Label: Chandos - CHAN 10638(19) Format: 19x, CD Compilation Box Set Compilation Country: UK Genre: Classical Style: Modern
The Pictorial Biography. Towards the end of his life he found himself isolated and at odds with the musical establishment. The work is dedicated to the French piano virtuoso and. It is a world which would probably, to. Another archetypal story of embittered love, with a timely moral warning, it employs complex harmonies culminating in unusual chromatic meanderings in the final stanza.
Lists of compositions by composer Compositions by Percy Grainger. Hidden categories: CS1 maint: Extra text: Namespaces Article Talk. Views Read Edit View history. Languages Add links. Remember me on this computer. Cancel Forgot your password? English View all editions and formats.
Orchestral music. View all subjects. Similar Items. Compact discs. Program notes, biographical notes on composer, and texts in English p. CD 1, orchestral works I: CD 2, orchestral works II: Youthful suite -- Molly on the shore British folk-music settings no.
British folk-music settings no. CD 3, orchestral works III: Green bushes British folk-music settings no. CD 4, works for chorus and orchestra I: Shallow brown Sea chanty settings no. CD 5, works for chorus and orchestra II: CD 6, works for chorus and orchestra III: Mock Morris Room music tit-bits no.
CD 7, works for chorus and orchestra IV: Colonial Song S No. English Dance 4. There Were Three Friends 6. We Were Dreamers 8. Harvest Hymn 9. Blithe Bells Symphonic wind band version In a Nutshell, Suite I Arrival Platform Humlet II Gay but wistful III Pastoral I Northern March 2. II Rustic March 3. III Norse Dirge 4. IV Eastern Intermezzo 5. V English Waltz premiere recording of complete version for Stokowski 6.
BFMS No. Edited by Dana Paul Perna premiere recording of complete version for Stokowski Dreamery Edited by Barry Peter Ould premiere recording of the revised and edited version Hill-Song No. Eastern Intermezzo for percussion ensemble premiere recording in this version 5. The Power of Rome and the Christian Heart 9. English Dance No. I Shenandoah 5. II Stormy 6. Andrew Watkinson violin , David Archer trumpet premiere recording 9. Duke Dobing flute premiere recording Anchor Song KS No.
Broadwood from the singing of her Lincolnshire nurse, Mrs Hill. It comes from a time when singing rather than instrumental playing held countryside dancers together. Grainger dedicated his many alternatively scored arrangements, including a version for voice and piano, to the memory of Miss Lucy E.
The version for wind band, which forms the last movement of his Lincolnshire Posy, was completed in Harmonised and arranged. She is given employment as a stable-boy and when nine years later the stable-boy gives birth to twins, the royal court is much taken aback! Grainger had intended to set the whole Song of Solomon in fourteen parts to music after hearing his friend and fellow Frankfurt student Roger Quilter reading aloud passages from the Authorised Version of the Bible; Grainger would note down the rhythms in musical notation.
These irregular rhythms fascinated him and many of his scores from this period are full of similar time changes. Grainger said that at slow speeds, such. This lament, sung by the seals when they are heading back to their beaches in the summer, tells of the sealrookeries on the Pribilof Islands in the Bering Sea and the coming of the sealers to cull them. Sketches for a version for voice and keyboard were used by the present writer to realise a version for voice and piano that incorporates material from the original setting.
The version for piano solo was worked out in the summer of Two years later Grainger recorded an improvised hand-played performance of this for the Duo-Art Pianola Company.
Thereby all the rhythmic complexities and irregularities of the improvisation could be preserved, as it were photographically. Soon after, Grainger notated the work for publication, and thus reversed the accepted compositional process by transcribing it onto paper from the piano roll. The effect becomes hallucinatory, and the listener is soon mesmerised by the beauty of the resulting sound-scape, produced by the quick repetition of notes over the main tune, which grows in intensity as the work progresses.
Recently a version for two pianos four hands was discovered but again no indication as to the origins of the melody was given on the manuscript. Marching Song of Democracy Marching Song of Democracy is a sprawling tone poem in which Grainger attempts to merge a late-romantic idiom with his own original techniques and spirit. The work, to which Grainger was inspired while he and his mother were attending the Paris Exhibition of , was originally scored for chorus and orchestra.
The band transcription dates from July and was made at the suggestion of Graham Overgard, a band director from Detroit who was often in correspondence with Grainger about his band music. Grainger described his choral version as a kind of modern and Australian version of the Gloria of a mass.
The work carries the following dedication: Another archetypal story of embittered love, with a timely moral warning, it employs complex harmonies culminating in. It was composed by Grainger in November in Frankfurt and slightly modified in before being published. Four verses. The work ends with a series of piano flourishes over which the trumpet plays the opening notes of the theme.
