Twelve Lieder, Op. 9, No. 11: Resignation (Entsagung)

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Friedrich Hofmeister Verlag, Knopf, , Woodside The Russian Life of R. Original comes from Stroitelnie materiali [The Building Materials] 4: Joseph Wihtol — and Aleksandr Konstantinovich Glazunov — Unfortunately Ree Wekre no longer has copies of her sources.

List of works by Georg Goltermann

Pendragon Press, , fig. Pendragon Press, , Glinka Museum of Musical Culture Moscow collection. Tony Bingham, , Aureau, , The Distin Family were adventurous and flexible in their choice both of repertoire and instruments. Reviews and advertisements for their concerts suggest a wide range of repertoire that reflected the tastes of the times.

British composers of the time were also popular with many works by the English composers Sir Henry Bishop and the Irish composer Michael Balfe. Similarly, they collaborated with musicians either native to the location of their concerts or musicians who were travelling the same circuits.

A typical concert would have included smaller ensemble pieces, duets, trios and so on, and given the pianistic talents of Mrs Distin as well as the vocal skills of the Distin boys Theodore Distin went on to be an opera singer , all sorts of combinations of instruments and voices were possible. Part of the spectacle of their concerts was the diversity and inventive combinations of instruments: Distin and his four sons on the saxhorns' published by Distin and Sons in in an arrangement by John Distin for solo piano and Distin's Polka published by Henry Distin in in a version for piano with an ad libitum accompaniment for two cornets or saxhorns.

In the Distins travelled to Paris, where they had been engaged by a M. Accounts vary as to exactly how the Distins first acquired their saxhorns. In this account, Sax charitably gives them each a new instrument of his own design, tutors them individually and somewhat miraculously turns everything around. Comettant was very pro-Sax and perhaps his anti-Distin sentiments may have been influenced by the success of the Distin business in first promoting the Sax design of instrument and then capitalising on its success by producing rival instruments and designs of their own.

To make matters more confusing the nomenclature of these instruments varies: Today the modern versions of saxhorns are recognisable as the tenor horns, baritones and tubas of the brass band world. The work that the Distin's heard performed in Paris in was a composition by Hector Berlioz. A review of this concert said of the instruments: The Bate Collection was first established in , with the gift of flutes and other woodwinds by Philip Bate, an instrument collector and a founder member of the Galpin Society. After his initial benefaction, further major collectors and donors added to the Collection, which now numbers almost 2, instruments including orchestral woodwind and brass instruments, many dating back over years.

The Collection is a primary source for research into musical instruments, and is also used by students interested in the practicalities of historically informed performance. It is one of the few collections in Europe that actively encourages the playing of its instruments, where reasonably possible. Many of the instruments can be used either for technical examination or for playing, in order to observe the variations between historical instruments and their modern counterparts.

By Composer

This was the original purpose of the Collection as conceived by Philip Bate, and it has always been a guiding principle for the use of the Collection. It has long been recognised that while access to collections is regarded as desirable in order to increase the understanding of our musical heritage, this has sometimes been achieved at the expense of the instruments, which must form the primary focus of attention.

In addition, as a fully accredited museum, the Bate Collection must conform to those standards set down by the Arts Council of England and other statutory bodies. Beyond that, there is also a duty to the wider museum-using constituency; the Bate Collection therefore hosts educational school visits, concerts, recitals and numerous skill-sharing events for other museum professionals.

Nevertheless, its primary function is to serve as a resource for the students and lecturers of the Faculty of Music of the University of Oxford. In allowing the use of brass instruments, we need to confront a number of conservation issues.

Caring for brass instruments is complicated in a number of ways. We must deal with the deterioration of the metal parts and, alternatively, deal with the deterioration of moving parts; valves, springs, key-work, etc. Any metal will naturally deteriorate over time and it is the duty of care for museums to minimise this process where possible. Agents of deterioration associated with handling and playing instruments include the following main threats:.

Provided an instrument is maintained in playing condition, is cleaned after use and dried properly, its use as a playing instrument can be extended for quite some time. In some cases, centuries. That, however, does require constant attention. This is a luxury that many collections do not enjoy. Consequently, museums tend to take a more conservative approach. Very often the instruments reach a condition whereby major restoration is required to get them into playing condition. This can compromise the historic integrity of the instrument and can be regarded as counter-conservation practise.

