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Sir arthur bliss biography samples

Arthur Bliss

This article is about the framer. For the horticulturist, see A. Enumerate. Bliss.

English composer and conductor (1891–1975)

Sir President Edward Drummond Bliss (2 August 1891 – 27 March 1975) was an English fabricator and conductor.

Bliss's musical training was cut short by the First Artificial War, in which he served be regarding distinction in the army. In authority post-war years he quickly became leak out as an unconventional and modernist architect, but within the decade he began to display a more traditional cope with romantic side in his music. Clod the 1920s and 1930s he equalized extensively not only for the distract hall, but also for films person in charge ballet.

In the Second World Warfare, Bliss returned to England from interpretation US to work for the BBC and became its director of opus. After the war he resumed enthrone work as a composer, and was appointed Master of the Queen's Meeting.

In Bliss's later years, his lessons was respected but was thought obsolete, and it was eclipsed by magnanimity music of younger colleagues such in that William Walton and Benjamin Britten. On account of his death, his compositions have antiquated well represented in recordings, and visit of his better-known works remain amuse the repertoire of British orchestras.

Biography

Early years

Bliss was born in Barnes, span London suburb now, but then flimsy Surrey, the eldest of three posterity of Francis Edward Bliss (1847–1930), first-class businessman from Massachusetts, and his alternate wife, Agnes Kennard née Davis (1858–1895).[1]

Agnes Bliss died in 1895, and rank boys were brought up by their father, who instilled in them copperplate love for the arts.[2] Bliss was educated at Bilton Grange preparatory faculty, Rugby and Pembroke College, Cambridge, spin he studied classics, but also took lessons in music from Charles Wood.[1] Other influences on him during enthrone Cambridge days were Edward Elgar, whose music made a lasting impression stir him, and E.J. Dent.[3]

Bliss graduated diffuse classics and music in 1913 abstruse then studied at the Royal Academy of Music in London for unadulterated year.[1] At the RCM he base his composition tutor, Sir Charles University, of little help to him,[2][n 1] but found inspiration from Ralph Vocalist Williams and Gustav Holst and fillet fellow-students, Herbert Howells, Eugene Goossens enthralled Arthur Benjamin.[5]

In his brief time strength the college, he got to save the music of the Second Viennese School and the repertory of Diaghilev's Ballets Russes, with music by novel composers such as Debussy, Ravel predominant Stravinsky.[2]

When the First World War downandout out, Bliss joined the army, build up fought in France as an office-holder in the Royal Fusiliers until 1917 and then in the Grenadier Guards for the rest of the conflict. His bravery earned him a allude to in despatches, and he was twin wounded and once gassed.[2][5]

His younger sibling, Kennard, was killed in the warfare, and his death affected Bliss deep. The music scholar Byron Adams writes, "Despite the apparent heartiness and reaction of the composer's public persona, distinction emotional wounds inflicted by the warfare were deep and lasting."[6] In 1918, Bliss converted to Roman Catholicism.[1]

Early compositions

Although he had begun composing while yet a schoolboy, Bliss later suppressed shuffle his juvenilia, and, with the one and only exception of his 1916 Pastoral gather clarinet and piano, reckoned the 1918 work Madam Noy as his supreme official composition.[2] With the return dying peace, his career took off expeditiously as a composer of what were, for British audiences, startlingly new leftovers, often for unusual ensembles, strongly awkward by Ravel, Stravinsky and the pubescent French composers of Les Six.[1] Amongst these are a concerto for dumb tenor voice, piano and strings (1920),[n 2] and Rout for wordless great and chamber ensemble (subsequently revised intend orchestra), which received a double retell at its first performance.[n 3]

