dilluns, 8 d’octubre de 2018

PARRY, Hubert (1848-1918) - Piano Quartet (c.1882)

Ferdinand Hodler - Der Angler (c.1879)
Obra de Ferdinand Hodler (1853-1918), pintor suís (1)


- Recordatori d'Hubert Parry -
En el dia de la commemoració del seu 100è aniversari de decés



Parlem de Pintura...

Ferdinand Hodler (Bern, 14 de març de 1853 - Geneve, 19 de maig de 1918) va ser un pintor simbolista suís, l'obra del qual va influenciar el desenvolupament de l'expressionisme. Afectat per una tragèdia familiar des de ben petit, va perdre tota la seva família. Orfe, va viatjar a Ginebra on es va formar al Collège de Genève. Després d'un primer període de paisatges naturalistes poc inspirats, va optar per un estil de formes planes i repetitives, traç precís i dissenys rítmics, conegut amb el nom de paral·lelisme. Les seves obres van mostrar un marcat efecte de grandiositat. En els paisatges i murals de grans dimensions va expressar la seva preocupació de caràcter místic pel poder de la natura i la crisi de la humanitat. En el seu famós mural Nit (1890), el sinistre personatge del Malson vola per sobre d'un grup de figures nues que dormen intranquil·les. Els seus paisatges alpins i els seus intensos retrats, com l'Autoretrat (1891), de gran intensitat, mostren semblances amb el fauvisme. Ferdinand Hodler va morir a Ginebra el maig de 1918.



Parlem de Música...

Charles Hubert [Hastings] Parry (Bournemouth, 27 de febrer de 1848 - Rustington, 7 d'octubre de 1918) va ser un compositor anglès. A partir del 1861 va rebre formació a Eton, ciutat on ben aviat va participar en els concerts de la societat musical com a violinista, pianista i organista. Més tard va viatjar a Exeter on va estudiar, fins el 1870, amb Sterndale-Bennett, Macfarren i Pierson. També allà va rebre formació de piano de Dannreuther en uns anys en què es va iniciar com a compositor. No obstant, no va ser fins el 1879, amb l'estrena del seu primer concert per a piano, que el seu nom es va començar a fer conegut arreu d'Anglaterra. El 1883 i gràcies als èxits assolits, va ser nomenat professor del Royal College of Music de Londres, en un any en què també va rebre reconeixements públics de les universitats d'Oxford i Cambridge així com els doctorats d'Oxford i Dublin. El 1894 va ser nomenat director del Royal College of Music, en un càrrec que ja va mantenir la resta de la seva vida i que va compartir amb un càrrec de professor a Oxford des del 1899 fins el 1908. El 1898 va ser nomenat cavaller per la monarquia britànica i el 1903 va ser elevat a estatus real. Com a compositor, va ser notablement prolífic en tots els gèneres de l'època i amb un estil considerat representatiu del sentiment victorià de l'època. No obstant i després de la seva mort, esdevinguda a Rustington l'octubre de 1918, el seu nom va caure ràpidament en l'oblit.

Hubert Parry

OBRA:

Vocal secular:

Stage:
incidental music unless otherwise stated
The Birds (Aristophanes), Cambridge, 27 Nov 1883 (1885)
Guenever (op, U. Taylor, Ger. trans. by F. Althaus) 1884–6, unperf.
The Frogs (Aristophanes), Oxford, 24 Feb 1892 (Leipzig, 1892); rev., Oxford, 19 Feb 1909
Hypatia (S. Ogilvie), London, Haymarket, 2 Jan 1893; suite, orch, 5 movts, London, 9 March 1893
A Repentance (P.M.T. Craigie), London, St James's, 28 Feb 1899
Agamemnon (Aeschylus), Cambridge, 16 Nov 1900 (1900)
The Clouds (Aristophanes), Oxford, 1 March 1905 (Leipzig, 1905)
Proserpine (ballet, P.B. Shelley), London, Haymarket, 25 June 1912
The Acharnians (Aristophanes), Oxford, 21 Feb 1914 (1914)