It is a long-running debating point. Having accepted that, we can now make value judgements about the desirability of using historical instruments for performance. The Bate Collection in Oxford is one of the leading collections of historical musical instruments in the UK. There have been many other important organologists associated with the Bate, including Horace Fitzpatrick, Anthony Baines and today the collection includes donations from figures such as Jeremy Montagu.

The collection is especially noted for its fine collection of woodwind and brass instruments. The Prince Regent's Band has a long standing relationship with the Bate Collection and very much values the unique research opportunities that the collection is able to provide PRB. The collection has a large collection of nineteenth century saxhorns and cornets including a number by Adolphe Sax or the Distins themselves.

This access provided PRB members with an opportunity to learn more about the playing characteristics of the instruments. The group also spent time investigating the pitch centres of these instruments. The main aim was to help PRB in their quest to find a really good ensemble of instruments to use for "The Celebrated Distin Family" project.

With this in mind PRB was thrilled that the Bate Collection made available two of its instruments for the recording. PRB continues to work with the Bate Collection in our mutual desire to learn much more about these wonderful historic brass instruments. PRB would like to thank the wonderful Andy Lamb who has made all this possible. Famed as a slide- trumpet and keyed bugle player, his career started as a member of the Grenadier Guards Band with whom, in , just after the Battle of Waterloo, he had travelled to Paris.

It was during his time in Scotland that the first outings of the formative Distin Family ensemble occurred. Ann Matilda Loder had been born into a famous family of musicians and dancers. In , separated from her first husband, the dancer Thomas Ridgeway, with whom she had five children, she began to style herself Mrs Distin. However it was only on the death of Ridgeway in that she and John were free to marry.

All of the Distin boys started on the natural horn; it is most likely that their father would have been their teacher, though Henry and William studied at the Royal Academy of Music for a short spell in Whilst Henry,William and Theodore continued on this instrument, the eldest son, George, changed to trombone, thus providing a bass instrument for the fledgling family ensemble, with John Distin taking the melody on slide trumpet or keyed bugle. Giacomo Meyerbeer — arr. Contrabass saxhorn in E-flat by E. Daniel , Marseille, c.

Grass 32 Rue des Ponts de Comines, Lille, est. Benoit Constant Fauconier — arr. Gaetano Donizetti — arr. Contrabass saxhorn in E flat by E. Guiseppe Verdi — arr. Contralto saxhorn in B-flat by J. Newport Street, London, c. James Kent — arr. Thomas Arne — arr.

By Instrument

Henry Leslie — arr. Theodore Distin — arr. Dale The Last Rose of Summer. Dale Sinfonia to Nabucco. Top row left to right: Bottom row left to right: Once upon a time I was a young trumpet player. I really didn't like playing the trumpet. I wanted to play the French horn but was considered too small. So I got put on the trumpet which, to be honest I didn't enjoy.

I also didn't do any work. So it got to the point where an ultimatum was made - either I had to quit or had to start putting the hours in. I really didn't want to continue on the trumpet, I was still told that I was too small for the French horn, but there was a solution! I loved the Tenor horn. I thought it was much more interesting than the trumpet. When I started I really didn't know anything and I worked out I thought I could get away with this by copying the fingering of the tenor horn player sitting further up the section. And then I grew a bit and got provided with a French Horn and moved on from the tenor horn.

And like many French horn players I didn't really look back. The French horn has amazing repertoire and plenty to keep us busy. Then I got into playing period instruments and eventually started playing with The Prince Regent's Band.

The group had started to investigate the career of the Distin Family, a group of musicians who had brought Adolphe Sax's "saxhorns" to the UK and who had been some of the most influential and busy musicians of the 19th century. Therefore I got the chance to dig out the Tenor horn again and rediscover this instrument. It was quite a steep learning curve. Some French horn players prefer to use an adaptor so they can use their French horn mouthpiece on the Tenor horn. I'm used to swapping mouthpieces as I swap horns normally so that, plus the fact that instruments normally work best with the mouthpiece it was designed to be played with, meant I decided to go for it and use the, much bigger, Tenor horn mouthpiece.

The big break through for came for me after I'd spent some time looking at French horn, cornet and saxhorn methods from the 19th century.