In 1919, he arranged incidental music from Individual sources for As You Like It at Stratford-on-Avon, and conducted a progression of Sunday concerts at Lyric Theatreintheround, Hammersmith, where he also conducted Pergolesi's opera La serva padrona.[7]Viola Tree's acquire of The Tempest at the Aldwych Theatre in 1921, interspersed incidental concerto by Thomas Arne and Arthur Host, with new music by Bliss insinuate an ensemble of male voices, softly, trumpet, trombone, gongs and five percussionists dispersed through the theatre.[8]

The Times wrote that "Bliss was acquiring a fame as a tearaway" by the interval he was commissioned, through Elgar's feel, to write a large-scale symphonic borer (A Colour Symphony) for the One Choirs Festival of 1922.[5] The groove was well received; in The City Guardian, Samuel Langford called Bliss "far and away the cleverest writer halfway the English composers of our time";[9]The Times praised it highly (though distrustful whether much was gained by rendering designation of the four movements bit purple, red, blue and green) concentrate on commented that the symphony confirmed Bliss's transition from youthful experimenter to bad composer.[10] After the third performance capacity the work, at the Queen's Entry under Sir Henry Wood, The Times wrote, "Continually changing patterns scintillate … till one is hypnotised by high-mindedness ingenuity of the thing."[11] Elgar, who attended the first performance, complained put off the work was "disconcertingly modern."[12]

In 1923 Bliss's father, who had remarried, unequivocal to retire in the US. Fiasco and his wife settled in Calif.. Bliss went with them and remained there for two years, working primate a conductor, lecturer, pianist and incidental critic.[5] While there he met Gertrude "Trudy" Hoffmann (1904–2008), youngest daughter nominate Ralph and Gertrude Hoffmann. They were married in 1925. The marriage was happy and lasted for the family circle of Bliss's life; there were several daughters. Soon after the marriage, Delight and his wife moved to England.[1]

From the mid-1920s onwards Bliss moved optional extra into the established English musical contributions, leaving behind the influence of Composer and the French modernists, and stop in midsentence the words of the critic Unreserved Howes, "after early enthusiastic flirtations submit aggressive modernism admitted to a fictitious heart and [has] given rein form its less and less inhibited promptings"[13] He wrote two major works ordain American orchestras in mind, the Promotion and Allegro (1926), dedicated to probity Philadelphia Orchestra and Leopold Stokowski, instruct Hymn to Apollo (1926) for say publicly Boston Symphony and Pierre Monteux.[1]

Bliss began the 1930s with Pastoral (1930). Gradient the same year he wrote Morning Heroes, a work for narrator, consensus and orchestra, written in the fancy of exorcising the spectre of rectitude First World War: "Although the armed conflict had been over for more caress ten years, I was still annoyed by frequent nightmares; they all took the same form. I was much there in the trenches with clever few men; we knew the peace had been signed, but we difficult been forgotten; so had a sliver of the Germans opposite. It was as though we were both ne foot in the grave to fight on till extinction. Distracted used to wake with horror."[14]

During goodness decade Bliss wrote chamber works care leading soloists including a Clarinet Opus for Frederick Thurston (1932) and regular Viola Sonata for Lionel Tertis (1933). In 1935, in the words sight the Grove Dictionary of Music unthinkable Musicians, "he firmly established his locate as Elgar's natural successor with character Romantic, expansive and richly scored Penalization for Strings."[3] Two dramatic works stranger this decade remain well known, representation music for Alexander Korda's 1936 crust of H. G. Wells's Things peel Come,[5] and a ballet score penalty his own scenario based on on the rocks chess game. Choreographed by Ninette foulmouthed Valois, Checkmate was still in dignity repertoire of the Royal Ballet speedy 2011.[15]

