EQUINOX

EQUINOX - WINNER OF THE 2012 AWARD FOR BRASS COMPOSITION

Equinox

was written by Christopher Bond in late 2011 for the euphonium quartet ‘Euphony’, who gave the premiere at the opening concert of the ‘Festival of Brass’ at the Royal Northern College of Music in January 2012. Since then, the work has been played extensively, including a performance at the International Tuba Euphonium Conference in Austria.
The work is structured from two thematic groups, consisting of sections of equal length. The first is marked Energico, and its character is marked by sustained, lyrical lines unfolding over an accompaniment of rapid and deftly articulated rhythmical phrases. The second section, slow and expressive, offers the strongest contrast both in mood and tempo. This sharp distinction of material could be thought of as representing the frenzy of daytime in comparison with the tranquillity of night. In the third and final section, figures from both the preceding sections are brought together to demonstrate the capabilities of the euphonium to the full.

Ref Y299 £8.95

Avidity



An energetic six-minute showpiece for Brass Quintet



Timothy Wilson and Christian Lindberg



On 28th April 2011, the Royal Welsh College of Music and Drama hosted the second Stainer & Bell Award for Brass Composition, open to all students at the RWCMD. Entrants had to submit a work of five to seven minutes for brass quintet, and seven works were shortlisted for a recital final, at which the compositions were performed by students from the college. The first prize of £250 went to composition student Timothy Wilson for his work entitled Avidity.

Avidity is characterised by driving rhythms and angular melodies that sweep the listener through many twists and turns into two brief choral sections, before a return of the eager opening material heralds a downhill sprint to a crashing finale.

Individually, players need to be working to at least Grade 7 level to get the most of the piece. Some of the slide work in the trombone part is particularly demanding, especially for anyone attempting it without the aid of an F valve.

Overall this is a well-crafted composition that would be accessible to a good sixth form group, given the right coaching and support. An energetic six-minute showpiece that would make an excellent concert opener.*

You can find the piece in our online store here.

*Laura Tanner       Music Teacher Magazine

CORONATION GLORIA

Stanford: Coronation Gloria for SATB choir and orchestra



In 1911, the famous composer of church music, Sir Charles Villiers Stanford, http://www.stainer.co.uk/stanford.html was invited to compose a work for the Coronation of HM King George V. Undoubtedly well received, the Coronation Gloria, scored for SATB and orchestra, was subsequently included in the order of service for the Coronation of their majesties King George VI and Queen Elizabeth in Westminster Abbey in 1937 and HM Queen Eizabeth II in 1953.

As we celebrate the accession of Queen Elizabeth II, two performances of this great work are scheduled for 2nd June: at Ely Cathedral, featuring the cathedral choir plus community choirs and at Winchester Cathedral with the Bournemouth Symphony Orchestra and the Waynflete Singers.



Sir Charles Villiers Stanford



A month later, the Coronation Gloria will be performed within the beautiful surroundings of King's College Chapel, Cambridge on 13th July played by the East Anglia Chamber Orchestra.

Newly engraved full score and parts are now available for rental (ref. HL189) along with the vocal score (for SATB and organ) (Ref W227 £2.95)  http://www.stainer.co.uk/ 

The London Olympics 1908 and 2012

To mark the 2012 London Olympics, Andrew Pratt has written the hymn 'Lift high the banner'. It may be freely used in church services. If your church has a CCLI licence, then please record its use in the normal way.

Lift high the banner of these games

in this Olympic year,

that as we forge relationships,

respect might cast out fear.

Whatever name or creed we bear,

we share a common birth,

our skill and our ability

is drawn from all the earth.

Four billion people watch and cheer,

each country hand in hand,

where race, and faith and nation meet,

we pledge to make a stand:

through training we achieve each goal,

the victory is won.

A greater challenge far, for all:

to treat this world as one.

And so, O God we pray for grace,

in each success or loss,

that we might find humility

to bear each crown or cross;

in circles of communion

to share a common task,

to work for peace, to build fresh hope,

is all we seek or ask.

Andrew Pratt

© 2012 Stainer & Bell Ltd

Suggested tune: Kingsfold

In 1908 the marathon was extended in length by around a mile and a quarter - the extra distance being added to allow King Edward VIII and Queen Alexander to view the start from Windsor Castle. The new length of 26miles 385 yards - the distance between the castle and the finish in west London at the White City Stadium - is now the standard.

