Originally posted by Barbirollians
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Vaughan Williams: The symphonies
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Originally posted by Eine Alpensinfonie View PostThe Sea Symphony influenced this week's BaL work, Delius's Sea Drift, also a Walt Whitman setting.
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Originally posted by makropulos View PostHow so?? Sea Drift was finished in 1904 and first performed in 1906; the Sea Symphony was composed 1903-9 and first performed in 1910. So just how did the Sea Symphony influence Sea Drift?Stupid error. I thought I'd typed ". . . was influenced by. . ." I'll have to double check in future. Next I'll be saying Elgar's Dream of Gerontius cribbed a theme from A Sea Symphony.
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Originally posted by Pabmusic View Post?? Does that mean A Sea Symphony would be more enjoyable if RVW had not cribbed a theme from Gerontius? (Rather a prominent one at that!)[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ferneyhoughgeliebte View PostNo, I think Ferretf was rather suggesting that DoG "might have been a bit more enjoyable" if it had cribbed material from RVW. An expression of Ferretf's dislike of DoG than a suggestion of a literal possibility, I understood.Don’t cry for me
I go where music was born
J S Bach 1685-1750
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Originally posted by Pabmusic View PostI agree, BBM. And the "Go forth in the Lord" phrase seems to have inspired RVW (Sea Symphony and London Symphony).
I do not consider that the opening of my London Symphony is a crib from the beginning of part 2 of "Gerontius" (indeed, my friends assure me that it is, as a matter of fact, a compound of Debussy's "La Mer" and Charpentier's "Louise"
... he is remarkably candid about other aspects of DoG that were significant to him:
I find that the Elgar phrase which influenced me most was "Thou art calling me" (vocal score page 7, fifth bar of Figure 22) - not so much perhaps in its original form as when it comes later on in combination with another theme (eg, p.19, figure 37). For proof of this see "Sea Symphony" (vocal score p. 84, nine bars before letter B) and "London Symphony" (full score p. 16, letter H).
from What have we learnt from Elgar?, first published in "Music & Letters", Jan 1935. Republished in Christopher REDWOOD (ed): An Elgar Companion.[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by Beef Oven! View PostNo, it's the bit at about quarter to twelve.With the Westminster Chimes added!
RVW doesn't specify, Bbm, but the bit you mention is the one that sounds most like the opening of the London Symphony to me, so I presume so![FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by ferneyhoughgeliebte View PostWith the Westminster Chimes added!
RVW doesn't specify, Bbm, but the bit you mention is the one that sounds most like the opening of the London Symphony to me, so I presume so!Don’t cry for me
I go where music was born
J S Bach 1685-1750
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Originally posted by ferneyhoughgeliebte View PostAlthough RVW denied certain aspects of a similar inspiration:
I do not consider that the opening of my London Symphony is a crib from the beginning of part 2 of "Gerontius" (indeed, my friends assure me that it is, as a matter of fact, a compound of Debussy's "La Mer" and Charpentier's "Louise"
... he is remarkably candid about other aspects of DoG that were significant to him:
I find that the Elgar phrase which influenced me most was "Thou art calling me" (vocal score page 7, fifth bar of Figure 22) - not so much perhaps in its original form as when it comes later on in combination with another theme (eg, p.19, figure 37). For proof of this see "Sea Symphony" (vocal score p. 84, nine bars before letter B) and "London Symphony" (full score p. 16, letter H).
from What have we learnt from Elgar?, first published in "Music & Letters", Jan 1935. Republished in Christopher REDWOOD (ed): An Elgar Companion.
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