for this music with you, and I hope you will be moved and nourished by its colossally wide-ranging multitude of emotions.
Benjamin Britten Susan Bullock Prokofiev Quilter Rorem Malcolm Martineau 2007
Provided to YouTube by The Orchard Enterprises Benjamin Britten: The Poet's Echo - Six poems of Pushkin op.76: The Nightingale and the Rose · Susan Bullock Strauss, Wagner, Britten, Prokofiev, Quilter, Rorem: Susan Bullock & Malcolm Martineau ℗ 2007 AVIE Records Released on: 2007-01-26 Auto-generated by YouTube.
Benjamin Britten Susan Bullock Prokofiev Quilter Rorem Malcolm Martineau 2007
Provided to YouTube by The Orchard Enterprises Benjamin Britten: The Poet's Echo - Six poems of Pushkin op.76: Lines written during a sleepless night · Susan Bullock Strauss, Wagner, Britten, Prokofiev, Quilter, Rorem: Susan Bullock & Malcolm Martineau ℗ 2007 AVIE Records Released on: 2007-01-26 Auto-generated by YouTube.
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