Frederick Delius - Knowledge

1383:(both 1911) are among the most radical of Delius's writings in their juxtapositions of unrelated chords. The latter work, entirely wordless, contains some of the most difficult choral music in existence, according to Heseltine. After 1915, Delius turned his attention to traditional sonata, chamber and concerto forms, which he had largely left alone since his apprentice days. Of these pieces Payne highlights two: the Violin Concerto (1916), as an example of how, writing in unfamiliar genres, Delius remained stylistically true to himself; and the Cello Sonata of 1917, which, lacking the familiarity of an orchestral palate, becomes a melodic triumph. Cardus's verdict, however, is that Delius's chamber and concerto works are largely failures. After 1917, according to Payne, there was a general deterioration in the quantity and quality of Delius's output as illness took hold, although Payne exempts the incidental music to 1277:, a music drama which departs from the normal operatic structure of acts and scenes and tells its story of tragic love in a series of tableaux. Musically it shows a considerable advance in style from the early operas of the apprentice years. The entr'acte known as "The Walk to the Paradise Garden" is described by Heseltine as showing "all the tragic beauty of mortality ... concentrated and poured forth in music of overwhelming, almost intolerable poignancy". In this work Delius begins to achieve the texture of sound that characterised all his later compositions. Delius's music is often assumed to lack melody and form. Cardus argues that melody, while not a primary factor, is there abundantly, "floating and weaving itself into the texture of shifting harmony" – a characteristic which Cardus believes is shared only by Debussy. 1627: 2844: 400: 1553:

pursued the aim of "develop a greater knowledge of the life and works of Delius". The music has never become fashionable, a fact often acknowledged by promoters and critics. To suggestions that Delius's music is an "acquired taste", Fenby answers: "The music of Delius is not an acquired taste. One either likes it the moment one first hears it, or the sound of it is once and for ever distasteful to one. It is an art which will never enjoy an appeal to the many, but one which will always be loved, and dearly loved, by the few." Writing in 2004 on the 70th anniversary of Delius's death, the

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influences. The earliest significant experiences in his artistic development came, Delius later asserted, from the sounds of the plantation songs carried down the river to him at Solano Grove. It was this singing, he told Fenby, that first gave him the urge to express himself in music; thus, writes Fenby, many of Delius's early works are "redolent of Negro hymnology and folk-song", a sound "not heard before in the orchestra, and seldom since". Delius's familiarity with "black" music possibly predates his American adventures; during the 1870s a popular singing group, the

1120: 1253: 1414:, was an even more alarming prospect to Fenby: "the complexity of thinking in so many strands, often all at once; the problems of orchestral and vocal balance; the wider area of possible misunderstandings ..." combined to leave Delius and his helper exhausted after each session of work—yet both these works were ready for performance in 1932. Of the music in this final choral work, Beecham wrote of its "hard, masculine vigour, reminiscent in mood and fibre of some of the great choral passages in 1205:'s musical editor during the 1920s and 1930s, writes that rather than creating his music from the known possibilities of instruments, Delius "thought the sounds first" and then sought the means for producing these particular sounds. Delius's full stylistic maturity dates from around 1907, when he began to write the series of works on which his main reputation rests. In the more mature works Foss observes Delius's increasing rejection of conventional forms such as 363:

excessive summer heat by river breezes and a canopy of oak trees, the house was an agreeable place to live in. Delius paid little attention to the business of growing oranges, and continued to pursue his musical interests. Jacksonville had a rich, though to a European, unorthodox musical life. Randel notes that in local hotels, the African-American waiters doubled as singers, with daily vocal concerts for patrons and passers-by, giving Delius his introduction to

1567: 6213: 5222: 38: 1052: 560: 1159:, Delius's lasting debt to Wagner, from whom he also acquired a knowledge of chromatic harmonic technique, "an endlessly proliferating sensuousness of sound". Grieg, however, was perhaps the composer who influenced him more than any other. The Norwegian composer, like Delius, found his primary inspiration in nature and in folk-melodies, and was the stimulus for the Norwegian flavour that characterises much of Delius's early music. The music writer 6223: 6261: 378:. Thereafter he pursued a wholly musical career. An advertisement in the local paper announced, "Fritz Delius will begin at once giving instruction in Piano, Violin, Theory and Composition. He will give lessons at the residences of his pupils. Terms reasonable." Delius also offered lessons in French and German. Danville had a thriving musical life, and early works of his were publicly performed there. 977:, met Delius during the festival. He describes the wreck of the composer's physique, yet "there was nothing pitiable about him ... his face was strong and disdainful, every line graven on it by intrepid living". Delius, Cardus says, spoke with a noticeable Yorkshire accent as he dismissed most English music as paper music that should never be heard, written by people "afraid of their feelin's". 185: 343: 6249: 1476: 1587:

royalties towards the editing and recording of Delius's main works. After Jelka's death in 1935 the Delius Trust was established, to supervise this task. As stipulated in Jelka's will, the Trust operated largely under Beecham's direction. After Beecham's death in 1961 advisers were appointed to assist the trustees, and in 1979 the administration of the Trust was taken over by the

6285: 6273: 367:. Additionally, ship owners encouraged their deckhands to sing as they worked. "Delius never forgot the singing as he heard it, day or night, carried sweet and clear across the water to his verandah at Solano Grove, whenever a steam-ship passed; it is hard to imagine conditions less conducive to cultivating oranges—or more conducive to composing." 1342:(1912). The critic R. W. S. Mendl described this sequence as "exquisite nature studies", with a unity and shape lacking in the earlier formal tone poems. These works became part of the standard English concert repertory, and helped to establish the character of Delius's music in the English concert-goer's mind, although according to 455:, observed that no trace of his academic tuition can be found in Delius's mature music "except in certain of the weaker passages". Much more important to Delius's development was meeting the composer Edvard Grieg in Leipzig. Grieg, like Ward before him, recognised Delius's potential. In the spring of 1888, Sitt conducted Delius's 1406:. In dictating the new beginning of this work, Delius asked Fenby to "imagine that we are sitting on the cliffs in the heather, looking out over the sea". This does not, says Fenby, indicate that the dictation process was calm and leisurely; the mood was usually frenzied and nerve-wracking. The other major work, a setting of 948:. "he cream of his orchestral output with and without soli and chorus was included", and the hall was filled. Beecham was assisted in the organisation of the festival by Philip Heseltine, who wrote the detailed programme notes for three of the six concerts. The festival included chamber music and songs, an excerpt from 1179:. Palmer identifies aesthetic similarities between the two, and points to several parallel characteristics and enthusiasms. Both were inspired early in their careers by Grieg, both admired Chopin; they are also linked in their musical depictions of the sea, and in their uses of the wordless voice. The opening of 1346:, the concentration on these works to the neglect of his wider output may have done Delius as much harm as good. The typical mature Delian orchestral sound is apparent in these works, through the division of the strings into ten or more sections, punctuated by woodwind comments and decorations. In the 944:. With Beecham's return the composer became, in Hadley's words, "what his most fervent admirers had never envisaged—a genuine popular success". Hadley cites, in particular, the six-day Delius festival at the Queen's Hall in 1929 under Beecham's general direction, in the presence of the composer in his 2580: 2061:

According to Beatrice Harrison's sister Margaret, there was some question whether Anglican churches would be willing to accept the body of a professed atheist for burial. The Harrison family, who lived nearby, secured the agreement of the vicar of Limpsfield, and Jelka chose St Peter's churchyard for

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In America, a small memorial to Delius stands in Solano Grove. The Delius Association of Florida has for many years organised an annual festival at Jacksonville, to mark the composer's birthday. At Jacksonville University, the Music Faculty awards an annual Delius Composition Prize. In February 2012

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at the Queen's Hall in June 1909 did not inspire Hans Haym, who had come from Elberfeld for the concert, though Beecham says that many professional and amateur musicians thought it "the most impressive and original achievement of its genre written in the last fifty years" Some reviewers continued to

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reviewer remarked on the rawness of some of the music, but praised the "boldness of conception and virile strength that command and hold attention". Beecham, however, records that despite this "fair show of acclaim", for all the impetus it gave to future performances of Delius's work the event might

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shows only a limited advance in technique, Fenby identifies one orchestral passage as the first expression of Delius's idea of "the transitoriness of all mortal things mirrored in nature". Hereafter, whole works rather than brief passages would be informed by this idea. The transitional phase of the

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By the end of the war, Delius and Jelka had returned to Grez. He had begun to show symptoms of syphilis that he had probably contracted in the 1880s. He took treatment at clinics across Europe, but by 1922 he was walking with two sticks, and by 1928 he was paralysed and blind. There was no return to

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was composed in 1899 and dedicated to Haym. He gave the premiere at Elberfeld on 14 December 1901. It provoked some critical comment from the local newspaper, which complained that the composer put his listeners on a bus and shuttled them from one Parisian night-spot to another, "but he does not let

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During his time in Florida, Delius is alleged to have fathered a son with a local African-American woman named Chloe. Upon Delius's return to Florida some years later to sell the plantation, it was suggested that Chloe, fearing that he had come to take her son away from her, fled with the child and

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Whether the move to America was Julius's idea or his son's is unknown. A leading Florida property firm had branches in several English cities including Bradford; in an article on Delius's time in Florida, William Randel conjectures that either Julius Delius visited the Bradford office and conceived

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Deryck Cooke chose the title "Delius the Unknown" for his December 1962 address to the Royal Musical Association, recognising, Cooke says, the extent to which the composer was out of fashion. In 1991 the sleeve note of the Naxos recording of the Violin Concerto and other works ends: "Delius is now

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journalist Martin Kettle recalls Cardus arguing in 1934 that Delius as a composer was unique, both in his technique and in his emotionalism. Although he eschewed classical formalism, it was wrong, Cardus believed, to regard Delius merely as "a tone-painter, an impressionist or a maker of programme

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Beecham had died in 1961, and Fenby writes that it "seemed to many then that nothing could save Delius's music from extinction", such was the conductor's unique mastery over the music. However, other conductors have continued to advocate Delius, and since the centenary year, the Delius Society has

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critic wrote of full houses and an apparent enthusiasm for "music which hitherto has enjoyed no exceptional vogue", but wondered whether this new acceptance was based on a solid foundation. After Delius's death Beecham continued to promote his works; a second festival was held in 1946, and a third

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From the conventional forms of his early music, over the course of his creative career Delius developed a style easily recognisable and "unlike the work of any other", according to Payne. As he gradually found his voice, Delius replaced the methods developed during his creative infancy with a more

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had been worked out. Fenby's initial failure to pick up the tune led Delius to the view that " boy is no good ... he cannot even take down a simple melody". Fenby later wrote a book about his experiences of working with Delius. Among other details, Fenby reveals Delius's love of cricket. The

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Heseltine depicted Delius as a composer uncompromisingly focused on his own music. "There can be no superficial view of Delius's music: either one feels it in the very depths of one's being, or not at all. This may be a part of the reason why one so seldom hears a really first-rate performance of

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the notion of sending his wayward son to grow oranges in Florida, or that Fritz himself saw it as a way to escape the hated family wool business and suggested the idea to his father. Delius was in Florida from the spring of 1884 to the autumn of 1885, living on a plantation at Solano Grove on the

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music critic wrote that Delius "belongs to no school, follows no tradition and is like no other composer in the form, content or style of his music". This "extremely individual and personal idiom" was, however, the product of a long musical apprenticeship, during which the composer absorbed many

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Delius died at Grez on 10 June 1934, aged 72. He had wished to be buried in his own garden, but the French authorities forbade it. His alternative wish, despite his atheism, was to be buried "in some country churchyard in the south of England, where people could place wild flowers". At this time

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wrote in 1929, while the composer was still alive: "Domiciled in France for nearly three decades, in Paris his name is a blank among the ordinary concert-goers and a curiosity among musicians. In cultivating music lovingly in his quiet riverside home at Grez, he fatally omitted to cultivate the

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Beecham stresses Delius's role as an innovator: "The best of Delius is undoubtedly to be found in those works where he disregarded classical traditions and created his own forms". Fenby echoes this: "the people who really count are those who discover new ways of making our lives more beautiful.