Grainger and his mother, Rose, translated the poem into English and the work was dedicated to Karen Holten. The dance music is totally original, not based on folk-tunes, and is an exuberant celebration of a country wedding. The score was initially published for six or seven single strings to which Grainger later added.
Grainger does admit, however, to cribbing some material from a Magnificat by Cyril Scott. In his setting Grainger strives to imbue the accompanying parts, which make up the harmonic texture, with a melodic character not too unlike the tune of one of the. The jauntiness and vivacity of the tunes are expressed to great effect, and to these Grainger adds a ravishing countermelody of his own.
It is scored for seven soloists and eightpart mixed choir, Grainger managing to capture the deep sense of loss inherent in the text. The work exists in three distinct versions, of which the piano trio version is the third.
It relates the tale of a distraught woman whose lover has left her. The tune appears in three eighteenth-century. Duncan in the late nineteenth century. It was later joined with another folk song realisation to form the second movement of the Danish Folk-song Suite. In it, the life-story of the dead hero is told and his deeds celebrated.
Northern March Northern March makes extensive use of whole-tone chords and scales. The easy version containing no big stretches was written out at Segeltorp in Sweden the following year.
In both piano settings, the Dowland melody is heard twice: Grainger took fourteen melodies from this collection and set twelve of them for voice and piano. He re-harmonised the remaining two as choral works. The song remains popular there to the present day. Passing by the open window of a primary school music room, you might hear the pupils bawling out the song in Doric, the rural dialect of the area, to the accompaniment of a battered piano.
Grainger later made a piano solo transcription of this and two other melodies from the same source. Macleod, which Grainger took from the collection Songs of the North. It is one of the rare folksongs that transmit the story of the god Thor, dressed up as the goddess Freyja, descending to the subterranean lair of the winter giants in order to recover his hammer. Grainger scored his version for voice, harmonium, and piano during a visit to Buffalo, New York in October The F sharp major mood dominated many of the pieces that Grainger wrote shortly after he.
This work can be used as a preliminary canter at the beginning of a piano recital to warm the audience up. Grainger also used the musical material for the closing pages of his Death Song for Hjalmar Thuren, a projected largescale requiem for the Danish folklorist who had died from consumption in In it Mowgli, back with his human family, dreams of his life with the wolf pack and is drawn to go outside into the dark to meet his wolf mother.
The work is dedicated to the French piano virtuoso and. The published edition appeared in after some revision. From the outset we are propelled along on a tide of virtuosic passage-work culminating in a highly florid cadenza and a clattering apotheosis. It lay dormant until by which time his harmonic language had considerably developed; Grainger went back to his earlier sketch, completing and scoring it for orchestra in New York between and It became the third movement of the suite In a Nutshell and is one of his most powerful musical statements, containing some of his finest writing.
It could easily stand as a separate work, lasting as it does almost as long as. The overall effect is a disturbing vision of nature quite alien to the accepted views of pastoralism. Peace YT Peace is another of the youthful piano pieces that Grainger wrote between and as gifts to his mother.
In the fight that ensues he kills the seven brothers and the maiden swears that even if he had killed her father she would not be minded to leave him. The singer, Mrs Ane Nielsen Post, remembered only the last verse. Grainger composed his setting for solo voice with instrumental accompaniment in a burst of inspiration during the period. Of this work Grainger wrote:. Re-worked in several versions, it was finally used as the first movement of the Danish Folk-song Suite.
Just as the early Christians found themselves in conflict with the Power of Ancient Rome so, at all times and places, the Individual Conscience is apt to feel itself threatened or coerced by the Forces of Authority. And especially in war time.
Men who hate killing are forced to become soldiers. And other men, though not unwilling to be soldiers, are horrified to find themselves called upon to fight in the ranks of their enemies.
The sight of young recruits doing bayonet practice, in. It is merely the unfoldment of musical feelings that were started by thoughts of the eternal agony of the Individual Soul in conflict with The-PowersThat-Be. The young Grainger had planned to write pieces in all the keys, and the inspiration of Bach is clearly seen in these piano juvenilia written between and This was not to materialise, but we have been left a sizeable collection of early piano pieces from which both this Prelude and the Prelude in C have been selected as the most convincing of the juvenilia.
It tells of a maiden who hates getting up in the morning and whose dreams eventually turn into reality. It is from these that the version for flute, cor anglais, and strings has been realised. The version for voice and piano uses selected verses from the song. The version for piano solo was intended for inclusion in The Easy Grainger. It is one of the most meticulously notated piano pieces in the repertoire, with copious use of the sostenuto middle pedal.
By scrupulously following the numerous instructions, the performer is assured of an authentic interpretation. The work was first sketched in , Grainger commenting:. Random Round arose out of the possibility of modern musicians being capable of combining the communal improvisation of South Sea Islanders with the harmonic consciousness of our written art-music.
