Frederick Delius

[cilgwyn]

I really WAS gobsmacked at how good Koanga is. I thought it would be pretty,have some lovely orchestration & I'd think,'I enjoyed that & I'm glad I heard it,but it's not Delius at his best!'
Well how wrong I was! In fact,I think it's not only one of the most enjoyable English opera's I have heard,but could actually now be one of my favourite opera's! And yes,I must have a listen to Porgy & Bess,because,while I wouldn't like to compare Koanga with Gershwin's extraordinarily innovative score,there are parts of Koanga that do seem to share the same kind of sound world. Although I'm referring to some of the choruses,banjo's & fleeting moments in the orchestration,of course. We're not talking about anything along the lines of 'I've got plenty o' nuttin',or 'it ain't necessarily so',let alone the grime & squalour of Catfish Row!. But,it's still an extraordinary listen,if you're expecting a polite,conventional Victorian opera!

'The Magic Fountain',on the other hand,while it undoubtedly has some stunningly beautiful music (& I DID enjoy it) does feel closer to what might be perceived as your conventional Victorian opera. There are quite a few,prolonged,passages of people warbling vacuously at one another,which can get a little tiresome. You find yourself waiting impatiently for the next bit & fortunately,Delius doesn't let you down. Nevertheless,those bits do drag & despite the exotic location & subject matter,it just isn't anywhere as consistent or daring as Koanga.
It has got 'something' though,I'll give it that! (And of course,you learn a bit more about Delius's developement as a composer). Enough to persuade me to,maybe, give 'Irmelin' a go,when I get a chance!(Although,juding by seller prices on Amazon,I'll need a small mortgage at the moment! ) And Fennimore & Gerda has got to be up near the top of my cd 'shopping list' now!

[Mirror Image]

I really WAS gobsmacked at how good Koanga is. I thought it would be pretty,have some lovely orchestration & I'd think,'I enjoyed that & I'm glad I heard it,but it's not Delius at his best!'
Well how wrong I was! In fact,I think it's not only one of the most enjoyable English opera's I have heard,but could actually now be one of my favourite opera's! And yes,I must have a listen to Porgy & Bess,because,while I wouldn't like to compare Koanga with Gershwin's extraordinarily innovative score,there are parts of Koanga that do seem to share the same kind of sound world. Although I'm referring to some of the choruses,banjo's & fleeting moments in the orchestration,of course. We're not talking about anything along the lines of 'I've got plenty o' nuttin',or 'it ain't necessarily so',let alone the grime & squalour of Catfish Row!. But,it's still an extraordinary listen,if you're expecting a polite,conventional Victorian opera!

'The Magic Fountain',on the other hand,while it undoubtedly has some stunningly beautiful music (& I DID enjoy it) does feel closer to what might be perceived as your conventional Victorian opera. There are quite a few,prolonged,passages of people warbling vacuously at one another,which can get a little tiresome. You find yourself waiting impatiently for the next bit & fortunately,Delius doesn't let you down. Nevertheless,those bits do drag & despite the exotic location & subject matter,it just isn't anywhere as consistent or daring as Koanga.
It has got 'something' though,I'll give it that! (And of course,you learn a bit more about Delius's developement as a composer). Enough to persuade me to,maybe, give 'Irmelin' a go,when I get a chance!(Although,juding by seller prices on Amazon,I'll need a small mortgage at the moment! ) And Fennimore & Gerda has got to be up near the top of my cd 'shopping list' now!

Actually, Koanga was the first all-Black opera and predates Gershwin's Porgy & Bess by some 38 years. Delius was an innovator. He was using jazz harmonies before jazz was even invented!!! So when people make comparisons between Koanga and Porgy & Bess, it should be noted that Gershwin is the one borrowing from Delius and not the other way around. I like Gershwin, but he's always given credit as creating the first Black opera and the critics have it all wrong. They need to look at their music history books. Delius' Koanga was completed in 1897. Gershwin's Porgy & Bess was completed in 1935. What a difference!

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Good news Delius fans! New orchestral recording from Andrew Davis coming in October:

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Bought these last night:

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In the Decca set, I already own a 2-CD set with Mackerras, but there's a good bit in this Decca box that I don't have with Mackerras conducting (i. e. Appalachia, A Village Romeo & Juliet, Sea Drift, The Song of the High Hills, Over the hills and far away). I wager this set will be rare in the near future, especially knowing how Decca is quick to cut of life support from so many great recordings.