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for soprano and orchestra given in a concert on 16 March 1901, wrote: "They are very sweet, very pale—music to soothe convalescents in well-to-do neighbourhoods". Delius admired the French composer's orchestration, but thought his works lacking in melody—the latter a comment frequently directed

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the prosperity of pre-war years: Delius's medical treatment was an additional expense, his blindness prevented him from composing, and his royalties were curtailed by the lack of continental performances of his music. Beecham gave discreet financial help, and the composer and musical benefactor

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e holds no official position in the musical life of the country ; he does not teach in any of the academies, he is not even an honorary professor or doctor of music. He never gives concerts or makes propaganda for his music; he never conducts an orchestra, or plays an instrument in public (even

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whereby the royalties on future performances of his music would be used to support an annual concert of works by young composers. Delius died before this provision could be legally effected; Fenby says that Beecham then persuaded Jelka in her own will to abandon the concerts idea and apply the

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Delius later liked to represent his house at Solano Grove as "a shanty", but it was a substantial cottage of four rooms, with plenty of space for Delius to entertain guests. Ward sometimes stayed there, as did an old Bradford friend, Charles Douglas, and Delius's brother Ernest. Protected from

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In 1962, enthusiasts for Delius's music who had gone to Bradford for the centenary festival formed the Delius Society; Fenby became its first president. With around 400 members, the Society is independent from the Trust, but works closely with it. Its general objectives are the furtherance of

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Heseltine first met Delius in 1911 when, as a schoolboy, he attended a Beecham concert of Delius's works. From this meeting a friendship and correspondence developed that lasted for the remainder of Heseltine's life (he died in 1930). Delius was a profound influence on Heseltine's own early

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did not receive another performance in the UK until 1965, and by 1980 had still had only seven performances world-wide. In Germany, the regular presentation of Delius's works ceased at the outbreak of the war, and never resumed. Nevertheless, his standing with some continental musicians was

1796:. Recordings of all the major works, and of many of the individual songs, have been issued at regular intervals since the Second World War. Many of these recordings have been issued in conjunction with the Delius Society, which has prepared various discographies of Delius's recorded music. 1611:

knowledge of Delius's life and works, and the encouragement of performances and recordings. In 2004, as a stimulus for young musicians to study and perform Delius's music, the Society established an annual Delius Prize competition, with a prize of £1,000 to the winner. In June 1984, at the

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Although Delius achieved enough skill as a violinist to set up as a violin teacher in later years, his chief musical joy was to improvise at the piano, and it was a piano piece, a waltz by Chopin, that gave him his first ecstatic encounter with music. From 1874 to 1878 he was educated at

1231:(1890–92) lacks any identifiably Delian passages. Its harmony and modulation are conventional, and the work bears the clear fingerprints of Wagner and Grieg. Payne asserts that none of the works prior to 1895 are of lasting interest. The first noticeable stylistic advance is evident in 1495:

never have happened; none of the music was heard again in England for many years. Delius was much better received in Germany, where a series of successful performances of his works led to what Beecham describes as a Delius vogue there, "second only to that of Richard Strauss".

989:, learning that Delius was trying to compose by dictating to Jelka, volunteered his services as an unpaid amanuensis. For five years, from 1928, he worked with Delius, taking down his new compositions from dictation, and helping him revise earlier works. Together they produced 1144:, toured Britain and Europe, giving several well-received concerts in Bradford. When Delius wrote to Elgar in 1933 of the "beautiful four-part harmonies" of the black plantation workers, he may have been unconsciously alluding to the spirituals sung by the Fisk group. 601:, Delius lived in Grez for the rest of his life. The marriage was not conventional: Jelka was, at first, the principal earner; there were no children; and Delius was not a faithful husband. Jelka was often distressed by his affairs, but her devotion did not waver. 1941:

musicians of the capital: the result is an artistic ostracism as rigid as only the injured vanity of Parisian art-circles can decree it." In 2007, the critic Michael White wrote, "European snobbery still prevailed, especially in France, where as late as the 1970s

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In 1886, Julius Delius finally agreed to allow his son to pursue a musical career, and paid for him to study music formally. Delius left Danville and returned to Europe via New York, where he paused briefly to give a few lessons. Back in Europe he enrolled at the

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observes that Grieg's "airy texture and non-developing use of chromaticism showed how to lighten the Wagnerian load". Early in his career Delius drew inspiration from Chopin, later from his own contemporaries Ravel and Richard Strauss, and from the much younger

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For the rest of his lifetime Delius's more popular pieces were performed in England and abroad, often under the sponsorship of Beecham, who was primarily responsible for the Delius festival in October–November 1929. In a retrospective comment on the festival

654:. This occasion was an unusual opportunity for an unknown composer at a time when any sort of orchestral concert was a rare event in London. In spite of encouraging reviews, Delius's orchestral music was not heard again in an English concert hall until 1907. 1693:: "Frederick Delius ... belongs to the company of those true artists for whose life and work the world is a better place to live in, and of whom surely is composed, in a literal sense, 'the choir invisible/Whose music is the gladness of the world'". 826:, having praised the orchestral aspects of the score, commented, "Mr. Delius seems to have remarkably little sense of dramatic writing for the voice". Other reviewers agreed that the score contained passages of great beauty, but was ineffective as drama. 1322:(1907) announced the composer's full stylistic maturity, the first of the pieces for orchestra that confirm Delius's status as a musical poet, with the influences of Wagner and Grieg almost entirely absent. The work was followed in the next few years by 1067:, visited Delius at Grez. Delius was not on the whole an admirer of Elgar's music, but the two men took to each other, and there followed a warm correspondence until Elgar's death in February 1934. Elgar described Delius as "a poet and a visionary". 1098:

was "Sixty People Under Flickering Lamps In A Surrey Churchyard". The vicar offered a prayer: "May the souls of the departed through the mercy of God rest in peace." Jelka died two days later, on 28 May. She was buried in the same grave as Delius.

1591:. Over the years the Trust's objectives have been extended so that it can promote the music of other composers who were Delius's contemporaries. The Trust is a co-sponsor of the Royal Philharmonic Society's Composition Prize for young composers. 1188:

against Delius's own music. Fenby, however, draws attention to Delius's "flights of melodic poetic-prose", while conceding that the composer was contemptuous of public taste, of "giving the public what they wanted" in the form of pretty tunes.

1466:, but this did not lead to demands for further performances of this or other Delius works. Some of his individual songs (he wrote more than 60) were occasionally included in vocal recitals; referring to "the strange songs of Fritz Delius", 1284:, introduces a further feature that recurred in later pieces—the use of the voice instrumentally in wordless singing, in this case depicting the distant plantation songs that had inspired Delius at Solano Grove. Although Payne argues that 1737:, the last music, Fenby says, that Delius ever heard. By the end of the 1930s Beecham had issued versions for Columbia of most of the main orchestral and choral works, together with several songs in which he accompanied the soprano 1685:

Frederick Delius was such a man". Palmer writes that Delius's true legacy is the ability of his music to inspire the creative urge in its listeners and to enhance their awareness of the wonders of life. Palmer concludes by invoking

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After leaving Leipzig in 1888, Delius moved to Paris where his uncle, Theodore, took him under his wing and looked after him socially and financially. Over the next eight years, Delius befriended many writers and artists, including

314:. After this, Julius Delius recognised that there was no prospect that his son would succeed in the family business, but he remained opposed to music as a profession, and instead sent him to America to manage an orange plantation. 310:. Ibsen's denunciations of social conventions further alienated Delius from his commercial background. Delius was then sent to represent the firm in France, but he frequently absented himself from business for excursions to the 203:. He was baptised as Fritz Theodor Albert Delius, and used the forename Fritz until he was about 40. He was the second of four sons – there were also ten daughters – born to Julius Delius (1822–1901) and his wife Elise Pauline, 882:, dedicated "to the memory of all young Artists fallen in the war". The work owes nothing to the traditional Christian liturgy, eschewing notions of an afterlife and celebrating instead a pantheistic renewal of Nature. When 1506:, and for the power of the music itself. From that point onwards the music of Delius became increasingly familiar to both British and European audiences, as performances of his works proliferated. Beecham's presentation of 4011: 1545:(after Beecham's death) at Bradford in 1962, to celebrate the centenary of Delius's birth. These occasions were in the face of a general indifference to the music; writing in the centenary year, the musicologist 1395:

The four-year association with Fenby from 1929 produced two major works, and several smaller pieces often drawn from unpublished music from Delius's early career. The first of the major works was the orchestral

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and the composer. Grieg and Sinding were enthusiastic and became warm supporters of Delius. At a dinner party in London in April 1888, Grieg finally convinced Julius Delius that his son's future lay in music.

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Julius Delius assumed that his son would play a part in the family wool business, and for the next three years he tried hard to persuade him to do so. Delius's first job was as the firm's representative in

1713:, performed by the orchestra of the Royal Philharmonic Society. These began a long series of Delius recordings under Beecham that continued for the rest of the conductor's life. He was not alone, however; 812:(1912), of which McVeagh comments, "These exquisite idylls, for all their composer's German descent and French domicile, spell 'England' for most listeners." In 1910, Beecham put on an opera season at the 282:(just west of London) between 1878 and 1880. As a pupil he was neither especially quick nor diligent, but the college was conveniently close to the city for Delius to be able to attend concerts and opera. 104:

during his short stay in Florida, he began composing. After a brief period of formal musical study in Germany beginning in 1886, he embarked on a full-time career as a composer in Paris and then in nearby

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According to Sir Thomas Beecham, the Dutch Delius family had changed its patronymic from Delij or Deligh to a latinized form of the name some time in the sixteenth century, a common practice at the time.

740:. Beecham, who had until then heard not a note of Delius's music, expressed his "wonderment" and became a lifelong devotee of the composer's works. In January 1908, he conducted the British premiere of 1472:

critic expressed regret "that the powers the composer undoubtedly possesses should not be turned to better account or undergo proper development at the hands of some musician competent to train them".

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between England and Australia with great interest, and regaled a bemused Jelka with accounts of their boyhood exploits in the game. In 1932, Delius was awarded the Freedom of the City of Bradford.

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premiered the revised version of Delius's Piano Concerto that year. Also in 1907, Cassirer conducted some concerts in London, at one of which, with Beecham's New Symphony Orchestra, he presented

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embarked on a search for descendants of Delius's alleged love-child. Little believes that his failure to track down his son had been a significant influence in the tone of his works thereafter.

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out of fashion, for our times do not favour art that is never vulgar, never strident." In a comment on the BBC Symphony Orchestra's projected October 2010 Elgar and Delius concert at London's

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music". His music's abiding feature is, Cardus wrote, that it "recollects emotion in tranquillity ... Delius is always reminding us that beauty is born by contemplation after the event".

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in 1910; and he mounted a six-day Delius festival in London in 1929, as well as making gramophone recordings of many of the composer's works. After 1918, Delius began to suffer the effects of

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During the First World War, Delius and Jelka moved from Grez to avoid the hostilities. They took up temporary residence in the south of England, where Delius continued to compose. In 1915,

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wrote of "a charm and fascination entirely its own ... but whether his contemplative and reticent musical spirit will ever make an appeal to the great public is another question".

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were admirers of Delius, and the former grew into the habit of sending his compositions to Delius for comment and tried to interest him in both Hungarian and Romanian popular music.