The ingrained lack of improvisational skill among trained musicians militated against early performances. Ever the pragmatist, Grainger recast the piece in a more conventional way, thereby sacrificing the freedom he had wanted to achieve.
Recessional KS No. With this rousing hymn-like tune Grainger creates an anthem that. It was composed between February and March The melody is original and not based on any folk material. He had intended to compose a more extended setting of the complete folk-ballad and various sketches were made between and The shortened version recorded here was made in and sets only four of the possible twenty-one stanzas.
It was set for military band and included as movement three in his suite Lincolnshire Posy in The folksong relates the true story of a gang of poachers who, intent on taking and destroying game, got into a fight with ten. The version for cello quintet was made on 23 December A jolly theme, first played by oboe, then taken over by the strings and the woodwind, eventually gives way to a lilting melody with off-beat accompaniment.
The playful mood of the opening gradually returns and is soon dispelled by a change of key, which brings the movement to an end. Saxon Twi-play YT Saxon Twi-play is another youthful original piano piece that Grainger wrote as a gift to his mother. There is nothing in this work to indicate what Grainger was to achieve just a few years in the future. It is very much a student work, and one can sense the young composer trying to find his way.
From a very early age he had heard this kind of music in his head. In he began to think it out consciously and devised a means of notation, with irregular barring. The first four bars of the original sketch were composed in May while the remainder was written out in August the same year during a trip to Jutland. The version recorded here is a sound trial for string. A version for piano solo was worked out in The Sea-wife KS No. The work evolved over many years and in November Grainger produced a new score in which string parts were added, which made a number of different accompaniments possible.
Grainger composed a different setting of this poem for voice and piano in November The adaptation for voice, or voices, and piano was made in The tune appears to be of Negro origin and was traditionally sung as a windlass chanty when sailors were operating the windlass hoisting cargo on and off ship.
His setting uses four variants of the tune, to which he adds stylistically authentic contrapuntal lines derived from the melody. The melody was incorporated into all versions of the Jutish Medley, which in its orchestral garb forms the fourth and final movement of his Danish Folk-song Suite.
From this, Grainger prepared three distinct settings, the first of which for four-part mixed choir or soloists, first performed at the Brigg Festival. The words of this song have a curious history; Miss Lucy Broadwood, who had noted down the two extra verses used in this version, believed that these related to William de la Pole, first Duke of Suffolk, whose murdered body was washed ashore near Dover in The melody of the song is also a variant of the well-known air to Polly Oliver.
Soldier, Soldier KS No. Grainger was to set the poem to music three times, twice for voice and piano and once for mixed choir a cappella. Composed in , this song shares its characteristic chordal accompaniment with many of the songs that Grainger wrote during his period in Frankfurt. The setting was one of a number of choral pieces that Grainger published that year with financial assistance from his friend Roger Quilter. A Captain Charles H. Robinson heard a tune called Spoon River played by a rustic fiddler at a country dance at Bradford, Illinois U.
The tune is very archaic in character;. My setting begun March 10, ; ended February 1, , aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. Grainger was later to produce versions for violin and piano and for piano solo, and left complete sketches for a version for organ solo. He had also planned a version for choir and orchestra, which unfortunately remained unfinished. Grainger went on to prepare versions for piano solo and for two pianos four hands.
A version for military band, which was thought to have been lost, has recently resurfaced. The idea of thyme symbolising virginity, the rose true love, and the willow false love etc. The setting by Grainger is based on two versions of the tune that he had collected from John Perring of Dartmouth and from Charles Rosher. The chanty used to be sung in an attempt to placate the spirit of the storm during tempestuous. The theme of the variations had already been used by the young composer in his Rondo for piano duet, and also in an unfinished work for piano quartet, written a year earlier.
To the traditional tune, Grainger added his own musical material, as well as his own words for verses three and nine. The words are by W. Grainger revised the setting in , reverting to the original text, previously unknown to him. The words, relating to a slain knight mouldering in the field, with the ravens discussing how they might feed from him, are both moving and sinister.
The three songs were reset for piano solo on 21 October Their brevity suggests that Grainger made them for his own personal satisfaction rather than for concert performance. He was later to make another setting for male voices, this time using a different melody although the two settings are rhythmically similar. The later version was then. Eventually, Grainger incorporated the work into his Jungle-Book Cycle.
To Echo To Echo is the result of a collaboration between Ella and Percy Grainger, and was originally scored for soprano and seven instruments, with the first verse harmonised by Ella and the second by Percy. He re-harmonised it for the collection he presented to his mother, Rose on the occasion of her birthday on 3 July Sharpe, as written down from tradition by a lady.