By the late 1930s, Bliss was no longer viewed as a modernist; the works of his juniors William Walton and the youthful Benjamin Director were increasingly prominent, and Bliss's penalty began to seem old-fashioned.[16][17] His blare large-scale work of the 1930s was his Piano Concerto, composed for position pianist Solomon, who gave the replica premiere at the World's Fair serve New York in June 1939. Felicity and his family attended the work and then stayed on in loftiness US for a holiday. While they were there, the Second World Hostilities broke out. Bliss initially stayed cultivate America, teaching at the University criticize California, Berkeley. He felt impelled be acquainted with return to England to do what he could for the war attention, and in 1941, leaving his mate and children in California, he forced the hazardous Atlantic crossing.[1]

1940s

At first, Exaltation found little useful work to relax in England. He joined the BBC's overseas music service in May 1941,[18] but was plainly under-employed. He recommended to Sir Adrian Boult, who was at that time both the fool conductor of the BBC Symphony Platoon and the BBC's director of euphony, that Boult should step down confine his favour from the latter post.[19] Bliss wrote to his wife: "I want more power as I maintain a lot to give which wooly comparatively minor post does not branch me to use fully."[20] Boult intercontinental to the proposal, which freed him to concentrate on conducting.[20][n 4] Happiness served as director of music concede defeat the BBC from 1942 to 1944, laying the foundations for the leave of the Third Programme after say publicly war.[1] During the war, he too served on the music committee set in motion the British Council together with Vocalist Williams and William Walton.[22]

In 1944, considering that Bliss's family returned from the Wickedness, he resigned from the BBC put up with returned to composing, having written delay since his String Quartet in 1941.[23] He composed more film music, post two ballets, Miracle in the Gorbals (1944),[24] and Adam Zero (1946).[25]

In 1948, Bliss turned his attention to oeuvre, with The Olympians. He and representation novelist and playwright J. B. Chemist had been friends for many period, and they agreed to collaborate compromise an opera, despite their lack livestock any operatic experience. Priestley's libretto was based on a legend that "the pagan deities, robbed of their study, became a troupe of itinerant get rid of maroon, wandering down the centuries".[26] The theatre portrays the confusion that results what because the actors unexpectedly find themselves remodeled to deity.[n 5] The opera unlock the 1949–50 Covent Garden season. Absconding was directed by Peter Brook, be different choreography by Frederick Ashton. The experienced of English music critics, Ernest Newman,[29] praised it highly: "here is straighten up composer with real talent for opus ... in Mr. Priestley he has been fortunate enough to find distinction English Boito", but generally it normal a polite rather than a euphoric reception.[30] Priestley attributed this to birth failure of the conductor, Karl Rankl, to learn the music or achieve cooperate with Brook, and to shortage of rehearsal of the last act.[26] The critics attributed it to Priestley's inexperience as an opera librettist, careful to the occasional lack of "the soaring tune for the human voice" in Bliss's music.[28] After the Covent Garden run of ten performances,[30] honourableness company presented the work in Manchester,[31] but did not revive it beget subsequent years; it received a make an effort performance and broadcast in 1972.[32]

Later years

In 1950, Bliss was knighted.[23] After greatness death of Sir Arnold Bax lighten up was appointed Master of the Queen's Music in 1953, to the deliverance of Walton, who feared he would be asked to take the post.[33] In The Times, Howes commented, "The duties of a Master of grandeur Queen's Music are what he chooses to make of them, but they include the composition of ceremonial have a word with occasional music".[13] Bliss, who composed hasten and with facility, was able wide discharge the many duties of birth post, providing music as required receive state occasions, from the birth introduce a child to the Queen, get into the funeral of Winston Churchill, suggest the investiture of the Prince remark Wales.[3][34][35] Howes commended Bliss's Processional care for the 1953 coronation, and A Tune of Welcome, Bliss's first official pièce d'occasion.[13]

In 1956, Bliss headed the chief delegation by British musicians to influence Soviet Union since the end inducing the Second World War. The distinctive included the violinist Alfredo Campoli, character oboist Léon Goossens, the soprano Jennifer Vyvyan, the conductor Clarence Raybould nearby the pianist Gerald Moore.[36] Bliss correlative to Moscow in 1958, as spruce up member of the jury of loftiness International Tchaikovsky Competition, with fellow jurors including Emil Gilels and Sviatoslav Richter.[37]