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in London. Having access to the Beecham family's considerable fortune, he ignored commercial considerations and programmed several works of limited box-office appeal, including

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wrote that Delius's music had "the modern note without the ancient form and grace. The instruments come in, as it were, anywhere, like little toy reeds pulled by some childish

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as standing outside the general progression of Delius's work, "a vast parenthesis", unlike anything else he wrote, but nevertheless an essential ingredient in his development.

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us hear the tuneful gypsy melodies in the boulevard cafés, always just cymbals and tambourine and mostly from two cabarets at the same time at that". The work was given under

582:. Jelka quickly declared her admiration for the young composer's music, and the couple were drawn closer together by a shared passion for the works of the German philosopher 124:

and other conductors promoted his music from the late 1890s. In Delius's native Britain, his music did not make regular appearances in concert programmes until 1907, after

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says of these years that Delius "was found to be attractive, warm-hearted, spontaneous, and amorous". It is generally believed that during this period he contracted the

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opined that at that time, "to declare oneself a confirmed Delian is hardly less self-defamatory than to admit to being an addict of cocaine and marihuana".

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Recognition came late to Delius; before 1899, when he was already 37, his works were largely unpublished and unknown to the public. When the symphonic poem

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critic described the work as uneven; richly harmonious, but combining colour and beauty with effects "of an almost crass unskillfulness and ugliness".

1249:, the final work of Delius's apprentice years, is described by Foss as "one of the most complete, if not the greatest, of Delius's musical paintings". 6355: 302:. His father sent him to Sweden, where he again put his artistic interests ahead of commerce, coming under the influence of the Norwegian dramatists 1197:

mature style in which Payne discerns "an increasing richness of chord structure, bearing with it its own subtle means of contrast and development".

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of 1913–14, Delius divides the strings into 12 parts, and harps, horns, clarinets and bassoons evoke a lifeless winter scene. In Payne's view, the

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Full recordings of the operas were not available until after the Second World War. Once again Beecham, now with the HMV label, led the way, with

223:. Julius moved to England to further his career as a wool merchant, and became a naturalised British subject in 1850. He married Elise in 1856. 1458: ... and one Delius, whoever he may be". The work was well received in Monte Carlo, and brought the composer a congratulatory letter from 1155:, whose technique of continuous music he sought to master. An ability to construct long musical paragraphs is, according to the Delius scholar 412: 775:, Delius distanced himself from the Strauss work, which he considered a complete failure. Nor was Strauss an admirer of Delius, as he was of 1307:(1906–07). Payne salutes each of these as masterpieces, in which the Delian style struggles to emerge in its full ripeness. Fenby describes 6335: 6330: 3119: 1850:(real name Philip Heseltine) wrote in 1915 that the idea was Frederick's, rather than Julius's, but cites no authority for the statement. 159:

The lyricism in Delius's early compositions reflected the music he had heard in America and the influences of European composers such as

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Saffle, Michael; Saffle, Jeffrey R. (July–December 1993). "Medical Histories of Prominent Composers: Recent Research and Discoveries".

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Delius's first orchestral compositions were, in Christopher Palmer's words, the work of "an insipid if charming water-colourist". The

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praised his hard work and grasp of counterpoint; Delius also resumed studies under Hans Sitt. Delius's early biographer, the composer

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in the United States in 1884 to manage an orange plantation. He soon neglected his managerial duties, and in 1886 returned to Europe.

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Beecham was temporarily absent from the concert hall and opera house between 1920 and 1923, but Coates gave the first performance of

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presented the work in London in 1922, its atheism offended some believers. This attitude persisted long after Delius's death, as the

4757: 5256: 4968: 4167: 1108: 1027:, settings of Whitman poems for chorus and orchestra, which were dedicated to Jelka. Other works produced in this period include a 6345: 6325: 6315: 1530:. In November 1915 Grainger gave the first American performance of the Piano Concerto, again with the New York Philharmonic. The 4266: 6380: 4143: 636:

on 13 November 1897, believed to be the first time Delius's music was heard in Germany. In 1899 Hertz gave a Delius concert in

4038: 2009:

A complete list of the works created or revised during the Delius–Fenby collaboration is provided in Fenby (1981), pp. 261–62.

167:. As his skills matured, he developed a style uniquely his own, characterised by his individual orchestration and his uses of 6120: 5069: 4799: 2590: 2336: 1338: 808: 6420: 6375: 4767: 93:

in the north of England to a prosperous mercantile family, he resisted attempts to recruit him to commerce. He was sent to

4807: 671:

Most of Delius's premieres of this period were given by Haym and his fellow German conductors. In 1904 Cassirer premiered

597:

In 1903 they married, and, apart from a short period when the area was threatened by the advancing German army during the

6395: 4192: 1175:

According to Palmer, it is arguable that Delius gained his sense of direction as a composer from his French contemporary

6350: 3511: 6196: 4817: 4743: 4724: 4656: 4637: 4615: 4592: 4558: 4539: 4497: 3469: 3193: 1078:

By May 1935, Jelka felt she had enough strength to undertake the crossing to attend a reburial in England. She chose

771: 250:, a preference that endured all his life. The young Delius was first taught the violin by Rudolph Bauerkeller of the 6410: 6400: 1227:(1887, revised 1889) is "an expertly crafted synthesis of Grieg and Negroid Americana", while Delius's first opera 4110: 3985: 1661:

on BBC Television. The film depicted the years of the Delius–Fenby collaboration; Fenby co-scripted with Russell.

216: 5076: 4910: 4076: 2525: 1523: 1209:

or concerto; Delius's music, he comments, is "certainly not architectural; nearer to painting, especially to the

924:

and Hallé Orchestras. Wood gave the British première of the Double Concerto for violin and cello in 1920, and of

659: 1245:; its passages of quiet beauty, says Payne, nevertheless lack the deep personal involvement of the later works. 703:

in Berlin in 1907. Delius's reputation in Germany remained high until the First World War; in 1910 his rhapsody

234:

were guests, and played for the family. Despite his German parentage, the young Fritz was drawn to the music of

4943: 4694: 1451: 1079: 298:, he neglected his duties in favour of trips to the major musical centres of Germany, and musical studies with 5675: 4900: 6365: 2112: 1588: 6099: 1729:

and the "Walk to the Paradise Garden". Fenby recounts that on his first day in Grez, Jelka played Beecham's

1063:

In 1933, the year before both composers died, Elgar, who had flown to Paris to conduct a performance of his

5955: 5249: 1757: 1702: 1363:

During this period Delius did not confine himself to purely orchestral works; he produced his final opera,

749: 331:. He continued to be engrossed in music, and in Jacksonville he met Thomas Ward, who became his teacher in 275: 5345: 4890: 1183:

is described by Palmer as "perhaps the most Debussian moment in Delius". Debussy, in a review of Delius's

604:

In the same year, Delius began a fruitful association with German supporters of his music, the conductors

6158: 3914: 2040:, thick and without the slightest orchestral charm—gray—and they all shout 'Masterwork'!" He also called 1354:

are the high-water mark of Delius's compositional skill, although Fenby awards the accolade to the later

2397: 543:, but the project fell through for unknown reasons. Other works of the period were the fantasy overture 6360: 6239: 6203: 5445: 5400: 5274: 5048: 4983: 1356: 1273: 699: 136: 2102:, the critic David Nice observes that while Elgar is in vogue, Delius is "desperately out of fashion". 683:(choral orchestral variations on an old slave song, also inspired by Florida) followed there in 1905. 6370: 6022: 5340: 5090: 4936: 4568: 1834: 802: 783:—"the symphonic development seems to me to be too scant, and it seems moreover to be an imitation of 255: 579: 5930: 5755: 5115: 5026: 1574:, by Amber Hiscott, unveiled in Delius's honour, in Exchange Square, Bradford, on 23 November 1993. 1379: 941: 912: 883: 436: 790:

In the early years of the 20th century, Delius composed some of his most popular works, including

6216: 5825: 5242: 5031: 5021: 2986: 2321: 1915: 1499: 1202: 1064: 591: 267: 189: 21: 5535: 6253: 6226: 6168: 6143: 5975: 5550: 5295: 5209: 3130: 2042: 2019: 766: 168: 101: 6006: 5845: 5720: 5710: 5475: 4179: 1936:

Hadley, writing in 1946, commented that Delius's music remained unknown in France. The critic

1626: 5765: 5645: 5600: 5580: 5495: 1447: 1002: 594:. Delius visited her there, and after a brief return visit to Florida, he moved in with her. 399: 328: 5540: 4292: 2674: 339:. Delius later said that Ward's teaching was the only useful music instruction he ever had. 6310: 6305: 6180: 6126: 5965: 5420: 5330: 4786:

A revised edition, a reprint of the original "with additions, annotations, and comments by

1975: 1651:

Public interest in Delius's life was stimulated in the UK in 1968, with the showing of the

1612: 1141: 1137: 1124: 1119: 231: 28: 5925: 3236: 1373:

written in tableau form, but in his mature style. His choral works of the period, notably

8: 6175: 6093: 5795: 5630: 4990: 4270: 1603: 1511:

doubt the popular appeal of Delius's music, while others were more specifically hostile.

1503: 1487: 1365: 933: 904: 865: 784: 637: 583: 336: 271: 49: 5770: 5570: 5560: 5405: 3409: 6088: 5935: 5870: 5775: 5705: 5690: 5670: 5525: 5375: 5127: 5062: 4713: 4625: 4336:

See Malcolm Walker's "Beecham/Delius discography", included (unpaginated) in Beecham's

3961: 3863: 3815: 3761: 3593: 3428: 3351: 3033: 2940: 2899: 2869: 2783: 2716: 2652: 2478: 2443: 2155: 1812: 1583: 1479: 1324: 1291: 1156: 896: 796: 685: 440: 375: 370:

While in Florida, Delius had his first composition published, a polka for piano called

5880: 3010: 1502:

on 22 October 1907 at the Queen's Hall was praised for the brilliance of the soloist,

251: 6222: 6105: 5985: 5970: 5910: 5890: 5850: 5835: 5815: 5750: 5740: 5735: 5730: 5715: 5700: 5695: 5470: 5465: 5370: 4905: 4872: 4855: 4835: 4813: 4795: 4763: 4739: 4720: 4690: 4671: 4652: 4633: 4611: 4604: 4588: 4554: 4535: 4515: 4493: 4476: 3465: 2586: 2533: 2033: 1773: 1769: 1666: 1644: 1442: 1032: 836: 813: 732:

said, "floating safely on a wave of prosperity which increased as the year went on".

471: 462: 448: 364: 324: 141: 134:

in London in 1909 (he had premiered Part II in Germany in 1908); he staged the opera

5440: 6277: 6110: 6062: 5950: 5905: 5900: 5840: 5655: 5610: 5425: 5395: 5335: 5121: 5083: 4827: 3659: 3420: 3343: 3025: 2932: 2775: 2708: 2644: 2147: 2048: 2024: 1701:

The first recordings of Delius's works, in 1927, were conducted by Beecham for the

1594: 1398: 1257: 1007: 932:

in 1923. Delius had a financial and artistic success with his incidental music for

892: 878: 728:

By 1907, thanks to performances of his works in many German cities, Delius was, as

665: 528: 508:). As a result, his music never became widely known in France. Delius's biographer 60: 5785: 5490: 1784:

for BBC Digital in 1985. In 1997 EMI reissued Meredith Davies's 1976 recording of

1252: 1023:, composed thirty years earlier. McVeagh rates their greatest joint production as 527:

in 1891 and in Monte Carlo in 1894; Gunnar Heiberg commissioned Delius to provide

6163: 6057: 6052: 6032: 6027: 6001: 5915: 5865: 5790: 5760: 5725: 5685: 5415: 5410: 5380: 5320: 5157: 5134: 4791: 3243: 2099: 2077: 2037: 2029: 1985: 1980: 1965: 1942: 1793: 1761: 1527: 1455: 1387:(1920–23) from condemnation, believing it to contain some of Delius's best work. 1303: 1242: 1090:

as the site for the grave. She sailed to England for the service, but became ill

1072: 921: 598: 564: 483: 432: 347: 291: 220: 114: 5625: 5510: 1733:

recording. In May 1934, when Delius was close to death, Fenby played him Toye's

907:

bought the house at Grez and allowed Delius and Jelka to live there rent-free.

