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Samuel Coleridge-Taylor (1875-1912)


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Author Topic: Samuel Coleridge-Taylor (1875-1912)  (Read 1294 times)
Lionel Harrison
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« Reply #60 on: May 06, 2021, 06:49:16 pm »

Looks delightful! Fortunately, I'm not allowed to do any of the cooking around here as my culinary skills do not come up to the standard required...  Embarrassed

Coleridge-Taylor had the same problem - Jessie could be a dragon in the kitchen...



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Very true! They found it difficult to retain 'help'.
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Albion
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Frederic Cowen (1852-1935)


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« Reply #61 on: May 06, 2021, 07:05:43 pm »

They found it difficult to retain 'help'.

I know, I have exactly the same problem...



...Florrie simply didn't cut the mustard (although she tried on several occasions with a rusty pen-knife)...

 Roll Eyes

...and her constant inconsequential chat about the perils of arsenic in the wallpaper eventually bored the poor dog to death (on second thoughts, that could well have been the arsenic in the wallpaper).

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Albion
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Frederic Cowen (1852-1935)


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« Reply #62 on: May 06, 2021, 07:14:17 pm »

Damn, are we back on topic again?

It seemeth not yet...



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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Lionel Harrison
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« Reply #63 on: May 06, 2021, 07:40:45 pm »

They found it difficult to retain 'help'.

I know, I have exactly the same problem...



...Florrie simply didn't cut the mustard (although she tried on several occasions)...

 Roll Eyes

...and her constant inconsequential chat about the perils of arsenic in the wallpaper eventually bored the poor dog to death (on second thoughts, that could well have been the arsenic in the wallpaper).

 Shocked
From her staring eyes, I'd venture to suggest that Florrie was cutting heroin rather than mustard.  Shocked
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Albion
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Frederic Cowen (1852-1935)


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« Reply #64 on: May 06, 2021, 07:50:59 pm »

From her staring eyes, I'd venture to suggest that Florrie was cutting heroin rather than mustard.  Shocked

I always wondered why she often had that far-away look in her eyes. Yep, a definite smack-fiend...

 Roll Eyes

...heigh-ho! Hark, the next interviewee is at the door.



She must be genning up - "yes, I like Potter, Korngold, Cowen, Schreker, Bantock, Ries and Holbrooke...yes, I like Potter, Korngold, Cowen, Schreker, Bantock, Ries and Holbrooke...yes, I like Potter, Korngold, Cowen, Schreker, Bantock, Ries and Holbrooke..."

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Frederic Cowen (1852-1935)


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« Reply #65 on: May 07, 2021, 07:00:22 am »

She must be genning up - "yes, I like Potter, Korngold, Cowen, Schreker, Bantock, Ries and Holbrooke..."

 Wink

...and Samuel Coleridge-Taylor (1875-1912).

 Wink

Back on track (don't worry, it'll only be temporary).

 Grin
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Lionel Harrison
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« Reply #66 on: May 07, 2021, 09:01:07 am »

She must be genning up - "yes, I like Potter, Korngold, Cowen, Schreker, Bantock, Ries and Holbrooke..."

 Wink

...and Samuel Coleridge-Taylor (1875-1912).

 Wink

Back on track (don't worry, it'll only be temporary).

 Grin

Phew!
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Lionel Harrison
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« Reply #67 on: June 07, 2021, 06:07:35 pm »

I've just had a squint at IMSLP, which I do daily in case anything interesting turns up and, by gum, it has today. The RCM has uploaded the holograph MS of the full score of the sacred cantata The Atonement which SC-T wrote in 1903 for the Three Choirs Festival (which took place in Hereford that year).  Grin

It's blocked pending copyright review at present, but as soon as it's cleared I shall be in there like a rat up a drainpipe to download it. Once upon a time Patrick and I would have been seeking permission to digitise and disseminate it but now that's a labour of love that must be left to others. I shall just knock the rust off my mind's ear and delight in reading it.
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Frederic Cowen (1852-1935)


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« Reply #68 on: June 07, 2021, 08:23:11 pm »

I've just had a squint at IMSLP, which I do daily in case anything interesting turns up and, by gum, it has today. The RCM has uploaded the holograph MS of the full score of the sacred cantata The Atonement which SC-T wrote in 1903 for the Three Choirs Festival (which took place in Hereford that year).  Grin

It's blocked pending copyright review at present, but as soon as it's cleared I shall be in there like a rat up a drainpipe to download it. Once upon a time Patrick and I would have been seeking permission to digitise and disseminate it but now that's a labour of love that must be left to others. I shall just knock the rust off my mind's ear and delight in reading it.]

I've got both editions of the VS, the "suppressed" 190pp with Ye Mighty Gods of Ancient Rome love duet for Pilate and his wife, and the 169pp "expurgated" version. I prefer the former!

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Lionel Harrison
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« Reply #69 on: June 07, 2021, 09:44:52 pm »

I've just had a squint at IMSLP, which I do daily in case anything interesting turns up and, by gum, it has today. The RCM has uploaded the holograph MS of the full score of the sacred cantata The Atonement which SC-T wrote in 1903 for the Three Choirs Festival (which took place in Hereford that year).  Grin

It's blocked pending copyright review at present, but as soon as it's cleared I shall be in there like a rat up a drainpipe to download it. Once upon a time Patrick and I would have been seeking permission to digitise and disseminate it but now that's a labour of love that must be left to others. I shall just knock the rust off my mind's ear and delight in reading it.]