Choral:
Scenes from Prometheus Unbound (dramatic cant., Shelley), S, A, T, B, chorus, orch, Gloucester, 7 Sept 1880 (1880)
The Glories of Our Blood and State (ode, J. Shirley: The Contention of Ajax and Ulysses), chorus, orch, Gloucester, 4 Sept 1883 (1885)
Blest Pair of Sirens (At a Solemn Music) (ode, J. Milton), chorus, orch, London, 17 May 1887 (1887)
L'Allegro ed Il Pensieroso (cant., Milton), S, B, chorus, orch, Norwich, 15 Oct 1890 (1890)
Eton (ode, A.C. Swinburne), chorus, orch, Eton College, 28 June 1891 (1891)
The Lotos-Eaters (A. Tennyson), choric song, S, chorus, orch, Cambridge, 13 June 1892 (1892)
Invocation to Music (ode, Bridges), S, T, B, chorus, orch, Leeds, 2 Oct 1895 (1895)
A Song of Darkness and Light (Bridges), S, chorus, orch, Gloucester, 15 Sept 1898 (1898)
Ode to Music (A.C. Benson), S, S, A, T, B, chorus, orch, London, RCM, 13 June 1901 (1901)
War and Peace (sym. ode, Benson and Parry), S, A, T, B, chorus, orch, London, Royal Albert Hall, 30 April 1903 (1903)
The Pied Piper of Hamelin (cant., Browning), T, B, chorus, orch, Norwich, 26 Oct 1905, vs (1905), fs (1906)
The Vision of Life (sym. poem, Parry), S, B, chorus, orch, Cardiff, 26 Sept 1907 (1907); rev. 1914 (1914) [rev. for Norwich Festival but not perf.]
The Chivalry of the Sea (naval ode, Bridges), chorus, orch, London, 12 Dec 1916 (1916)

Partsongs:
Tell me where is fancy bred (W. Shakespeare), 4vv, 1864;
Fair daffodils (R. Herrick), madrigal, 5vv, 1865 (1866);
Persicos odi (Horace), 4vv, 1865;
Take, O take those lips away (Shakespeare), TTBB, 1865;
Oft in the stilly night (T. Moore), 1866;
Dost thou idly ask (W.C. Bryant), 1867;
Pure spirit, O where art thou? (?Parry), 1867;
There lived a sage (?Parry), 4 male vv, 1869;
He is coming (Mrs H. Gladstone), carol (1874);
3 Trios, female vv (1875);
6 Lyrics from an Elizabethan Song Book, 4–6vv (1897);
6 Modern Lyrics, 4vv (1897);
8 Four-Part Songs (1898);
Who can dwell with greatness (A. Dobson), 5vv, 1899, in Choral Songs … in Honour of Queen Victoria (1899);
In Praise of Song (?Parry), 8vv (1904);
6 Partsongs (1909);
7 Partsongs, ATB (1910);
La belle dame sans merci (Keats), 5vv, 1914–15, ed. P.M. Young (1979);
When Christ was born of Mary free (Harleian MS) (1915);
I know an Irish lass, 4vv, ?1916;
2 carols (1917)

Unison and school songs:
Rock-a-bye (1893);
Land to the leeward ho! (M. Preston) (1895);
The best school of all (H. Newbolt), 1908 (1916);
5 Unison Songs (1909);
School Songs (1911);
3 Unison Songs (1913);
School Songs (1914);
Come join the merry chorus (H. Smith) (1915);
A Hymn for Aviators (M.C.D. Hamilton) (1915);
For all we have and are (R. Kipling), 1916;
Jerusalem (W. Blake), choral song, unison vv, orch (1916);
3 Songs for ‘Kookoorookoo’ (C. Rossetti) (1916);
3 School Songs (1918);
England (Shakespeare) (1919)

Solo songs:
for 1 voice and piano unless otherwise stated
[74] English Lyrics, 12 sets, 1874–1918 (1885–1920):
i, 4 songs, 1881–5 (1885);
ii (Shakespeare), 5 songs, 1874–85 (1886);
iii, 6 songs (1895);
iv, 6 songs, 1885–96 (1896);
v, 7 songs, 1877–1901 (1902);
vi, 6 songs (1903);
vii, 6 songs, 1888–1906 (1907);
viii, 6 songs, c1904–6 (1907);
ix (M. Coleridge), 7 songs, 1908 (1909);
x, 6 songs, 1909 (1918);
xi, 8 songs, 1910–18, ed. E. Daymond, C. Wood and H.P. Greene (1920);
xii, 7 songs, c1870–1918, ed. Daymond, Wood and Greene (1920)

