Summer Listening – Composers on Vacation

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Have you ever returned from a vacation reenergized and inspired to create? A trip to Italy inspired Englishman Edward Elgar to write an orchestral overture called, “In the South”.  Elgar spent time in the Italian Riviera town of Alassio where he had a “eureka” moment. He later wrote:
“Then in a flash, it all came to me – streams, flowers, hills; the distant snow mountains in one direction and the blue Mediterranean in the other; the conflict of the armies on that very spot long ago, where I now stood – the contrast of the ruin and the shepherd – and then, all of a sudden, I came back to reality. In that time I had composed the overture – the rest was merely writing it down.”
Check out these other composers on vacation:
Elgar taking a nap
Respighi hanging at the beach with friends (2nd from right)
Debussy catching some rays
Esa-Pekka Salonen enjoying the outdoors

English Ballet

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Music for the ballet is our feature on this week’s An English Pastorale with music by Edward Elgar, Arnold Bax and Constant Lambert.

Edward Elgar’s The Sanguine Fan was written in 1917 for a performance in support of war charity. The light plot of the ballet was taken from the scenario depicted on a sylvan fan by artist Charles Sonder. The entire composition wasn’t recorded until 1973. We’ll hear the 1989 recording by Brydon Thomson and the London Philharmonic.

From Dusk Till Dawn by Arnold Bax (PHOTO) was commissioned by the same woman who commissioned Elgar’s work in the same year. She requested a ballet from Bax for a charity matinee at London’s Palace Theatre. The story revolves around china figures who can suddenly move one summer night.

Constant Lambert’s Romeo and Juliet is one of only two commissions for British composer by the famous Russian choreographer Sergei Diaghilev. It’s not a traditional retelling of the Shakespeare classic, but about a ballet company rehearsing for a performance. The story picks up on the traditional tale except for the fact that at the end the lovers elope by airplane. The original set and costume design was a collaboration by Max Ernst and Joan Miro.

Join us for An English Pastorale Sunday morning at 9 on Classical 90.5. In the meantime, enjoy an excerpt from Romeo and Juliet with photos of the set design:

Granville Bantock

(c) University of Birmingham; Supplied by The Public Catalogue Foundation

“Your music has struck a fibre in my being, which is beyond analysis, but which I feel is the truest and noblest chord that has yet been souned in our art.”

-Letter from Granville Bantock to Frederick Delius

Granville Bantock was an influential musical force in Great Britain, both in and behind the music scene. Born into a wealthy family, his father attempted to make Granville into a diplomat, then a chemist. But Bantock found the disciplines distasteful to the point that he began to suffer ill health from depression. His father eventually acquiesced to Granville’s plea to study music.

Bantock attended the Royal Academy of Music and his music career took off. He became a conductor of light opera while writing his own compositions. Through his conducting duties he was introduced to the big names in classical music in Britain at the time.

Bantock was known for his kindness to other musicians. He often offered his home to friends if they were visiting for extended stays. When he heard that his friend Frederick Delius was in financial straits, he bought the Delius home and then allowed the Deliuses to remain in their home rent-free. He was knighted for his services to music and education in 1930.

Join us for An English Pastorale Sunday at 9 am for the music of Granville Bantock:

Kishmul’s Galley
Old English Suite
Celtic Symphony
The Witch of Atlas
The Sea Reivers

English Symphonies

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Vaughan Williams – Symphony No. 6
Arthur Bliss – Colour Symphony
Edward Elgar – Symphony No. 2
William Walton – Symphony No. 2
Charles Stanford – Symphony No. 6

On An English Pastorale this week, we’ll explore several symphonies by Englishman written in the 20th century.

William Walton (PHOTO) wrote his second symphony in 1959-60. The three-movement work is simpler in form than Walton’s first symphony. This middle movement is marked Lento assai and could stand on its own as a kind of nocturnal tone poem.

The Symphony No. 6 by Ralph Vaughan Williams was written at the end of the second World War. The composer’s disillusionment with the war is perhaps reflected in this work. The finale, marked “Epilogue,” is the most commented-upon by listeners and critics. While the rest of the symphony is rife with exciting passages, the finale is deathly quiet.

In A Colour Symphony, composer Arthur Bliss attempts to capture the character of certain colors through music. The last movement is entitled, “Green, the colour of Emeralds, Hope, Youth, Joy, Spring and Victory.” It is marked moderato and in a double fugue form.

Charles Stanford’s Symphony No. 6 was written in 1905. It was written in memory of a recently-deceased artist, George Frederick Watts. The symphony had two performances and was then forgotten until it was recorded in 1988 by the Ulster Orchestra.

Edward Elgar’s Symphony No.2 has no program notes but contains a dedication that reads “To the memory of His Late Majesty King Edward VII” with whom Elgar had been on friendly terms. The second movement is marked Larghetto and is sorrowful in nature.

Join us for excerpts from these symphonies on An English Pastorale, Sunday morning at 9.

Elgar’s Concerto

One of Elgar’s final works, his cello concerto, was launched into popular favor through Jacqueline du Pré in the 1960s. Alisa Weilerstein recorded the concerto for a new disc released last year. Tomorrow you can hear Anne Richardson perform it in our Performance Studio (with pianist Deborah Dierks) at noon!