The Naxos recording has just been released and while I have a recording with this coupling (Hickox/LSO), I thought this would be an interesting performance especially for the forces involved: Stefan Sanderling and the Florida Orchestra. The Delius Collection set on Heritage is a reissue of the Unicorn recordings but finally boxed together for what might be the first time. I heard these were classic performances with Eric Fenby, Norman del Mar, and Vernon Handley sharing conducting duties.

The Hyperion recording with Delian Piers Lane on piano seems like a safe bet. Lane has recorded this concerto before with Handley on EMI with successful results. It will also be great to hear the original version of this concerto.

I'm pretty excited about these recordings.

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Found a fascinating documentary about Delius which deals with an alleged affair he had with an African-American woman in which he fathered a child while living in Florida. In this documentary, we follow Tasmin Little around as she tries to gather as much information as she can as to why Delius returned to Florida many years later:

Part 1:

http://www.youtube.com/v/0RocX8MvqcE

Part 2:

http://www.youtube.com/v/w95C2Vwt-Dc

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Whilst reading the biography of Delius on Wikipedia, I found this paragraph which stuck out like a sore thumb and that goes along with Little's documentary I linked from above:

In 1897, Delius met the artist Helena Sophie Emilie Rosen, known as Jelka (1868–1935), who later became his wife. She was a professional painter, a friend of Auguste Rodin, and a regular exhibitor at the Salon des Indépendants. 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 Friedrich Nietzsche. Jelka bought a house in Grez-sur-Loing, a village 40 miles (64 km) outside Paris on the edge of Fontainebleau. Delius visited her there, and after a brief return visit to Florida, he moved in with her. In 1903 they married, and, apart from a short period when the area was threatened by the advancing German army during the First World War, Delius lived in Grez for the rest of his life.

The bolded text obviously is what I wanted to be emphasized. The question is why did Delius return to Florida? What could possibly be back there that he needed? I think Little has done a great service to Delius fans with this documentary. There's still so many questions that are left unanswered about Delius' life. All of this makes a person wonder for sure.

[springrite]

The question is why did Delius return to Florida? What could possibly be back there that he needed? I think Little has done a great service to Delius fans with this documentary. There's still so many questions that are left unanswered about Delius' life. All of this makes a person wonder for sure.

The Delius family had family business and investment there. So he must be there to take care of some of that.

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The Delius family had family business and investment there. So he must be there to take care of some of that.

I'm not so sure about that. Maybe this is what biographers want you to think? I think Little was onto something there. It certainly gives his music another layer of mystery.

[springrite]

I'm not so sure about that. Maybe this is what biographers want you to think? I think Little was onto something there. It certainly gives his music another layer of mystery.

You'd be perfect for the Spanish Inquisition!

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You'd be perfect for the Spanish Inquisition!

[J.Z. Herrenberg]

Hello, gents! I saw that documentary about Delius by Tasmin Little years ago, and found it very plausible. One thing about Delius must be borne in mind - he did like women a lot, he didn't catch syphilis for nothing. In Florida, at his father's orange plantation, he gave piano lessons and cut quite a dashing figure and was very popular. And in Paris he led a bohemian existence. Combining work and pleasure, when returning to Florida, would be very Delian...

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Hello, gents! I saw that documentary about Delius by Tasmin Little years ago, and found it very plausible. One thing about Delius must be borne in mind - he did like women a lot, he didn't catch syphilis for nothing. In Florida, at his father's orange plantation, he gave piano lessons and cut quite a dashing figure and was very popular. And in Paris he led a bohemian existence. Combining work and pleasure, when returning to Florida, would be very Delian...

Johan!!! Glad you're here! Yes, this documentary poses some very interesting questions about this time in Delius' life. Have you read a biography about Delius, Johan? Would be interested to know what happened on his return to Florida in depth, but my thinking here is that Delius was quiet about this alleged affair and not only that but upon his arrival back in France, he married Jelka Rosen. Was Delius trying to rekindle a lost romance? Oh, the many questions that are left unanswered.

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Of my recent purchases, I'm quite interested in hearing The Delius Collection. Has anyone heard and own the originals as they appeared on the Unicorn label? Would appreciate any feedback in regards to the performances. I know the sound quality had to be pretty good since they were 1980s recordings.

