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PAUL HINDMARSH

Frank Bridge

The Complete Works

(1879 - 1941)

The Complete Works Portraits of an English composer in his time, with full Thematic Catalogue of Works (1900 - 1941) Compiled and edited by Paul Hindmarsh

PHM PUBLISHING

Revised edition published in 2016 by PHM Publishing © 2016 by Paul Hindmarsh All rights reserved

All images, extracts from musical works and letters are reproduced by permission of the relevant copyright holder and may not be re-produced without prior permission.

The right of Paul Hindmarsh to be identified as author and editor of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988.

A catalogue record for the print version of this book is available from The British Library

PHM Publishing Paul Hindmarsh Music Productions Ltd 1 Clumber Close, Poynton, Cheshire, SK12 1PG,UK www.paulhindmarsh.com

For Val

Contents vi vii

Preface Acknowledgements Time line

viii

PART 1 Bridge in his time 1 Biographical sketch - Seeds of Discontent Paul Hindmarsh 2 The Good Old Days Ivor James 3 Memories of a unique friendship Daphne Oliver 4 Modern British Composers I: Frank Bridge (1919) Edwin Evans 5 An Interview with Frank Bridge (1923) P.J. Nolan 6 Frank Bridge (1941) Herbert Howells PART 2 The Complete Works

1 18 21 23 27 30

compiled by Paul Hindmarsh

1 Introduction 2 Sources Catalogues of works The manuscripts The sketches The published music The correspondence Abbreviations 3 Thematic Catalogue of Works 1900-41 4 Classified Index of Works 5 Bibliography Jessica Chan and Paul Hindmarsh

34 35

42 225 233

Index of titles and first lines

241

General index

245

v

Preface Frank Bridge: The Complete Works is an extensively enlarged and revised edition of Frank Bridge: A Thematic Catalogue, originally published in 1983 by Faber Music Ltd. The aim of the first edition was to document the surviving musical and biographical sources that illuminate Bridge’s life and work. This new edition seeks to add further context with the addition of a substantial biographical section.

Since 1983, one hitherto unknown work has been discovered (the song Remembrance, H.35) and the original manuscripts of two others have come to light (Morçeau Characteristique, H.83 and Finale from ‘A Royal Night of Variety’, H.184). Documentary evidence provides more reliable dates for the composition of Dramatic Overture (now H.24) and the Two Recitations (which have been moved from H.35 to H.73, the number originally allotted to the overture). The song Remembrance has been slotted into H.35 and the ordering of the Heine settings adjusted as H. 26-28. All the music published in Bridge’s lifetime has been in the public domain since 2011. The publishers of more recently released editions still in copyright has changed since 1983 and there have been a number of further publications and arrangements of previously unpublished work.

Most of the biographical and documentary commentaries have been extensively expanded or updated with additional primary source material - letters and reviews - to provide more detailed period context. Much of this is derived from my writings on Bridge and his music published as journal articles or programme notes since 1983. In Part One, Frank Bridge in his Time, my biographical sketch, based on Bridge’s extensive correspondence and the writings of Benjamin Britten, is followed by two short memoirs, from Bridge’s friend and colleague Ivor James and from Daphne Oliver, who was closely connected to the Bridges through their closest confidante Marjorie Fass. In addition, I am grateful to Oxford University Press for permission to include one of the most perceptive musical portraits of Bridge written as an obituary in 1941 for there journal Music & Letters by Herbert Howells, and to The Musical Times for permission to re-print a feature from 1919 written by the music critic Edwin Evans.

This was the first the first major article devoted to Bridge’s music.

vi

Acknowledgements I would also like to acknowledge, with gratitude, all the help and encouragement I have received during the research, writing and revision of this volume. To the the Estates of Ethel Bridge and Elizabeth Sprague Coolidge (in particular Mr. Jeffrey H. Coolidge) and the publishers, libraries and archives listed in the Sources section of this volume for permission to quote from the letters of Frank and Ethel Bridge, Marjorie Fass and Elizabeth Sprague Coolidge and from Bridge’s music. To the staff of the same organisations and the staff of the British Library Newspaper Library’s former Colindale centre, for their invaluable and patient assistance during extended periods of source research in the 1970s and early 1980s.

For their kindness in preparing and supplying copies of scores, authorised photocopies and microfilms, I am especially indebted to: Carol Gartrell (former Boosey & Hawkes archivist); the late Rosamunde Strode for her unstinting help in her role as correspondent of the Britten-Pears Library, Aldeburgh; the production staff of Faber Musc Ltd. during the periods of original research and revision; past and current staff of the Music Division of The Library of Congress, Washington DC; to Dr. Peter Horton, reference librarian of the Royal College of Music, London.

