Rutland Boughton News
British composer (1878–1960)
- opera, symphony
- United Kingdom
- conductor, composer
Last update
2024-04-25
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2023-12-15 00:00:00
Another miscellany of orchestral and vocal music (Bostock, Corp, Davan Wetton, DePaul Wind Ensemble, Dreier, Elder, Pesek, The Albion Ensemble)
[…] [4'09]03 Percy Whitlock: Carillon for Organ and Orchestra * [5'08]04 Ethel Smyth: The Boatswain's Mate - Overture [6'46]05 Howard Flynn: Clatter of the Clogs. A Novelty Fox-Trot [3'02]06 Landon Ronald: In an Eastern Garden. No.2 from 'The Garden of Allah' [4'38]07 Armstrong Gibbs (ed. M Pilkington): The Betrothal Ballet Music, op.34 10'40]08 Montague Birch: Dance of the Nymphs [3'56]09 Ina Boyle: The Magic Harp ^ [9'16]10 Ludwig Pleier: Karlsbad's Dolls' Dance. Characteristic Piece [3'35]11 Rutland Boughton: The Immortal Hour. Love Duet for Orchestra [6'06]12 Montague Birch: Intermezzo (Pizzicati) [4'33]13 Cecil White (reconstructed M Riley): A Sierra Melody [3'36]Malcolm Riley- organ*, Eluned Pierce- harp^, Bournemouth Symphony Orchestra conducted by Ronald CorpDutton Epoch CDLX7276 [recorded July 2011; issued 2011][digital download; flacs, cover and inlay scans - no booklet]Recording venue: Lighthouse, Poole, Dorset, UKRecording engineer: Dexter Newman; Producer: Michael Ponder"The Bournemouth Symphony Orchestra revisits music played between 1893-1934 by the Bournemouth Municipal […]
2023-09-22 08:44:00
Drawing us into Handel's magical world: Amadigi di Gaula from the English Concert with Tim Mead, Mary Bevan, Hilary Cronin, Hugh Cutting
[…] such remarkable power.On Thursday 21 September 2023, we had the chance to experience the operas riches again when Kristian Bezuidenhout directed The English Concert at St Martin in the Fields in a concert performance of Handel's Amadigi di Gaula with Tim Mead as Amadigi, Hilary Cronin as Oriana, Mary Bevan as Melissa and Hugh Cutting as Dardano. The performance was the opening event of Handel & Hendrix's celebratory Handeliade taking place in London and at Boughton House.A concert performance of a Baroque opera in a church does not seem ideal, but in this case what came over was the extraordinary enthusiasm and involvement from all the performers. The singers were 'on the book' yet all were vividly engaging and the whole had a dramatic impact that would have been the envy of any staged production. Such was the compelling musical performance, we hardly missed the visuals at all.From the opening […]
2023-02-20 10:50:00
He was not an online kind of person
[…] 1932 toured India and was a guest of Rabindranath Tagore. His path to obscurity was hastened by his reportedly rejecting an application from Arnold Schoenberg for a position at the Sydney Conservatorium in 1934 on the grounds of "modernist ideas and dangerous tendencies". This rejection inevitably has led to allegations of anti-semitism. So it is pretty obvious that neither of Tod's Edgar Bainton recordings are exactly clickbait material, particularly as the couplings are music by Rutland Boughton, John Gough and Hubert Clifford. However all credit to the record labels for committing to these recordings, and even greater credit to Tod Handley for championing Edgar Bainton and his peers. Tod's performances were always impeccably prepared and his choice of music was exemplary. But his discography reminds me of Earle Browne speaking many years ago of the '6 Concerts '63' series: "'I don't think all of the works performed were great, or that […]
2022-03-18 09:18:39
Vaughan Williams: Sir John in LoveAndrew Shore as Falstaff at ENO in 2006 With English opera of the late 19th and early 20th centuries, rather than taking the works to our hearts the way other countries do their own idiomatic repertoire, we rather have a tendency to berate the works for not being something else (or ignoring them entirely). We didn't develop an English operatic form that could be compared directly to the great continental models, instead composers tended to take a somewhat personal line. Yet great swathes of late 19th century English opera is berated for not being Verdi (and for being too close to G&S), commercial successes like Sullivan's Ivanhoe and Rutland Boughton's The Immortal Hour are dismissed as fustian, Smyth's The Wreckers is told off because it is neither Peter Grimes nor Tristan und Isolde, whilst RVW's entire oeuvre of stage works seem to be regarded as eccentric and (to a certain […]
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