Grainger composed his original melody to these words between 25 and 28 February , scoring it for voice and seven strings in November The work bears the dedication: Under a Bridge as a wedding-gift to his bride-to-be, Ella, for their wedding in , but it was not completed until eighteen years later, while he was on a ship off the coast of Scotland. The tune and words, gathered in Jutland with Evald Tang Kristensen, concern the impatient restlessness of two lovers who taunt each other about their forthcoming nuptials until the man has his final word on the matter by declaiming his utter devotion to the woman.
The work finishes with a dancelike and vibrantly percussive accompaniment. At that time Grainger, who had just. The symphonic wind version dates from , when Grainger was asked by Eugene Goossens to write a piece for the wind and brass forces of the Cincinnati Symphony Orchestra.
Other versions followed, notably for piano solo and piano duet. The Warriors In its original orchestral form, The Warriors music to an imaginary ballet is one of the largest and longest single works that Grainger composed, hailed as being his most important score.
The version for two pianos six hands or massed pianos dates from Fifteen distinct themes and motives are presented during its course and, although the work is cast in one continuous movement, there are eight divisions of mood and tempo, which can be easily traced by the listener: Martial or dance-like in character.
Slow and languorous. In this section most of the thematic material of the entire work is subjected to various kinds of treatment and development. Slow pastoral melody accompanied by piano tremolo and piano strings struck by marimba mallets.
Slow languorous music similar to section 2. At the same time snatches of quick martial music are faintly heard. Dance orgy, beginning very gently but working up to a high level of commotion and excitement. The chief theme of the composition is given forth slowly and majestically. The dance orgy is resumed with vigour, but is broken off suddenly whilst at its height, whereupon the work ends with an abrupt anticlimax.
The most straightforward information concerning the provenance of The Warriors stems from Grainger himself. The idea attracted me, but I said I had no My attempt shall take the form of an orchestral piece without a ballet, though I may eventually use a lot of the material of the orchestral pieces for my actual ballet music. The Warriors: Music to an imaginary ballet is the result of the orchestral-piece idea.
Even without the luxury of nineteen pianos, its recording as part of this series is nevertheless important in being the very first to use this new critical edition of the work and is, without a doubt, a performance as Grainger himself intended it. This was revised in for mixed chorus, brass, and strings.
The poem. Undaunted by the task of painstakingly researching the manuscript sources, the Australian Grainger scholar Alessandro Servadei has now created a full score which affords the modern conductor an. We Were Dreamers YT We Were Dreamers is the third of the works for a small classical orchestra of woodwind, horns, and strings that Grainger wrote and presented to his mother on 3 July The influence of Brahms and Schumann is not too difficult to hear in this youthful work.
The solo piano version dates from At two points in the manuscript piano parts Grainger indicates the date Grainger dedicated the setting to his friend Roger Quilter.
Four years later it appeared in an edition by Robert Burns, who wrote his words to fit. Grainger was later to adapt his arrangement to be played with other instrumental accompaniments, including wind and string groups or mixed wind and string groups. Other versions exist for military band, piano duet, and piano six hands. Grainger wrote as an introduction to this piece:. I was always very fond of the sound of whistling. It makes one think of the wind.
This makes the medium very convenient for performances out of doors,. Before the turn of the century a beloved Swedish friend, Sigurd Fornander, charmed me by his lovely whistling. So this setting is dedicated to him. In the manuscript, only the first and last verses are written out, the repeat signs at the end of the first verse suggesting that the other verses were to be included. The repetition of the last line of each verse drums home the message relentlessly.
They took it with them during their Scandinavian. She subsequently recorded the work with Malcolm Sargent. In reading this poem, Grainger writes:. Who, for his country brave, would flee from the invader, Or who his ignoble life to save would traitor like degrade her. Stormy Old Stormy he is dead and gone. Hi, Hi, Hi, as we storm along. Stormy he is gone below. To my way ho storm along. Shenandoah O Shenandoah I love your daughter. Away, you rolling river. O Shenandoah I love your daughter.
O Shenandoah I long to hear you. Away, you rolling river, O Shenandoah I long to be near you. Membership is open to all by payment of an annual subscription, and for this members receive two journals a year and the newsletter Random Round which keeps them informed of international activities in performance and scholarship.
Parker author of the first published monograph on Grainger and Percy Grainger himself, through the medium of his many writings. A sound archive is also maintained including a number of rare recordings and performances made by the composer together with an extensive collection of CD albums, cassettes and LP albums of modern performances by others. An Interdisciplinary Journal was launched in May An Interdisciplinary Journal will also realise this ambition.
The first issue includes articles on a diversity of topics: Now that issue 1 has been published, submissions are welcome for issue 2, which will be published in Submissions should be sent to one or both of the editors david. Full details are available on the Grainger Studies web site.
Readers preferring a traditional printed format can purchase copies either in person or online from the Melbourne University Bookshop or at the Grainger Museum. I have not found any reference to the existence of a recording or a tape of Grainger playing this sonata. Does anyone know if such a tape private or otherwise might exist?
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