150th Anniversary Edition

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150th Anniversary Edition

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dc.contributor.other Frederick Delius es
dc.contributor.other John Barbirolli es
dc.contributor.other Thomas Beecham es
dc.contributor.other Meredith Davies es
dc.contributor.other Erick Fenby es
dc.contributor.other Charles Groves es
dc.contributor.other Vernon Handley es
dc.contributor.other Richard Hickox es
dc.contributor.other Charles Mackerras es
dc.contributor.other Neville Marriner es
dc.contributor.other Malcolm Sargent es
dc.date.accessioned 2013-05-29T14:38:31Z
dc.date.available 2011
dc.date.available 2013-05-29T14:38:31Z
dc.date.copyright 2011
dc.date.issued 2013-05-29
dc.identifier.uri http://hdl.handle.net/123456789/3157
dc.description.abstract Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. He was born in Bradford, England, in 1862, and died in Grez-sur-Loing, France, in 1934. He did not come from a musical family; rather, his father owned a wool company and hoped that his son would follow a career in business. Delius, however, wanted to study music, and though his father did not approve of music as a profession, he did not discourage music-making as a pastime; thus, Delius was allowed to study the violin and the piano. To his father's dismay, he also spent much of his youth sneaking away from school to attend concerts and opera performances. When he completed school, he went to work for his father in the family business. In 1884, he left England for Florida, where he worked on a plantation as an orange grower. While in Florida, he began studying music with Thomas Ward, a musician and teacher from Jacksonville. Delius proved to be a failure as an orange grower, and began supporting himself as a musician. In 1886, his father arranged for him to spend a year and a half studying music in Germany at the Leipzig Conservatory. Though Delius would later insist that he learned very little of importance during his stay in Leipzig, it was there that he met Grieg, with whom he forged a lifelong friendship. Grieg convinced Delius' father to allow the young man to become a composer, and Delius, with the support of his formerly reluctant father, soon moved to Paris and began living the life of an artist. Once in Paris, Delius began composing in earnest, and towards the end of the nineteenth century had already completed two operas, Irmelin and The Magic Fountain. In the first decade of the twentieth century, Delius married the painter Jelka Rosen and produced a number of important works, including the opera A Village Romeo and Juliet, the large-scale choral works Appalachia and A Mass of Life (based on the writings of Nietzsche), a piano concerto, and a number of songs and chamber pieces. His music was well-received throughout Europe, and Delius was quite successful up until World War I, when he was forced to leave France for England. Despite his renown in continental Europe, Delius was virtually unknown in his native England, and his stay there was marred by financial difficulties. After the war, Delius returned to France, where the syphilis he had contracted in Florida gradually caused him to become paralyzed and blind. Ironically, as Delius became increasingly infirm, his fame began to spread. This was due in large part to the efforts of English composer Sir Thomas Beecham, who championed Delius' music and organized a Delius Festival in 1929. Though terribly ill, Delius nonetheless still wanted to compose, and in 1928 enlisted the services of English musician Eric Fenby, to whom he dictated music (Fenby would later write a book about Delius). Towards the end of his life, Delius was made Companion of Honor by King George V of England, and was awarded an honorary degree in music by Oxford University. Before his death, Delius was able to hear his music over the radio and on record, but these accomplishments paled before the terrible deterioration of his health, and he died in seclusion. © Alexander Carpenter, All Music Guide es
dc.description.tableofcontents CD 3 Paris – a Nocturne (The Song of a great City)-- In a Summer Garden-- Two Pieces for Small Orchestra; I On hearing the first cuckoo in Spring, II Summer night on the river-- Intermezzo (Fennimore and Gerda arr. Fenby)-- Piano Concerto in C minor; I Allegro non troppo, II Largo, III Tempo Primo-- es
dc.format.extent 75:56min. es
dc.format.medium 1 CD-Rom. (75:56 min.) Digital; 4 3/4 plg. es
dc.language.iso en es
dc.rights Uninorte F.M.Estéreo es
dc.subject.lcc 796197359 es
dc.subject.lcsh Periodicals -- England. es
dc.title 150th Anniversary Edition es
dc.title.alternative Edición 150 Aniversario es
dc.title.alternative Paris (The Song of a Great City) : París (El Canto de Una Gran Ciudad) es
dc.title.alternative In a Summer Garden : En un Jardín de Verano es
dc.title.alternative On Hearing the First Cuckoo in Spring Summer Night on the River : Al Escuchar el Primer Cuco en Primavera Noche de Verano en el Río es
dc.title.alternative Intermezzo from 'Fennimore and Gerda' es
dc.title.alternative Piano Concerto : Concierto Para Piano es
dc.language.rfc3066 eng es
dc.rights.holder Emi Records Ltd es
dc.identifier.classification 5099908417527 es
dc.subject.cdu Del.05 es


Files in this item

Files Length Size Format View Description
1. Paris. a Noc ... Song of a Great City).wav 21:42 219.0Mb WAV audio wav
2. In a Summer Garden.wav 14:15 143.8Mb WAV audio wav
3. Two Pieces f ... First Cockoo in Spring.mp3 5:43 7.835Mb MPEG Audio mp3
4. Two Pieces f ... mer Nigth on the River.mp3 6:21 8.716Mb MPEG Audio mp3
5. Intermezzo (Fennimore and Gerda arr. Fendy).wav 4:56 49.72Mb WAV audio wav
6. Piano Concer ... - I Allegro non troppo.mp3 9:25 12.91Mb MPEG Audio mp3
7 & 8. Piano Co ... argo - III Tempo Primo.mp3 13:13 18.13Mb MPEG Audio mp3
Two Pieces for Small Orchestra- Completo.wav 11:58 120.8Mb WAV audio wav
Piano Concerto in C minor- Completo.wav 22:37 228.2Mb WAV audio wav

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