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Delius is never given credit for anything. People just love to loathe him and what's interesting is there are a lot of people out there that genuinely adore his music. These are the kind of people that I share a bond with, because we all understand that Delius is a difficult composer to grasp for many. A lot of people respond to excessive bombast and high energy and Delius' wasn't about this at all. He didn't need to 'impress' people, though back in his time, he impressed a lot of listeners and conductors. He wasn't championed by Thomas Beecham because he was a poor composer. No, Beecham believed in this music as all of us do who love his music. I look to Delius for comfort and serenity, but also to be challenged, because his music was anything but conventional. He, like some of my other favorites like Bartok, Villa-Lobos, or Tippett, marched to the beat of his own drummer. I think he cared about his audiences, but composed because it's what his heart desired to do. Incredible composer.

[J.Z. Herrenberg]

Of The Delius Collection I originally owned the Song of the High Hills, the Songs and the Violin Concerto, with Ralph Holmes as soloist, and I liked them all. Especially a few of the orchestral songs are unforgettable ('Wine Roses' springs to mind, I think it's on YouTube).


I find it incredible that people should find Delius 'difficult'. But perhaps beauty and poetry in music need a certain temperament that many people lack. One thing Delius taught me was to appreciate life a bit more, and this Earth. He sings eloquently of the transience of all things and writes, to my mind at least, the most sheerly poignant and beautiful music there is. And the poignancy isn't personal, as in Mahler, it's as objective as our mortality.


Re books: I have read several books about Delius in the course of several decades. Fenby, Beecham and Philip Heseltine (aka Peter Warlock) are required reading I think. They don't give the more 'lurid' details of his life, of course (if there really are any). I seem to remember, by the way, that Delius didn't fall for easily for Jelka Rosen, that he loved a painter friend of hers more, and that Jelka's persistence and her providing a safe and quiet working environment finally won Delius over. So, it was more a marriage of convenience. On his trips to Paris, he wasn't faithful. She knew that, but she 'had' him...

[cilgwyn]

Delius! Why not?!! I'm afraid I've been side tracked by ,Howard Hanson,Louis Spohr & Anton Rubinstein,of all people! Not you're cup of tea,I fear!
I have had the Sony cd of Beecham conducting Eventyr,North Country Sketches (etc) in my 'to play pile' for the last two or three days & I need to listen to the Grove 'Mass of Life' again. After all,it took me 'yonks' to acquire it!
I have the Mackerras set of 'A Village Romeo & Juliet'. I used to have the original Argo release with the libretto. Like a fool,I sold it to the lady with the s/h stall,in the market. Quite some years ago,now. I honestly needed the money,then! But looking at some of the prices sellers ask on Amazon,it's a decision I definately regret! I remember buying it after enjoying the film of the Mackerras recording on Channel 4. Have you seen it,by the way,MI?) I think it's a wonderful performance.
  Incidentally,if you want to grind your teeth at some brain dead newspaper criticism;have you seen Andrew Clements review of Ronald Corp's 'A Village Romeo & Juliet' at the Queen Elizabeth Hall,on the Guardian newspaper's website? I quote: "hand-me-down Wagnerian","dramatically shapeless","glutinous","...which sounded too often like Tristan and Isolde on an outing to Ambridge!" A reference to the long running BBC Radio 4 soap,of course! Of course,it could have been a simply terrible performance!
I wonder if Johan's seen that one?!!

Got to get ready for the old sack,now!!

[kishnevi]

. Incredible composer.

Truly incredible when you consider that he was born 28 years after he died.

(points to the caption for MI's current avatar)

[cilgwyn]

MI's lucky,I'm so knackered I could hardly see to type,let alone spot that!

Okay,I'm off to bed!!!

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Of The Delius Collection I originally owned the Song of the High Hills, the Songs and the Violin Concerto, with Ralph Holmes as soloist, and I liked them all. Especially a few of the orchestral songs are unforgettable ('Wine Roses' springs to mind, I think it's on YouTube).


I find it incredible that people should find Delius 'difficult'. But perhaps beauty and poetry in music need a certain temperament that many people lack. One thing Delius taught me was to appreciate life a bit more, and this Earth. He sings eloquently of the transience of all things and writes, to my mind at least, the most sheerly poignant and beautiful music there is. And the poignancy isn't personal, as in Mahler, it's as objective as our mortality.


