Russia has been in the news for all kinds of reasons recently. Nothing particularly relating to music, but that hasn’t stopped me from fishing out a selection of our more interesting items.
Music published in Russia has always been difficult to obtain for a number of reasons. Firstly, the distance, then Russia’s isolation (political and cultural), and just simply the difficulty of finding someone prepared to import printed music from Russia.
Glazunov Symphony no. 5 arr. for piano duet (publ. 1896)
This wonderfully ornate cover is all Russian to my eyes, the colours and decoration calling to mind the traditional buildings in Moscow. However, if you look closely, you can see that the place of publication is Leipzig, Germany. Continue reading →
Albert Ketèlbey was a phenomenally successful composer in the inter-war years of the twentieth century. Yet nowadays, this Birmingham composer’s music is little known, only rarely getting live performances or broadcast time.
Albert Ketèlbey (1875 – 1959)
Ketèlbey was something of a musical prodigy, joining the Birmingham and Midland Institute School of music (now the Royal Birmingham Conservatoire ) aged eleven. Then he took up a place at London’s Trinity College of Music at the age of thirteen, entering the college at the same time as Gustav Holst. Studying composition and piano, Ketèlbey was a successful student, but on graduation he didn’t take quite the career path we might now expect.
Looking through the posts here, I am disheartened but not at all surprised about how little female composers or musicians and singers feature. Must try harder is the note to myself, I think. Although we’ve worked hard to improve the balance in our physical stock, western classical music in particular is still mostly the preserve of dead, white men. This is even more the case when I look at our older material. This post however is the exception, looking as it does at Liza Lehmann.
I’ve had almost no time to work on a new post recently (an upgrade to our computer systems being partly to blame), so instead, I’ve returned to the second post I ever wrote. That also is in need of some improvement. So I’ve reworked it, adding in more content rather than relying on the illustrations alone (nice though they are).
If like me, you’ve read any of the Depression era novels by John Steinbeck, you can’t but remember the poverty, the difficulty of obtaining employment, and the world which his characters inhabit. This was the time of the ‘dust bowl’ environmental disaster which affected the marginal Southern Plains area of the United States (parts of Kansas, Oklahoma, and the Texas Panhandle), and also the resulting mass migration of people to California in search of jobs.
What I’m going to be looking at this time, is a collection of songs from the era, collected by Alan Lomax and others.
Hard-hitting Songs for Hard-hit People ed. by Alan Lomax, Woody Guthrie and Pete Seeger (publ. 1967)
It’s a substantial book, containing numerous songs, their context, and a selection of sobering photos. The bulk of its content was ready for publication in the 1940s, but it took twenty years for it to be published. In fact, John Steinbeck provided the foreword for this collection. Here’s a sample: Continue reading →
I’ve been away on holiday so it’s going to be something quick this time – more visual than anything else. Don’t worry – the images are pretty stunning, and well worth a look.
Granville Bantock (1868-1946)
Bantock is a composer with strong links to Birmingham – he was principal of the forerunner to the Royal Birmingham Conservatoire, and he followed Elgar in holding the Peyton Professorship at the University of Birmingham. Unsurprisingly, we hold a lot of his printed scores, as well as some of his manuscripts. This collection is complemented by the one at the University.
Songs of Arabia
These songs were composed and published at the end of the nineteenth century. As such, it’s not difficult to see that Bantock was one of many artists and musicians of that period who were fascinated by the mysterious East. The phenomenon of exoticism , the lure of the ‘otherness’ of far-off places continued in Bantock’s compositions into the next century. The texts of the songs were written by his first wife, Helen.
No, this isn’t a post about the Animals, or Bob Dylan, but rather one exploring the life of Huddie Ledbetter (better known as Lead Belly), a small book of ours, and some of the people who knew him.
As ever when I’m in search of something to write about for this blog, I went looking on our shelves for something that might grab my attention. This small American publication was the one that succeeded this time around.
The Leadbelly Songbook ed. Moses Asch and Alan Lomax (originally publ. 1962)
Of course, I knew the name Lead Belly (this is the generally preferred way of spelling his nickname), but beyond that my knowledge was very sketchy to say the least. When I mentioned to a colleague that I was featuring this artist, his first response was about Lead Belly’s prison record for murder. Next, the reason for his nickname – again concerning violence. When I went looking, a more complex story emerged about Lead Belly and his music. And yes, the book does contain his version of the House of the Rising Sun.
Blogging isn’t something I was taught. Revisiting my first post a few days ago, I winced at the lack of information, and the things I evidently hadn’t got my head round. So here is the new, improved version to mark the first anniversary of this blog …
The Library of Birmingham has extensive music collections. Both printed and audio. One of the least known is our historical collection of song sheets. We have thousands and thousands of them, dating from the start of the C18 through to the 1960s. The main problem in featuring this collection is deciding which individual sheets to look at.
I’ve chosen a couple to look that which have local connections. They’re both from the nineteenth century and have pictorial covers which are wonderful and amusing to look at.
Commissioning new music costs money. Sometimes a lot of money. Given the everyday financial pressures on arts organisations, finding money for commissions can be difficult. New thinking required, perhaps?
This is going to be rather a different post from usual, focussing as it will do on contemporary and avant-garde classical music. And that includes our part in helping people to realise that classical music doesn’t stop somewhere in the early C20, but is a living, breathing art form with much to offer.
Most live contemporary music performances in the city come from Birmingham Contemporary Music Group (BCMG).
BCMG has been a fixture on the Birmingham musical scene for over thirty years. From its start as an off-shoot of the City of Birmingham Symphony Orchestra (CBSO), it has become one of the premier medium-sized ensembles in the UK. As an ensemble specialising in ‘new’ music of the twentieth and twenty-first centuries, it could possibly have constructed all of its programmes from available, known music. Instead, it has made a name for itself by giving first performances of over 160 pieces of music, and counting.
Some seventy of these pieces were commissioned by BCMG. Which brings me back to my opening paragraph – how to fund these new pieces of music? Back in the 1990s, BCMG came up with a new, innovative scheme to involve ordinary music-lovers in the creation of particular works. Sound Investment is a cleverly-named scheme which invites individuals to donate money towards a particular composer’s work. Their investment allows new sounds to be created and performed. Without it, BCMG would have struggled to commission anything like that number of new pieces.
Despite spending a lot of my life online, I still look forward at this time of year to getting Christmas cards through the post. It’s hard to make a display of e-cards and decorative emails – only the real, physical thing will do for me. In this post, I’ll be looking at one of our Victorian songs about the postman, and then sampling some of the Victorian Christmas cards which are part of the collections here in Birmingham.
Here is another of our guest blogs about musicians making music. This time, we hear from the Birmingham Philharmonic Orchestra, one of our local orchestras with whom we work closely. They borrow a lot of material from us, but on this occasion, Ursula tells us about a special performance which didn’t involve the library.