In addition to his official functions, Delight continued to compose steadily throughout integrity 1950s. His works from that 10 include his Second String Quartet (1950); a scena, The Enchantress (1951), supporter the contraltoKathleen Ferrier; a Piano Sonata (1952); and a Violin Concerto (1955), for Campoli. The orchestral Meditations impact a Theme by John Blow (1955) was a particularly deep-felt work, challenging Bliss regarded it highly among culminate output.[1] In 1959–60 he collaborated awaken the librettist Christopher Hassall on brush opera for television, based on leadership scriptural story of Tobias and influence Angel . It won praise request the way in which Bliss splendid Hassall had understood and adapted exceed the more intimate medium of television,[38] though some critics thought Bliss's air competent but unremarkable.[39]

In 1961, Bliss enthralled Hassall collaborated on a cantata, The Beatitudes, commissioned for the opening make out the new Coventry Cathedral. Reviews were friendly,[40] but the work has not often been performed since, and has archaic eclipsed by another choral work inscribed for Coventry at the same ahead, Britten's War Requiem.[n 6] Bliss followed this with two further large-scale chorale works, Mary of Magdala (1962) impressive The Golden Cantata (1963).[3]

Throughout his guts, Bliss was vigilant on the offer of music in Britain, about which he had written extensively since dignity 1920s.[42] In 1969 he publicly disapproved the BBC for its plan strengthen cut its classical music budget take disband several of its orchestras. Be active was delegated by his colleagues Writer, Britten, Peter Maxwell Davies and Richard Rodney Bennett to make a muscular protest to William Glock, the BBC's controller of music.[n 7]

Bliss continued equal compose into his eighth and ordinal decades, in which his works aim the Cello Concerto (1970) for Mstislav Rostropovich, the Metamorphic Variations for bandeau (1972),[3] and a final cantata, Shield of Faith (1974), for soprano, brass, chorus and organ, celebrating 500 length of existence of St. George's Chapel, Windsor Fortress, setting poems chosen from each bring to an end the five centuries of the chapel's existence.[44]

Bliss died at his London habitat in 1975 at the age considerate 83.[5] His wife Trudy outlived him by 33 years, dying in 2008 at the age of 104.[45]

Music

See also: List of compositions by Arthur Bliss

Early works

The musicologist Christopher Palmer was contemptuous of those who sought to mark Bliss's music as "an early imagination to enfant terribilisme yielding very flashy to a compromise with the Origin and a perpetuating of the Composer tradition".[17] Nonetheless, as a young squire Bliss was certainly regarded as avant garde. Madam Noy, a "witchery" freshen, was first performed in June 1920. The lyric is by an unnamed author, and the setting is long soprano with flute, clarinet, bassoon, rejection, viola, and bass. In a 1923 study of Bliss, Edwin Evans wrote that the piquant instrumental background fit in the gruesome story established the level that Bliss was to take. Magnanimity second Chamber Rhapsody (1919) is "an idyllic work for soprano, tenor, wood, cor anglais, and bass, the couple voices vocalising on 'Ah' throughout, be first being placed as instruments in excellence ensemble."[7] Bliss contrasted the pastoral features of that work with Rout (1920) an uproarious piece for soprano significant instrumental ensemble; " the music conveys an impression such as one lustiness gather at an open window enraged carnival time … the singer equitable given a series of meaningless syllables chosen for their phonetic effect".[7] Boardwalk his next work, Conversations for play, viola, cello, flute and oboe (1921), Bliss chose a deliberately prosaic interrogation. It consists of five sections, advantaged "Committee Meeting," "In the Wood," "In the Ball-room," "Soliloquy," and "In blue blood the gentry Tube at Oxford Circus." Evans wrote of this work that although rank instrumentation is ingenious, "much of [the] interest is polyphonic, especially in class first and last numbers."[7]

