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Tate believed that “music should entertain and give pleasure” (Fuller OUP 1). In 1979, she wrote “I must admit to having a sneaking hope that some of my creations may prove to be better than they appear. One can only surmise and it’s not for the composer to judge. All I can vouch is this: writing
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Although committees were not her forte, Tate was involved in several organizations, usually joining their boards. She participated in the
Hampstead Music Club, the Barnet and District Choral Society (she was president and wrote
114:, the daughter of an architect. She was excluded from primary school by her headmistress at the age of 10 for singing a lewd song at the end of the year. She taught herself how to play the ukulele. She was discovered in 1928 by
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for it), the
Performing Rights Society's Member Fund (she was the first woman appointed to be on their management committee), and the Composers’ Guild (where she served on the executive committee).
180:, operas and operettas, sacred music, piano music, and vocal music, which is where she concentrated her efforts. Her most famous pieces, aside from those mentioned above, include her setting of
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said “At last I have heard a real woman composer!” (Whitehouse 2) However, since, at that point, Smyth's hearing was deteriorating, Tate did not put much stock in this.
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Although not wishing to write larger instrumental works, Tate's overall artistic output was extraordinary. She experimented in many genres, including orchestral music,
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music can be hell; torture in the extreme; but there’s one thing worse; and that is not writing it” (Whitehouse 2). After hearing her play at a lunch one day, Dame
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composer known for forming unusual instrumental combinations in her output. Much of her work was written for the use of amateur performers and children.
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for the next four years. While at the academy, where she studied composition, timpani, and conducting, Tate composed a number of pieces including an
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286:. Roy Christensen, Virginia Christensen, Rebecca Culnan, Lee Carroll Levine, Craig Nies, Christian Teal. Gasparo Records B0001DMUW2 (2004).
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Sonata for
Clarinet and Cello. Gervase De Payer and William Pleeth. Argo ZRG 5475 (1966)
173:. Following this period of creativity, Tate fell into a five-year slump due to illness.
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308:. Sir Thomas Allen, baritone; Malcolm Martineau, piano. Hyperion B00005Y0N9 (2002).
189:, which was written for the 10th anniversary of the BBC Third Programme; the opera
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280:. Anthony Rolfe Johnson, tenor; Graham Johnson, piano. Hyperion B00026W65Y (2004).
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389:. Ed. Aaron I. Cohen. 2 vols. New York: Books & Music, Inc., 1987.
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141:. Between then and 1947 Tate composed four pieces: the concerto; a
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for saxophone and strings, written in 1944 and commissioned by the
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268:. James Geer (tenor), Ronald Woodley (piano). SOMM CD 0630 (2021)
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153:(1945). Tate enjoyed using atypical instrumental combinations.
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Fuller, Sophie. Liner notes from In Praise of Women. 1994.
314:. English String Quartet. Tremula Records TREM102-2 (1993).
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is scored for a baritone accompanied by a flute, clarinet,
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Phyllis Tate – A Family
Portrait, Colin and Celia Frank
229:, a four movement suite, also commissioned by the BBC.
292:. Royal Ballet Sinfonia. White Line B000067UM9 (2002).
320:. Clare Howick, Sophia Rahman, Naxos 8.572291 (2010)
333:Fuller, Sophie. “Tate, Phyllis (Margaret Duncan).”
165:is written for four voices with a string quartet,
345:Fuller, Sophie. "Tate, Phyllis Margaret Duncan".
133:The first piece she would claim as her own was a
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274:. Various performers. Chandos B000000A7V (1997).
48:but its sources remain unclear because it lacks
392:Whitehouse, Edmund. “Phyllis Tate (1911-85).”
387:International Encyclopedia of Women Composers
299:, Olli-Pekka Tuomisalo, Naxos 8.579038 (2018)
351:(online ed.). Oxford University Press.
337:. Ed. L. Macy. (Accessed April 19, 2007),
375:. Vol. 96, No. 1347 (May 1955): 244–247.
106:Phyllis Margaret Duncan Tate was born at
79:Learn how and when to remove this message
348:Oxford Dictionary of National Biography
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497:20th-century British women composers
492:20th-century English women musicians
94:(6 April 1911 – 29 May 1987) was an
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385:“Tate, Phyllis (Margaret Duncan).”
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371:Searle, Humphrey. “Phyllis Tate.”
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452:British women classical composers
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396:. 2007 (Accessed April 25, 2007).
472:20th-century classical composers
201:Prelude, Interlude, and Postlude
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145:for clarinet and cello (1947);
477:20th-century English composers
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248:Tate married a music editor,
411:Choral Public Domain Library
365:UK public library membership
221:: The Phoenix and the Turtle
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16:English composer (1911–1987)
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467:English classical composers
407:Free scores by Phyllis Tate
235:Saint Martha and the Dragon
209:Saint Martha and the Dragon
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462:People from Gerrards Cross
339:http://www.grovemusic.com
312:String Quartet in F major
306:Songs My Father Taught Me
297:Lost Saxophone Concertos
284:Lee Carrol Levine… Plus!
151:Nocturne for Four Voices
128:The Policeman’s Serenade
34:This article includes a
457:English opera composers
295:Saxophone Concerto. On
254:Oxford University Press
205:All The World’s A Stage
203:for chamber orchestra;
195:, based on the tale of
147:Songs of Sundry Natures
63:more precise citations.
394:MusicWeb International
357:10.1093/ref:odnb/61893
120:Royal Academy of Music
482:Women opera composers
213:The What d’ye Call It
169:, bass clarinet, and
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250:Alan Clifford Frank
186:The Lady of Shalott
335:Grove Music Online
278:In Praise of Women
36:list of references
373:The Musical Times
363:(Subscription or
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260:Discography
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367:required.)
217:A Secular
192:The Lodger
182:Tennyson's
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102:Biography
318:Triptych
163:Nocturne
135:concerto
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