Fair is my love (E. Spenser), 1864;
Love not me (anon.), 1865;
When stars are in the quiet skies (E. Bulwer-Lytton), 1865;
Why does azure deck the sky (Moore), 1865 (1866);
Autumn (T. Hood), 1865–6 (1867), orchd 1867;
When the grey skies are flushed with rosy streaks, ?1866;
Angel hosts, sweet love, befriend thee (Lord Hervey), 1866 (1867);
Go, lovely rose (E. Waller), 1866;
Love the Tyrant (?Parry), 1866;
Sleep, my love, untouched by sorrow, 1867;
Dainty form, so firm and slight, 1868;
3 Odes of Anacreon (trans. Moore), 1868–78 (1880), no.2 orchd;
An Epigram (Fairest dreams may be forgotten) (?Parry), 1869;
Ah! woe is me! poor silver wing!, 1869;
A River of Life (Lord Pembroke) (1870);
Not Unavailing (The flower of purest whiteness), ?1872
An Evening Cloud (J. Wilson), 1873;
A Shadow (What lack the valleys) (A. Proctor), 1873;
3 Songs (1873); 4 Sonnets (Shakespeare, Ger. trans. F. Bodenstedt), 1873–82 (1887), Eng. and Ger. text;
A Garland of [6] Shakespearian and Other Old-Fashioned Songs (1874, repr. separately, 1880–81);
Sonnet (If thou survive my well-contented day) (Shakespeare), 1874;
Twilight (Lord Pembroke), 1874 (1875);
Absence, hear my protestation (J. Hoskins), 1881;
And wilt though leave me thus? (T. Wyatt), 1881;
My passion you regard with scorn, ?1881;
I arise from dreams of thee (Shelley), 1883;
The Maid of Elsinore (H. Boulton), in 12 New Songs by British Composers (1891)
The North Wind (W.E. Henley), B, orch, 1899;
The Soldier's Tent (from the Bard of Dimbovitza, trans. A. Strettell and C. Sylva), scena, Bar, orch, 1900 (1901);
Von edler Art (from Nuremberg songbook, 1549, trans. P. England), 1900 (1906);
Newfoundland (C. Boyle), 1st version (1904), 2nd version, ?1904;
Fear no more the heat o' the sun (Shakespeare) (1906);
The Laird of Cockpen (Lady Nairn), Bar, pf, 1906 (1907)

Vocal religiosa:

Oratorios, services:
Magnificat and Nunc dimittis, A, 1864
Te Deum, B , ?1864
Morning, Communion and Evening Service, D, chorus, org, 1866–9 (1868–9)
Kyrie eleison, fugue, 8vv, 1867
Te Deum, E , 1873
Evening Service (‘The Great’), D, 1881, ed. Dibble (1984)
Judith (orat, Apocrypha and H. Parry), S, A, T, B, chorus, orch, Birmingham, 29 Aug 1888 (1888)
Job (orat, Bible and Parry), S, T, 2B, chorus, orch, Gloucester, 8 Sept 1892, vs (1892), fs (1898)
King Saul (orat, Bible and Parry), S, A, T, B, chorus, orch, Birmingham, 3 Oct 1894 (1894)
Magnificat, F, S, chorus, orch, Hereford, 15 Sept 1897 (1897)
Thanksgiving Te Deum, F, S, B, chorus, orch, Hereford, 11 Sept 1900 (1900); rev., with Eng. text, Gloucester, 11 Sept 1913 (1913)
Te Deum, D, for coronation of George V, chorus, orch, London, Westminster Abbey, 23 June 1911 (1911)

Other sacred:
Praise God from whom all blessings flow, chorale, 1864–5
Lobet den Herren, 5vv, 1867
O Lord, Thou hast cast us out (cant., Bible), Eton College, 8 Dec 1867 (1867)
Ode on St Cecilia's Day (A. Pope), S, B, chorus, orch, Leeds, 11 Oct 1889 (1889)
De profundis (Ps cxxx), S, 12vv, orch, Hereford, 10 Sept 1891 (1891)
Grace for a City Dinner (Benedictus), 4vv, 1897
Voces clamantium (Bible and Parry), S, B, chorus, orch, Hereford, 10 Sept 1903 (1903)
The Love that Casteth out Fear (sinfonia sacra, Bible and Parry), chorus, orch, Gloucester, 7 Sept 1904 (1904)
Praise God in His Holiness, ps, B, org, 1906
The Soul's Ransom (sinfonia sacra, Bible and Parry), S, B, chorus, orch, Hereford, 12 Sept 1906 (1906)
Beyond these voices there is peace (Bible and Parry), S, B, chorus, orch, Worcester, 9 Sept 1908 (1908)
Eton Memorial Ode (R. Bridges), Eton College, 18 Nov 1908 (1908)
Ode on the Nativity (W. Dunbar), S, chorus, orch, Hereford, 12 Sept 1912 (1912)
I believe it (R. Browning), soliloquy, B, org, 1912
God is our hope (Ps xlvi), B, double chorus, orch, London, St Paul's Cathedral, 24 April 1913 (1913)
motets
[6] Songs of Farewell: My soul, there is a country (H. Vaughan), 4vv (1916); I know my soul hath power to know all things (J. Davies), 4vv (1916); Never weather-beaten sail (T. Campion), 5vv (1916); There is an old belief (J.G. Lockhart), 6vv (1916); At the round earth's imagined corners (J. Donne), 7vv (1917); Lord, let me know mine end (Ps xxxix), 8vv (1918)