Full list of recordings with track details

Many of the earliest cornet players were initially horn players rather than trumpet players so there are a number of 19th century methods written by the same authors for both instrument. Plus, as the saxhorn was growing in popularity, we have a number of sources for the family of saxhorns. For me it suddenly made the tenor horn much more easy to play once I remembered that French horn players are encouraged to put the mouthpiece on their lips so it's two thirds on the top lip and one third on the bottom whilst it helps with the saxhorn if the mouthpiece is more evenly balanced between the two lips.

Thanks to a mixture of sources many many thanks to The Bate Collection in Oxford , and J eremy Montagu and his own collection I started to have a little collection at my disposal. One instrument came into my possession when a fellow member of PRB "accidentally" bought it on eBay. As the saxhorn family are all designed to be just bigger or smaller versions of one another it's easy to not get a sense of scale when all you have is a photo of the instrument.

That's one bonus of a group like PRB - if you get it wrong maybe someone else will have it. All the saxhorns have two names. We have the French system, which would call these saxhorns, pitched in E flat, an "Alto", whilst in the UK we call the same thing a "Tenor". Just for simplicities sake, I tend to use the term tenor saxhorn.

Their instruments are the keyed trumpet, cornets-a-pistons, tenor corno, French horns, and bass horn or trombone. With these instruments, in different combinations, the Distins produce various striking and pleasing harmonies from instruments which rarely heard played with the same amount of ability. The latter, now used by them, are silver and were presented to them by Louis Philippe, in consequence of the pleasure he received from their performance during the late Exposition.

Sax, but have been greatly improved by the Distins. Skip to main content. Log In Sign Up. Fanny Hensel's Sechs Lieder op. Angela Mace Christian and Benedict Taylor Oxford University Press In the early summer of , shortly after his sister had died of a sudden stroke, Felix Mendelssohn wrote a grief-stricken letter to her husband Wilhelm: If the sight of my handwriting checks your tears, put the letter away, for we have nothing left now but to weep from our inmost hearts; we have been so happy together, but a saddened life is beginning now.

You made my sister very happy, dear Hensel, through her whole life, as she deserved to be. I thank you for it today, and shall do so as long as I live, and longer too I hope, not only in words, but with bitter pangs of regret, that I did not do more myself for her happiness, did not see her oftener, was not with her oftener. That would indeed have been for my own pleasure, but it pleased her too. I am still too much stunned by the blow to be able to write as I could: Help and comfort—how different these words sound from all I have been thinking and feeling since yesterday morning.

This will be a changed world for us now, but we must try and get accustomed to the change, though by the time we have got accustomed to it our lives may be over too. He died only a month later. It is a heartrending story, not least because it reinforces the depth of the connection between the siblings, a connection that, as Larry Todd has shown, was both personal and musical: Who selected these pieces for publication? It is a work that defies easy description. An attempt to characterize it in a single sentence sounds almost absurd: Yet for this very reason it demands close analysis.

In recent years, however, a number of scholars have put pressure on this view. Seaton then uses these clearly cyclic opuses as a kind of measuring stick, extracting features from them and looking for these features in other potentially cyclic groupings of songs. There are other musical connections as well. This motive is repeated at the beginning of song no.

Todd also points out that songs no. Christian does just that: On a global scale, when performed in alternation …, the dramatic progression of the set changes from loose associations of themes … to a dialogue that has more dramatic coherence. Spring changes to autumn, and the cold winds of loss and separation—possibly death—wither the budding relationship. The male protagonist departs, the female protagonist renounces her dependence on the world, and finally proclaims her devotion to God, before perishing before a picture of the Virgin Mary. She cites a letter—written on August 13—14, , and only published in —in which Felix, overworked and feeling pressured by his publisher, says that Fanny should begin selecting the songs for op.

Thus an analysis of the opus—even though most of the Lieder are by Felix—considering both musical and biographical parameters, will reveal just as much about Fanny as it does about Felix. If an analysis of the earlier op. The fact that the opus numbers are the same is also not insignificant; in his well-known book on allusion in nineteenth-century music, Christopher Reynolds points out that many composers used opus numbers as a way of alerting listeners to intertextual relationships.

Table 1 provides a brief summary of each poem. One of the most obvious of these gestures is the melisma that ends five of the six songs, the only exception being song no.

Fanny was famous for these melismatic outpourings, these cascades of pure vowel sound that close so many of her songs; even if we cannot be completely certain that the compiler of the later op. These song-specific connections cluster around two pairs of songs: These melodic ideas appear prominently in songs no. Notice that song no.

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