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The Music of Frederick Delius

Jeremy Dibble

The Boydell Press

2021

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This book examines Delius's individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer's musical style such a unique voice. Frederick Delius' (1862-1934) music has proved impervious to analytical definition. Delius's approaches to genre, form, harmony, orchestration and literary texts are all highly individual, not to say eccentric in their deliberate aim to avoid conformity. Rarely does Delius follow a conventional line, and though one can readily point to important influences, the larger Gestalt of each work has a syntax and coherence for which conventional analytical methods are mostly inadequate. Delius's musical style has also defied one of the most essential critical tools of his musical epoque - that of national identity. His style bears no relation either to the Victorian or Edwardian aesthetic of British music spearheaded by Parry, Stanford and Elgar before the First World War, nor to the more overtly nationalist, folk-song-orientated pastoralism of post-war Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a 'stateless' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius's musical education at the Leipzig Conservatorium and the works he produced there. Delius's musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and 'genre' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius's cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche's writings and the genre of dance, and the role of his 'earlier' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.

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Charles Villiers Stanford: Man and Musician

Jeremy Dibble

BOYDELL BREWER LTD

2024

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Substantially revised and expanded edition that sheds new light on Stanford's career as composer, conductor and teacher, as well as promoter of opera in English and arranger of Irish folk music. The Anglo-Irish composer Charles Villiers Stanford (1852-1924) is often remembered as the teacher of many of Britain's first generation of twentieth-century composers. He was, however, a composer of great diversity. An enthusiastic composer for the theatre and opera house, he was a symphonist, songwriter, and composer of church music; his national, indeed, international reputation was also reflected in the many works he wrote for some of the most prominent virtuosi of the time. Driven by a strong sense of ambition, he sought to advance the cause of British music not only as a composer but as a university professor, practical musician and conductor. Pre-eminent in the 1880s and 90s, he was eclipsed by Elgar during the Edwardian years, but his creative powers continued unabated until the early 1920s. As the author of a wide range of musical works, which we are now able to experience through more live performances, broadcasts and recordings (the latter has expanded exponentially since the first edition of this book), we are now aware of the composer's greater musical achievements, particularly in the province of opera. This expanded and revised edition offers new musical and biographical discussion drawing on a wider range of primary and secondary sources. It brings new insights to Stanford's life as performer, conductor and teacher/author at Cambridge and the RCM, as well as an arranger and editor of Irish folk music. Another emphasis in this revised edition is Stanford's lifelong aspiration to promote opera in English and the establishment of an English National Opera in London. Stanford's politics, particularly his opposition to Gladstonian Liberalism and to Home Rule for Ireland, also receive rightful discussion within the context of his creative output.

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John Stainer

Jeremy Dibble

The Boydell Press

2007

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This comprehensive re-evaluation of John Stainer's life and work demonstrates that there was a great deal more to admire beyond The Crucifixion. The thoroughness of the research is impressive, based on profusion of sources, many of them little used until now.... A text that carries great authority, plus (almost equally important) a new and generously annotated list of Stainer's works both musical and literary. At last, Stainer has got his due, once and for all.'NICHOLAS TEMPERLEY, Professor of Music Emeritus, University of Illinois. One of the most important musicians of the Victorianera, Stainer is known for his considerable influence as a composer of Anglican liturgical music, and his corpus of secular works - madrigals and songs - presents many surprises. He was a brilliant organist, a fine scholar, theorist, pedagogue and teacher - multifarious attributes which this study elucidates and understands as part of his wider musical personality. Stainer's life is a story of extraordinary social mobility. From lowly origins he rose to become organist of St Paul's Cathedral and Professor of Music at Oxford. Yet after his premature death in 1901 he suffered almost immediate neglect except for the popularity of a handful of works, among them I saw the Lord and The Crucifixion. In rehabilitating Stainer and the crucial contribution he made to musical life, this book examines the breadth of his work as a composer, and the important role he played in the regeneration of sacredand secular musical institutions in Victorian Britain. JEREMY DIBBLE is Professor of Music at Durham University. His previous books include studies of Parry and Stanford and he is the author of numerous articles on British music. He is currently working on a dictionary of hymnology.

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Hamilton Harty

Jeremy Dibble

The Boydell Press

2013

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An in-depth study of the life of Sir Hamilton Harty (1879-1941), pianist, composer and conductor of the Hallé Orchestra, who arguably made Manchester the most important focus for music in Britain in his day. Sir Hamilton Harty (1879-1941) is best known as the conductor of the Hallé Orchestra, who arguably made Manchester the most important focus for music in Britain in his day. This book chronicles and analyses Harty's illustrious career, from his establishment as London's premiere accompanist in 1901 to his years as a conductor between 1910 and 1933, first with the LSO and then with the Hallé, to his American tours of the 1930s. Tragically, Harty died from cancer in 1941 at the age of only 61. This book also looks at Harty's life as a composer of orchestral and chamber works and songs, notably before the First World War. Although Harty's music cleaved strongly to a late nineteenth-century musical language, he was profoundly influenced during his days in Ulster and Dublin by the Irish literary revival. A great exponent of Mozart and especially Berlioz, Harty was also a keen exponent of British music and an active supporter of American composers such as Gershwin. Harty's role in the exposition of standard and new repertoire and his relationship with contemporary composers and performers are also examined, against the perspective of other important major British conductors such as Sir Thomas Beecham, Malcolm Sargent and Sir Henry Wood. Additionally, the book analyses the debates Harty provoked on the subjects of women orchestral players, jazz, modernism, and the music of Berlioz. JEREMY DIBBLE is Professor of Music at Durham University and author of John Stainer: A Life in Music(The Boydell Press, 2007) and monographs on C. Hubert H. Parry, Charles Villiers Stanford and Michele Esposito.

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The Life and Music of Charles Wood

Jeremy Dibble

BOYDELL BREWER LTD

2026

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Reassesses the life, music and enduring influence of Charles Wood, a central figure in British and Irish music and one of the foremost teachers of his generation. Charles Wood (1866-1926), Armagh chorister and student of Chares Villiers Stanford, was one of the most significant figures in British and Irish music of the late nineteenth and early twentieth centuries and one of Britain's most important teachers. This study not only evaluates the substance of Wood's ecclesiastical music, in which, together with Stanford, his contribution was pre-eminent, but also his work in other genres, such as secular vocal music, arrangements of Irish folksong and the Irish cultural revival, orchestral music, opera and, in particular, the string quartet. Wood also found himself at the heart of a new antiquarian revival of early music, plainsong, psalmody and hymnody where his knowledge was uniquely encyclopaedic. This book offers a reassessment of his lasting legacy, the admiration he drew from figures such as Vaughan Williams, Dent and Tippett, and also discusses a considerable series of posthumous publications.

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