During the period of original research in the 1970s, many of Franks Bridge’s surviving friends and former colleagues offered significant information and insight. Among them were cellist Florence Hooton and her husband violinist David Martin, cellist Antonia Butler, harpist Sidonie Goossens, pianist Angus Morrison, Sir Adrian Boult, Sir Arthur Bliss, Sir Peter Pears, Daphne Oliver, Anthony Burns-Cox, Hiawatha Coleridge-Taylor. I honour their memory.

I am grateful to Lewis Foreman for his continued co-operation and his encyclopaedic knowledge of British music and to Dr. Jessica Chan for permission to incorporate her bibliography into this revised edition. Finally, to Professor Peter Dickinson, whose suggestion in 1974 that I might be interested in the music of Frank Bridge led to four decades of writing, researching and editing, and to the late John Bishop, former secretary of the Frank Bridge Bequest (Royal College of Music, London), whose generous support over many years made the production of this revision possible.

Paul Hindmarsh, April 2016

vii

Timeline 1879

26 February

Born 7 North Road, Brighton to William Henry Bridge (1845-1928) and Elizabeth Bridge (née Warbrick) (1846-1899).

1844

Starts school at York Place (later Varndean) school, Brighton.

1885

Begins violin lessons with his father

1891-6

Attends Brighton School of Music (established 1883); begins to compose; plays in father’s orchestras, occasionally arranging, conducting and deputising on other instruments.

1896

Enters the Royal College of Music as a student of violin and piano; attends harmony and ensemble classes; occasionally plays in orchestra (2nd violin); continues to compose without supervision.

1899

Bridge’s mother dies. Wins Foundation Scholarship; becomes one of Stanford’s composition students; principal 2nd violin in College Orchestra; member of an unofficial musical club called ‘The Beloved Vagabonds’, founded by Audrey Ffoulkes and including many of Bridge’s musical associates and friends.

1900

17 August

Completes earliest surviving composition, Une Lamentatione d’Amour (H.2).

14 November First recorded appearance in a chamber ensemble, premiere of Piano Trio (H.1).

5 December First public appearance as a viola player, in an RCM concert including a performance of Dvorak’s Terzetto.

1901

1902

March

Awarded Arthur Sullivan Prize for composition; String Quartet in B flat (H.3) performed 14 March.

4 December

Takes part in first performance of String Quintet in E minor (H.7).

4 April

First professional performance: Piano trio (H.1).

20 June

First public appearance as conductor: Berceuse (H.8).

9 December Conducts first performance of The Hag. 1903

23 January

First performance of Piano Quartet in C minor (H.15).

Awarded Tagore Gold Medal ‘for the most generally deserving pupil’; gains ARCM; friend and fellow student Ethel Sinclair returns home to Australia.

1904

1 April

Leaves RCM with a glowing report from Sir Hubert Parry.

August

First significant publication, Autumn (H.24), in the Musical Times Supplement.

20 May

First professional appearance as a conductor in the First Patron’s Fund Concert, St. James’s Hall, Symphonic Poem (H.30) and The Hag (H.14).

19 October

Bridge (vla), with Vera Warwick Evans, Herbert Kinsey and Ivor James give what was thought to be the British premiere of Debussy’s String Quartet (the work becomes a strong influence on Bridge’s early string writing).

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6 December Three songs (H. 21, H.38 and H.36) premiered at the Second Patron’s Fund Concert.

1905

Conducts repertoire rehearsals for the New Symphony Orchestra. English String Quartet, with Donald Tovey, perform piano quintets by Schumann and Brahms for the Prime Minister, Arthur Balfour.

20 May

Mark Hambourg (pno) plays the prize-winning Capriccio No.1 (H.52).

September

Bridge wins second prize in the first W.W. Cobbett Musical Competition with Phantasie in F minor (H.55).

23 November RCM students perform String Quartet in B flat (H.3).

26 November Plays second viola with the Joachim Quartet, in Brahms’ Sextet in G major.

1906

English String Quartet plays again for Balfour, now leader of the Opposition.

22 June

Saunders Quartet gives first UK performance of Phantasie in F minor (H.55).

Autumn

Bridge receives ‘mention d’honneur’ for String Quartet in E minor (H.70) from Filharmonica Accademica, Bologna.

Begins Sextet in E flat (H107).

1907

8 March

Grimson Quartet gives first performance of Three Idylls (H.67) followed by performances in the Netherlands.

