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Piano concertante works by Beach, Chaminade and Howell

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jonah
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« on: September 04, 2016, 05:23:45 am »

Danny Driver's Autumn newsletter on his website (www.dannydriver.com) has announced that he has recorded concertante works by Amy Beach, Cecile Chaminade and Dorothy Howell with the BBCSSO conducted by Rebecca Miller for Hyperion, presumably for release in the RPC series.
There is also mention that he will record in October with the BBCSSO and Martyn's Brabbins a recently discovered Dance Suite for piano and orchestra by Erik Chisholm.
Good news indeed!
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shamus
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« Reply #1 on: September 04, 2016, 06:43:39 am »

Let me guess, Concerto in C-sharp Minor, op. 45, Concertstück, op. 40 (slight possibility of Chaminade's contribution to Six Pièces Romantiques, op. 55), Concerto in D-Minor. All long since done, recorded and appreciated. Sure, new performances by a great pianist not to be disparaged, yet never a look at concertante piano works by Amersfoord-Dyk, Backer-Grondahl, Blahetka, Borton, Bronsart von Schellendorf, Candeille, Dussek (Veronica), Markowska-Garlowska, Orger, Prescott, Schaden, Smith (Alice Mary), Tyrell, or Wurm. For all I know some of their concertos are not exactly Brahmsish, but none of us will ever know anyway, will we.
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Grandenorm
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« Reply #2 on: September 04, 2016, 10:43:51 am »

Well, Shamus, if you know the whereabouts of the scores of the concerti by the composers you mention I shall be more than happy to draw them to Hyperion's (or another company's attention). My own researches have failed to find the concerti by Caroline Oger, Oliveria Prescott, Ingeborg Bronsart, Alice Mary Smith, Agnes Tyrrell or Mary Wurm. There is no concerto by Agathe Backer-Grondahl (as far as I am aware), only an Andante for piano & orchestra, the MS of which is in the National Library of Norway - I have not seen it.
Julie Candeille's Op. 2 concerto for fortepiano or harpsichord exists for hire in a photocopied set of parts in Fleisher, and Hildegard Publishing produced a full score in 2000 from the set of parts in BNF, but this would be something for Hyperion's Classical PC series - provided it is any good (I have not seen it) - as would the concerto by Veronika Cianchettini (Dussek), if it could be found. The parts for 2 concertos by Nanette von Schaden are available to download from IMSLP. I will investigate but these, if of suitable quality, would again be for the Classical PC series.

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shamus
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« Reply #3 on: September 04, 2016, 08:43:51 pm »

I wish. I am not a scholar, obviously, just sometimes a bit emotional and loud-mouthed--my apologies. It would be great, though, if something did come of the scores you have found--kudos, by the way--but not only am I not a scholar I am dead broke. I did enjoy the Hopekirk that showed up on YouTube, though, again not Beethovenish but soothed me, the raving addict/collector of orchestral and concerted music by female composers for a bit.
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Grandenorm
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« Reply #4 on: September 04, 2016, 09:04:15 pm »

I know it can be very frustrating to read in composer's biographies of the works they have produced only to find that most of their more interesting compositions have been lost. But the musicologist always lives in hope!
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jonah
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« Reply #5 on: September 06, 2016, 04:30:00 am »

When I posted originally, I thought that there might have been interest in the Chisholm Dance Suite for piano and orchestra, and I would like to know more about that myself.  A quick search of the archive does not reveal any previous comments on this work.
Can anyone provide information?
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guest377
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« Reply #6 on: September 06, 2016, 02:15:44 pm »

As with most works and composers that are rarely heard, the works (music score) may exist only in MS version  (that's not Microsoft but Manuscript, meaning "handwritten").    Chances are again slim that if the MS was never published then the parts have to be copied again by hand. 

From my experience, if the work was published by a publishing house, the parts are probably available for performance.   It becomes a huge task to what's called engraving (from the old publishing terminology) the manuscript score into a software product to produce the parts needed for the performers. 

However, it can be done.  In fact, I am seeing some premiere recordings being "crowd funded" in order to bring them to the market (see Edward Burlingame Hill: Four Premiere Recordings  Symphony No 4 wherein the MS was engraved into a software product, and funds were raised to bring it to the market).

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patmos.beje
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« Reply #7 on: September 06, 2016, 02:16:35 pm »

When I posted originally, I thought that there might have been interest in the Chisholm Dance Suite for piano and orchestra, and I would like to know more about that myself.  A quick search of the archive does not reveal any previous comments on this work.
Can anyone provide information?

The work is mentioned in the archive at: http://artmusic.smfforfree.com/index.php/topic,5346.0.html  / under the topic heading 'Erik Chisholm's Violin Concerto, Dance Suite ect and Simoon on CD in 2016/2017'.

Three movements of the suite ('March', 'Urlar' and 'Reel') were performed in Glasgow in 1932 with Chisholm as pianist and John Barbirolli conducting the Scottish Orchestra.  A full performance was given after this at the 11th International Society for Contemporary Music Festival in Amsterdam on 12 June 1933 with Chisholm again at the piano and Constant Lambert conducting the Concertgebouw Orchestra.  That was its only full performance. [From 'Erik Chisholm, Scottish Modernist (1904-1965): Chasing a Restless Muse' by John Purser (2009)]

The Erik Chisholm Trust newsletter (Summer 2016) contains more information see: http://www.erikchisholm.com/pdf/summer-newsletter-2016.pdf

The newsletter indicates 'The Dance Suite is very much a product of Chisholm’s early‘ Scottish’ style...'.
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Dundonnell
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« Reply #8 on: September 06, 2016, 02:52:12 pm »

This may perhaps be the place to refer back to previous discussions involving the costs of making cds-the sales of which, particularly if the music is obscure, may be very small.

In the case of the forthcoming recording of the Chisholm works there are two soloists involved. Each will receive a fee-which will have been negotiated on their behalf by their agents. The same will apply to the conductor. Obviously I am not able to divulge any details of how much those fees are in this or other cases.

The cost of hiring an orchestra will vary. Radio orchestras sometimes have recordings written into the individual contracts of the members of the orchestra but there may still be a considerable sum paid to the radio corporation. The general supposition is that CPO-for example-use a lot of German radio orchestras for this reason and link their recordings to a public performance or a broadcast recording. The actual CPO recording is not of that public performance but is made around the same time. This cuts costs-particularly the costs involved in rehearsal time. Orchestras these days are incredibly professional and highly skilled. They can sight-read most music and require less rehearsal time but the more obscure and, in particular, the more complex the music then the more rehearsal time may be needed. This increases costs. If a hall-as opposed to a radio studio-is required then that too will carry an extra cost.

(I have told this anecdote before but it is worth repeating ;D The Chandos Prokofiev symphonies series conducted by Neeme Jarvi contains "fillers" on each cd-short orchestral works. Several of these were recorded without even a run-through by the orchestra but were recorded "live" in the time left over at recording sessions. That says a great deal about how good orchestras actually are at sight-reading!!!)

The smaller record companies operate on extremely small profit margins. They do not expect massive sales (far from it!) and the costs involved have to come from somewhere. If I was a conductor or a soloist and went to one of these companies and said "I want you to record me conducting/playing (say) the William Wordsworth Cello Concerto" the usual answer, these days, would be "Fine, absolutely........where are you getting the money to give to us to make that possible?".
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