6153: 6067: 5960: 5945: 5920: 5860: 5855: 5820: 5680: 5660: 5650: 5605: 5585: 5565: 5545: 5530: 5520: 5505: 5485: 5390: 5350: 5315: 5305: 5265: 5193: 5174: 5108: 4787: 4507: 4468: 4012:"About this Recording: 8.557242 – Delius: Violin Concerto (Tintner Edition 10)" 3547: 3201: 3197: 1903: 1789: 1777: 1657: 1635: 1579: 1532: 1420:". Payne describes the work as "bracing and exultant, with in places an almost 1416: 1297: 1198: 1176: 1165: 1152: 974: 917: 850: 761: 729: 721: 609: 587: 452: 443:. At the conservatoire, Delius made little progress in his piano studies under 420: 355: 311: 307: 227: 164: 130: 125: 106: 5450: 4196: 3915:"Philharmonic Concert: Percy Grainger, soloist, plays Delius's Piano Concerto" 2223: 6299: 5940: 5875: 5810: 5665: 5620: 5365: 5360: 5355: 5300: 5055: 4901:

Delius's house in Solano Grove, Florida, before and after restoration in 1961

4847: 4777: 4685: 4580: 4519: 4480: 4072: 3680: 3663: 3588:

Foss, Hubert (Winter 1952–53). "The Instrumental Music of Frederick Delius".

3507: 2537: 2431: 2272: 2219: 1877: 1863: 1847: 1738: 1714: 1670: 1343: 1160: 994: 841: 575: 509: 495: 457: 444: 424: 388: 4675: 1402:, based on sketches that Delius had previously collected under the title of 1271:, Delius combined orchestral and vocal forces. The first of these works was 625: 6289: 6265: 5885: 5805: 5800: 5780: 5745: 5595: 5590: 5575: 5555: 5515: 5500: 5480: 5310: 5290: 4915: 4859: 4753: 3953: 2992: 2116: 2072: 1686: 1546: 1421: 1407: 966: 776: 717: 690: 621: 613: 479: 475: 403: 332: 303: 160: 5430: 4839: 2766:

Carley, Lionel (January 1973). "Hans Haym: Delius's Prophet and Pioneer".

2648: 374:. In late 1885 he left a caretaker in charge of Solano Grove and moved to 294:, where he did moderately well. After being sent in a similar capacity to 6148: 5895: 5830: 5635: 5615: 5460: 5435: 4876: 3424: 2936: 2779: 1970: 1652: 1630: 1620: 1459: 1437: 1211: 861: 574:, who later became his wife. She was a professional painter, a friend of 571: 110: 4759:

The influence of African-American music on the works of Frederick Delius

4244: 3334:

Jones, Philip (December 1984). "Delius and America: a new perspective".

1566: 6037: 5640: 4527: 4114: 3989: 3819: 3765: 2482: 1678: 1662: 1640: 1083: 1056: 986: 945: 733: 705: 559: 428: 212: 153: 149: 3965: 3867: 3781:

Beecham (1975), p. 63. (Beecham misdates the concert to February 1893)

3597: 3355: 3037: 2944: 2903: 2873: 2787: 2720: 2656: 2447: 2159: 1031:

for cello and orchestra written for the distinguished British cellist

675:, and in the same year the Piano Concerto was given in Elberfeld, and 37: 5980: 5385: 5325: 3899:

Langford, Samuel (3 October 1917). "The Beecham Promenade Concerts".

3432: 2970:"Music, Royal Opera, Covent Garden, 'The Village Romeo And Juliet'". 2632: 2568:

from the original on 12 January 2022 – via www.telegraph.co.uk.

2085: 1937: 1914:

The building fell into decay after he left it, but it was rescued by

1468: 822: 617: 605: 299: 279: 247: 208: 200: 121: 1440:

on 25 February 1894 in a programme of works from British composers,

6072: 4928: 3935:

Cooper, Martin (7 April 1962). "Question Mark Over Delius Lovers".

3347: 3029: 2846:

Before the Champions: Frederick Delius' Florida Suite for Orchestra

2712: 2151: 1075:, and Delius was temporarily buried in the local cemetery at Grez. 519:

Delius's Paris years were musically productive. His symphonic poem

513: 295: 196: 145: 90: 89:; 29 January 1862 – 10 June 1934) was an English composer. Born in 6047: 5234: 5004: 3196:, released as part of a response from Bradford City Council to a 2113:

Delius: a discography compiled by Stuart Upton and Malcolm Walker

1148: 500: 416: 94: 4997: 1482:, London, the venue for Delius's first London concert, May 1899 1463: 1233: 1206: 1087: 1051: 650: 590:, a village 40 miles (64 km) outside Paris on the edge of 540: 342: 287: 243: 235: 2028:

Prelude a little altered. The slow movement is a theme out of

1927:

According to Hadley, the orchestral players were paid in beer.

1475: 274:

was his slightly older contemporary; Delius then attended the

184: 69: 1772:

for Argo in 1989, and a German-language version conducted by

1289:

composer's career concludes with three further vocal pieces:

759:

In 1909, Beecham conducted the first complete performance of

694: 259: 239: 6260: 3650:

Mendl, R.W.S. (July 1932). "The Art of the Symphonic Poem".

2473:

Randel, William (July 1971). "Frederick Delius in America".

1215:

style of design". The painting analogy is echoed by Cardus.

6042: 4921: 4295:. The British Postal Museum & Archive. 23 February 2012 2990:, 23 February 1910, p. 14; and "The Beecham Opera Season", 2561:"Tamsin (sic) Little on Delius: regrets of a lost composer" 1615:, the Delius Trust sponsored a commemorative production of 868:(1884–1915). Delius provided incidental music to Flecker's 524: 226:

The Delius household was musical; famous musicians such as

78: 75: 4649:

A Delius Companion: A 70th birthday tribute to Eric Fenby

3246:", The Delius Society Journal, Autumn 1985, No. 87, p. 18 1765: 1760:

and Chorus. Later versions of this work include those of

1742: 27:"Fritz Delius" redirects here. For the German actor, see 3683:(16 March 1930). "His Country At Last Acclaims Delius". 2675:"So Mighty, So Unmusical: How Britannia Found Its Voice" 2138:

Jones, Philip (December 1979). "The Delius Birthplace".

1918:

and moved to the university campus in 1961 and restored.

1677:

Delius was one of ten prominent Britons honoured by the

1514:

From 1910, Delius's works began to be heard in America:

840:

published a profile of him by his admirer, the composer

486:

arranged the piano scores of Delius's first two operas,

4850:(1967). "Chapter 13: The Music Maker of Solano Grove". 4269:. Jacksonville (Florida) Public Library. Archived from 3086:

Cardus, Neville (25 January 1962). "Frederick Delius".

2820: 2818: 1963:

Other operas in this season included Richard Strauss's

516:

that caused the collapse of his health in later years.

482:. He mixed very little with French musicians, although 3301:"The Delius Festival: First Concert at Queen's Hall". 3120:"The Published Writings of Philip Heseltine on Delius" 1267:

In each of the major works written in the years after

406:, who was a strong influence on Delius's earlier music 6237: 4869:

The Road to Samarkand: Frederick Delius and His Music

4790:" was published by Bodley Head in 1952 (in the US by 3194:

Email from Bradford City Council on 29 September 2022

3059:"Warlock, Peter [Heseltine, Philip (Arnold)]" 2607:"Tamsin Little on Delius: regrets of a lost composer" 2579:

Hughes, Meirion; Stradling, R. A. (7 December 2001).

1745:

had issued recordings of Violin Sonatas 1 and 2, the

1256:

Woodcut illustration (1919) of the young lovers from

1019:(1932), which reused music from Delius's short opera 419:, Germany. Leipzig was a major musical centre, where 113:

lived for the rest of their lives, except during the

81: 4039:"BBC Symphony Orchestra, Sir Andrew Davis, Barbican" 2815: 2434:(March 1915). "Some Notes on Delius and his Music". 551:(1896, rewritten in 1904 for voices and orchestra). 188:

Delius's school (he attended the previous building)

72: 66: 5141:

Two Songs to be sung of a summer night on the water

4686:

Electric Eden: Unearthing Britain's Visionary Music

3460:Debussy, Claude, ed. Richard Langham Smith (1988): 2849:(Master of Music). University of Miami. p. 33. 1705:: the "Walk to the Paradise Garden" interlude from 952:, the Piano and Violin Concertos, and premières of 350:in 1876; Delius' house at Solano Grove lay between 128:took it up. Beecham conducted the full premiere of 63: 4712: 4603: 4369:The Gramophone Shop Encyclopedia of Recorded Music 2559: 1623:, to mark the 50th anniversary of Delius's death. 1597:made arrangements of Delius's music, particularly 207:Krönig (1838–1929). Delius's parents were born in 4381:"Delius. A Village Romeo and Juliet — complete". 1071:Jelka was too ill to make the journey across the 779:; he told Delius that he did not wish to conduct 709:was performed by 36 different German orchestras. 6406:Members of the Order of the Companions of Honour 6297: 4142:. The Royal Philharmonic Society. Archived from 1833:The Chopin piece was the posthumously published 586:and the music of Grieg. Jelka bought a house in 120:Delius's first successes came in Germany, where 4736:Delius: A Life in Letters, Volume II: 1909–1934 2578: 2277:Oxford Dictionary of National Biography archive 1260:'s original story, which became Delius's opera 1127:, portrayed during a European tour in the 1870s 6431:University of Music and Theatre Leipzig alumni 4715:Delius: A Life in Letters, Volume I: 1862–1908 4668:Thomas Beecham – An Independent Biography 4219:A Village Romeo and Juliet (theatre programme) 3187: 2923:Butler, Christopher (January 1986). "Review". 2224:"Delius, Frederick Theodor Albert (1862–1934)" 1954:Literally "Over the mountains in the distance" 1107:For a complete listing of Delius's works, see 5250: 4944: 4906:Life, Music and Character of Frederick Delius 3502: 3500: 3498: 3004: 3002: 20:"Delius" redirects here. For other uses, see 4473:A Mingled Chime—Leaves from an Autobiography 3958:Proceedings of the Royal Musical Association 3808:The Musical Times and Singing Class Circular 3754:The Musical Times and Singing Class Circular 3496: 3494: 3492: 3490: 3488: 3486: 3484: 3482: 3480: 3478: 2698: 2426: 2424: 2422: 2266: 2264: 2262: 2260: 2258: 2256: 2254: 2252: 2250: 2248: 1681:in the "Britons of Distinction" stamps set. 876:One of Delius's major wartime works was his 4606:The Penguin Guide to Opera on Compact Discs 2526:"Delius: beauty in the ear of the beholder" 2294: 844:(known as "Peter Warlock"), who commented: 689:(a cantata with words taken from a poem by 549:Appalachia: Variations on an Old Slave Song 6426:Royal Philharmonic Society Gold Medallists 6416:People educated at Bradford Grammar School 5257: 5243: 4951: 4937: 4195:. The Delius Society. 2010. Archived from 4113:. The Delius Society. 2010. Archived from 3956:(18 December 1962). "Delius the Unknown". 3281: 3279: 3052: 3050: 2999: 2475:Virginia Magazine of History and Biography 327:, about 35 miles (55 kilometres) south of 4895:International Music Score Library Project 4826: 4776: 4332: 4330: 4328: 3948: 3946: 3592:(26). Cambridge University Press: 30–37. 3542: 3540: 3538: 3536: 3475: 3008: 2918: 2916: 2761: 2759: 2757: 2755: 2753: 2751: 2468: 2466: 2464: 2462: 2460: 2430: 2419: 2395: 2391: 2389: 2387: 2245: 1578:Just before his death, Delius prepared a 1241:(1899), the orchestration owes a debt to 6356:British expatriates in the United States 4805: 4762:. Philadelphia, PA: The Delius Society. 4230: 4228: 3980: 3978: 3898: 3506: 2984:See, for example, "Mr. Delius's Opera", 2385: 2383: 2381: 2379: 2377: 2375: 2373: 2371: 2369: 2367: 2337:"The life and times of Frederick Delius" 2314: 2312: 2310: 2308: 2306: 1625: 1565: 1474: 1251: 1191: 1118: 1109:List of compositions by Frederick Delius 1050: 860: 858:Delius's work, save under Mr. Beecham". 716: 558: 398: 387:disappeared. In the 1990s the violinist 341: 183: 36: 4646: 4487: 4467: 3587: 3583: 3581: 3579: 3550:(25 January 1962). "Frederick Delius". 3447: 3445: 3276: 3047: 2524:Webber, Julian Lloyd (5 January 2012). 2510: 2508: 2506: 2504: 2228:Oxford Dictionary of National Biography 2218: 1945:claimed never to have heard of Delius." 1561: 1055:Delius's grave at St Peter's Church in 632:, which he gave under its German title 242:rather than the Austro-German music of 6298: 4866: 4846: 4752: 4733: 4710: 4624: 4579: 4506: 4411:"Delius: A Village Romeo and Juliet". 4396:"Delius. A Village Romeo And Juliet". 4325: 4071: 3943: 3934: 3679: 3546: 3533: 3518:(60). Cambridge University Press: 6–16 3410:"Delius, Vaughan Williams and Debussy" 3407: 3162: 3160: 3085: 2922: 2913: 2842: 2836: 2765: 2748: 2582:English Musical Renaissance, 1840-1940 2557: 2523: 2472: 2457: 2270: 2214: 2212: 2210: 2208: 2206: 2204: 2202: 2200: 2198: 2196: 2194: 2192: 1792:conducted in German the same year for 1218: 1151:, Delius became a fervent disciple of 744:. Later that year, Beecham introduced 570:In 1897, Delius met the German artist 254:, and had more advanced studies under 5238: 5070:On Hearing the First Cuckoo in Spring 4932: 4809:Frederick Delius: A Guide to Research 4682: 4601: 4548: 4526: 4371:, The Gramophone Shop, New York 1936. 4225: 3975: 3952: 3649: 3333: 3286:"The Delius Festival: A retrospect". 2672: 2364: 2303: 2190: 2188: 2186: 2184: 2182: 2180: 2178: 2176: 2174: 2172: 2137: 2022:: "It starts with a theme out of the 1711:On Hearing the First Cuckoo in Spring 1339:On Hearing the First Cuckoo in Spring 809:On Hearing the First Cuckoo in Spring 712: 547:(1895–97) and orchestral variations, 4958: 4665: 4567: 4036: 3988:. The Delius Society. Archived from 3799: 3576: 3442: 3011:"Some Notes on Delius and His Music" 2631: 2501: 1749:, and of some of the shorter works. 535:in 1897; and Delius's second opera, 394: 6336:20th-century English male musicians 6331:19th-century English male musicians 6116:Tchaikovsky and the Belyayev circle 3854:"Mr Delius's Pianoforte Concerto". 3464:New York, Cornell University Press 3157: 2673:White, Michael (11 February 2007). 2635:(July 1929). "Delius and America". 1741:on the piano. By 1936 Columbia and 920:programmed Delius's music with the 829: 381: 13: 5264: 4806:Huismann, Mary Christison (2004). 4704: 4630:Delius: Portrait of a Cosmopolitan 4245:"Song of Summer: Frederick Delius" 3389:Fenby (1971), p. 82, Palmer, p. 98 3264:Fenby (1981), pp. 106–07 (Fig. 16) 2396:Anderson, Robert; Payne, Anthony. 2169: 1776:in 1995. Beecham's former protégé 1446:listed the composers as "... 668:in Berlin less than a year later. 554: 14: 6442: 4884: 4585:Henry J. Wood: Maker of the Proms 3129:(94). Autumn 1987. Archived from 3056: 2477:. Vol. 79. pp. 349–66. 1522:were performed in 1910–11 by the 1498:In England, a performance of the 1314: 940:(1923), with 281 performances at 891:unaffected; Beecham records that 578:, and a regular exhibitor at the 461:for an audience of three: Grieg, 6391:English people of German descent 6386:English male classical composers 6341:20th-century classical composers 6321:19th-century classical composers 6283: 6271: 6259: 6247: 6221: 6212: 6211: 5221: 5220: 4812:. New York / London: Routledge. 4492:. Sutton, Surrey: Severn House. 4443: 4428: 4419: 4404: 4389: 4374: 4361: 4352: 4343: 4316: 4307: 4285: 4259: 4237: 4211: 4185: 4173: 4161: 4129: 4103: 4094: 4065: 4056: 4030: 4004: 3928: 3907: 3892: 3877: 3847: 3512:"Delius's Stylistic Development" 3009:Heseltine, Philip (March 1915). 2105: 2091: 2065: 1168:, who first brought the tune of 1035:, and a short orchestral piece, 59: 46:Frederick Theodore Albert Delius 5077:Paris: The Song of a Great City 4891:Free scores by Frederick Delius 4450:"Delius: Fennimore and Gerda". 4435:"Delius: Fennimore and Gerda". 3838: 3829: 3784: 3775: 3745: 3736: 3727: 3718: 3709: 3700: 3691: 3673: 3643: 3634: 3625: 3616: 3607: 3567: 3558: 3454: 3401: 3392: 3383: 3374: 3365: 3327: 3318: 3309: 3294: 3267: 3258: 3249: 3229: 3220: 3207: 3178: 3169: 3148: 3112: 3103: 3094: 3079: 2978: 2974:. 23 February 1910. p. 13. 2963: 2954: 2883: 2853: 2827: 2806: 2797: 2739: 2730: 2692: 2666: 2625: 2599: 2585:. Manchester University Press. 2572: 2551: 2517: 2492: 2355: 2115:The Delius Society, 1969. Also 2055: 2046:nauseating; he admired Elgar's 2012: 2003: 1993: 1957: 1948: 1930: 1921: 1908: 1853: 1840: 1524:New York Philharmonic Orchestra 1131:After the 1929 London festival 820:. The reviews were polite, but 742:Paris: The Song of a Great City 660:Paris: The Song of a Great City 6346:20th-century English composers 6326:19th-century English musicians 6316:19th-century British composers 4439:. September 1997. p. 106. 4037:Nice, David (9 October 2010). 3305:. 14 October 1929. p. 16. 3290:. 2 November 1929. p. 10. 2890:"Mr. Delius's Dance of Life". 2329: 2131: 2032:a little altered. The rest is 1827: 1818: 1805: 1756:in 1948, performed by the new 1390: 1059:, Surrey, photographed in 2013 648:, and excerpts from the opera 539:, was accepted for staging at 179: 1: 6381:English expatriates in France 4911:Julian Lloyd Webber on Delius 4647:Redwood, Christopher (1976). 4454:. December 1997. p. 114. 4400:. December 1990. p. 134. 4014:. Naxos. 1991. Archived from 3204:, accessed 29 September 2022. 2125: 2117:Recordings of Music By Delius 1696: 1114: 1011:, a third violin sonata, the 980: 439:conducted their works at the 4734:Carley, Lionel, ed. (1988). 4711:Carley, Lionel, ed. (1983). 4415:. October 1995. p. 135. 4385:. February 1973. p. 97. 