> >> >Such as Purcell, Handel, Linley, Haydn, Sterndale Bennett, Sullivan,
> >> >etc. etc. etc.?
> >> Handel and Haydn were German
> > Ah -- the Racial Purity theory of musicology.
> Come to think of it, Hadow identified Haydn as a Croat.
> > Go away.
> Shortly.
> >> Sullivan was a wannabe
> >> Linley? Bennett?? cricketers???
> > I've never heard of a composer called "cricketers."
> Peter Warlock did a little marching song
> called "Cricketers of Wimbledon."
> Perhaps the OP is conflating.
Hmm, would he be more offended by the actual name "Heseltine" or the
pseudonym "Warlock"? Anyway he's 20th-c. so he doesn't count.
Last night I attended a performance of Corigliano's "Fern Hill" (1960,
text by Dylan Thomas) -- I'm told it's rather popular. It's as if
Ives, Harris, Copland had never existed (let alone Gershwin or
Bernstein) -- warmed-over Vaughan Williams.
But it was followed by Michael Conley's *The Bequest of Wings," an
Emily Dickinson cycle (2012), conducted by the composer -- a vastly
superior piece.
And then Tavener's "Svyati" (which just about reached, or maybe
surpassed, the limit of how much Tavener one can take at one sitting),
and a rollicking Choral Fantasy of Beethoven. (I hope Haydn got to see
the score -- I wonder whether gruff ol' Ludwig realized how funny he
was being.)
On Fri, 13 Jul 2012 12:58:42 +0100, Hils <h...@saynotospam.com> wrote:
>There's a long-standing culture of anti-culture in England, particularly >with music. Working-class people have for decades at least been >brainwashed into believing that art music is not for the likes of them, >and they should stick to their own "culture" of manual labour, junk >food, alcohol, and TV soccer. Then there are the critics, who would not >allow a performance (or proposed performance) of a Parry oratorio, >Stanford symphony, or Vaughan Williams opera to pass without some >comment along the lines of "well, they're a curiosity, but they're not >as good as Gerontius, Brahms, or Verdi..."
It is interesting that in most European countries they have 'folk
culture' which is a mass activity and in England they have Folk Music,
which is considered a middle class pastime...
> >>> >Such as Purcell, Handel, Linley, Haydn, Sterndale Bennett, Sullivan,
> >>> >etc. etc. etc.?
> >>> Handel and Haydn were German
> >> Ah -- the Racial Purity theory of musicology.
> > Come to think of it, Hadow identified Haydn as a Croat.
> >> Go away.
> > Shortly.
> >>> Sullivan was a wannabe
> Possibly the most outstanding talents of the interregnum between Purcell
> and Parry were the Samuel Wesley and Samuel Sebastian Wesley, but they
> had little or no native competition. SSW dedicated himself to writing
> for the Anglican church at a time when its cultural influence was
> waning, and few people outside of Anglicanism seem to have heard of him.
> >>> Linley? Bennett?? cricketers???
> >> I've never heard of a composer called "cricketers."
> > Peter Warlock did a little marching song
> > called "Cricketers of Wimbledon."
> > Perhaps the OP is conflating.
> "The Cricketers of Hambledon", and more a literate drinking song.
> "We'll sing a song of Hambledon, and sing it at "The George",
> Of balls that flew from Beldham's bat like sparks from Fennex' forge,
> The centuries of Aylward, and a thousand guineas bet,
> And Sueter keeping wicket to the thunderbolts of Brett."
> The text (by Bruce Blunt)
How could the author of that parody of "Casey at the Bat" have also
created "Bethlehem Down"?
At 05:55:51 on Sun, 15 Jul 2012, Hils <h...@saynotospam.com> wrote in <jttigo$t1...@adenine.netfront.net>:
>I did Blunt a grave disservice, the first line is
>"I'll make a sing of Hambledon, and sing it at "The George""
>which is much more poetic.
Doesn't sound it to me. I would have thought that "I'll make a song..." would be better.
-- Molly Mockford
Nature loves variety. Unfortunately, society hates it. (Milton Diamond Ph.D.)
(My Reply-To address *is* valid, though may not remain so for ever.)
> > On Jul 13, 7:58 am, Hils <h...@saynotospam.com> wrote:
> >> On 2012-07-11 15:37, John Wiser wrote:
> >>> Peter Warlock did a little marching song
> >>> called "Cricketers of Wimbledon."
> >>> Perhaps the OP is conflating.
> >> "The Cricketers of Hambledon", and more a literate drinking song.
> >> "We'll sing a song of Hambledon, and sing it at "The George",
> >> Of balls that flew from Beldham's bat like sparks from Fennex' forge,
> >> The centuries of Aylward, and a thousand guineas bet,
> >> And Sueter keeping wicket to the thunderbolts of Brett."
> >> The text (by Bruce Blunt)
> I did Blunt a grave disservice, the first line is
> "I'll make a sing of Hambledon, and sing it at "The George""
> which is much more poetic.
> > How could the author of that parody of "Casey at the Bat" have also
> > created "Bethlehem Down"?
> Blunt's work is concise, rooted in history, and perfectly suited for a
> musical ballad. Thayer's is stylised vaudevillian rambling, and
> evidently
"Evidently"? What's the "eviden"ce?
> the subject of numerous improvements by more literate pens.
> Perhaps you have evidence that Blunt was aware of Thayer's work?
Are you suggesting he was stupid or ignorant?
I notice you didn't address the question.
At least when Eliot made *Cats* possible, he had the good grace not to
put his own name on the doggerel.
>> Such as Purcell, Handel, Linley, Haydn, Sterndale Bennett,
>> Sullivan, etc. etc. etc.?
> Handel and Haydn were German
Haydn was Austrian.
But Mendelssohn was German too.
Britain killed real music with the Beatles. They completely erased from
the musical panorama the great adventures of modern jazz (like Mike
Westbrook whose superbly orchestrated music - inspired by Duke Ellington
- managed to find a wider audience thanks to Van Morrison) and, with the
Rolling Stones, rich white Britons also stole the music of poor black
Americans and made indecent money with it.
--
«Les mots qui vont surgir savent de nous des choses que nous ignorons
d'eux.»
René Char
<not.h...@themoment.invalid.org> wrote:
>Britain killed real music with the Beatles. They completely erased from
>the musical panorama the great adventures of modern jazz (like Mike
>Westbrook whose superbly orchestrated music - inspired by Duke Ellington
>- managed to find a wider audience thanks to Van Morrison) and, with the
>Rolling Stones, rich white Britons also stole the music of poor black
>Americans and made indecent money with it.
Either you forgot the smiley face or you need to take more water with
it mate...
