10 research outputs found
Charles Villiers Stanford's Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 volumes)
Despite being credited as one of the leading figures of the British Musical
Renaissance, Stanford’s piano music has remained hidden from serious musical
scholarship and performance. In this dissertation an exploration of Stanford’s
biography identifies changes in Stanford reception history which have affected the
understanding of his piano music both during his career and posthumously.
Stanford’s experiences as pianist and composer of piano music are explored to
provide a contextual backdrop to the thesis. As the first composer to complete a set
of twenty-four preludes in Ireland or England, and, as the preludes represent the
pinnacle of his compositions for solo piano this provided the impetus to rediscover
the music.
In an aim to address misconceptions about Stanford’s piano music this
thesis engages in a scholarly and critical examination of each prelude and
contextualizes the pieces within the Baroque and Romantic prelude traditions. While
analysis of the music highlights Stanford’s exemplary understanding of the piano, it
also demonstrates how he merged ideas from both prelude traditions to make his own
unique contribution to the genre. Traditionalistic tendencies in Stanford’s
compositional writing are revealed through his rich and varied harmonic palette and
his approach to structure and motivic development, while unifying compositional
features are also noted. Stanford’s compositional intentions are considered, while
issues of late style and nostalgia are raised. A revised edition of Stanford’s fortyeight
preludes is also included along with a detailed editorial commentary.
In response to the recent resurgence in scholarship on Stanford, this
thesis raises an awareness of Stanford as a composer of piano music, re-evaluating
the contribution he made to piano music in England and in Ireland. It will emphasise
the value and importance of his collection of preludes and will reappraise Stanford as
a significant composer of piano music in Irish musicological studies
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire
Charles Villiers Stanford (1852-1924) has long been considered as one
of the leaders of the English Musical Renaissance on account of his
work as composer, conductor and pedagogue. In his earlier years he
rose to fame as a piano soloist, having been introduced to the
instrument at a very young age. It is no surprise then that his first
attempts at composition included a march for piano in i860. The piano
continued to play an important role in Stanford’s compositional career
and his last piano work, Three Fancies, is dated 1923. With over thirty
works for the instrument, not counting his piano duets, Stanford’s piano
pieces can be broadly placed in three categories: (i) piano miniatures or
character pieces which are in the tradition of salon or domestic music;
(ii) works which have a pedagogical function; and (iii) works which are
written in a more virtuosic vein. In each of these categories many of the
works remain unpublished. In most cases the piano scores are not
available for purchase and this has hindered performances after his
death
From Child Prodigy to Conservative Professor?: Reception Issues of Charles Villiers Stanford
Stanford made a significant contribution to musical life in England
throughout the course of his life and posthumously. Unfortunately,
much of Stanford’s early posthumous reception is clouded by Herbert
Howells’ statement above which can be attributed to the lack of
performances of Stanford’s works outside of the choral and church and
song tradition. Although Howells correctly commends Stanford for his
achievements in these fields, Stanford’s accomplishments in other areas
must be accounted for in order to portray a more fully-realized picture
of a composer who enriched musical life in England.
This article seeks to unveil the changing images of Stanford
portrayed during his lifetime and posthumously
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire
Charles Villiers Stanford (1852-1924) has long been considered as one
of the leaders of the English Musical Renaissance on account of his
work as composer, conductor and pedagogue. In his earlier years he
rose to fame as a piano soloist, having been introduced to the
instrument at a very young age. It is no surprise then that his first
attempts at composition included a march for piano in i860. The piano
continued to play an important role in Stanford’s compositional career
and his last piano work, Three Fancies, is dated 1923. With over thirty
works for the instrument, not counting his piano duets, Stanford’s piano
pieces can be broadly placed in three categories: (i) piano miniatures or
character pieces which are in the tradition of salon or domestic music;
(ii) works which have a pedagogical function; and (iii) works which are
written in a more virtuosic vein. In each of these categories many of the
works remain unpublished. In most cases the piano scores are not
available for purchase and this has hindered performances after his
death
From Child Prodigy to Conservative Professor?: Reception Issues of Charles Villiers Stanford
Stanford made a significant contribution to musical life in England
throughout the course of his life and posthumously. Unfortunately,
much of Stanford’s early posthumous reception is clouded by Herbert
Howells’ statement above which can be attributed to the lack of
performances of Stanford’s works outside of the choral and church and
song tradition. Although Howells correctly commends Stanford for his
achievements in these fields, Stanford’s accomplishments in other areas
must be accounted for in order to portray a more fully-realized picture
of a composer who enriched musical life in England.
This article seeks to unveil the changing images of Stanford
portrayed during his lifetime and posthumously
Charles Villiers Stanford's Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 volumes)
Despite being credited as one of the leading figures of the British Musical
Renaissance, Stanford’s piano music has remained hidden from serious musical
scholarship and performance. In this dissertation an exploration of Stanford’s
biography identifies changes in Stanford reception history which have affected the
understanding of his piano music both during his career and posthumously.
