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Tag Archives: Charles Villiers Stanford


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Birth of Composer Geoffrey Molyneux Palmer

Geoffrey Molyneux Palmer (Irish: Seathrún de Pámar), Irish composer, is born to Protestant Irish parents in Staines, Middlesex, England, on October 8, 1882. His compositions consist mainly of operas and vocal music, among them the first musical settings of poems by James Joyce.

Palmer grows up in South Woodford, an area of East London, where his father, Abram Smythe Palmer, is vicar at Holy Trinity Church. He studies at the University of Oxford where, in 1901, he is the youngest Bachelor of Music (BMus) in college history. Between 1904 and 1907 he studies composition with Charles Villiers Stanford at the Royal College of Music, London. He moves to Ireland in 1910 where he is initially active as a church organist in Dublin suburbs. From his early twenties he suffers from multiple sclerosis, which makes a professional independence increasingly difficult.

Palmer’s music includes at least three operas, a number of choral pieces and many songs. His strong interest in opera comes during a politically difficult period in Irish history. Ireland is struggling for independence, and cultural politicians often regard opera (and classical music in general) as alien to Irish culture. Initially, however, he is successful, his earliest stage work being Finn Varra Maa (a transliteration from the Gaelic meaning “good Finbar”), subtitled The Irish Santa Claus. It survives as a libretto only, published in a drama series by Talbot Press, Dublin, in 1917. Contrary to what the (sub-)title may suggest, the work is a political satire that is much criticised for its nationalism. Sruth na Maoile (“The Sea of Moyle”) is first performed in July 1923 and restaged by the O’Mara Opera Company in the cultural by-programme of the Tailteann Games in August 1924. Its story is based on the legend of the Children of Lir, while the music relies on numerous references to Irish traditional music, including the song Silent O Moylefrom Thomas Moore‘s Irish Melodies. A third work, Grania Goes (1924), conceived as a light, comic opera, cannot be performed in the years following Irish independence. The manuscript scores of the Sruth na Maoile and Grania Goes are in the National Library of Ireland.

Between 1925 and 1930, Palmer embarks on a cycle of three full-scale operas on the Cuchullain cycle to words by William Mervyn Crofton. In one of them, Deirdre of the Sorrows (1925), Crofton acknowledges Palmer’s “beautiful music.” Despite this, Palmer’s illness prevents the completion of the score, which is later handed over to the composer Staf Gebruers (1902–70), but they are never performed. The manuscript scores of the operas Cuchullain and Deirdre of the Sorrows composed by Gebruers are held by his son Adrian. Unfortunately, despite extensive searching, the score of The Wooing of Emer has not been located, though it is referenced in Gebruers’ own inventories and mentioned as being of three hours duration. In addition, there is a copy of The King’s Song, also composed by Gebruers with lyrics by Crofton and described as from Act 1 of The Black Hag, but whether or not this has any connection with Palmer is unknown.

Palmer is mainly known as the composer of light songs and ballads, often in a folkloristic style, that find publishers in England and are frequently performed. “They show a skilled hand with a talent for vocal harmony but little originality.” His choral music is mainly on a similar miniature scale, an exception being the early cantata The Abbot of Innisfallen (1909). There are some isolated examples of orchestral music performed by the orchestra of Radio Éireann, but the surviving references may not give a full picture of his output.

In the last decades of his life, Palmer was confined to a wheelchair and depends upon the care of his two sisters, who were running Hillcourt, a private girls’ boarding school in Glenageary, near their home in Sandycove (south Dublin). Palmer dies in Dublin on November 29, 1957.


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Death of Carl Hardebeck, Traditional Music Composer & Arranger

Carl Gilbert Hardebeck, or Carl G. Hardebec, British-born Irish composer and arranger of traditional music, dies in Dublin on February 10, 1945.

Hardebeck is born on December 10, 1869, in Clerkenwell, London, to a German father and Welsh mother. He loses his sight when he is a baby. He attends the Royal Normal School for the Blind in London (1880–92) where, under his teacher Frederick Corder, a professor from the Royal Academy of Music, he shows a marked aptitude for music.