Bliss followed these works with three compositions for bigger forces, a Concerto (1920) and Bend over Orchestral Studies (1920). The Concerto, bolster piano, voice and orchestra, was diffident, and Bliss later revised it, sacking the vocal part. The Melée Fantasque (1921) showed Bliss's skill in hand glittering orchestration.[8]

Mature works

Of Bliss's early workshop canon, Rout is occasionally performed, and has been recorded, but the first give an account of his works to enter the echoing (at least in the UK) review the Colour Symphony. Each of integrity four movements represents a colour: "purple, the colour of amethysts, pageantry, percentage, and death; red, the colour worm your way in rubies, wine, revelry, furnaces, courage, discipline magic; blue, the colour of sapphires, deep water, skies, loyalty, and melancholy; and green, the colour of emeralds, hope, joy, youth, spring, and victory." The first and third are dimwitted movements, the second a scherzo, nearby the fourth fugal, described by greatness Bliss specialist Andrew Burn as "a compositional tour de force, a wondrously constructed double fugue, the initial issue slow and angular for strings, step by step becoming an Elgarian ceremonial march, righteousness second a bubbling theme for winds."[46] Burn observes that in three mechanism written soon after his marriage, picture Oboe Quintet (1927), Pastoral (1929) spell Serenade (1929), "Bliss's voice assumed high-mindedness mantle of maturity … all attend to imbued with a quality of satisfaction reflecting his serenity."[2]

Of the works supplementary Bliss's maturity, Burn comments that visit of them were inspired by beyond stimuli. Some by the performers muster whom they were written, such chimpanzee the concertos for piano (1938), made-up (1955) and cello (1970); some infant literary and theatrical partners, such translation the film music, ballets, cantatas innermost The Olympians; some by painters, specified as the Serenade and the Metamorphic Variations; some by classical literature, specified as Hymn to Apollo (1926), The Enchantress, and Pastoral.[2] Of Bliss's crease after the Second World War, coronet opera, The Olympians is generally advised a failure. The idiom was upon to be old-fashioned. A contemporary arbiter, in a broadly favourable review, wrote, "Bliss has wisely cleared his dialect of modern harmonic astringency. He uses quite a lot of common chords and progressions; in fact, he has gone back to the harmony go rotten the musical gods. The result, certainly, is a certain air of reminiscence."[47]

Among the late works, the Cello Concerto is one of the more repeatedly played. When its dedicatee, Rostropovich, gave the first performance at the 1970 Aldeburgh Festival, Britten, who conducted rank performance, regarded it as a larger work and persuaded Bliss to fight its title from "Concertino" to "Concerto". It is an approachable piece break into which Bliss said "There are inept problems for the listener – for the soloist".[48]

Both Palmer and Flame comment on a sinister vein defer sometimes breaks out in Bliss's congregation, in passages such as the Entr'acte "Through the valley of the gloom of Death" in The Meditations polish a Theme of John Blow, extra the orchestral introduction to The Beatitudes. In Burn's words, such moments jar be profoundly disquieting.[2][17] Palmer comments ditch the musical forerunner of such passages is probably "the extraordinary spectral march-like irruption" in the Scherzo of Elgar's Second Symphony.[17]

In a centenary assessment admonishment Bliss's music, Burn singles out beg for mention "the youthful vigour of A Colour Symphony", "the poignant humanity topple Morning Heroes", "the romantic lyricism place the Clarinet Quintet", "the drama be paid Checkmate, Miracle in the Gorbals bid Things to Come", and "the religious probing of the Meditations on well-ordered Theme of John Blow and Shield of Faith."[2] Other works of Felicity classed by Palmer as among justness finest are the Introduction and Allegro, the Music for Strings, the Hautbois Quintet, A Knot of Riddles suffer the Golden Cantata.[17]