Re books: I have read several books about Delius in the course of several decades. Fenby, Beecham and Philip Heseltine (aka Peter Warlock) are required reading I think. They don't give the more 'lurid' details of his life, of course (if there really are any). I seem to remember, by the way, that Delius didn't fall for easily for Jelka Rosen, that he loved a painter friend of hers more, and that Jelka's persistence and her providing a safe and quiet working environment finally won Delius over. So, it was more a marriage of convenience. On his trips to Paris, he wasn't faithful. She knew that, but she 'had' him...

Thanks for your response, Johan. I really couldn't tell you why people dislike Delius' music, but one mention of his name on some forums and people will cut you to ribbons. I suppose they like something that has a bit more edge to it. Delius' music only rewards those that are willing to listen to the music for what it is. A lot of the time the frame of mind that the person could be in can very well hender their own enjoyment of the music. The music has to hit people just right I think. Personally, Delius isn't mere 'mood' music for me but he enriches the soul. Like you said, it enables you to understand and enjoy the simple the things in life: walks through the park, stroll on the beach at night, etc. These are things that I don't feel in other composers music. He was a Romantic composer in the truest sense of the word.

Delius' concerti are some of his most magical creations IMHO. That yearning, rhapsodic sense of line comes to the fore in these works. The Violin Concerto is my favorite of the concerti and I own two recordings with Tasmin Little and her performances are great. The Menuhin performance came in that 150th Anniversary box on EMI I bought many months ago. I also own the Philippe Djokic/Tintner performance (on Naxos). I believe I also have a performance with Jean Pougnet which came in a Thomas Beecham box set. Looking forward to hearing Holmes performance.

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Delius! Why not?!! I'm afraid I've been side tracked by ,Howard Hanson,Louis Spohr & Anton Rubinstein,of all people! Not you're cup of tea,I fear!
I have had the Sony cd of Beecham conducting Eventyr,North Country Sketches (etc) in my 'to play pile' for the last two or three days & I need to listen to the Grove 'Mass of Life' again. After all,it took me 'yonks' to acquire it!
I have the Mackerras set of 'A Village Romeo & Juliet'. I used to have the original Argo release with the libretto. Like a fool,I sold it to the lady with the s/h stall,in the market. Quite some years ago,now. I honestly needed the money,then! But looking at some of the prices sellers ask on Amazon,it's a decision I definately regret! I remember buying it after enjoying the film of the Mackerras recording on Channel 4. Have you seen it,by the way,MI?) I think it's a wonderful performance.
  Incidentally,if you want to grind your teeth at some brain dead newspaper criticism;have you seen Andrew Clements review of Ronald Corp's 'A Village Romeo & Juliet' at the Queen Elizabeth Hall,on the Guardian newspaper's website? I quote: "hand-me-down Wagnerian","dramatically shapeless","glutinous","...which sounded too often like Tristan and Isolde on an outing to Ambridge!" A reference to the long running BBC Radio 4 soap,of course! Of course,it could have been a simply terrible performance!
I wonder if Johan's seen that one?!!

Got to get ready for the old sack,now!!

I like Beecham's performances, preferrably the stereo performances, but I've found a lot of good in Handley, Mackerras, Grooves, Hickox, Barbirolli. These conductors carried the torch and they, too, believed in the music like Beecham did. I don't think there's many conductors working today that are for Delius' cause. Andrew Davis is still very much a Delian, but I don't think his grasp of the music is as strong as Barbirolli's or Mackerras'. But at least we got him on our side! Anyway, I have not seen the Mackerras-led performance of A Village Romeo & Juliet. I'm sure it's wonderful performance. The only performance I've heard of this opera has been Meredith Davies, which was an excellent recording. I loved Koanga too. As I was telling Johan, I really like Delius' concerti. There's so much beauty to be found in those works. His orchestral works outside of the concerti are always enjoyable with In A Summer Garden, A Song Of Summer, Late Swallows, Appalachia, The Walk to the Paradise Garden, North Country Sketches, Florida Suite, Song Of The High Hills, Hiawatha, and Paris: The Song Of A Great City being personal favorites of mine.

As for the music criticism, I think it's unfortunate that people can't listen to the music and be swept away by it. If they weren't so uptight and ego-driven, they might actually have enjoyed the music. Hell, even I have enjoyed some Mozart on occasion.