In 1893, at the age of twenty-four, Hardebeck moves to Belfast, where he opens a music store, but the venture fails, and he becomes the organist of a small parish in the city, the Holy Family Church, Wellington Place. He enters an anthem, O God of My Salvation, for contralto and chorus, for the 1897 Dublin Feis Ceoil and wins. On this occasion he hears folk song arrangements of Charles Villiers Stanford and others for the first time. At the 1901 Feis Ceoil, he again wins a prize, this time for a large cantata, The Red Hand of Ulster. In 1914, his wife, Mary Reavy, dies.

In 1919, Hardebeck becomes the director of the music school in Cork and becomes the first professor of Irish music at University College Cork (UCC) in 1922. Ill-suited for administrative tasks, he relinquishes the post after one year and returns to Belfast, which after the Irish Civil War has become the capital of Northern Ireland. In 1932, he finally settles in Dublin, where he works for An Gúm, the Irish government publisher, as arranger of Irish traditional songs for piano and choirs, many of which become teaching material at schools in the nascent Republic of Ireland. He also teaches Irish and traditional music in the Dublin Municipal School of Music for two years. On many occasions he acts as adjudicator in singing and musical competitions across Ireland.

Despite Hardebeck’s mixed German/Welsh/English background, the events of the 1913 Dublin lock-out, the outbreak of World War I, and the 1916 Easter Rising radicalise him, turning him into an Irish nationalist. He is quoted as saying, “I believe in God, Beethoven and Patrick Pearse.” He studies the Irish language and collects folk songs from around the country, making some unique arrangements that bridge the gap between traditional and art song.

At home in Dublin, Hardebeck plays his excellent arrangements of Irish melodies on a Schiedmayer harmonium. The instrument has a “percussion” stop, which he uses to great effect. He also owns a Knauss piano but plays the harmonium by choice. He is quite an authority on plainchant. The noted Irish harpsichord maker Cathal Gannon is a close friend of his for many years. Hardebeck teaches him how to appreciate the structure of the classical symphony and concerto and passes on his enthusiasm and love of Irish melodies.

Following Hardebeck’s death at his home, 14 St. Vincent Street, Berkeley Road, Dublin, on February 10, 1945, a Radio Éireann-sponsored symphony concert, held in the Capitol Theatre in Dublin, begins with a sympathetic performance of his orchestral variations upon Seoithín Seó. A state funeral is held in Saint Joseph’s Church, Berkeley Road, Dublin. The church is packed; various government ministers, the Lord Mayor and representatives of President Douglas Hyde and of Éamon de Valera are there. Hardebeck’s own Kyrie and Agnus Dei are performed at the Requiem Mass. He is interred in Glasnevin Cemetery, where a Benedictus is chanted by the clergy present. A vote of sympathy is issued by the Irish National League of the Blind to Hardebeck’s widow and relatives, in which the hope is expressed “that the nation as a whole would not be unmindful of the important contribution which the late Dr. Hardebeck had made to Irish culture, music and art.”

Unfortunately, very little attention has been given to Hardebeck, who is one of the instigators in the revival of Irish music. Indeed, he is largely forgotten after his death. This is possibly due to his mixed origins and place of birth. His arrangement for orchestra of The Lark in the Clear Air is a fine piece of music, but he is content to sell it to the music publishers Boosey & Hawkes for just six guineas.

In June 2013, a plaque to Hardebeck’s memory is installed at Holy Family Church, Belfast.

(Pictured: “Carl Hardebeck (1869-1945),” oil on canvas, National Museums NI)


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Birth of Herbert Hughes, Composer, Music Critic, Collector & Arranger

Herbert Hughes, Irish composer, music critic and a collector and arranger of Irish folksongs, is born in Belfast on May 16, 1882. He was the father of Spike Hughes.

Hughes is raised in Belfast but completes his formal music education at the Royal College of Music, London, where he studies with Charles Villiers Stanford and Charles Wood, graduating in 1901. Subsequently, he works as a music critic, notably for The Daily Telegraph from 1911 to 1932.