The winner of that marathon was an Italian confectioner, Dorando Pietri. So exhaused was he when entering the stadium that he initially turned in the wrong direction. Collapsing several times over the last couple of hundred yards, he was helped to his feet and over the winning line by officials, completing the run in 2hours, 54 minutes, 44 seconds. He was disqualified and the gold medal was awarded to and American Johnny Hayes. However, since Dorando was not himself responsible for the disqualification, Queen Alexandra, at the suggestion of Sir Arthur Conan-Doyle, presented Pietri with a special cup on the next day 'for pluck'.

For the first time the Olympic creed that "the most important thing in the Olympic Games is not to win but to take part" was publicly proclaimed at a service in St Paul's Cathedral on 19th July.

From Russia with Love

On 4th April 1866, Tsar Alexander II narrowly escaped an assassination attempt in the city of Kiev. To commemorate the event, a competition was held for the erection of a great gate. Entries poured in, including this drawing by Victor Hartmann.

The design caused a sensation, and the architect felt it was his finest work to date. However, the project, referred to by the Imperial Censor as ‘the event of April 4, 1866’, was eventually cancelled, possibly through lack of funds, or simply because the Tsar was uneasy at being permanently reminded of the attack on his life.

Hartmann died at the early age of 39, and his friend, the composer Modest Petrovich Moussorgsky, was inspired to reflect on some of Hartmann’s works in music. Thus Pictures at an Exhibition was born.

For these pieces Moussorgsky chose from a variety of watercolours, stage designs and architectural drawings. Only in The Catacombs does he suggest that the work was a memorial to the artist (although Baba-Yaga is the death-witch of Russian folk-lore and probably meant more to a Russian imagination).

The suite is given some coherence by the repetition of the Promenade, as if Moussorgsky was walking round the exhibition with the listener, describing his reaction in music to the colours and movement in the exhibits.

Pictures at an Exhibition is mostly known today through the arrangement made for orchestra by Ravel — perhaps the greatest orchestrator who has ever lived. However, it is in the original piano version (Ref R6627  £6.00) http://www.stainer.co.uk/acatalog/piano_moussorgsky.html that one finds the direct link between the two friends. The final piece, The Great Gate of Kiev, is as impressive on the piano as it is in Ravel’s orchestration.

Five Pieces for Harmonica

Tommy Reilly was fascinated by the potential of the harmonica, and became one of the handful of musicians to secure a place in the concert mainstream for an instrument from outside the orchestral norm.

Born in Guelph, Ontario in 1919, Tommy started learning the violin at the age of eight as well as the harmonica. His father, a military band master, had founded the prize-winning Elmdale Harmonica Band.

In 1935, the family moved to England, where Reilly made his professional debut as a harmonica player a year later. While keeping us his violin studies, he toured the variety theatres of the continent. At the outbreak of the Second World War, he was student at Leipzig Conservatoire. He was arrested by the Gestapo and he spent the whole of the war in prison camps in Germany, Poland and France. The discipline of classical string-playing and the time made available by enforced leisure gave Reilly the opportunity to explore the full expressive range of the harmonica.

In 1945, Reilly returned to Britain, where regular radio broadcasts in the late 1940s made him a household name, and work followed right across the musical spectrum. The first of 30 major concert works written for him was the concerto by Michael Spivakovsky, broadcast as part of the Festival of Britain in 1951. Others followed from composers such as Vilem Tausky, George Martin, Robert Farnon and James Moody. Gordon Jacob wrote Five Pieces in the form of a Suite for harmonica and piano, which was published by Stainer & Bell Ltd for Reilly. (Ref 2632 £9.00) http://www.stainer.co.uk/acatalog/harmonica.html

 The cover illustration refers to the third of the five peices in the suite - Russian Dance. It depicts the Cathedral of the Protection of Most Holy Theotokos on the Moat, popularly known as St Basil's Cathedral. Erected on Moscow's Red Square between 1555 and 1561 on the orders of Ivan the Terrible, there is nothing comparable in the whole of Russia or in the Byzantine tradition. The remaininmg pieces are: Caprice, Cradle Song, Threnody and Country Dance.

Reilly’s contribution to film music came in 1959 with the movie version of The Navy Lark. He also supplied the jaunty interludes to the long-running radio series. His many television credits included Dixon of Dock Green, The Last of the Summer Wine and The Singing Detective.

He made many recordings, including Vaughan Williams’ Romance for harmonica, strings and piano,

Thomas (Tommy) Rundle Reilly died in September 2000.