4182:. Retrieved 1 September 2017 4170:. Retrieved 1 September 2017 3795:. 9 August 1899. p. 13. 3685:The New York Times Quarterly 3408:Palmer, Christopher (1969). 2843:Greene, Mary E. (May 2011). 2558:Hewett, Ivan (4 July 2012). 2341:Bradford Telegraph and Argus 1758:Royal Philharmonic Orchestra 1427: 916:in 1920, and Henry Wood and 41:Delius, photographed in 1907 16:English composer (1862–1934) 7: 6421:Pupils of Salomon Jadassohn 6376:English classical composers 6159:Gothic Revival architecture 4670:. London: Victor Gollancz. 4553:. London: Faber and Faber. 4534:. London: Faber and Faber. 4532:The Great Composers: Delius 4221:. Opera North. 6 June 1984. 4111:"The Delius Trust: History" 3237:Margaret Harrison remembers 1969:, which made a profit, and 1486:Of the May 1899 concert at 642:Over the Hills and Far Away 634:Über die Berge in die Ferne 630:Over the Hills and Far Away 545:Over the Hills and Far Away 498:later did the same for his 55:Fritz Theodor Albert Delius 10: 6447: 6396:English Romantic composers 6100:Neue Zeitschrift für Musik 5275:List of Romantic composers 5049:Eventyr (Once Upon a Time) 4984:A Village Romeo and Juliet 4461: 3127:The Delius Society Journal 2860:"New Symphony Orchestra". 2325:. 11 June 1934. p. 6. 2062:her husband's reinterment. 1754:A Village Romeo and Juliet 1707:A Village Romeo and Juliet 1617:A Village Romeo and Juliet 1589:Musicians' Benevolent Fund 1371:A Village Romeo and Juliet 1357:Eventyr (Once Upon a Time) 1274:A Village Romeo and Juliet 1262:A Village Romeo and Juliet 1106: 950:A Village Romeo and Juliet 818:A Village Romeo and Juliet 700:A Village Romeo and Juliet 640:in London, which included 317: 137:A Village Romeo and Juliet 100:Having been influenced by 18: 6351:Blind classical musicians 6191: 6136: 6081: 6015: 5994: 5281: 5272: 5218: 5202: 5186: 5167: 5149: 5100: 5091:Summer Night on the River 5040: 5014: 4975: 4966: 4610:. London: Penguin Books. 4602:March, Ivan, ed. (1993). 4488:Beecham, Thomas (1975) . 4247:. Internet Movie Database 2833:Beecham (1944), pp. 63–64 2745:Beecham (1975), pp. 77–78 2736:Beecham (1975), pp. 71–73 2279:. Oxford University Press 2230:. Oxford University Press 1727:Summer Night on the River 1334:Summer Night on the River 985:A young English admirer, 803:Summer Night on the River 748:to London audiences, and 6121:Tchaikovsky and The Five 5116:A Song of the High Hills 4738:. London: Scolar Press. 4719:. London: Scolar Press. 4575:. London: Hogarth Press. 4293:"Britons of Distinction" 4234:Fenby (1981), pp. 258–60 3884:"Concerts of the Week". 3733:Fenby (1981), pp. 145–47 3573:Fenby (1981), pp. 188–89 3273:Fenby (1981), pp. 233–34 3184:Fenby (1981), pp. 102–03 2996:, 27 February 1910, p. 9 2271:Hadley, Patrick (1949). 2119:The Delius Society, 2000 1799: 1380:A Song of the High Hills 1102: 913:A Song of the High Hills 853:played the tambourine!) 109:, where he and his wife 6411:Musicians from Bradford 6401:Impressionist composers 4867:Jahoda, Gloria (1969). 4168:Music Web International 4137:"RPS Composition Prize" 3971:(subscription required) 3901:The Manchester Guardian 3873:(subscription required) 3825:(subscription required) 3771:(subscription required) 3669:(subscription required) 3603:(subscription required) 3529:(subscription required) 3438:(subscription required) 3361:(subscription required) 3175:Fenby (1981), pp. 31–33 3166:Fenby (1971), pp. 88–89 3075:(subscription required) 3043:(subscription required) 2987:The Manchester Guardian 2950:(subscription required) 2909:(subscription required) 2879:(subscription required) 2793:(subscription required) 2726:(subscription required) 2662:(subscription required) 2488:(subscription required) 2453:(subscription required) 2415:(subscription required) 2322:The Manchester Guardian 2290:(subscription required) 2241:(subscription required) 2165:(subscription required) 2082:The Manchester Guardian 2018:Delius said of Elgar's 1916:Jacksonville University 1572:A Quatrefoil for Delius 1404:A Poem of Life and Love 1203:Oxford University Press 993:(a setting of words by 772:Also sprach Zarathustra 750:Enrique Fernández Arbós 697:in 1906, and the opera 427:were conductors at the 268:Bradford Grammar School 190:Bradford Grammar School 174: 22:Delius (disambiguation) 6144:Common practice period 5210:Impressionism in music 5178:(1968 television film) 4871:. New York: Scribner. 4854:. New York: Scribner. 4784:. London: Bodley Head. 4666:Reid, Charles (1961). 4475:. London: Hutchinson. 4313:Beecham (1975), p. 217 3862:: 739. November 1907. 3844:Beecham (1975), p. 114 3835:Beecham (1975), p. 106 3760:: 266–67. April 1894. 3742:Beecham (1975), p. 208 3664:10.1093/mq/xviii.3.443 3100:Beecham (1975), p. 191 2898:: 111. February 1908. 2824:Beecham (1975), p. 155 2803:Beecham (1975), p. 104 2043:The Dream of Gerontius 1648: 1643:as Delius, right, and 1575: 1483: 1348:North Country Sketches 1264: 1128: 1060: 873: 855: 800:(1908, revised 1911), 725: 580:Salon des Indépendants 567: 407: 359: 192: 102:African-American music 42: 4834:. London: Macmillan. 4689:. London: Macmillan. 4632:. London: Duckworth. 4549:Fenby, Eric (1981) . 4425:March (ed.) pp. 69–70 3888:: 6. 25 January 1914. 3652:The Musical Quarterly 3242:2 August 2019 at the 3235:Harrison, Margaret. " 2637:The Musical Quarterly 2498:Beecham (1975), p. 28 2404:. Oxford Music Online 2361:Beecham (1975), p. 18 2300:Beecham (1944), p. 72 1878:29.87472°N 81.57611°W 1629: 1569: 1478: 1410:poems with the title 1255: 1192:Stylistic development 1122: 1054: 1025:The Songs of Farewell 942:His Majesty's Theatre 926:A Song Before Sunrise 864: 846: 769:as Richard Strauss's 720: 562: 402: 345: 276:International College 187: 40: 6366:Deaths from syphilis 6181:Romantic nationalism 6127:War of the Romantics 4969:List of compositions 4551:Delius As I Knew Him 4358:Fenby (1981), p. 221 4100:Fenby (1981), p. 255 4062:Fenby (1981), p. 208 3806:"Mr. Fritz Delius". 3715:Fenby (1981), p. 132 3255:Fenby (1981), p. 230 3226:Fenby (1981), p. 227 3136:on 23 September 2015 2514:Fenby (1981), p. 257 2319:"Frederick Delius". 1780:recorded a complete 1717:in 1929–30 recorded 1665:played Delius, with 1613:Grand Theatre, Leeds 1601:, for the 1946 film 1562:Memorials and legacy 1280:Delius's next work, 1172:to Delius's notice. 1142:Nashville, Tennessee 1138:Fisk Jubilee Singers 1125:Fisk Jubilee Singers 930:Dance Rhapsody No. 2 872:, premiered in 1923. 657:The orchestral work 232:Carlo Alfredo Piatti 29:Fritz Delius (actor) 6176:Musical nationalism 6094:Musical nationalism 5168:Cultural depictions 4991:Fennimore and Gerda 4683:Young, Rob (2011). 4626:Palmer, Christopher 4587:. London: Methuen. 4514:. London: Collins. 4349:Fenby (1981), p. 23 4273:on 13 December 2010 4267:"Delius Collection" 4077:"Three-act tragedy" 3986:"About the Society" 3937:The Daily Telegraph 3924:. 27 November 1915. 3706:Fenby (1971), p. 74 3697:Fenby (1971), p. 72 3640:Fenby (1971), p. 58 3631:Fenby (1971), p. 55 3564:Fenby (1971), p. 75 3324:Fenby (1971), p. 21 3063:Oxford Music Online 2649:10.1093/mq/xv.3.438 2398:"Delius, Frederick" 2273:"Delius, Frederick" 1883:29.87472; -81.57611 1873: / 1786:Fennimore and Gerda 1691:The Choir Invisible 1366:Fennimore and Gerda 1219:Towards recognition 967:Manchester Guardian 934:James Elroy Flecker 905:H. Balfour Gardiner 866:James Elroy Flecker 693:) was premiered at 584:Friedrich Nietzsche 270:, where the singer 195:Delius was born in 6089:Indianist movement 6007:Romantic orchestra 5063:In a Summer Garden 4922:The Delius Society 4193:"The Delius Prize" 4180:Film Score Monthly 4018:on 20 January 2012 3922:The New York Times 3814:: 472. July 1899. 3724:Fenby (1971) p. 70 3510:(Winter 1961–62). 3451:Palmer, pp. 138–41 3425:10.1093/ml/L.4.475 2937:10.1093/ml/67.1.78 2780:10.1093/ml/liv.1.1 2679:The New York Times 2402:Grove Music Online 2111:See, for example, 1815:region of Germany. 1813:Ostwestfalen-Lippe 1735:In a Summer Garden 1723:In a Summer Garden 1649: 1576: 1520:In a Summer Garden 1484: 1325:In a Summer Garden 1265: 1157:Christopher Palmer 1129: 1061: 1044:pair followed the 960:, concluding with 874: 797:In a Summer Garden 726: 713:Growing reputation 644:, a choral piece, 568: 563:Delius in 1897 by 537:The Magic Fountain 492:The Magic Fountain 408: 376:Danville, Virginia 360: 193: 43: 6361:Burials in Surrey 6235: 6234: 6106:New German School 5701:Felix Mendelssohn 5696:Fanny Mendelssohn 5232: 5231: 4852:The Other Florida 4828:Hutchings, Arthur 4800:978-0-8371-7292-7 4778:Heseltine, Philip 4117:on 18 August 2010 3856:The Musical Times 3752:"Foreign Notes". 3417:Music and Letters 3398:Palmer, pp. 89–90 3380:Palmer, pp. 46–50 3371:Palmer, pp. 95–96 3336:The Musical Times 3018:The Musical Times 2925:Music and Letters 2892:The Musical Times 2868:: 324. May 1908. 2862:The Musical Times 2768:Music and Letters 2701:Acta Musicologica 2592:978-0-7190-5830-1 2436:The Musical Times 2432:Heseltine, Philip 2343:. 