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Two fictional biographies of the famous composers Elgar and Delius. ... Read more

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Delius was born in 1862, twenty-four years before the signing in 1886 of the Berne Convention, the international convention for the protection of literary and artistic works of which Great Britain was a founder member. During Delius' lifetime came the birth of the record industry, the development of exercising the performing right, the introduction of the mechanical right and the advent of films and broadcasting. Robert Montgomery and Robert Threlfall chronicle Delius' dealings with his publishers and the Performing Right Society (PRS) through his numerous correspondence. Virtually all of the very early letters have been lost, but his correspondence in German with Harmonie Verlag of Berlin, Tischer & Jagenberg of Cologne and "Universal Edition of Vienna" is almost complete. This book provides a selection of translations of these letters, most of which have never been seen before, and offers a unique insight into how a leading twentieth-century composer earned his living from composition in the changing environment of the world of music. Some of the problems that Delius encountered were because the administrative procedures brought in by Berne were in their infancy.Equally important in building a picture of Delius' publishing affairs is the Delius file in the PRS archive, to which Jelka Delius wrote in English, and which contains both sides of the correspondence. The book also covers the period after Delius' death when the Delius Trust, as the legal representative of his estate, took over responsibility for administering copyrights and promoting his music. The book provides a valuable model for the methodology involved in presenting a history of music publishing. It will provide a useful springboard for scholars to look at other composers in terms of their published material and how this relates to the general dissemination of their work. ... Read more

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Webster's bibliographic and event-based timelines are comprehensive in scope, covering virtually all topics, geographic locations and people. They do so from a linguistic point of view, and in the case of this book, the focus is on "Frederick Delius," including when used in literature (e.g. all authors that might have Frederick Delius in their name). As such, this book represents the largest compilation of timeline events associated with Frederick Delius when it is used in proper noun form. Webster's timelines cover bibliographic citations, patented inventions, as well as non-conventional and alternative meanings which capture ambiguities in usage. These furthermore cover all parts of speech (possessive, institutional usage, geographic usage) and contexts, including pop culture, the arts, social sciences (linguistics, history, geography, economics, sociology, political science), business, computer science, literature, law, medicine, psychology, mathematics, chemistry, physics, biology and other physical sciences. This "data dump" results in a comprehensive set of entries for a bibliographic and/or event-based timeline on the proper name Frederick Delius, since editorial decisions to include or exclude events is purely a linguistic process. The resulting entries are used under license or with permission, used under "fair use" conditions, used in agreement with the original authors, or are in the public domain. ... Read more

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Sir Thomas Beecham is often described as having 'championed' the music of Frederick Delius, and this is no exaggeration. From the moment he heard Delius's music as a young man, Beecham was captivated by its strange, romantic beauty, and it's hold on him remained firm. During the next 50 years, he promoted Delius's music through a series of unrivalled performances, unearthing early pieces, arranging others and recording most of them, sometimes more than once. Lyndon Jenkins provides the first in-depth study of this extraordinary creative relationship. Starting with the first meeting of the composer and conductor in 1907, Jenkins charts Beecham's gradual introduction of Delius's compositions to British and foreign audiences, the operatic premieres and revivals, the Delius festivals that he organized in 1929 and 1946, and the formation of the Delius Trust upon the composer's death in 1934. Also described is Beecham's continuing crusade for Delius's music up to his own death in 1961, which included a model edition of the scores, a biography and an internationally celebrated recorded legacy. This book includes a critical discography.Lyndon Jenkins provides a vivid account of an achievement that remains without parallel in the history of British music. ... Read more

