Jeremy Dibble gives an overview of British composers in the early 20th century and their context. He was born in Bradford, England, in 1862, and died in Grez-sur-Loing, France, in 1934. In 1897, Delius met the German artist Jelka Rosen, who later became his wife. In a retrospective comment on the festival The Times critic wrote of full houses and an apparent enthusiasm for "music which hitherto has enjoyed no exceptional vogue", but wondered whether this new acceptance was based on a solid foundation. [2] Delius's reputation in Germany remained high until the First World War; in 1910 his rhapsody Brigg Fair was given by 36 different German orchestras. [45] The vicar offered a prayer: "May the souls of the departed through the mercy of God rest in peace. Frederick Theodore Albert Delius, CH ( 29 January 1862 – 10 June 1934), originally Fritz Delius, was an English composer. [115] Recordings of all the major works, and of many of the individual songs, have been issued at regular intervals since the Second World War. [66] The transitional phase of the composer's career concludes with three further vocal pieces: Sea Drift (1903), A Mass of Life (1904–05), and Songs of Sunset (1906–07). (Beecham misdates the concert to February 1893), See Malcolm Walker's "Beecham/Delius discography", included (unpaginated) in Beecham's, Delius: a discography compiled by Stuart Upton and Malcolm Walker, "Delius, Frederick Theodor Albert (1862–1934)", "Tamsin (sic) Little on Delius: regrets of a lost composer", "So Mighty, So Unmusical: How Britannia Found Its Voice", "Warlock, Peter [Heseltine, Philip (Arnold)]", "The Published Writings of Philip Heseltine on Delius", "Philharmonic Concert: Percy Grainger, soloist, plays Delius's Piano Concerto", "About this Recording: 8.557242 – Delius: Violin Concerto (Tintner Edition 10)", "BBC Symphony Orchestra, Sir Andrew Davis, Barbican", Electric Eden: Unearthing Britain's Visionary Music, International Music Score Library Project, Delius's house in Solano Grove, Florida, before and after restoration in 1961, Life, Music and Character of Frederick Delius, Two Songs to be sung of a summer night on the water, Category:Compositions by Frederick Delius, https://en.wikipedia.org/w/index.php?title=Frederick_Delius&oldid=998406687, Members of the Order of the Companions of Honour, People educated at Bradford Grammar School, Royal Philharmonic Society Gold Medallists, University of Music and Theatre Leipzig alumni, Pages containing links to subscription-only content, Short description is different from Wikidata, Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 5 January 2021, at 06:42. [3] Haym conducted Over the Hills and Far Away, which he gave under its German title Über die Berge in die Ferne on 13 November 1897, believed to be the first time Delius's music was heard in Germany. His reputation in his home country was secured, however, through the patronage of conductor Sir Thomas Beecham. It was from this time that Delius was at his most productive, but from the early 1920's, he was afflicted with paralysis and blindness, the result of syphilis contracted in 1890. [103], Beecham stresses Delius's role as an innovator: "The best of Delius is undoubtedly to be found in those works where he disregarded classical traditions and created his own forms". [60] After 1917, according to Payne, there was a general deterioration in the quantity and quality of Delius's output as illness took hold, although Payne exempts the incidental music to Hassan (1920–23) from condemnation, believing it to contain some of Delius's best work. Of these pieces Payne highlights two: the Violin Concerto (1916), as an example of how, writing in unfamiliar genres, Delius remained stylistically true to himself; and the Cello Sonata of 1917, which, lacking the familiarity of an orchestral palate, becomes a melodic triumph. He mixed very little with French musicians,[2] although Florent Schmitt arranged the piano scores of Delius's first two operas, Irmelin and The Magic Fountain (Ravel later did the same for his verismo opera Margot la rouge). Payne salutes each of these as masterpieces, in which the Delian style struggles to emerge in its full ripeness. Fritz Theodor Albert Delius was born in Bradford, Yorkshire, England, on 29 January 1862 to parents who had come to England from Bielefeld, Germany.Julius, his father, was a prosperous businessman in one of Yorkshire’s great Victorian industries, wool. [2], The Delius household was musical; famous musicians such as Joseph Joachim and Carlo Alfredo Piatti were guests, and played for the family. [72] In dictating the new beginning of this work, Delius asked Fenby to "imagine that we are sitting on the cliffs in the heather, looking out over the sea". Additionally, ship owners encouraged their deckhands to sing as they worked. [33] Nevertheless, his standing with some continental musicians was unaffected; Beecham records that Bartók and Kodály were admirers of Delius, and the former grew into the habit of sending his compositions to Delius for comment and tried to interest him in both Hungarian and Romanian popular music. [32][36] The festival included chamber music and songs, an excerpt from A Village Romeo and Juliet, the Piano and Violin Concertos, and premières of Cynara and A Late Lark, concluding