14 June

Grimson Quartet and Thomas Dunhill give first public performance of Piano Quintet (H.49).

Autumn

Bridge wins first prize in W.W. Cobbett’s Third Musical Competition with Phantasie in C minor (H.79).

3 October

Sir Henry Wood conducts first performance of Isabella (H78) at a Queen’s Hall Promenade Concert.

Ethel Sinclair returns from Australia.

Phantasie in C minor (H.79) and Dance Rhapsody (H84) receive prestigious performances in London and Liverpool respectively.

1908

2 September Bridge and Ethel Sinclair are married at St Mary’s Church, Fulham. Bridge moves from 50 Elm Park Mansions, Chelsea, to set up home at 23 Foster Road, Chiswick.

October

Composes An Irish Melody (H.86) in response to a commission from the Hambourg family.

9 December Makes rare public appearance as accompanist in Three Songs for contralto, viola and piano (H.76) at the Broadwood Concert Rooms. Singer is Ivy Sinclair, his sister- in- law.

1909

16 June

English String Quartet gives premiere of String Quartet in E minor (H.70) during its Bechstein Hall season.

14 July

Conducts Two Songs for baritone and orchestra (H65) in a Patron’s Fund Concert, Queen’s Hall.

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1910

January

Completes Suite for Strings (H.93).

2 June

Completes his W.W. Cobbett commission, Phantasy in F sharp minor (H.94).

15 November Conducts for Marie Brema’s Opera Season at the Savoy Theatre, including The Two Hunchbacks (H.95).

28 November Motto Quartet gives first public performance of Novelletten (H.44).

13 December Grimson Quartet plays String Quintet in E minor at Bechstein Hall.

1911

21 January

Henkel Piano Quartet’s first concert includes premiere of Phantasy in F sharp minor (H.94).

26 January

Conducts two more operas for Marie Brema, at the Savoy Theatre, London.

1 February Bridge takes part in second performance of Phantasy (H.94) during a banquet of the Concert Goers’ Club, Royal Academy of Music.

June

During the Coronation celebrations for George V, Bridge plays in Coronation Orchestra and five pieces of his are performed during The Pageant of London (H.98).

Three Idylls (H.67) is played in the first concert of the Society of British Composers.

1912

5 July

The Sea (H.100) completed.

March

Ethel Bridge undergoes major abdominal surgery in a London nursing home.

They remain childless thereafter.

18 March

Viola duos (H.101) premiered by Bridge and Tertis.

29 May

Revised version of Piano Quintet (H.49A) performed.

24 September Sir Henry Wood conducts the first performance of The Sea (H.100) at a Queen’s Hall Promenade Concert.

Sextet (H.107) completed.

1913

18 June

English String Quartet, with Ernest Tomlinson (vla) and Felix Salmond (vlc), give premiere of Sextet (H.107).

30 July

Completes Dance Poem (H.111).

17 December Edward Speyer’s Classical Concert Society presents chamber music by Ravel, in the presence of the composer. English String Quartet and Alexander Kelly(pno) play the String Quartet, and Introduction and Allegro with piano music by Scriabin. The Bridges spend Christmas and New Year with the Speyers.

November

Conducts for Raymond Rozé’s season of opera at Covent Garden: Tannhäuser (15, 17 and 21 November), Hansel and Gretel (26 and 27 November and 1 and 6 December).

Begins Cello Sonata (H.125).

x

1914

16 March

Conducts first performance of Dance Poem at a Royal Philharmonic Society concert.

25 April

Completes Four Characteristic Pieces (H.112).

19 June

Edward Speyer’s Classical Concert Society presents chamber music by Fauré, performed by Lady Speyer (soprano Antonia Krufferath), Ivor James, Bridge and Fauré himself.

Sketches Summer (H.116) and begins String Quartet in G minor (H.115).

1915

The Bridges move to 4 Bedford Gardens, Kensington.

30 March

Completes String Quartet in G minor (H.115)

11-22 April Orchestrates Summer (H.116).

8 May

Conducts Isabella in one of Isadore de Lara’s ‘War series’ of concerts of British music.

Summer

String Quartet in G minor wins a Cobbett Prize.

15 September Lament (H.117) receives Promenade Concert premiere conducted by Henry Wood.

4 November First concert performance of the new quartet by the London String Quartet.

Thereafter the London Quartet, and other ensembles, play a great deal of Bridge at home and abroad.

1916

English String Quartet appears less frequently in public; begins to promote ‘drawing room’ series in smaller venues like the studio of Marjorie Fass, 46 Bedford Gardens,London.