A Night to Remember

In 1898, a slight, morality novella, was published. Written by an American, Morgan Robertson, and entitled ‘Futility, or the Wreck of the Titan’, it came to prominence in 1912 following the sinking of RMS Titanic.

Robertson describes Titan as ‘the largest craft afloat and the greatest of the works of men’. She was said to be, ‘practically unsinkable’ and carried as few lifeboats as would satisfy the laws. All were said of Titanic, but the similarities do not end there. Both Titan and Titanic were travelling too fast for the weather conditions. Both struck icebergs on an April night – on the starboard side. Both were sunk with enormous loss of life 400 miles from Newfoundland.

Walter Lord, in his nonfictional book ‘A Night to Remember’ telling the story of the sinking of the Titanic on 15th April 1912, notes the similarities between the two ships. A film of the same name was released in 1958. Seen through the eyes of Second Officer, Charles Lightoller (the most senior member of the crew to survive the disaster and played by Kenneth More), the film accurately portrays the then known facts of Titanic’s maiden voyage, without resorting to fictional characters as in James Cameron’s film ‘Titanic’ of 1997.

The film of Walter Lord’s book also benefitted from a score written by William Alwyn. In 1933, S&B published Three Easy Pieces for Flute and Piano (Ref H180 £4.50) from this virtuoso flautist and one time member of the London Symphony Orchestra. William went on to write symphonies, operas, several concertos and string quartets besides the soundtracks of around 200 films including ‘The Winslow Boy’, ‘The Mudlark’, ‘The History of Mr Polly’, ‘The Smallest Show on Earth’ as well as ‘A Night to Remember’. Twenty-five years after his death, Stainer & Bell published his Sonatina for Violin and Piano (Ref H471 £8.50). Lasting around ten minutes and recorded by Madeleine Mitchell (violin) and Andrew Ball (piano) on Naxos 8.570340, the work shows Alwyn’s skill as a composer of smaller forms, and bears his hallmarks of rich, romantic harmony and vigorous, expressive line. In short, something to remember.

Tubby the Tuba

Anyone fortunate enough to have lived through the age of ‘steam radio’, Uncle Mac and Children’s Favourites, the mellifluous voice of Danny Kaye telling the story of ‘Tubby the Tuba’, accompanied by Victor Young and his concert orchestra, will be a cherished memory. If you are unfamiliar with the tale, Tubby becomes disillusioned with only playing ‘Oompah’ in the orchestra. Then a frog teaches him a melody within the compass of the instrument. Tubby finally gets the opportunity to show the range of the tuba and the orchestra joins in with great enthusiasm.

The American composers Paul Tripp and George Kleinsinger were inspired to write the story when, having thanked the musicians following a performance of one of their compositions, the tuba player said ‘You know, tubas can sing too’. That night, in December 1941, Paul and George put pen to paper and Tubby was born. However, it wasn’t until after the war that their creation was shared with the world via a 78rpm recording. Since then, ‘Tubby the Tuba’ has been translated into more than 30 languages and [played by many of the world’s orchestras.

In the organ world, tubas have fared a little better than inn many orchestral scores. Three ‘Tuba Tunes’ for the ‘king of instruments’ come to mind. One by C. S. Lang is published by Chester, but perhaps the most famous is that by Norman Cocker.

 Whilst Tripp and Kleinsinger took inspiration from the brass orchestral instrument, Cocker, as organist of Manchester Cathedral, had at his disposal the ‘Tuba Magna’ – a rank of pipes played at high pressure. Unfortunately these pipes were not included in the organ’s rebuild of 1979. The enclosed ‘Orchestral Tuba’ remains, but to quote one critic, ‘is not nearly vulgar enough!’. Cocker’s reputation as a versatile organist lives on. He was often to be seen rushing from the cinema, where he was also organist, to the Cathedral and back again wearing carpet slippers. In his Tuba Tune (Ref MO4 £5.75), Cocker combines the grandeur of the church organ with the showmanship of the cinema organ. Cocker’s Tuba Tune is performed here on the Harrison an Harrison organ at the Temple Church, London by James Vivien in a short film produced, engineered and edited by David Hinitt.