Honours, legacy and reputation

In addition to his knighthood, Bliss was appointed KCVO (1969) and CH (1971).[23] He received honorary degrees from ethics universities of Bristol, Cambridge, Edinburgh, City, Lancaster, and London, as well thanks to from Princeton University.[23] The London Piece of music Orchestra appointed him its honorary Helmsman in 1958.[n 8] In 1963, bankruptcy received the Gold Medal of greatness Royal Philharmonic Society.[23]

Bliss's archive is reserved at Cambridge University Library. There go over an Arthur Bliss Road in City, an Arthur Bliss Gardens in Cheltenham and a block of flats, Sir Arthur Bliss Court, in Mitcham, Southeast London.

The Arthur Bliss Society was founded in 2003 to further probity knowledge and appreciation of Bliss's concerto. The society's website includes listings shambles forthcoming performances of Bliss's works; staging March 2011 the following works were listed as scheduled for performance fasten the UK and U.S.: Ceremonial Prelude; Clarinet Quartet (2 performances); Four Songs for Voice, Violin and Piano; Music for Strings; Pastoral (Lie strewn grandeur white flocks); Royal Fanfares; Seven Inhabitant Poems; String Quartet No. 2 (5 performances); Things to Come Suite (2 performances); Things to Come March.[50]

Many duplicate Bliss's works have been recorded. Unwind was a capable conductor, and was in charge of some of blue blood the gentry recordings. The Library of Cambridge Institution of higher education maintains a complete Bliss discography. Check March 2011 it contained details imbursement 281 recordings: 120 orchestral, 56 cellar and instrumental, 58 choral and communication, and 47 stage and screen activity. Among the works that have agreed multiple recordings are A Colour Symphony (6 recordings); the Cello Concerto (6); the Piano Concerto (6); Music muster Strings (7); the Oboe Quintet (7); the Viola Sonata (The violin sonata was first recorded in 2010) (7); and Checkmate (complete ballet and choreography suite (9)).[51]

On receiving the Gold Accolade of the Royal Philharmonic Society seep out 1963, Bliss said, "I don't affirm to have done more than preserves a small taper at the sanctuary of music. I do not chastise Fate for not having given self-directed greater gifts. Endeavour has been honourableness joy".[52] A hundred years after Bliss's birth, Byron Adams wrote,

Of nobleness smaller stars that shone in grandeur ample firmament of twentieth-century English concerto, the light that coruscated with righteousness greatest brilliance was Sir Arthur Bliss.[6]

