Gustav Holst Prelude Video
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Lionel Tertis Pugnani Alexander Mackenzie Oskar Nedbal Gerald Walenn Arnold Bax Frank Bridge Gustav Holst Benjamin Dale York Bowen Ralph Vaughan Williams William Walton Paul Hindemith Shore Montagnana Albert Sammons Edward Elgar Bohemian Quartet Griller Quartet Proms 1717 1876 1900 1906 1920 1928 1930 1937 1949 1950 1975
Lionel Tertis plays his own arrangement of Pugnani's 'Prelude and Allegro,' recorded on 8 December 1930 with piano by Ethel Hobday. From Wikipedia: Lionel Tertis, CBE (29 December 1876 – 22 February 1975) was an English violist. He was one of the first viola players to achieve international fame and a noted teacher. Tertis was born in West Hartlepool, the son of Polish-Jewish immigrants. He first studied violin in Leipzig, Germany and at the Royal Academy of Music (RAM) in London. There he was encouraged by the principal, Alexander Mackenzie, to take up the viola instead. Under the additional influence of Oskar Nedbal, he did so and rapidly became one of the best known violists of his time, touring Europe and the US as a soloist. As Professor of Viola at the RAM (from 1900), he encouraged his colleagues and students to compose for the instrument, thereby greatly expanding its repertoire. In 1906, Tertis was temporarily in the famous Bohemian Quartet to replace the violist/composer Oskar Nedbal and later he took the viola position in the Gerald Walenn Quartet. Composers such as Arnold Bax, Frank Bridge, Gustav Holst, Benjamin Dale, York Bowen, Ralph Vaughan Williams, and William Walton wrote pieces for him. The Walton piece was his Viola Concerto; however, Tertis did not give the world premiere as he found it difficult to comprehend at the time; that honour went to Paul Hindemith. His pupil Bernard Shore took on the second performance at the Proms in August 1930. Tertis first performed the work a month later at the International Society for Contemporary Music festival in Liège. Over the next three years he gave five more performances of the concerto. He owned a 1717 Montagnana from 1920 to 1937 which he found during one of his concert tours to Paris in 1920, and took a chance in acquiring. According to his memoirs, it was 'shown to me in an unplayable condition, without bridge, strings or fingerboard.... No case was available – it was such a large instrument 17 1/8 inches – so my wife came to the rescue by wrapping it in her waterproof coat, and that is how it was taken across the English Channel.' Tertis preferred a large viola to get an especially rich tone from his instrument. Knowing that some would find a 17-1/8-inch instrument too large he created his own Tertis model, which provides many of the tonal advantages of the larger instrument in a manageable 16-3/4-inch size. Tertis sold the 1717 Montegnana to his pupil Bernard Shore in 1937, who in turn passed it on to his pupil Roger Chase. Along with William Murdoch (piano), Albert Sammons, and Lauri Kennedy, Tertis formed the Chamber Music Players. He also encouraged and coached Sidney Griller as he worked to found the Griller Quartet in 1928, and influenced the Griller's enthusiasm for the first Viennese School. In 1937, while at the height of his powers, he announced his retirement from the concert platform to concentrate on teaching. He appeared as soloist only one more time, at a special concert in 1949 to an invited audience at the RAM to help raise money for his fund to encourage the composition of music for the viola. He was appointed a Commander of the Order of the British Empire (CBE) in the 1950 New Year's Honours. Tertis composed several original works and also arranged many pieces not originally for the viola, such as Edward Elgar's Cello Concerto. He was the author of a number of publications about string playing, the viola in particular, and his own life. They include Cinderella No More and My Viola and I. Lionel Tertis died on 22 February 1975 in Wimbledon, London. He was 98 years old. I transferred this side from Australian Columbia DOX 267.