Stanford’s experiences as pianist and composer of piano music are explored to
provide a contextual backdrop to the thesis. As the first composer to complete a set
of twenty-four preludes in Ireland or England, and, as the preludes represent the
pinnacle of his compositions for solo piano this provided the impetus to rediscover
the music.
In an aim to address misconceptions about Stanford’s piano music this
thesis engages in a scholarly and critical examination of each prelude and
contextualizes the pieces within the Baroque and Romantic prelude traditions. While
analysis of the music highlights Stanford’s exemplary understanding of the piano, it
also demonstrates how he merged ideas from both prelude traditions to make his own
unique contribution to the genre. Traditionalistic tendencies in Stanford’s
compositional writing are revealed through his rich and varied harmonic palette and
his approach to structure and motivic development, while unifying compositional
features are also noted. Stanford’s compositional intentions are considered, while
issues of late style and nostalgia are raised. A revised edition of Stanford’s fortyeight
preludes is also included along with a detailed editorial commentary.
In response to the recent resurgence in scholarship on Stanford, this
thesis raises an awareness of Stanford as a composer of piano music, re-evaluating
the contribution he made to piano music in England and in Ireland. It will emphasise
the value and importance of his collection of preludes and will reappraise Stanford as
a significant composer of piano music in Irish musicological studies
Charles Villiers Stanford\u27s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 volumes)
Despite being credited as one of the leading figures of the British Musical
Renaissance, Stanford’s piano music has remained hidden from serious musical
scholarship and performance. In this dissertation an exploration of Stanford’s
biography identifies changes in Stanford reception history which have affected the
understanding of his piano music both during his career and posthumously.
Stanford’s experiences as pianist and composer of piano music are explored to
provide a contextual backdrop to the thesis. As the first composer to complete a set
of twenty-four preludes in Ireland or England, and, as the preludes represent the
pinnacle of his compositions for solo piano this provided the impetus to rediscover
the music.
In an aim to address misconceptions about Stanford’s piano music this
thesis engages in a scholarly and critical examination of each prelude and
contextualizes the pieces within the Baroque and Romantic prelude traditions. While
analysis of the music highlights Stanford’s exemplary understanding of the piano, it
also demonstrates how he merged ideas from both prelude traditions to make his own
unique contribution to the genre. Traditionalistic tendencies in Stanford’s
compositional writing are revealed through his rich and varied harmonic palette and
his approach to structure and motivic development, while unifying compositional
features are also noted. Stanford’s compositional intentions are considered, while
issues of late style and nostalgia are raised. A revised edition of Stanford’s fortyeight
preludes is also included along with a detailed editorial commentary.
In response to the recent resurgence in scholarship on Stanford, this
thesis raises an awareness of Stanford as a composer of piano music, re-evaluating
the contribution he made to piano music in England and in Ireland. It will emphasise
the value and importance of his collection of preludes and will reappraise Stanford as
a significant composer of piano music in Irish musicological studies
From Child Prodigy to Conservative Professor?: Reception Issues of Charles Villiers Stanford
Stanford made a significant contribution to musical life in England
throughout the course of his life and posthumously. Unfortunately,
much of Stanford’s early posthumous reception is clouded by Herbert
Howells’ statement above which can be attributed to the lack of
performances of Stanford’s works outside of the choral and church and
song tradition. Although Howells correctly commends Stanford for his
achievements in these fields, Stanford’s accomplishments in other areas
must be accounted for in order to portray a more fully-realized picture
of a composer who enriched musical life in England.
This article seeks to unveil the changing images of Stanford
portrayed during his lifetime and posthumously
From Child Prodigy to Conservative Professor?: Reception Issues of Charles Villiers Stanford
Stanford made a significant contribution to musical life in England
throughout the course of his life and posthumously. Unfortunately,
much of Stanford’s early posthumous reception is clouded by Herbert
Howells’ statement above which can be attributed to the lack of
performances of Stanford’s works outside of the choral and church and
song tradition. Although Howells correctly commends Stanford for his
achievements in these fields, Stanford’s accomplishments in other areas
must be accounted for in order to portray a more fully-realized picture
of a composer who enriched musical life in England.
This article seeks to unveil the changing images of Stanford
portrayed during his lifetime and posthumously
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire
Charles Villiers Stanford (1852-1924) has long been considered as one
of the leaders of the English Musical Renaissance on account of his
work as composer, conductor and pedagogue. In his earlier years he
rose to fame as a piano soloist, having been introduced to the
instrument at a very young age. It is no surprise then that his first
attempts at composition included a march for piano in i860. The piano
continued to play an important role in Stanford’s compositional career
and his last piano work, Three Fancies, is dated 1923. With over thirty
works for the instrument, not counting his piano duets, Stanford’s piano
pieces can be broadly placed in three categories: (i) piano miniatures or
character pieces which are in the tradition of salon or domestic music;
(ii) works which have a pedagogical function; and (iii) works which are
written in a more virtuosic vein. In each of these categories many of the
works remain unpublished. In most cases the piano scores are not
available for purchase and this has hindered performances after his
death