Anthems:
In my distress, 1863
Fear thou not, 1864
O sing unto the Lord a new song, 1864
Blessed is He, 1865 (1865)
Prevent us O Lord, 1865 (1865)
Why boastest though thyself, 1865
Blessed are they that dwell in Thy house, 1870
Lord, I have loved the habitation of Thy house, 1870
Hear my words, ye people (Bible), chorus, orch, Salisbury, 10 May 1894 (1894)
I was glad (Ps cxxii), coronation anthem for Edward VII, London, Westminster Abbey, 9 Aug 1902 (1902), rev. version, 23 June 1911 [for George V]

Instrumental:

Orch.:
Allegretto scherzando, E , 1867
Intermezzo religioso, 1867, Gloucester, 3 Sept 1868 [from Sonata, f, pf duet, 1865]
Piano Concerto, g, 1869, inc.
Vivien, ov., 1873, ?unperf., lost
Concertstück, g, 1877
Guillem de Cabestanh, ov., 1878, London, 15 March 1879
Piano Concerto, F , 1878–80, rev. 1884 and 1895, London, 3 April 1880
Symphony no.1, G, 1880–82, Birmingham, 31 Aug 1882
Symphony no.2 ‘Cambridge’, F, 1882–3, Cambridge, 12 June 1883; rev., London, 6 June 1887; rev., with new finale, 30 May 1895 (1906)
Suite moderne (Suite symphonique), 1886, Gloucester, 9 Sept 1886, rev. 1892
Symphony no.3 ‘English’, C, 1887–9, London, 23 May 1889; rev., Leeds, 30 Jan 1895; rev., Bournemouth, 18 Dec 1902 (1907)
Symphony no.4, e, 1889, London, 1 July 1889; rev. as ‘Finding the Way’, 1909–10, London, 10 Feb 1910 (1921)
An English Suite, str, 1890–1918, London, 20 Oct 1922 (1921), arr. Daymond, pf (1923)
Overture to an Unwritten Tragedy, a, 1893, Worcester, 13 Sept 1893; rev., London, 19 April 1894; rev. 1905 (1906)
‘Lady Radnor’ Suite, str, 1894, London, 29 June 1894 (1902); arr. pf (1905), arr. vn, pf (1915), arr. small orch
Elegy for Brahms, a, 1897, London, 9 Nov 1918
Symphonic Variations, e, 1897, London, 3 June 1897 (1897)
Symphonic Fantasia ‘1912’ (Symphony no.5), b, 1912, London, 5 Dec 1912 (1922)
From Death to Life, sym. poem, b /B , 1914, Brighton, 12 Nov 1914; rev., London, 18 March 1915
Foolish Fantasia (To finish the frolic if it will do), wind band, perf. Oxford, date unknown

Chbr.:
Nonet, B , fl, ob, eng hn, 2 cl, 2 bn, 2 hn, 1877
Quintet, E , 2 vn, 2 va, vc, 1883–4, London, 18 May 1884; rev. 1896, 1902, score (1909)
3 str qts: g, 1867; C, 1868; G, 1878–80, London, 26 Feb 1880, ed. M. Allis (1995)
Piano Quartet, A , 1879, London, 13 Feb 1879 (1884)

Trios:
Short Trios, F, vn, va, pf, 1868;
Pf Trio [no.1], e, 1877, London, 31 Jan 1878 (Leipzig, 1879);
Pf Trio [no.2], b, 1884, London, 25 Nov 1884 (1884);
2 Intermezzi, str trio, 1884, ed. (1950);
Pf Trio [no.3], G, 1889–90, London, 13 Feb 1890, rev. 1893