Charles Valentin Alkan Alphonse Mustel Chopin Liszt Schumann Tchaikovsky Ravel Chausson Holst Richard Strauss Verger 1813 1847 1851 1857 1886 1888 2011
Charles-Valentin Alkan +••.••(...)) was an enigmatic French virtuoso, a peer of Chopin, Liszt, Schumann and Franck. Alkan spent almost his entire life in Paris, much of it as a recluse, composing some of the piano's most difficult and disturbingly powerful music. His 25 Preludes, Op. 31, were published "pour Piano ou Orgue" in 1847, dedicated to Mme. James Odier. (Louise Odier was the wife of a horticulturist in Bellevue, near Paris. A rose was named for her in 1851. Alkan dedicated his 1857 cello sonata, Op. 47, to James Odier. One wonders if James played cello and Louise played piano...very well!) While some of the Preludes are decidedly pianistic, many are perfectly playable on pipe organ or harmonium as well. The 15th Prelude, "Dans le genre gothique," bears the tempo marking "Assez vite et avec beaucoup de grâce," and seems equally suited to the célesta. This keyboard instrument was invented in 1886 by Auguste Mustel, son of Parisian harmonium pioneer Victor Mustel. The distinctive sound is created by hammers striking tuned steel bars set over wooden resonators; it caught the imagination of Tchaikovsky, Ravel, Chausson, Holst, Bartok and Richard Strauss. This célesta is owned by Grace Cathedral in San Francisco—a building very much in the Gothic style—where we were able to film thanks to the music staff and the head verger. Performed by Michael Hendron; recorded 29 June 2011. In the early 20th century, the Mustel firm built several large art-harmoniums with a célesta played on a second keyboard: please see my video of the Vesper by (Alphonse) Mustel.
Gustav Theodore Holst Richard Wagner Richard Strauss Maurice Ravel Charles Villiers Stanford Villiers Ralph Vaughan Williams Morley Edmund Rubbra Michael Tippett Benjamin Britten Sutcliffe David Lloyd Royal Ballet Sinfonia 1853 1874 1901 1905 1907 1916 1924 1933 1934 1941 2001
Gustav Theodore Holst (born Gustavus Theodore von Holst 1874 – 1934. An English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed many other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style. There were professional musicians in the previous three generations of Holst's family and it was clear from his early years that he would follow the same calling. He hoped to become a pianist but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities, he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924 and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life. Holst's works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame and preferred to be left in peace to compose and teach. In his later years, his uncompromising, personal style of composition struck many music lovers as too austere, and his brief popularity declined. Nevertheless, he was a considerable influence on a number of younger English composers, including Edmund Rubbra, Michael Tippett and Benjamin Britten. Apart from The Planets and a handful of other works, his music was generally neglected until the 1980s, when recordings of much of his output became available. The Brook Green Suite, was written in 1933 for St Paul's Girls' School junior orchestra for strings and consists of 3 movements. The name is thought to originate from Brook Green, the place of his wedding to his wife Isobel in 1901, or because of the close proximity of the Brook to the school, but most obviously arises from the location of the school on Brook Green in Hammersmith, London. The piece is composed in a more traditional idiom than most of his later pieces Holst wrote the suite while in hospital in the year before he died. The intention was to create a piece easy enough to play for younger members of the orchestra that is not simply a watered down version aimed at younger players or simple orchestrations of keyboard pieces. On this video the Prelude:- it is based on the C major scale, with the cellos covering 2 octaves of the scale. This short but evocative piece certainly sets the scene for what is to come and seem very much in the style of a folk song. The suite once had another movement, a Gavotte, which was removed after the first informal performance in 1934, the last concert Holst attended. Far removed from London's Hammersmith, the images accompanying Holst's lovely music on this video are from North Yorkshire. The famous Yorkshire photographer Frank Sutcliffe (1853 – 1941) depicts aspects of ordinary life over previous decades before the Second World War, on or near the North Yorkshire coast around Whitby and Scarborough. He captures a lost world and a unique atmosphere that has now almost entirely faded away, just like the imaginary 'Brook Green' that inspired the composer. So this is a kind of celebration of English rural and coastal lives from the past. Album Info:- Brook Green Suite - Holst English String Miniatures, Vol. 3 Royal Ballet Sinfonia; David Lloyd-Jones. 2001 Naxos. Amazon.com Song ID: 200179711 Apologies for any unintended infringement of copyright. This video has not been made for any element of personal profit or gain.,
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