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Three Choirs Festival 2021


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Author Topic: Three Choirs Festival 2021  (Read 285 times)
Lionel Harrison
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« Reply #15 on: May 03, 2021, 08:55:08 am »

Elgar found time to write to August Jaeger that "Taylor's prelude went well...  I revelled in the opening & the close but I could not 'sequentiate' (!)the middle: he is a dear chap & it's all so human and yearning". That seems to indicate that this is a work worth hearing.

It certainly sounds like a substantial piece from Coleridge-Taylor's "halcyon" years when he was regarded as a rising star in the musical firmament. Well worth resurrecting, I'd say: hopefully the Three Choirs Festival performance in Worcester Cathedral will roll away the stone...
 Wink

 Grin Hear! hear!
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Lionel Harrison
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« Reply #16 on: July 02, 2021, 07:58:53 pm »

He got the commission for the Solemn Prelude on the strength of the huge popular and critical success of his Ballade in A minor at the 1898 Three Choirs Festival - it will be fascinating to see how the Solemn Prelude measures up to this...

 Smiley
Yes, indeed. Given Novello's history in such matters it's quite an achievement for the orchestral librarian to track down the parts; as usual, while the string parts were printed, the wind parts and full score were only available in MS on hire from the publisher. If the parts are still available through Chester/Novello I'd be surprised. However, SC-T's MS full score is in the British Library and so if authentic new parts had to be created it would have been possible to do so.

I have read through SC-T's piano reduction at IMSLP; of course, he was a composer who thought orchestrally and it's documented that he didn't use the piano when composing. The piano reduction is decidedly clunky when viewed as piano music and although his wonderful skill as an orchestrator would have clothed this monochromatic version in glorious colours the detail of which we can only guess at (at least until 27 July!) the structure of the piece is, of course, clear and it reads to me as a very grand affair indeed. In one way, it's typical of its composer in terms of his use of thematic transformation and his clever modulations into a succession of remote keys. However, it's unusual in that he keeps to the same Lento tempo throughout, obviously keen to maintain the solemn mood indicated by the title.

An interesting factoid is that the Solemn Prelude was dedicated to Nicholas Kilburn, friend of Elgar (and dedicatee of The Music Makers).

Apparently, the orchestral librarian didn't track down the parts as they had long since vanished. (Thanks, Novello.) According to the BBC Music Magazine, a new score has indeed been produced from SC-T's MS (which, as I previously noted, is in the British Library). It's to be published by Faber Music (bless 'em), and further performances are already planned by the Chicago Symphony Orchestra and the London Philharmonic Orchestra, no less. https://www.fabermusic.com/news/faber-music-publishes-forgotten-coleridge-taylor-work30062021
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« Reply #17 on: July 03, 2021, 06:58:50 am »

Apparently, the orchestral librarian didn't track down the parts as they had long since vanished. (Thanks, Novello.) According to the BBC Music Magazine, a new score has indeed been produced from SC-T's MS (which, as I previously noted, is in the British Library). It's to be published by Faber Music (bless 'em), and further performances are already planned by the Chicago Symphony Orchestra and the London Philharmonic Orchestra, no less. https://www.fabermusic.com/news/faber-music-publishes-forgotten-coleridge-taylor-work30062021

Great news - sometimes there are still sparks of initiative!

 Cheesy

How many other unpublished autograph/ copyist scores lurk at the BL ripe for rediscovery?

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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 #18 on: July 03, 2021, 09:46:48 am »

Apparently, the orchestral librarian didn't track down the parts as they had long since vanished. (Thanks, Novello.) According to the BBC Music Magazine, a new score has indeed been produced from SC-T's MS (which, as I previously noted, is in the British Library). It's to be published by Faber Music (bless 'em), and further performances are already planned by the Chicago Symphony Orchestra and the London Philharmonic Orchestra, no less. https://www.fabermusic.com/news/faber-music-publishes-forgotten-coleridge-taylor-work30062021

Great news - sometimes there are still sparks of initiative!

 Cheesy

How many other unpublished autograph/ copyist scores lurk at the BL ripe for rediscovery?

 Roll Eyes

God only knows; a lot, that's for sure. What's particularly encouraging to me about this story is that the Three Choirs Festival CEO, Dr. Alexis Paterson, actually went out hunting for this score, which exemplifies that the resurgence in interest in SC-T's music seems to be gathering some real momentum.
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« Reply #19 on: July 03, 2021, 11:29:26 am »

What's particularly encouraging to me about this story is that the Three Choirs Festival CEO, Dr. Alexis Paterson, actually went out hunting for this score, which exemplifies that the resurgence in interest in SC-T's music seems to be gathering some real momentum.

As repertoire continues to open up and composers are "re-discovered", it often has a knock-on effect: Spohr-Ries-Sterndale Bennett, Potter; Parry-Stanford-Mackenzie-German-Cowen, etc. The more research and musical proselytizing the better...

 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)
Lionel Harrison
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« Reply #20 on: July 03, 2021, 11:58:52 am »

The more research and musical proselytizing the better...
 Cheesy
Well said, that man!
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