An organist in the same mould as Norman Cocker was Reginald Porter-Brown. His Tuba Tune (Ref H395 £6.00), of only medium difficulty, was a firm favourite in concerts for many years before being published by Stainer & Bell in 1998 – some sixteen years after his death. Born in 1910 in the village of Worsbrough Dale near Barnsley, Porter-Brown became organist at Manchester’s Piccadilly Theatre at the age of twenty-one. In 1935 he opened his first BBC broadcast with the tune that was to become his musical ‘signature’, ‘Oh Mr Porter’.

Samuel Sebastian Wesley

Writing in 1875, Samuel Sebastian Wesley could look back on a period of over forty years as a cathedral organist:

I left London when very young for Hereford, intending to compose chiefly for the Church but . . . there is not only no reward for this but, far worse, such efforts bring an artist of eminence into conflicts with the insufficient means for performing music at Cathedrals: this state of things is the natural result of such an anomaly as that of one professional calling being wholly supervised by another – viz., Musicians by Clergymen, with no other laws for order than those of Henry the Eighth’s time and the common law which treats organists as the servants of the Clergy so that no recognition of the Musician as an Artist and gentleman has any place in a Court of Law.

Despite achieving fame as a performer, respect as a composer and a degree of notoriety for his views on the reform of cathedral music, Wesley never enjoyed the recognition or the position in English musical life he felt he deserved. His final years, spent in Gloucester (where he wrote, there was ‘no great demand for any peculiarly experienced musical ability’), were clouded by feelings of bitterness and regret that he had neither escaped from the artistic isolation of a provincial cathedral, nor succeeded in his lifelong battle to raise the standard of cathedral music and the status of musicians.

S. S. Wesley was born in London in 1810. His father, Samuel Wesley (son of the hymn writer and co-founder of Methodism, Charles Wesley), was one of the foremost organists of his day. Through his influence, his son gained admission to the choir of the Chapel Royal, St James’s Palace, in 1817, where Samuel Sebastian received a general, but rudimentary, musical education.

After leaving the Chapel Royal in 1826, Wesley held several organists’ posts, and, by the end of the decade, was beginning to make his mark, not only as an organist but also as a composer. The celebrated Musica Britannica series has now devoted three volumes to his anthems, which demonstrates how prolific he was in this field. The latest volume is, like its predecessors, edited by Peter Horton (Ref MB89 £90.00). Volumes I and II are still available (Ref MB57 £96.00 and Ref MB63 £86.00). All three volumes contain extremely informative notes. Samuel Sebastian died in Gloucester on 19th April 1876.

Although (one hears!) differences of opinion can still exist between organists and clergy, Nigel Ogden has some encouraging words for organists in the notes contained in At Your Service — Fifteen Practical Voluntaries for Church Organists (Ref H456 £5.75). Church organists are among the most versatile of musicians. They create the musical glue that holds together our worship, and because each occasion of prayer and than ksgiving is a real event and not a formula, so that anything can happen and quite often does, they must also have the instincts of a musical stage manager. At a moment’s notice they may be required to create or change the mood of a service, or indeed be ready to paper over the cracks!

Astronomer and Musician

Friedrich Wilhelm Herschel (always known as William) was born in Hanover on 15th November 1738 into a musical family. His father was a bandmaster in the Hanoverian Guards, and it was at the Garrison School that William received his education, excelling in mathematics, languages and music.

Posted to England with his regiment in 1756 to guard against a possible French invasion — the Seven Years War was raging —William learnt English and was determined to become a musician at the close of hostilities. Initially he earned money by copying music, but then took up several appointments around the north of England before moving to Bath as organist at the new Octagon Chapel. He was invited to become oboist in Linley’s famous orchestra which played daily in the Pump Room at a time when Bath was the most fashionable place for the gentry.

Herschel and his sister Caroline — herself a singer — moved into 19 New King Street in September 1777. Here they stayed for two years before moving to a house in Rivers Street.

Although William was professionally a musician and composer, he had always been fascinated with astronomy. His first recorded observations date back to February 1766 when he looked at Venus and an eclipse of the moon. Initially a casual hobby, astronomy began to take over. Learning the skill of making and polishing lenses and mirrors, William constructed his own telescope. Finding his Rivers Street home unsatisfactory, Herschel returned to 19 New King Street, and before the move back was complete, he set up his telescope in the garden. There, on 13th March 1781, he discovered the planet now known as Uranus.

