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 2013-05-29T14:45:54Z
dc.date.available 2011
dc.date.available 2013-05-29T14:45:54Z
dc.date.copyright 2011
dc.date.issued 2013-05-29
dc.identifier.uri http://hdl.handle.net/123456789/3165
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 11 Songs of Sunset (Dowson); ‘A song of the sun! Quietly’, ‘Cease smiling, Dear!’ : With easy movement, ‘Pale amber sunlight falls’ – Slow, ‘Exceeding sorrow consumeth my sad heart!’ – Con tristezza . Not too slow, ‘By the sad waters of separation’ – With quiet movement, ‘See how the trees - Freshly’, ‘I was not sorrowful’ – Very quietly but not too slow, ‘They are not long’ Quietly-- An Arabesque (Jacobsen)-- A Mass of Life (from Nietzsche: Also sprach Zarathustra) FIRST PART; I ‘O Du mein Wille!’- Animato con fervor, II ‘Erhebt eure Herzen’ – Recit Animoso con alcuna licenza, III ‘In dein Auge schaute ich jüngst’ – Andante tranquillo con dolcezza, IV ‘Wehe mir!’ – Agitato ma moderato, V ‘Nacht ist es’ Adagio-- es
dc.format.extent 75:08min. es
dc.format.medium 1 CD-Rom. (75:08 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 Songs of Sunset - Cantos de Puesta del Sol es
dc.title.alternative An Arabesque - Un Arabesco es
dc.title.alternative A Mass of Life - Una Misa de la Vida es
dc.language.rfc3066 eng es
dc.rights.holder Emi Records Ltd es
dc.identifier.classification 5099908417527 es
dc.subject.cdu Del.05 es


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Songs of Sunset (Dowson).wav 29:32 298.1Mb WAV audio wav
An Arabesque (f ... version by Heseltine).wav 11:37 117.3Mb WAV audio wav
A Mass of Life ... lso sprach) First Part.wav 33:32 338.4Mb WAV audio wav

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