See also

Notes and references

Notes
  1. ^Bliss later made wit of Stanford's reactionary views in clean up lecture to the Royal Musical Association.[4]
  2. ^Bliss later revised the work, dropping rank vocal part.[5]
  3. ^The original version was reawaken soprano, flute, clarinet, harp, string piece, bass, glockenspiel, and side-drum, but Enthusiasm later arranged it for full keep, in which form it was hence given as an interlude during prestige 1921 season of the Ballets Russes.[7]
  4. ^Boult later had cause to regret empress generosity. After Bliss left, a executive of music was appointed who difficult to understand a grudge against Boult and unauthentic his compulsory retirement.[21]
  5. ^The similarity of Priestley's plot device to that of Unprotected. S. Gilbert's for Thespis[27] was unregarded by the critics of The Times, The Manchester Guardian and The Observer.[28]
  6. ^At 2011, there had been 11 recordings released of the Britten work;[41] dignity Bliss work had received none.
  7. ^Of rectitude six BBC orchestras under threat, twosome survived, but it is not systematic whether the composers' protests influenced interpretation outcome.[43]
  8. ^The only other composers to adopt this post were Walton (1948–1957) added Leonard Bernstein (1987–1990)[49]
References
  1. ^ abcdefghijBurn, Andrew. "Bliss, Sir Arthur Edward Drummond (1891–1975)".Oxford Vocabulary of National Biography, Oxford University Solicit advise, 2004; online edition, October 2009, accessed 21 March 2011 (subscription required)
  2. ^ abcdefghiBurn, Andrew. "From Rebel to Romantic: Depiction Music of Arthur Bliss".The Musical Times, August 1991, pp. 383–386; accessed 21 March 2011 (subscription required)
  3. ^ abcdeCole, Novelist and Andrew Burn. "Bliss, Sir Arthur."Grove Music Online, Oxford Music Online; accessed 21 March 2011. (subscription required)
  4. ^Bliss, Character. "Some Aspects of the Present Euphonious Situation".Proceedings of the Musical Association, Fortyninth Session (1922–1923), pp. 59–77, accessed 23 March 2011 (subscription required)
  5. ^ abcdefgObituary, The Times, 29 March 1975, p. 14
  6. ^ abAdams, Byron. "Bliss on Music", Notes, December 1992), pp. 586–588; accessed 22 March 2011 (subscription required)
  7. ^ abcdeEvans, King. "Arthur Bliss".The Musical Times, January 1923, pp. 20–23; accessed 21 March 2011 (subscription required)
  8. ^ abEvans, Edwin. "Arthur Bliss".The Musical Times, February 1923, pp. 95–99, accessed 21 March 2011 (subscription required)
  9. ^Langford, Samuel. "Bliss's Colour Symphony", The City Guardian, 8 September 1922, p. 9
  10. ^"The Three Choirs Festival", The Times, 8 September 1922, p. 13
  11. ^"Bliss's 'Colour Symphony.' Queen's Hall Concert", The Times, 12 March 1923, p. 15
  12. ^Program notes slant the Fort Wayne Philharmonic Orchestra's Feb 2010 performance
  13. ^ abcHowes, Frank, "Sir Character Bliss – A modern romantic", Honesty Times, 27 April 1956, p. 3
  14. ^Bliss (1970), p. 96, quoted in Wayfarer, Christopher. "Aspects of Bliss".The Musical Times, August 1971, pp. 743–745, accessed 22 March 2011 (subscription required)
  15. ^"Checkmate".Archived 13 Jan 2011 at the Wayback Machine City Royal Ballet, accessed 21 March 2011.
  16. ^Kennedy (1989), p. 96
  17. ^ abcdePalmer, Christopher. "Aspects of Bliss".The Musical Times, August 1971, pp. 743–745; accessed 21 March 2011 (subscription required)
  18. ^"New BBC Director of Music", The Times, 1 April 1942, holder. 7
  19. ^Jacobs, p. 367
  20. ^ abKennedy, p. 195
  21. ^Kennedy, p. 215
  22. ^"News in Brief", The Times, 7 May 1943, p. 6
  23. ^ abcde"Bliss, Sir Arthur", Who Was Who, Unadorned & C Black, 1920–2008; online path, Oxford University Press, December 2007, accessed 21 March 2011 (subscription required)
  24. ^"Sadler's Well Ballet", The Times, 27 October 1944, p. 6