Ironically, this discovery put paid to Herschel’s sojourn in Bath. William’s fame spread and in the spring of 1782 he was summoned by fellow Hanoverian, King George III (a keen amateur scientist), to Windsor, and to bring with him his latest telescope which was far superior to anything then at the Royal Observatory in Greenwich. The King and Queen, together with other members of the Royal Family, were able to observe Saturn and Jupiter as well as other celestial objects. Herschel was granted a Civil List pension of £200 per year by the King on condition that he live near Windsor and make himself available to show interesting celestial objects to members of his family and their guests. Thus Herschel’s musical career and his connection with 19 New King Street came to an end and the City of Bath was the poorer for it.

However, the musical genes persist, and a descendant of William, Anthony Herschel Hill, is also a composer. Among Anthony’s compositions published by S&B are Four Pieces for Cello and Piano (Ref H178 £6.00); Four Pieces for Double Bass and Piano (Ref H202 £6.30); Two Pieces for Viola and Piano (Ref H179 £6.00) and Ubi Caritas for SATB (Ref W129 £2.15).

19 New King Street is now The William Herschel Museum.  www.bath-preservation-trust.org.uk

Creationist Theory

As a result of an article in the Autumn edition of The Bell about musician/astronomer Sir William Herschel (1738–1822), we have heard from his great, great, great grandson, Anthony Herschel Hill, with the suggestion that Joseph Haydn may have been inspired to write the oratorio The Creation following an encounter with Herschel.

Soon after his discovery of the planet Uranus in 1781, Herschel moved from Bath to be nearer Windsor at the request of King George III in order that the Royal Family could use his telescopes to view the heavens. In Slough, Herschel constructed a 40ft telescope — so large that it appeared on Ordnance Survey maps. It was here that the meeting took place between the astronomer and Haydn in 1792. The Creation was completed in 1798.

Welcome

To begin this blog we will be including some of the most popular articles that have featured in Stainer & Bell's award winning newsletter 'The Bell' - started 25 years ago in 1987.

Below is a brief history of Stainer & Bell, together with details about our current areas of activity. For a more detailed account of the fascinating Stainer & Bell story, we have compiled a series of pages to mark our first 100 years.

The Birth

Founded in 1907, Stainer & Bell Ltd is a small, independent, family run business, specialising in the publication of quality music and books.

There was neither a Mr Stainer nor a Mr Bell. Tradition has it that the six original partners chose the firm's name because it had a creditworthy ring to it. However, a direct family link with the present management team can be traced back to 1912.

Childhood

Composers published in the early years included Charles Villiers Stanford, Percy Buck, Harold Darke, Thomas Dunhill, Gustav Holst and Ralph Vaughan Williams. Works by all these writers are still in print, and we are especially pleased to publish many works by Ralph Vaughan Williams, including A Sea Symphony, Toward the Unknown Region, Five Mystical Songs and A London Symphony.

Adult Years/Parenthood

Later, the publishing pedigree was enhanced by the acquisition of Augener, famous for its practical editions of the classical masters; Joseph Williams, one of the oldest British publishing houses, founded in 1808; and Galliard, bringing to the parent company a fine range of cello music.

Carefully nurtured over many years, the catalogue now contains some of the richest treasures from three centuries of British musical achievement, including works by Frank Bridge, Alan Bush, Geoffrey Bush, William Byrd, Frederick Delius, Edward Elgar, Herbert Howells, John Ireland, Gordon Jacob, Hubert Parry, Henry Purcell and Peter Warlock, and acclaimed tutors and textbooks by Dorothy Bradley & Raymond Tobin, Adam Carse, Neil Mackay, Stewart Macpherson and William Squire.

The four principal contemporary composers in the catalogue are, Morgan Hayes, Bayan Northcott, Rhian Samuel and Roger Steptoe. Their challenging range of songs, concertos and other instrumental pieces is complemented by exciting new educational works from the younger generation of specialist music teachers such as Peter Lawson, Patric Standford and Jeffrey Whitton.

The company has had a number of homes over the years, but in 1991 it moved to Victoria House, a spacious turn-of-the-century building in North London. Up-to-the-minute technology ensures that music in a wide variety of styles is speedily invoiced and despatched to numerous countries throughout the world.
Click on the picture of Victoria House to come in and meet the staff.

100th Birthday...

2007 saw the company celebrating its 100th birthday. A healthy, vibrant and lively centenarian, S&B is actively involved in a diverse range of publishing activities. New hymnody, scholarly volumes, jazz publications, educational music, 'light' organ music and CD-ROMS, combine with the extensive back catalogue to make the rich musical resource that is the Stainer & Bell catalogue.