Described as having an “ardent and self-confident manner,” Hughes is first heard of in an Irish musical capacity (beyond being honorary organist at St. Peter’s Church on Antrim Road at the age of fourteen) collecting traditional airs and transcribing folksongs in North Donegal in August 1903 with his brother Fred, Francis Joseph Bigger, and John Patrick Campbell. Dedicated to seeking out and recording such ancient melodies as are yet to be found in the more remote glens and valleys of Ulster, he produces Songs of Uladh (1904) with Joseph Campbell, illustrated by his brother John and paid for by Bigger. Throughout his career, he collects and arranges hundreds of traditional melodies and publishes many of them in his own unique arrangements. Three of his best-known works are the celebrated songs, My Lagan Love, She Moved Through the Fair, and Down by the Salley Gardens, which are published as part of his four collections of Irish Country Songs, his key achievement. These are written in collaborations with the poets Joseph Campbell and Padraic Colum, and W. B. Yeats himself. A dispute with Hamilton Harty over copyright on My Lagan Love is pursued on Bigger’s advice, but fails.

Hughes has a unique approach to arranging Irish traditional music. He calls upon the influence of the French impressionist Claude Debussy in his approach to harmony: “Musical art is gradually releasing itself from the tyranny of the tempered scale. […] and if we examine the work of the modern French school, notably that of M. Claude Debussy, it will be seen that the tendency is to break the bonds of this old slave-driver and return to the freedom of primitive scales.” He regards arrangements as an independent art form on an equal level with original composition: “[…] under his [i.e. the arranger’s] hands it is definitively transmuted into an art-song, an art-song of its own generation.” His folksong arrangements have been sung all across the English-speaking world. John McCormack and Kathleen Ferrier are the first to record them on gramophone records.

An admirer of James Joyce‘s poetry, Hughes in 1933 edits The Joyce-Book, a volume of settings of Joyce’s poetry, with 13 pieces by 13 composers including, besides Hughes himself, Arnold Bax, Arthur Bliss, Herbert Howells, John Ireland, and non-British composers such as George Antheil, Edgardo Carducci-Agustini, and Albert Roussel. The large-format, blue-cloth covered volume has since become a collector’s item.

Hughes also composes a limited amount of original chamber music (a violin sonata is mentioned in a letter to Hughes from Bernard van Dieren dated April 4, 1932), and some scores for the stage (like And So to Bed by James Bernard Fagan) and film. Hughes and John Robert Monsell also create songs for a musical version of Richard Brinsley Sheridan‘s The Rivals called Rivals!, which is staged at the Kingsway Theatre in London in October 1935 by Vladimir Rosing and runs for 86 performances.

Married to Lillian Florence (known as Meena) Meacham and Suzanne McKernan, Hughes has three children: Patrick, known professionally as Spike Hughes, Angela and Helena. He dies in Brighton, England, at the relatively early age of fifty-four on May 1, 1937.


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Birth of Charles Villiers Stanford, Composer & Conductor

charles-villiers-stanford

Sir Charles Villiers Stanford, composer, music teacher, and conductor, is born in Dublin on September 30, 1852.

Stanford is born into a well-off and highly musical family, the only son of John James Stanford, a prominent Dublin lawyer, Examiner to the Court of Chancery in Ireland and Clerk of the Crown for County Meath, and his second wife, Mary, née Henn. He is educated at the University of Cambridge before studying music in Leipzig and Berlin. He is instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.

While still an undergraduate, Stanford is appointed organist of Trinity College, Cambridge. In 1882, at the age of 29, he is one of the founding professors at the Royal College of Music, where he teaches composition for the rest of his life. From 1887 he is also Professor of Music at Cambridge. As a teacher, he is skeptical about modernism and bases his instruction chiefly on classical principles as exemplified in the music of Johannes Brahms. Among his pupils are rising composers whose fame go on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, he holds posts with the Bach Choir and the Leeds Triennial Music Festival.

Stanford composes a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. He is a dedicated composer of opera, but none of his nine completed operas has endured in the general repertory. Some critics regard him, together with Hubert Parry and Alexander Mackenzie, as responsible for a renaissance in music from the British Isles. However, after his conspicuous success as a composer in the last two decades of the 19th century, his music is eclipsed in the 20th century by that of Edward Elgar as well as former pupils.

