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A ROSE BY ANOTHER NAME
Winstanley talks about the Delius Rose. The rose actually came from Surrey. Over the years, the Delius Rose has grown quite well and, having been trained and fed with natural well-rotted fertilizer, it has weaved up. Up until last summer and over the years it has shown a steady, gradually improving flowering growth, but the 2022 Summer heatwave truly brought it into a spectacular bloom.
Journal Article
Music for Mister Moon
After shy cello player Harriet Henry accidentally knocks the moon out of the sky, the moon becomes her friend, and Harriet gains the courage to share her music.
Book
MISCELLANY
Recently I had the good fortune to conduct three interesting orchestral works by Leopold van der Pals (1884-1966, the generation of Stravinsky and Alban Berg), a composer of Dutch extraction, educated mostly in St Petersburg. The great-great-grandson of the composer's brother, the cellist Tobias van der Pals, who was the soloist in the cello concerto, told me about a German scholar who had collected and edited the many volumes of the composer's diaries, in order that this material from this very interesting period in European musical life was easily accessible. Bill Thompson DELIUS AS I KNEW HIM Delius Society Members might like to know that the limited hardback edition of Delius as I knew him by Eric Fenby has now almost sold out.
Journal Article
Beethoven's cello : five revolutionary sonatas and their world
\"In 1796 the young Beethoven presented his first two cello sonatas at the court of Frederick William II, an avid cellist and the reigning Prussian monarch. Released in print the next year, these revolutionary sonatas forever altered the cello repertoire by fundamentally redefining the relationship between the cello and the piano and promoting their parity. Beethoven continued to develop the potential of the duo partnership in his three other cello sonatas - the lyrical and heroic Op. 69 and the two experimental sonatas Op. 102, No. 1 and No. 2, transcendent compositions conceived on the threshold of the composer's late style. In Beethoven's Cello, Marc D. Moskovitz and R. Larry Todd examine these seminal cornerstones of the cello repertoire and place them within their historical and cultural context. Also considered in a series of interludes are Beethoven's three variation sets, his cello-centric 'Triple' Concerto, and arrangements for cello and piano of other works. Two other interludes address the cellos owned by Beethoven and the changing nature of his pianos. Featuring a preface by renowned cellist Steven Isserlis and concluding with translated reviews of the composer's cello music published during his lifetime, Beethoven's Cello is the ideal companion for cellists, pianists, musicologists and chamber-music devotees desiring a comprehensive understanding of this beloved repertoire.\"--Jacket flap.
BOOK
Unlearning Through the Cello
Upon retirement, I returned to music, but instead of continuing with the piano lessons I had undertaken in my youth, I took up the cello. Learning the cello as an adult has been vastly different from my childhood music lessons, and I didn't realize this elegant instrument would be a catalyst for unlearning and undoing the years of holding I had felt were necessary. I've thoroughly enjoyed the Socrative process embedded within my developing relationship with the cello and felt that sharing this process would support those music educators who utilize various methods of teaching with both children and adults.
Journal Article
HASSAN AND BASIL DEAN – A CENTENARY RETROSPECTIVE
For Basil Dean, presenting James Elroy Flecker's Hassan had been 'a moral obligation'. And so, after discussing many changes to the text with its author and having personally commissioned Delius to provide the music, he must have been deeply disappointed when the many delays caused by the intervening war and his difficulties in finding a large enough theatre resulted in the work's premiere being given in Germany. But the Darmstadt production in June was no match for the English one three months later which ran at His Majesty's Theatre for 281 performances. Yet Dean was never to repeat this success, neither was the work staged again to such acclaim, and today, a hundred years on since its first presentation, Hassan with Flecker's script is the most neglected of all Delius's major works, and there are probably very few Delians, if any, who have ever seen a full production of the play and music. Here, Lloyd presents a detailed study of the history of the play and its music.
Journal Article