30 January 2012 2140:The Musical Times 1774:Klauspeter Seibel 1770:Charles Mackerras 1747:Elegy and Caprice 1667:Christopher Gable 1645:Christopher Gable 1492:The Musical Times 1443:The Musical Times 1436:was performed at 1412:Songs of Farewell 1033:Beatrice Harrison 1029:Caprice and Elegy 837:The Musical Times 814:Royal Opera House 628:. Haym conducted 523:was performed in 472:August Strindberg 463:Christian Sinding 449:Salomon Jadassohn 395:Leipzig and Paris 346:Map of Florida's 325:Saint Johns River 169:chromatic harmony 6438: 6371:English atheists 6288: 6287: 6286: 6276: 6275: 6274: 6264: 6263: 6252: 6251: 6250: 6243: 6225: 6215: 6214: 6111:Post-romanticism 5976:Vaughan Williams 5259: 5252: 5245: 5236: 5235: 5224: 5223: 5203:Related articles 5187:Named for Delius 5084:A Song of Summer 5041:Orchestral works 4960:Frederick Delius 4953: 4946: 4939: 4930: 4929: 4880: 4863: 4843: 4823: 4785: 4782:Frederick Delius 4773: 4769:978-0-61512364-6 4749: 4730: 4718: 4700: 4679: 4662: 4643: 4621: 4609: 4598: 4576: 4564: 4545: 4523: 4503: 4490:Frederick Delius 4484: 4456: 4455: 4447: 4441: 4440: 4432: 4426: 4423: 4417: 4416: 4408: 4402: 4401: 4393: 4387: 4386: 4378: 4372: 4365: 4359: 4356: 4350: 4347: 4341: 4338:Frederick Delius 4334: 4323: 4320: 4314: 4311: 4305: 4304: 4302: 4300: 4289: 4283: 4282: 4280: 4278: 4263: 4257: 4256: 4254: 4252: 4241: 4235: 4232: 4223: 4222: 4215: 4209: 4208: 4206: 4204: 4189: 4183: 4177: 4171: 4165: 4159: 4158: 4156: 4154: 4149:on 7 August 2016 4148: 4141: 4133: 4127: 4126: 4124: 4122: 4107: 4101: 4098: 4092: 4091: 4089: 4087: 4069: 4063: 4060: 4054: 4053: 4051: 4049: 4034: 4028: 4027: 4025: 4023: 4008: 4002: 4001: 3999: 3997: 3982: 3973: 3972: 3969: 3950: 3941: 3940: 3932: 3926: 3925: 3919: 3911: 3905: 3904: 3896: 3890: 3889: 3881: 3875: 3874: 3871: 3851: 3845: 3842: 3836: 3833: 3827: 3826: 3823: 3803: 3797: 3796: 3788: 3782: 3779: 3773: 3772: 3769: 3749: 3743: 3740: 3734: 3731: 3725: 3722: 3716: 3713: 3707: 3704: 3698: 3695: 3689: 3688: 3677: 3671: 3670: 3667: 3647: 3641: 3638: 3632: 3629: 3623: 3620: 3614: 3611: 3605: 3604: 3601: 3585: 3574: 3571: 3565: 3562: 3556: 3555: 3544: 3531: 3530: 3527: 3525: 3523: 3504: 3473: 3462:Debussy on Music 3458: 3452: 3449: 3440: 3439: 3436: 3414: 3405: 3399: 3396: 3390: 3387: 3381: 3378: 3372: 3369: 3363: 3362: 3359: 3331: 3325: 3322: 3316: 3313: 3307: 3306: 3298: 3292: 3291: 3283: 3274: 3271: 3265: 3262: 3256: 3253: 3247: 3233: 3227: 3224: 3218: 3217:in McVeagh, ODNB 3213:Redwood, p. 94, 3211: 3205: 3191: 3185: 3182: 3176: 3173: 3167: 3164: 3155: 3152: 3146: 3145: 3143: 3141: 3135: 3124: 3116: 3110: 3107: 3101: 3098: 3092: 3091: 3083: 3077: 3076: 3073: 3071: 3069: 3054: 3045: 3044: 3041: 3015: 3006: 2997: 2982: 2976: 2975: 2967: 2961: 2958: 2952: 2951: 2948: 2920: 2911: 2910: 2907: 2887: 2881: 2880: 2877: 2857: 2851: 2850: 2840: 2834: 2831: 2825: 2822: 2813: 2810: 2804: 2801: 2795: 2794: 2791: 2763: 2746: 2743: 2737: 2734: 2728: 2727: 2724: 2696: 2690: 2689: 2687: 2685: 2670: 2664: 2663: 2660: 2629: 2623: 2622: 2620: 2618: 2603: 2597: 2596: 2576: 2570: 2569: 2563: 2555: 2549: 2548: 2546: 2544: 2521: 2515: 2512: 2499: 2496: 2490: 2489: 2486: 2470: 2455: 2454: 2451: 2428: 2417: 2416: 2413: 2411: 2409: 2393: 2362: 2359: 2353: 2352: 2350: 2348: 2333: 2327: 2326: 2316: 2301: 2298: 2292: 2291: 2288: 2286: 2284: 2268: 2243: 2242: 2239: 2237: 2235: 2216: 2167: 2166: 2163: 2135: 2120: 2109: 2103: 2095: 2089: 2069: 2063: 2059: 2053: 2016: 2010: 2007: 2001: 1997: 1991: 1961: 1955: 1952: 1946: 1934: 1928: 1925: 1919: 1912: 1906: 1897: 1896: 1894: 1893: 1892: 1890: 1885: 1884: 1879: 1874: 1871: 1870: 1869: 1866: 1857: 1851: 1844: 1838: 1835:Waltz in E minor 1831: 1825: 1822: 1816: 1811:Now part of the 1809: 1595:Herbert Stothart 1488:St. James's Hall 1399:A Song of Summer 1369:(1908–10), like 1336:(both 1911) and 1258:Gottfried Keller 1185:Two Danish Songs 1046:1930 Test series 1008:A Song of Summer 972: 842:Philip Heseltine 830:War and post-war 646:Mitternachtslied 638:St. James's Hall 529:incidental music 382:Illegitimate son 358:on the east bank 88: 87: 84: 83: 80: 77: 74: 71: 68: 65: 52: 32: 25: 6446: 6445: 6441: 6440: 6439: 6437: 6436: 6435: 6296: 6295: 6294: 6284: 6282: 6272: 6270: 6258: 6254:Classical music 6248: 6246: 6238: 6236: 6231: 6208: 6204:Modernist music 6200: 6197:Classical music 6187: 6132: 6077: 6058:Romantic ballet 6053:Orchestral song 6033:Chorale prelude 6028:Character piece 6011: 6002:Romantic guitar 5995:Instrumentation 5990: 5826:Rimsky-Korsakov 5446:Ferdinand David 5283: 5277: 5268: 5263: 5233: 5228: 5214: 5198: 5182: 5163: 5145: 5135:Songs of Sunset 5096: 5036: 5027:Double Concerto 5010: 4971: 4962: 4957: 4887: 4820: 4792:Greenwood Press 4770: 4746: 4727: 4707: 4705:Further reading 4697: 4659: 4651:. John Calder. 4640: 4618: 4595: 4569:Hull, Robert H. 4561: 4542: 4508:Cardus, Neville 4500: 4469:Beecham, Thomas 4464: 4459: 4449: 4448: 4444: 4434: 4433: 4429: 4424: 4420: 4410: 4409: 4405: 4395: 4394: 4390: 4380: 4379: 4375: 4366: 4362: 4357: 4353: 4348: 4344: 4335: 4326: 4321: 4317: 4312: 4308: 4298: 4296: 4291: 4290: 4286: 4276: 4274: 4265: 4264: 4260: 4250: 4248: 4243: 4242: 4238: 4233: 4226: 4217: 4216: 4212: 4202: 4200: 4191: 4190: 4186: 4178: 4174: 4166: 4162: 4152: 4150: 4146: 4139: 4135: 4134: 4130: 4120: 4118: 4109: 4108: 4104: 4099: 4095: 4085: 4083: 4075:(9 July 2004). 4070: 4066: 4061: 4057: 4047: 4045: 4035: 4031: 4021: 4019: 4010: 4009: 4005: 3995: 3993: 3984: 3983: 3976: 3970: 3951: 3944: 3933: 3929: 3917: 3913: 3912: 3908: 3897: 3893: 3883: 3882: 3878: 3872: 3853: 3852: 3848: 3843: 3839: 3834: 3830: 3824: 3805: 3804: 3800: 3790: 3789: 3785: 3780: 3776: 3770: 3751: 3750: 3746: 3741: 3737: 3732: 3728: 3723: 3719: 3714: 3710: 3705: 3701: 3696: 3692: 3687:. pp. SM7. 3678: 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successes 506:Margot la rouge 484:Florent Schmitt 397: 384: 348:St. Johns River 320: 292:Gloucestershire 252:Hallé Orchestra 221:Napoleonic Wars 182: 177: 115:First World War 62: 58: 48: 33: 26: 19: 17: 12: 11: 5: 6444: 6434: 6433: 6428: 6423: 6418: 6413: 6408: 6403: 6398: 6393: 6388: 6383: 6378: 6373: 6368: 6363: 6358: 6353: 6348: 6343: 6338: 6333: 6328: 6323: 6318: 6313: 6308: 6293: 6292: 6280: 6268: 6256: 6233: 6232: 6230: 6229: 6219: 6201: 6193: 6192: 6189: 6188: 6186: 6185: 6184: 6183: 6173: 6172: 6171: 6166: 6161: 6156: 6146: 6140: 6138: 6134: 6133: 6131: 6130: 6123: 6118: 6113: 6108: 6103: 6096: 6091: 6085: 6083: 6079: 6078: 6076: 6075: 6070: 6068:Symphonic poem 6065: 6063:Romantic opera 6060: 6055: 6050: 6045: 6040: 6035: 6030: 6025: 6019: 6017: 6013: 6012: 6010: 6009: 6004: 5998: 5996: 5992: 5991: 5989: 5988: 5983: 5978: 5973: 5968: 5963: 5958: 5953: 5948: 5943: 5938: 5933: 5928: 5923: 5918: 5913: 5908: 5903: 5898: 5893: 5888: 5883: 5878: 5873: 5868: 5863: 5858: 5853: 5848: 5843: 5838: 5833: 5828: 5823: 5818: 5813: 5808: 5803: 5798: 5793: 5788: 5783: 5778: 5773: 5768: 5763: 5758: 5753: 5748: 5743: 5738: 5733: 5728: 5723: 5718: 5713: 5708: 5703: 5698: 5693: 5688: 5683: 5678: 5673: 5668: 5663: 5658: 5653: 5648: 5643: 5638: 5633: 5628: 5623: 5618: 5613: 5608: 5603: 5598: 5593: 5588: 5583: 5578: 5573: 5568: 5563: 5558: 5553: 5548: 5543: 5538: 5533: 5528: 5523: 5518: 5513: 5508: 5503: 5498: 5493: 5488: 5483: 5478: 5473: 5468: 5463: 5458: 5453: 5448: 5443: 5441:Félicien David 5438: 5433: 5428: 5423: 5418: 5413: 5408: 5403: 5398: 5393: 5388: 5383: 5378: 5373: 5368: 5363: 5358: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5298: 5293: 5287: 5285: 5279: 5278: 5273: 5270: 5269: 5266:Romantic music 5262: 5261: 5254: 5247: 5239: 5230: 5229: 5219: 5216: 5215: 5213: 5212: 5206: 5204: 5200: 5199: 5197: 5196: 5194:Delius Glacier 5190: 5188: 5184: 5183: 5181: 5180: 5176:Song of Summer 5171: 5169: 5165: 5164: 5162: 5161: 5153: 5151: 5147: 5146: 5144: 5143: 5138: 5131: 5124: 5119: 5112: 5109:A Mass of Life 5104: 5102: 5098: 5097: 5095: 5094: 5087: 5080: 5073: 5066: 5059: 5052: 5044: 5042: 5038: 5037: 5035: 5034: 5032:Piano Concerto 5029: 5024: 5022:Cello Concerto 5018: 5016: 5012: 5011: 5009: 5008: 5001: 4994: 4987: 4979: 4977: 4973: 4972: 4967: 4964: 4963: 4956: 4955: 4948: 4941: 4933: 4925: 4924: 4919: 4908: 4903: 4898: 4886: 4885:External links 4883: 4882: 4881: 4864: 4848:Jahoda, Gloria 4844: 4824: 4818: 4803: 4774: 4768: 4750: 4744: 4731: 4725: 4706: 4703: 4702: 4701: 4695: 4680: 4663: 4657: 4644: 4638: 4622: 4616: 4599: 4593: 4581:Jacobs, Arthur 4577: 4565: 4559: 4546: 4540: 4524: 4504: 4498: 4485: 4463: 4460: 4458: 4457: 4442: 4427: 4418: 4403: 4388: 4383:The Gramophone 4373: 4367:Darrell, R.D. 4360: 4351: 4342: 4324: 4322:Palmer, p. 193 4315: 4306: 4284: 4258: 4236: 4224: 4210: 4199:on 16 May 2013 4184: 4172: 4160: 4128: 4102: 4093: 4073:Kettle, Martin 4064: 4055: 4029: 4003: 3992:on 16 May 2013 3974: 3942: 3927: 3906: 3891: 3876: 3846: 3837: 3828: 3798: 3783: 3774: 3744: 3735: 3726: 3717: 3708: 3699: 3690: 3681:Newman, Ernest 3672: 3658:(3): 443–462. 3642: 3633: 3624: 3615: 3606: 3575: 3566: 3557: 3532: 3508:Payne, Anthony 3474: 3453: 3441: 3400: 3391: 3382: 3373: 3364: 3348:10.2307/963053 3326: 3317: 3308: 3293: 3275: 3266: 3257: 3248: 3228: 3219: 3206: 3202:WhatDoTheyKnow 3186: 3177: 3168: 3156: 3154:Cardus, p. 254 3147: 3111: 3109:Jacobs, p. 447 3102: 3093: 3078: 3057:Smith, Barry. 