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Chapters: Paris: the Song of a Great City, Brigg Fair, Florida Suite, a Song of Summer, in a Summer Garden, Eventyr, on Hearing the First Cuckoo in Spring, a Song of the High Hills. Source: Wikipedia. Pages: 24. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Paris: The Song of a Great City (full title: Paris, A Night Piece - The Song of a Great City) is a nocturne for orchestra composed by Frederick Delius over the period of 1899-1900. Hans Haym, to whom Delius dedicated the work, conducted the premiere on 14 December 1901 in Eberfeld, Germany. Sir Thomas Beecham conducted the UK premiere of the work in Liverpool on 11 January 1908. The critical edition of the score, published in the late 1980s, incorporated revisions by Beecham, and included editorial work from Eric Fenby and Norman Del Mar. Whilst the work drew upon Delius' own memories of his residence in Paris, the work is not a literal depiction, but more "impressionist" in nature. Philip Heseltine noted this quality as follows: "For Delius, Paris is not merely a city of France, whose collective life is something to be studied objectively, from a place apart, much as an entomologist studies an ants' nest; it is a corner of his own soul. A slow oboe melody opens and closes the work, which is punctuated in between by several street cries. Byron Adams has noted the stylistic influence of Richard Strauss in the work. Anthony Payne gave a mixed characterisation of Paris, noting that it "closes the early period and foreshadows the next in passages of contemplative beauty" and was Delius' "finest work" up to that time, but also saying that it lacked "the intense personal involvement of his great work". By contrast, Hubert Foss has characterised this work as "the first of the later masterpieces" of Delius. ...More: http://booksllc.net/?id=8139418 ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : William Herschel, Mike Oldfield, Joe Meek, Hugh Laurie, Benjamin Britten, Ivor Novello, Frederick Delius, Peter Hammill, Roger Whittaker, Peter Philips, Samuel Coleridge-Taylor, Berthold Goldschmidt, Jaz Coleman, Cyril Rootham, Marc Bolan, Percy Grainger, William Walton, John Greenwood, Clifton Parker, Edward Elgar, Peter Warlock, William Byrd, Adolph Deutsch, David Wise, Colin Towns, John Addison, Rob Hubbard, Johnny Harris, Hamilton Harty, John Blackwood Mcewen, David Arnold, Gerald Finzi, Fred Frith, Michael Tippett, Arnold Bax, Ethel Smyth, Gustav Holst, Gavin Rossdale, Peter Maxwell Davies, Andrew Lloyd Webber, David Rose, Julian Lennon, John Dowland, Arthur Sullivan, Brendan Perry, William Boyce, Keith Tippett, Nikki Sudden, Richard Jacques, Arthur Bliss, Granville Bantock, Christian Ignatius Latrobe, Lyn Murray, Constant Lambert, John Mayer, Craig Armstrong, William Wallace, David Whittaker, Peter Frampton, Howard Goodall, Steven Severin, Lennox Berkeley, John Rutter, Gordon Beck, Craig Ferguson, Alan Wilder, Willy Russell, Tracey Thorn, Jack Hulbert, John Foulds, Peter Richardson, John Dankworth, Christopher Hobbs, Philip Sainton, Andrew Poppy, Thomas Clayton, Dave Smith, Thomas Tallis, Billy Mayerl, George Dyson, David A. Hughes, Alan Rawsthorne, Peter Serafinowicz, Terry Oldfield, Leslie Bricusse, William S. Gilbert, Johann Baptist Cramer, Thomas Ravenscroft, Michael Parsons, John Blitheman, Isidore de Lara, John Du Prez, Eric Spear, Rutland Boughton, Barry Adamson, Maurice Greene, John White, Alfonso Ferrabosco Ii, Edmund Rubbra, Rebecca Clarke, Graham Clifton Bingham, Marc Wilkinson, Orlando Gibbons, Roger Webb, George Leybourne, Michael Arne, John Stanley, David Wood, Hubert Parry, David Essex, Angela Morl...http://booksllc.net/?l=fr ... Read more

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Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Isaac Albéniz, Arthur Sullivan, Edvard Grieg, Leoš Janáček, Frederick Delius, Adrian Boult, Ferruccio Busoni, Miklós Rózsa, Wolfgang Fortner, Felix Weingartner, Ethel Smyth, Yvonne Catterfeld, Kurt Masur, Erwin Schulhoff, Wilhelm Backhaus, Nadja Uhl, Christian Sinding, Leo Funtek, Hugo Distler, Helmut Walcha, Peter Sodann, Klaus Tennstedt, Karl Richter, Götz Friedrich, Hans Sitt, Petra Schmidt-Schaller, Steffen Schleiermacher, Simone Kermes, Lívia Rév, Amadeus Webersinke, Matthias Goerne, Mirja Boes, Ludwig Güttler. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Sir Arthur Seymour Sullivan MVO (13 May 1842 22 November 1900) was an English composer, of Irish and Italian descent, best known for his operatic collaborations with librettist W. S. Gilbert, including such continually popular works as H.M.S. Pinafore, The Pirates of Penzance, and The Mikado. Sullivan's artistic output included 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, parlour ballads, part songs, carols, and piano and chamber pieces. Apart from his comic operas with Gilbert, Sullivan is best known for some of his hymns and parlour songs, including "Onward Christian Soldiers", "The Absent-Minded Beggar", and "The Lost Chord". His most critically praised pieces include his Irish Symphony, his Overture di Ballo, The Martyr of Antioch, The Golden Legend, and, of the Savoy Operas, The Yeomen of the Guard. Sullivan's only grand opera, Ivanhoe, was initially highly successful, but it has been little heard since his death. Sullivan at age 18, studying at LeipzigSullivan was born in Lambeth, London. His father, Thomas Sullivan (18051866), was a military bandmaster and music teacher bor...More: http://booksllc.net/?id=45280 ... Read more

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Chapters: Koanga, a Village Romeo and Juliet, Fennimore and Gerda. Source: Wikipedia. Pages: 18. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Koanga is an opera with music by Frederick Delius, his third opera, written between 1896 and 1897, and a libretto by Charles F. Keary, inspired partly by The Grandissimes of George Washington Cable. Inspiration also came from Delius' own experiences as a young man when his family sent him to work in Florida. Delius himself thought well of the opera compared to its predecessors, Irmelin and The Magic Fountain, because of the incorporation of dance scenes and his treatment of the choruses. The first performance of the opera was at Elberfeld on March 30, 1904, and was the first of Delius' operas to be performed. It was also the most labor-intensive with regard to the libretto, which was continually being revised. The opera was posthumously published in 1935. Sir Thomas Beecham directed a revival of Koanga on 23 September 1935 at Covent Garden. A later revival was in 1972 for the Camden Festival at Sadler's Wells, London, conducted by Sir Charles Groves. Douglas Craig and Andrew Page had worked extensively on revisions to a performing edition, which was used for the first complete commercial recording conducted by Groves. Robert Threlfall has examined revisions to the text of Koanga in its various editions. More recent revisions to the libretto have been by Olwen Wymark. The single most famous musical passage from the opera contains the melody known as La Calinda, which is the only part of the score that has remained famous in the concert hall. Eric Fenby, Delius' amanuensis, has spoken of the opera as follows: "Koanga is one of those singular works that attract attention in Delius's development but which stand apart from the rest of his music. Usual...More: http://booksllc.net/?id=9838664 ... Read more