Vn, pf:
3 movts, 1863;
Allegretto pastorale, G, 1870;
6 pieces (Freundschaftslieder), 1872;
Sonata, d, 1875;
Fantasie sonata in 1 movt, b, 1878, London, 30 Jan 1879;
Partita, d, London, 2 Dec 1886 (1886) [rev. of Suite de pièces, 1873–7, Cannes, 8 Feb 1877];
Sonata, D, 1888–9, London, 14 Feb 1889, rev. 1894;
12 Short Pieces, 1894 (1895);
Piece, G, 1896;
Romance, F (1896);
Suite, D (1907);
Suite, F (1907)

Vc, pf:
2 Duettinos, F, G, 1868;
Sonata, A, 1879–80, London, 12 Feb 1880 (1883)

Keyboard:
2 pf:
Grosses Duo, e, 1875–7 (Leipzig, 1877)

Pf 4 hands:
Ov., b, 1865;
Sonata, f, 1865;
Characteristic Popular Tunes of the British Isles, 2 bks, 1885 (1885)

Pf solo:
Little Piano Piece, variations, 1862;
Andante non troppo, B , 1865;
4 fugues, 1865: c, E , F, e;
Piece, g, 1865;
Andante, C, 1867;
Sonnets and Songs without Words, 3 sets: i, 1868 (1869), ii, 1867–75 (1875), iii, 1870–77 (1877);
A Little Forget-me-not, B , 1870;
7 Charackterbilder (1872);
2 Short Pieces, C, F, ?1873;
Variations on an Air by [J.S.] Bach, 1873–5;
2 sonatas: [no.1], F (1877), [no.2], A, 1876–7 (1878);
Theme and 19 Variations, d, 1878 (1885);
Cosy (1892);
[10] Shulbrede Tunes, 1911–14 (1914);
Hands Across the Centuries, suite, 1916–18 (1918);
Sleepy, ?1917;
5 Miniatures, ed. (1926) [incl. Cosy and Sleepy]

Org:
Grand Fugue with 3 Subjects, G, 1865;
Fantasia and Fugue, G, 1877–1912 (1913);
Chorale Preludes, set 1, 1911–12 (1912);
3 Chorale Fantasias, 1911–14 (1915);
Toccata and Fugue ‘The Wanderer’, G/e, 1912–18 (1921);
Elegy, A , 1913 (1922) [for funeral of the 14th Earl of Pembroke, 7 April 1913];
Chorale Preludes, set 2, 1915 (1916);
For the Little Organ Book, ed. (1924)

Editions and arrangements:
W. Boyce: [Trio] Sonatas nos.10 and 12 (1747), arr. as Suite, e, 2 vn, va, vc (1892)
ed., with W.B. Squire and L. Benson: A Collection of Madrigals by Ancient Composers (1899)
H. Purcell: Soul of the World (from Hail, bright Cecilia), addl orch, 1918

Literatura:

123 articles in Grove
On some Bearings of the Historical Method upon Music’, PMA, xi (1884–5), 1–9
Studies of Great Composers (London, 1886/R)
The Art of Music (London, 1893; enlarged as The Evolution of the Art of Music, London, 1896, 2/1934/R)
Summary of the History and Development of Mediaeval and Modern European Music (London, 1893, 2/1904)
Purcell’, National Review, xxvi (1895–6), 339–50
The Music of the Seventeenth Century, OHM, iii (1902, rev. 2/1938/R by E.J. Dent)
Johann Sebastian Bach: the Story of the Development of a Great Personality (New York and London, 1909, 2/1934/R)
How Modern Song grew up’, MT, lii (1911), 11–15 [lecture, Reading U. College, 9 Nov 1910]
The Meaning of Ugliness in Art’, IMusSCR IV [London 1911], ed. C. Maclean (London, 1912), 77–83; also pubd MT, lii (1911), 507–11
Style in Musical Art (London, 1911/R) [collected Oxford lectures]
Things that Matter’, MQ, i (1915), 313–28
The Significance of Monteverde’, PMA, xlii (1915–16), 51–67
Instinct and Character (MS, c1915–18, GB-Lbl, Lcm, Ob, Shulbrede Priory, Sussex)]
ed. H.C. Colles: College Addresses delivered to Pupils of the Royal College of Music (London, 1920)
Lectures for University of Oxford (Ob) and RCM (Lcm)



Informació addicional... 

INTERPRETS: The Deakin Piano Trio
RECICLASSICAT: PARRY, Hubert (1848-1918)
AMAZON: PARRY - Piano Trio & Piano Quartet
SPOTIFY: PARRY - Piano Trio & Piano Quartet



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

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