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"frederick delius"
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WAS DELIUS RIGHT?
Summers talks about Charles Delius' atheism. Delius was not likely to forget the incident he had witnessed in Bradford when Charles Bradlaugh had stood, with his watch in his hand, calling on his Creator to strike him dead within two minutes if He existed. Delius had never forgotten those two minutes. It had made a lasting impression on him.
Journal Article
Delius and Norway
Norway was a primary source of inspiration for Delius: 20 summers of his adult life were spent there, and almost 40 works express his experiences of Norwegian nature or were composed to Norwegian texts. Yet, although his attachment to Norway was at the core of his creative life, this book is the first in-depth study of the influence the country and its artists had on the composer. It includes significant new material regarding Delius's friendships with Edvard Munch, Edvard Grieg and Knut Hamsun. Previously unknown visits to Norway are detailed, as are close ties to a whole raft of Norwegian artists and political figures that have never previously been documented. For the first time, Delius's alter ego is uncovered, several mythologies regarding the composer are clarified, and the Norwegian background to some of his most well-known works is considered. The Delius that emerges from these pages is little known, even to most enthusiasts of his music: a driven and energetic personality and an artist searching for a language with which to express the existential crisis facing modern man in the early twentieth century.
Book
THINGS CALLED DELIUS
Beavis presents a variety of places, organizations and objects which use Frederick Delius' name. There was quite a variety, the most notable being German businesses run by other members of the extended Delius clan. Among other things, Delius GmbH began in Bielefeld in 1722 as a linen trading house owned by the forebears of the Bradford Deliuses. It has evolved into a private textile-manufacturing company, managed by the ninth generation of the family. Today Delius GmbH manufactures furniture and upholstery fabrics for commercial customers worldwide.
Journal Article
'WE ARE BEGGARS!': POVERTY IN DELIUS'S A VILLAGE ROMEO AND JULIET
The tension between realism and romance in Gottfried Keller's Romeo und Julia auf dem Dorfe was surely significant for Frederick Delius. In the context of his operatic career, A Village Romeo and Juliet was a huge step towards realism. This opera seems thoroughly to leave behind the elements of magic and exoticism in his earlier operas, Irmelin, The Magic Fountain, and Koanga, while at the same time anticipating the new, modern realism of Delius' last two contributions to the genre, Margot la Rouge, composed immediately after A Village Romeo and Juliet, and Fennimore and Gerda, composed between 1909 and 1913. Nevertheless, the realism of Keller's novella is tempered by poetic and romantic elements, and arguably these become of greater importance in Delius' opera. Here, Saito elucidates what happens to the theme of poverty that seems so central to the story.
Journal Article
'COMPLICATED STATES OF MIND' – PHILIP HESELTINE AND THE END OF FENNIMORE AND GERDA
Frederick Delius' operatic career can be thought of as a series of rapidly diminishing surges of creativity. The first and by far the most productive saw Irmelin, The Magic Fountain, Koanga, A Village Romeo and Juliet, and Margot la Rouge composed in a largely continuous sequence between 1890 and 1902. In those years, Delius was, unquestionably, primarily an opera composer. Yet no Delius opera was staged until 1904--when Koanga appeared in Germany--and it is hardly surprising that he abandoned the genre for several years after Margot la Rouge. A second surge in 1909-10 produced the one-act opera which Delius called, interchangeably, Niels Lyhne or Fennimore. A third surge in 1913 saw this opera expanded into its final form and renamed Fennimore and Gerda; it probably also led to a plan for a Wuthering Heights opera that remained uncomposed. A final surge, some years later, saw a Deirdre of the Sorrows opera contemplated, based on Synge's play; again, this was never composed. Arguably, all Delius' operatic activity from 1909 onwards is connected in some way to the opera that became Fennimore and Gerda. Here, Chandler discusses Fennimore and Gerda, Philip Heseltine and the end of Delius' operatic career.
Journal Article
FREDERICK DELIUS – SIX PIANO PIECES
Grimley provides a few supplementary notes on the newly-discovered six piano pieces by Frederick Delius. The origin and date of Delius's drafts similarly remains open to conjecture. The pieces may well have been written alongside the better known Five Piano Pieces that Delius wrote for his god-daughter, Yvonne O'Neill, in 1922-3: that is roughly consistent with the dates of Jelka's copies and with the accessible style and character of the music (compare, for instance, no 5 and the second Waltz from the Five Piano Pieces). But there is no definitive evidence to confirm that the pieces were all originally conceived at the same time or as a discrete set.
Journal Article
IN PURSUIT OF ACCEPTANCE: BARBIROLLI, DELIUS AND THE CRITICS
In an adaptation from a video presentation, Holden talks about the importance of Frederick Delius' music on John Barbirolli's professional life in music. Barbirolli was a committed interpreter of British music from his earliest years. Something of an evangelist when it came to the works of his fellow countrymen, Barbiroll began his lifelong advocacy of them as a young cello student at the Royal Academy of Music, and first flew the flag for the compositions of his homeland when he performed the opening two movements of Sir Alexander Mackenzie's Piano Quartet with fellow students at the Academy's Duke's Hall on Feb 18, 1915. But it wasn't until Jun 12, 1923 that Barbirolli was able to perform a work by Delius for the first time: the composer's Cello Sonata with the pianist, Harold Craxton, at the Æolian Hall. Then, as a member of the Kutcher Quartet, Barbirolli was involved in performances of the String Quartet in both London and Paris in June and October the following year.
Journal Article
PLAYING THE GAME
Carley determines what might possibly have prompted Frederick Delius to make the unusual excursion to Monte Carlo. It seems not to be beyond the bounds of possibility that, so shortly after Joseph Jagger's success, word in such circles got quietly about that Jagger had won a considerable sum in Monte Carlo, though few, one assumes, would have been aware of the real extent of his winnings. The young and already-enterprising Delius could have become privy to such rumours, something that might then have prompted his own decision, during his work-experience months in Saint-Etienne, to undertake a foray himself to the Riviera in Feb 1882 and to chance his hand at the gaming-tables. Once he had sufficient funds enabling him to make such an excursion while working in Saint-Etienne, this could well have prompted him to try his own luck. We will probably never know, of course, but the coincidence must otherwise seem, at the very least, out of the ordinary.
Journal Article
DELIUS AND THE HARP
This amusing comment by Sidonie Goossens, one of our most celebrated orchestral harpists, was quoted by Stephen Lloyd in his article 'Music for the Stage and Screen' in the last issue of the Journal (No 169) and it was prompted by the difficulty she had playing the harp part in Hassan. Her remark has in turn prompted Summers to add some further reflections on Delius's harp parts. But first he must state his credentials for writing this. He does not play the harp, but he has played many orchestral harp parts by a range of composers (including Delius) on various keyboards and synthesizers. Delius may have been careless about the playability of his parts but he knew when something was impossible. Unless played very slowly, a chromatic scale is extremely difficult or impossible on the harp as the pedal changes needed are too quick.
Journal Article