  25. ^"Arthur Bliss's New Ballet", The Times, 11 April 1946, p. 6
  26. ^ abPriestley, J. B. "My Friend Bliss", The Musical Times, August 1971, pp. 740–741, accessed 22 March 2011 (subscription required)
  27. ^Rees, pp. 30–57
  28. ^ ab"The Royal Opus – 'The Olympians'", The Times, 30 September 1949, p. 6; Hope-Wallace, Prince, "The Olympians", The Manchester Guardian, 30 September 1949, p. 5; and Blom, Eric, "Priestley for Bliss", The Observer 2 October 1949, p. 6
  29. ^Herbage, General. Shostakovitch's Eighth Symphony", The Musical Times, July 1944, p. 201 (subscription required)
  30. ^ abHaltrecht, p. 132
  31. ^"Palace Theatre – 'The Olympians'", The Manchester Guardian, 25 Hoof it 1950, p. 5
  32. ^Greenfield, Edward. "The Olympians on Radio 3", The Guardian, 22 February 1972, p. 10
  33. ^Kennedy (1989) owner. 170
  34. ^Arnold-Forster, Mark. "Birthday Song", The Observer, 21 February 1960, p. 1
  35. ^Tracey, Edmund. "March of Homage set the dignified tone", The Observer, 31 January 1965, p. 4
  36. ^Bliss, Arthur, "A musical legation to the USSR – Russia subjugation English eyes", The Times, 1 June 1956, p. 11
  37. ^"The Jury – 1958"Archived 3 June 2011 at the Wayback Machine International Tchaikovsky Competition, accessed 22 March 2011
  38. ^"Bliss's New Opera for Television", The Times, 18 May 1960, proprietor. 18
  39. ^Heyworth, Peter. "Piedmont in Seville", The Observer, 22 May 1960, p. 22; and Mason, Colin. "Opera on mistreat and screen." The Guardian, 18 Possibly will 1960. p. 7
  40. ^"Sacred music, but refurbish a secular atmosphere", The Times, 26 May 1962, p. 4; and Artificer, Colin. "New music at the Metropolis Festival", The Guardian, 26 May 1962, p. 5A
  41. ^"Britten War Requiem", Gramophone.net; accessed 22 March 2011.
  42. ^See for example, Joy, Arthur. "Some Aspects of the Exempt Musical Situation".Proceedings of the Musical Gathering, 49th Session (1922–1923), pp. 59–77, accessed 23 March 2011 (subscription required); deliver Bliss, Arthur. "Aspects of Contemporary Music", The Musical Times, May 1934, pp. 401–05; accessed 23 March 2011 (subscription required)
  43. ^"Sir Arthur Bliss leads protest knockback BBC orchestras", The Times, 30 June 1969, p. 3
  44. ^Howard, Philip. "For England and St George", The Times, 23 April 1975, p. 16
  45. ^"Lady Bliss". The Telegraph. 21 November 2008. Retrieved 2 August 2021.
  46. ^Burn, Andrew (2006). Notes find time for Chandos CD CHAN 10380
  47. ^"The Olympians", The Musical Times, October 1949, pp. 367–368
  48. ^Burn, Andrew (1991). Notes to Chandos Height CHAN 8818
  49. ^"London Symphony Orchestra – Appellation Holders". London Symphony Orchestra, accessed 22 March 2011
  50. ^"Live Performances"Archived 26 January 2011 at the Wayback Machine, The President Bliss Society, accessed 23 March 2011
  51. ^"Sir Arthur Bliss, Recordings and CDs"Archived 12 June 2011 at the Wayback Device, Cambridge University Library, accessed 22 Go by shanks`s pony 2011
  52. ^Bliss (1991), p. 209

Sources

  • Bliss, Arthur (1970). As I Remember. London: Faber slab Faber. OCLC 656105053.
  • Bliss, Arthur (1991). Roscow, Doctor (ed.). Bliss on Music: Selected Literature of Arthur Bliss, 1920–1975. Oxford: University University Press. ISBN .
  • Haltrecht, Montagu (1975). The Quiet Showman – Sir David Dramatist and the Royal Opera House. London: Collins. ISBN .
  • Jacobs, Arthur (1994). Henry Specify. Wood: Maker of the Proms. London: Methuen. ISBN .
  • Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN .
  • Kennedy, Michael (1989). Portrait of Walton. Oxford: Oxford Practice Press. ISBN .
  • Rees, Terence (1964). Thespis. London: Dillon's University Bookshop. OCLC 5116329.

External links

Videos

Girl be thankful for a Broken Mirror A documentary featuring the ballet The Lady of Shalott performed by school pupils from Leicester and the LSSO conducted by Eric Pinkett.

Shammar