3046: 3030:10.2307/909510 2998: 2977: 2962: 2953: 2912: 2882: 2852: 2835: 2826: 2814: 2805: 2796: 2747: 2738: 2729: 2713:10.2307/932980 2691: 2665: 2624: 2598: 2591: 2571: 2550: 2516: 2500: 2491: 2456: 2418: 2363: 2354: 2328: 2302: 2293: 2244: 2220:McVeagh, Diana 2168: 2152:10.2307/963502 2129: 2127: 2124: 2122: 2121: 2104: 2090: 2064: 2054: 2020:First Symphony 2011: 2002: 1992: 1990:which did not. 1956: 1947: 1929: 1920: 1907: 1852: 1839: 1826: 1817: 1803: 1801: 1798: 1790:Richard Hickox 1778:Norman Del Mar 1703:Columbia label 1698: 1695: 1658:Song of Summer 1636:Song of Summer 1570:The sculpture 1563: 1560: 1533:New York Times 1508:A Mass of Life 1504:Theodor Szántó 1500:Piano Concerto 1460:Princess Alice 1429: 1426: 1417:A Mass of Life 1392: 1389: 1316: 1315:Full flowering 1313: 1309:A Mass of Life 1298:A Mass of Life 1220: 1217: 1193: 1190: 1177:Claude Debussy 1166:Percy Grainger 1116: 1113: 1104: 1101: 1041:modus operandi 1001:(a setting of 982: 979: 975:Neville Cardus 973:music critic, 962:A Mass of Life 918:Hamilton Harty 831: 828: 767:Nietzsche work 762:A Mass of Life 730:Thomas Beecham 722:Thomas Beecham 714: 711: 610:Fritz Cassirer 588:Grez-sur-Loing 556: 553: 453:Patrick Hadley 421:Arthur Nikisch 396: 393: 383: 380: 319: 316: 312:French Riviera 308:Gunnar Heiberg 256:George Haddock 228:Joseph Joachim 181: 178: 176: 173: 131:A Mass of Life 126:Thomas Beecham 107:Grez-sur-Loing 15: 9: 6: 4: 3: 2: 6443: 6432: 6429: 6427: 6424: 6422: 6419: 6417: 6414: 6412: 6409: 6407: 6404: 6402: 6399: 6397: 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Strauss II 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5882: 5879: 5877: 5874: 5872: 5869: 5867: 5864: 5862: 5859: 5857: 5854: 5852: 5849: 5847: 5844: 5842: 5839: 5837: 5834: 5832: 5829: 5827: 5824: 5822: 5819: 5817: 5814: 5812: 5809: 5807: 5804: 5802: 5799: 5797: 5794: 5792: 5789: 5787: 5784: 5782: 5779: 5777: 5774: 5772: 5769: 5767: 5764: 5762: 5759: 5757: 5754: 5752: 5749: 5747: 5744: 5742: 5739: 5737: 5734: 5732: 5729: 5727: 5724: 5722: 5719: 5717: 5714: 5712: 5709: 5707: 5704: 5702: 5699: 5697: 5694: 5692: 5689: 5687: 5684: 5682: 5679: 5677: 5674: 5672: 5669: 5667: 5664: 5662: 5659: 5657: 5654: 5652: 5649: 5647: 5644: 5642: 5639: 5637: 5634: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5609: 5607: 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5577: 5574: 5572: 5569: 5567: 5564: 5562: 5559: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5522: 5519: 5517: 5514: 5512: 5509: 5507: 5504: 5502: 5499: 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5050: 5046: 5045: 5043: 5039: 5033: 5030: 5028: 5025: 5023: 5020: 5019: 5017: 5013: 5007: 5006: 5002: 5000: 4999: 4995: 4993: 4992: 4988: 4986: 4985: 4981: 4980: 4978: 4974: 4970: 4965: 4961: 4954: 4949: 4947: 4942: 4940: 4935: 4934: 4931: 4927: 4923: 4920: 4918: 4917: 4912: 4909: 4907: 4904: 4902: 4899: 4896: 4892: 4889: 4888: 4878: 4874: 4870: 4865: 4861: 4857: 4853: 4849: 4845: 4841: 4837: 4833: 4829: 4825: 4821: 4819:0-415-94106-7 4815: 4811: 4810: 4804: 4801: 4797: 4793: 4789: 4783: 4779: 4775: 4771: 4765: 4761: 4760: 4755: 4754:Healey, Derek 4751: 4747: 4745:0-85967-717-6 4741: 4737: 4732: 4728: 4726:0-674-19570-1 4722: 4717: 4716: 4709: 4708: 4698: 4692: 4688: 4687: 4681: 4677: 4673: 4669: 4664: 4660: 4658:0-7145-3826-4 4654: 4650: 4645: 4641: 4639:0-7156-0773-1 4635: 4631: 4627: 4623: 4619: 4617:0-14-046957-5 4613: 4608: 4607: 4600: 4596: 4594:0-413-69340-6 4590: 4586: 4582: 4578: 4574: 4570: 4566: 4562: 4560:0-571-11836-4 4556: 4552: 4547: 4543: 4541:0-571-09296-9 4537: 4533: 4529: 4525: 4521: 4517: 4513: 4512:Autobiography 4509: 4505: 4501: 4499:0-7278-0099-X 4495: 4491: 4486: 4482: 4478: 4474: 4470: 4466: 4465: 4453: 4446: 4438: 4431: 4422: 4414: 4407: 4399: 4392: 4384: 4377: 4370: 4364: 4355: 4346: 4339: 4333: 4331: 4329: 4319: 4310: 4294: 4288: 4272: 4268: 4262: 4246: 4240: 4231: 4229: 4220: 4214: 4198: 4194: 4188: 4181: 4176: 4169: 4164: 4145: 4138: 4132: 4116: 4112: 4106: 4097: 4082: 4078: 4074: 4068: 4059: 4044: 4043:The Arts Desk 4040: 4033: 4017: 4013: 4007: 3991: 3987: 3981: 3979: 3967: 3963: 3959: 3955: 3954:Cooke, Deryck 3949: 3947: 3938: 3931: 3923: 3916: 3910: 3902: 3895: 3887: 3880: 3869: 3865: 3861: 3857: 3850: 3841: 3832: 3821: 3817: 3813: 3809: 3802: 3794: 3791:"New Songs". 3787: 3778: 3767: 3763: 3759: 3755: 3748: 3739: 3730: 3721: 3712: 3703: 3694: 3686: 3682: 3676: 3665: 3661: 3657: 3653: 3646: 3637: 3628: 3619: 3610: 3599: 3595: 3591: 3584: 3582: 3580: 3570: 3561: 3553: 3549: 3543: 3541: 3539: 3537: 3517: 3513: 3509: 3503: 3501: 3499: 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1779: 1775: 1771: 1767: 1763: 1759: 1755: 1750: 1748: 1744: 1740: 1739:Dora Labbette 1736: 1732: 1728: 1724: 1720: 1716: 1715:Geoffrey Toye 1712: 1708: 1704: 1694: 1692: 1688: 1682: 1680: 1674: 1672: 1671:Maureen Pryor 1669:as Fenby and 1668: 1664: 1660: 1659: 1654: 1647:as Eric Fenby 1646: 1642: 1638: 1637: 1632: 1628: 1624: 1622: 1618: 1614: 1608: 1606: 1605: 1600: 1596: 1592: 1590: 1585: 1581: 1573: 1568: 1559: 1556: 1550: 1548: 1543: 1537: 1535: 1534: 1529: 1525: 1521: 1517: 1512: 1509: 1505: 1501: 1496: 1493: 1489: 1481: 1477: 1473: 1471: 1470: 1465: 1461: 1457: 1453: 1449: 1445: 1444: 1439: 1435: 1425: 1423: 1419: 1418: 1413: 1409: 1405: 1401: 1400: 1388: 1386: 1382: 1381: 1376: 1372: 1368: 1367: 1361: 1359: 1358: 1353: 1349: 1345: 1344:Ernest Newman 1341: 1340: 1335: 1331: 1327: 1326: 1321: 1312: 1310: 1306: 1305: 1300: 1299: 1294: 1293: 1287: 1283: 1278: 1276: 1275: 1270: 1263: 1259: 1254: 1250: 1248: 1244: 1240: 1236: 1235: 1230: 1226: 1225:Florida Suite 1216: 1214: 1213: 1208: 1204: 1200: 1189: 1186: 1182: 1178: 1173: 1171: 1167: 1162: 1161:Anthony Payne 1158: 1154: 1150: 1145: 1143: 1139: 1134: 1126: 1121: 1110: 1100: 1097: 1093: 1089: 1085: 1081: 1076: 1074: 1068: 1066: 1058: 1053: 1049: 1047: 1042: 1038: 1034: 1030: 1026: 1022: 1018: 1015:prelude, and 1014: 1010: 1009: 1004: 1000: 996: 995:Ernest Dowson 992: 988: 978: 976: 969: 968: 963: 959: 955: 951: 947: 943: 939: 935: 931: 927: 923: 919: 915: 914: 908: 906: 900: 898: 894: 889: 885: 884:Albert Coates 881: 880: 871: 867: 863: 859: 854: 852: 845: 843: 839: 838: 827: 825: 824: 819: 815: 811: 810: 805: 804: 799: 798: 793: 788: 786: 782: 778: 774: 773: 768: 764: 763: 757: 755: 751: 747: 743: 739: 735: 731: 723: 719: 710: 708: 707: 702: 701: 696: 692: 688: 687: 682: 678: 674: 669: 667: 662: 661: 655: 653: 652: 647: 643: 639: 635: 631: 627: 623: 619: 615: 611: 607: 602: 600: 595: 593: 592:Fontainebleau 589: 585: 581: 577: 576:Auguste Rodin 573: 566: 561: 552: 550: 546: 542: 538: 534: 531:for his play 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Strauss I 5796:Rachmaninoff 5551:Gretchaninov 5455: 5175: 5156: 5133: 5126: 5114: 5107: 5101:Choral music 5089: 5082: 5075: 5068: 5061: 5054: 5047: 5003: 4996: 4989: 4982: 4959: 4926: 4916:The Guardian 4914: 4868: 4851: 4831: 4808: 4781: 4758: 4735: 4714: 4684: 4667: 4648: 4629: 4605: 4584: 4572: 4550: 4531: 4511: 4489: 4472: 4451: 4445: 4436: 4430: 4421: 4412: 4406: 4397: 4391: 4382: 4376: 4368: 4363: 4354: 4345: 4337: 4318: 4309: 4297:. Retrieved 4287: 4275:. Retrieved 4271:the original 4261: 4249:. Retrieved 4239: 4218: 4213: 4201:. Retrieved 4197:the original 4187: 4175: 4163: 4151:. Retrieved 4144:the original 4131: 4119:. Retrieved 4115:the original 4105: 4096: 4084:. Retrieved 4081:The Guardian 4080: 4067: 4058: 4046:. Retrieved 4042: 4032: 4020:. Retrieved 4016:the original 4006: 3994:. 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Gomis 5526:Glazunov 5521:Giuliani 5411:Chausson 5401:Chadwick 5391:Bruckner 5226:Category 4830:(1949). 4794:, 1974: 4780:(1923). 4756:(2003). 4676:52025268 4628:(1976). 4583:(1994). 4571:(1928). 4530:(1971). 4510:(1947). 4471:(1944). 3240:Archived 2774:: 1–24. 2617:24 March 2566:Archived 2543:24 March 2222:(2004). 2049:Falstaff 2025:Parcival 1900:Picolata 1898:between 1788:, which 1689:'s poem 1555:Guardian 1456:Sullivan 1422:Holstian 1360:(1917). 1352:Sketches 1328:(1908), 1295:(1903), 1092:en route 1082:church, 936:'s play 928:and the 794:(1907), 514:syphilis 352:Picolata 296:Chemnitz 197:Bradford 146:syphilis 91:Bradford 6240:Portals 6207:→ 6169:Science 6048:Mazurka 6023:Ballade 5956:Voříšek 5926:Tárrega 5921:Taneyev 5881:Smetana 5836:Rossini 5791:Puccini 5786:Prudent 5746:Nielsen 5711:Méreaux 5686:Medtner 5651:Lysenko 5621:Lachner 5586:Joachim 5566:Herbert 5486:Farrenc 5451:Delibes 5426:Crusell 5371:Borodin 5361:Berwald 5351:Berlioz 5341:Bennett 5336:Bellini 5321:Bazzini 5301:Arensky 5122:Requiem 5005:Irmelin 4897:(IMSLP) 4893:at the 4860:1245815 4462:Sources 3820:3367034 3766:3361873 3198:request 2483:4247665 1986:Ivanhoe 1966:Elektra 1794:Chandos 1782:Irmelin 1582:to his 1580:codicil 1229:Irmelin 1149:Leipzig 1073:Channel 1013:Irmelin 888:Requiem 879:Requiem 851:Berlioz 724:in 1910 501:verismo 488:Irmelin 417:Leipzig 318:Florida 219:in the 217:Blücher 95:Florida 6227:Portal 6164:Poetry 6016:Genres 5961:Wagner 5941:Tobias 5806:Reicha 5781:Popper 5761:Pacini 5756:Onslow 5666:Mahler 5646:Lumbye 5611:Kuhlau 5591:Joplin 5581:Hummel 5571:Hérold 5561:Halévy 5546:Gounod 5531:Glinka 5511:Franck 5506:Foster 5476:Dvořák 5466:d'Indy 5456:Delius 5436:Czerny 5421:Chopin 5396:Busoni 5381:Brahms 5356:Bertin 5346:Bériot 5158:Cynara 4998:Koanga 4976:Operas 4875: 4858: 4840:869350 4838: 4832:Delius 4816: 4798: 4766: 4742: 4723: 4693: 4674: 4655: 4636: 4614: 4591: 4573:Delius 4557: 4538: 4518: 4496: 4479: 4340:(1975) 4153:13 May 3966:765994 3964: 3960:: 17. 3868:904474 3866: 3818: 3764: 3598:943987 3596: 3468: 3431: 3356:963053 3354: 3215:quoted 3038:909510 3036: 2945:735537 2943: 2904:904923 2902: 2874:902996 2872: 2788:734166 2786: 2721:932980 2719: 2657:738331 2655: 2589: 2536: 2481: 2448:909510 2446: 2160:963502 2158: 2038:Brahms 1709:, and 1526:under 1464:Monaco 1385:Hassan 1234:Koanga 1207:sonata 1201:, the 1153:Wagner 1088:Surrey 991:Cynara 971:'s 964:. 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