I've got both editions of the VS, the "suppressed" 190pp with Ye Mighty Gods of Ancient Rome love duet for Pilate and his wife, and the 169pp "expurgated" version. I prefer the former!

 Cheesy

Well, naturally! Who wouldn't want 21 pages more SC-T?! I don't have either VS in physical form although I dowloaded the one that's at IMSLP (which is the unexpurgated version, fortunately). As the full score they've uploaded is dated 1903, I'm hoping that it's the full version too, although it's notated on the front with Novello's London address and so if we're unlucky, it might be the pruned version. We'll see when it's cleared copyright.
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Albion
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Frederic Cowen (1852-1935)


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« Reply #70 on: June 08, 2021, 12:30:59 pm »

I've just had a squint at IMSLP, which I do daily in case anything interesting turns up and, by gum, it has today. The RCM has uploaded the holograph MS of the full score of the sacred cantata The Atonement which SC-T wrote in 1903 for the Three Choirs Festival (which took place in Hereford that year).  Grin

It's blocked pending copyright review at present, but as soon as it's cleared I shall be in there like a rat up a drainpipe to download it. Once upon a time Patrick and I would have been seeking permission to digitise and disseminate it but now that's a labour of love that must be left to others. I shall just knock the rust off my mind's ear and delight in reading it.]

I've got both editions of the VS, the "suppressed" 190pp with Ye Mighty Gods of Ancient Rome love duet for Pilate and his wife, and the 169pp "expurgated" version. I prefer the former!

 Cheesy

Well, naturally! Who wouldn't want 21 pages more SC-T?! I don't have either VS in physical form although I dowloaded the one that's at IMSLP (which is the unexpurgated version, fortunately). As the full score they've uploaded is dated 1903, I'm hoping that it's the full version too, although it's notated on the front with Novello's London address and so if we're unlucky, it might be the pruned version. We'll see when it's cleared copyright.
It's blocked pending copyright review at present, but as soon as it's cleared I shall be in there like a rat up a drainpipe to download it. Once upon a time Patrick and I would have been seeking permission to digitise and disseminate it but now that's a labour of love that must be left to others. I shall just knock the rust off my mind's ear and delight in reading it.]

I hereby bequeath (being of unsound mind and body) both scores to you along with Florrie's renowned recipe for "magic macaroons"...



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« Reply #71 on: June 08, 2021, 12:48:54 pm »


I hereby bequeath (being of unsound mind and body) both scores to you along with Florrie's renowned recipe for "magic macaroons"...



 Cheesy

That's a very kind thought indeed. Regarding Florrie's "magic macaroons", I'm sure a couple of them will go down a treat with my 4 o'clock dish of Assam!  Smiley
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« Reply #72 on: June 11, 2021, 10:26:06 am »

I see the the RCM has now put a copyist's MS of The Atonement on IMSLP as well as the holograph. I have started perusing the latter which they put up on Monday and so far as I can tell, it is the original, complete version. There is a lengthy cut marked by chinagraph crosses at one point which I imagine must reflect the bowdlerised version. I'll see, once the copyist's MS has satisfied the copyright police, whether the passage indicated to be cut makes it into that version or not. In four of the five sections, the copyist's MS has a few more pages than the holograph but the Pontius Pilate section has a couple fewer. This suggests that, on the one hand, the copyist's script is rather less tiny than Coleridge's and, on the other, that there is a cut.

This will probably be of interest to no-one except Albion and me but it does at least mean that, should any enterprising group wish to perform or record The Atonement at some future date, they can do so (after a good deal of donkey work on preparing a printed score and parts). I'm not holding my breath, however, and I don't expect it will happen while I'm here to hear it!
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Frederic Cowen (1852-1935)


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« Reply #73 on: June 11, 2021, 08:45:24 pm »

I see the the RCM has now put a copyist's MS of The Atonement on IMSLP as well as the holograph. I have started perusing the latter which they put up on Monday and so far as I can tell, it is the original, complete version. There is a lengthy cut marked by chinagraph crosses at one point which I imagine must reflect the bowdlerised version. I'll see, once the copyist's MS has satisfied the copyright police, whether the passage indicated to be cut makes it into that version or not. In four of the five sections, the copyist's MS has a few more pages than the holograph but the Pontius Pilate section has a couple fewer. This suggests that, on the one hand, the copyist's script is rather less tiny than Coleridge's and, on the other, that there is a cut.

This will probably be of interest to no-one except Albion and me but it does at least mean that, should any enterprising group wish to perform or record The Atonement at some future date, they can do so (after a good deal of donkey work on preparing a printed score and parts). I'm not holding my breath, however, and I don't expect it will happen while I'm here to hear it!

Coleridge-Taylor's handwriting was notoriouisly spidery, as was Holbrooke's and equaully hard to deceipher. Evenings with a bright shiny threepence in in Florrie's kirtle were spent "no noubt hours pouring over many an a anarachnid holograph at the BL, RAM, RCM or the Bodleian....

 Cheesy



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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)

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