with A Mass of Life. According to Beatrice Harrison's sister Margaret, there was some question whether Anglican churches would be willing to accept the body of a professed atheist for burial. [8] His father sent him to Sweden, where he again put his artistic interests ahead of commerce, coming under the influence of the Norwegian dramatists Henrik Ibsen and Gunnar Heiberg. "[2] In 1910, Beecham put on an opera season at the Royal Opera House in London. Having access to the Beecham family's considerable fortune, he ignored commercial considerations and programmed several works of limited box-office appeal, including A Village Romeo and Juliet. He was baptised as "Fritz Theodor Albert Delius",[1] and used the forename Fritz until he was about 40. [52] Grieg, however, was perhaps the composer who influenced him more than any other. McVeagh rates their greatest joint production as The Songs of Farewell, settings of Whitman poems for chorus and orchestra, which were dedicated to Jelka. Thereafter he pursued a wholly musical career. [22] Henry Wood premiered the revised version of Delius's Piano Concerto that year. Ibsen's denunciations of social conventions further alienated Delius from his commercial background. [5] As a result, his music never became widely known in France. Delius died in June 1934, within four months of the two other great British composers of the period, Elgar and Holst. In 1903 they married, and, apart from a short period when the area was threatened by the advancing German army during the First World War, Delius lived in Grez for the rest of his life. Violinist Tasmin Little embarked on a search for descendants of Delius's alleged love-child in the 1990s. In 1961, his house was moved to the campus of Jacksonville University . [8] Elgar described Delius as "a poet and a visionary". [106] He was not alone, however; Geoffrey Toye in 1929–30 recorded Brigg Fair, In a Summer Garden, Summer Night on the River and the "Walk to the Paradise Garden". Hadley cites, in particular, the six-day Delius festival at the Queen's Hall in 1929 under Beecham's general direction, in the presence of the composer in his bath-chair. Randel notes that in local hotels, the African-American waiters doubled as singers, with daily vocal concerts for patrons and passers-by, giving Delius his introduction to spirituals. It is generally believed that during this period he contracted the syphilis that caused the collapse of his health in later years. Beecham conducted the full premiere of A Mass of Life in London in 1909 (he had premiered Part II in Germany in 1908); he staged the opera A Village Romeo and Juliet at Covent Garden in 1910; and he mounted a six-day Delius festival in London in 1929, as well as making gramophone recordings of many of the composer's works. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. It provoked some critical comment from the local newspaper, which complained that the composer put his listeners on a bus and shuttled them from one Parisian night-spot to another, "but he does not let us hear the tuneful gypsy melodies in the boulevard cafés, always just cymbals and tambourine and mostly from two cabarets at the same time at that". [108] By the end of the 1930s Beecham had issued versions for Columbia of most of the main orchestral and choral works, together with several songs in which he accompanied the soprano Dora Labbette on the piano. [n 5] Ward sometimes stayed there, as did an old Bradford friend, Charles Douglas, and Delius's brother Ernest. Influenced by Grieg, Delius combined romanticism and impressionism in his music, which is characterized by rather free structure and rich chromatic harmony. When Delius died on 10 June, 1934 it was Beecham who arranged for him to be buried in a quiet churchyard in Limpsfield, Surrey England. [2] Delius's early biographer, the composer Patrick Hadley, observed that no trace of his academic tuition can be found in Delius's mature music "except in certain of the weaker passages". [26], In 1909, Beecham conducted the first complete performance of A Mass of Life, the largest and most ambitious of Delius's concert works, written for four soloists, a double choir, and a large orchestra. His music's abiding feature is, Cardus wrote, that it "recollects emotion in tranquillity ... Delius is always reminding us that beauty is born by contemplation after the event". Over the years the Trust's objectives have been extended so that it can promote the music of other composers who were Delius's contemporaries. Fritz Theodore Albert Delius (Fritz officially changed to Frederick in 1903, Theodore [beloved of God] dropped at his confirmation, and Albert [after the Prince Consort] repudiated when he left England) was born in Bradford, England on January 29, 1862. [5] At the conservatoire, Delius made little progress in his piano studies under Carl Reinecke, but Salomon Jadassohn praised his hard work and grasp of counterpoint; Delius also resumed studies under Hans Sitt. It was this singing, he told Fenby, that first gave him the urge to express himself in music;[49] thus, writes Fenby, many of Delius's early works are "redolent of Negro hymnology and folk-song", a sound "not heard before in the orchestra, and seldom since".

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