In September 1922, Stanford completes the sixth Irish Rhapsody, his final work. Two weeks later he celebrates his 70th birthday and thereafter his health declines. On March 17, 1924, he suffers a stroke and dies on March 29 at his home in London, survived by his wife and children. He is cremated at Golders Green Crematorium on April 2 and his ashes are buried in Westminster Abbey the following day.

Stanford’s last opera, The Travelling Companion, composed during World War I, is premiered by amateur performers at the David Lewis Theatre, Liverpool in 1925 with a reduced orchestra. The work is given complete at Bristol in 1928 and at Sadler’s Wells Theatre, London, in 1935.

Stanford receives many honours, including honorary doctorates from University of Oxford (1883), University of Cambridge (1888), Durham University (1894), University of Leeds (1904), and Trinity College, Dublin (1921). He is knighted in 1902 and in 1904 is elected a member of the Prussian Academy of Arts, Berlin.


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Birth of Charles Wood, Composer & Teacher

Charles Wood, composer and teacher, is born in Vicars’ Hill in the Cathedral precincts of Armagh, County Armagh on June 15, 1866. His pupils include Ralph Vaughan Williams at Cambridge and Herbert Howells at the Royal College of Music. For most of his adult life he lives in England, but preserves a lively interest in Ireland.

Wood is the fifth child and third son of Charles Wood, Sr. and Jemima Wood. He is a treble chorister in the choir of the nearby St. Patrick’s Cathedral. His father sings tenor as a stipendiary “Gentleman” or “Lay Vicar Choral” in the Cathedral choir and is also the Diocesan Registrar of the church. He is a cousin of Irish composer Ina Boyle.

Wood receives his early education at the Cathedral Choir School and also studies organ with two Organists and Masters of the Boys of Armagh Cathedral, Robert Turle and his successor Dr. Thomas Marks. In 1883 he becomes one of fifty inaugural class members of the Royal College of Music, studying composition with Charles Villiers Stanford and Charles Hubert Hastings Parry primarily, and horn and piano secondarily. Following four years of training, he continues his studies at Selwyn College, Cambridge through 1889, where he begins teaching harmony and counterpoint.

In 1889 he attains a teaching position at Gonville and Caius College, Cambridge, first as organ scholar and then as fellow in 1894, becoming the first Director of Music and Organist. He is instrumental in the reflowering of music at the college, though more as a teacher and organiser of musical events than as composer. After Stanford dies in 1924, Wood assumes his mentor’s vacant role as Professor of Music in the University of Cambridge.

Like his better-known colleague Stanford, Wood is chiefly remembered for his Anglican church music. As well as his Communion Service in the Phrygian mode, his settings of the Magnificat and Nunc dimittis are still popular with cathedral and parish church choirs, particularly the services in F, D, and G, and the two settings in E flat. During Passiontide his St. Mark Passion is sometimes performed, and demonstrates Wood’s interest in modal composition, in contrast to the late romantic harmonic style he more usually employs.

Wood’s anthems with organ, Expectans expectavi, and O Thou, the Central Orb are both frequently performed and recorded, as are his unaccompanied anthems Tis the day of Resurrection, Glory and Honour and, most popular of all, Hail, gladdening light and its lesser-known equivalent for men’s voices, Great Lord of Lords. All of Wood’s a cappella music demonstrates fastidious craftsmanship and a supreme mastery of the genre, and he is no less resourceful in his accompanied choral works which sometimes include unison sections and have stirring organ accompaniments, conveying a satisfying warmth and richness of emotional expression appropriate to his carefully chosen texts.

Wood collaborates with priest and poet George Ratcliffe Woodward in the revival and popularisation of renaissance tunes to new English religious texts, notably co-editing three books of carols. He also writes eight string quartets, and is co-founder of the Irish Folk Song Society in 1904.

He marries Charlotte Georgina Wills-Sandford, daughter of W. R. Wills-Sandford, of Castlerea, County Roscommon on March 17, 1898. Their son is killed in World War I.

Charles Wood dies on July 12, 1926 and is buried at the Ascension Parish Burial Ground in Cambridge alongside his wife.