Early songs and instrumental pieces revised for his Bridge’s publishers Winthrop Rogers and Augener.

March

Completes sketch of A Prayer (H.140).

13 March

Bridge conducts the first performance of Summer in one of Beecham’s Royal Philharmonic Society concerts.

17 June

Two Old English Songs (H.119) played for the first time by the London String Quartet.

26 September Henry Wood conducts the premiere of the string orchestral version of Two Old English Songs.

1917

1 January

Bridge conducts the premiere of Two Poems (H.118) in Henry Wood’s New Year’s Day concert at the Queen’s Hall.

Spring

Completes Cello Sonata (H125).

7 July

Records Scherzo from Saint-Saens’s Piano Quartet (Op.41) with Mark Hambourg (pno), Marjorie Hayward (vln) and Warwick Evans (vlc) on HMV matrix HO 2724.

12 July

Records Scherzo from Schumann’s Piano Quintet (Op.44) on HMV matrix HO 2724 with the same performers, plus Herbert Kinsey (vln).

xi

13 July

Felix Salmond (vlc) and William Murdoch (pno) give first performance of Cello Sonata (H.125) in a concert with Albert Sammons, playing Ireland’s Violin Sonata No. 2, and Bridge (vla), in Fauré’s Piano Quartets.

Summer

Bridge judges the 1917 Cobbett Musical Competition for a Folk Song Phantasy.

Begins The Christmas Rose (H.179).

1918 14 May

Conducts Queen’s Hall Orchestra at the Wigmore Hall in a programme including cello concertos by Schumann and Haydn, played by Guilhermina Suggia.

May

Completes Blow out you Bugles (H.132).

1-18 October Orchestrates A Prayer.

1 December Conducts Dance Rhapsody (H.84) in a Royal Albert Hall Sunday Concert.

December 1919

Edgar Bainton conducts concerts in Rotterdam and the Hague, including Bridge’s Lament.

Bridge, like his father before him, takes on additional violin teaching at schools in Ascot, Berkshire, and Wadhurst, Kent, in addition to his private pupils; finds less time for composition.

2 May

Bridge conducts a memorial concert for the pianist and composer Frederick Kelly in the Wigmore Hall.

1 July

Royal College of Music Commemoration Concerts include a performance of Blow out you Bugles.

October/ Bridge conducts two performances of Suite for Strings in the Queen’s Hall.

November 3 December Bristol Philharmonic Choir performs A Prayer.

1920

December

Deputises for Sir Henry Wood at a Queen’s Hall concert.

February

Bridge’s second and last recorded public appearance as pianist, accompanying Helen Anderson in a group of his songs for the Rodewald Concert Society, Liverpool.

A notice in the Musical Times reports that Bridge’s music is becoming accepted in the USA (see H.107).

10 February Bridge deputises for Raymond Rozé, conducting his British Symphony Orchestra in a programme including Rozé’s Poem for Victory, with Albert Sammons (vln).

April 18 June 1921

Completes The Hour Glass (H148).

Bridge meets Walter Damrosch, conductor of the New York Symphony at a reception at the Music Club, London

15 March

Liverpool Philharmonic Choir performs A Prayer.

30 March

Felix Salmond performs Cello Sonata in Amsterdam.

Easter

Bridge begins Piano Sonata (H.160).

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1922

Summer

Spends more time at a cottage rented by Marjorie Fass in Friston, Sussex.

23 August

Bridge’s music for Frank Stayton’s play Threads (H.151) premiered at St. James’s Theatre, London.

Autumn

The Sea (H.100) receives the first of almost annual performances at Promenade Concerts during the 1920s and 1930s.

21 January

Bridge is one of many leading composers to be guests for a dinner and presentation (at Pagani’s Restaurant, London) for the esteemed critic and champion of new music Edwin Evans. Joining many of the country’s leading composers were Casella, Falla, Malipiero, Ravel and Stravinsky.

23 February Bridge conducts a Royal Philharmonic Society concert after Landon Ronald and then Eugene Goossens fall ill.

5 May

Completes first movement of Piano Sonata.

17 May

Bridge meets Rachmaninov at a reception at the Music Club, London. Two Old English Songs are performed at Rachmaninov’s request.

28 May

Meets Elizabeth Sprague Coolidge at the home of the widow of his publisher Winthrop Rogers; friendship is soon established.

July

The Bridges tour France with Mrs Rogers and Mrs Coolidge.

August

They accompany Mrs Coolidge on a motor tour of Somerset and Devon.

21 October

Sir Roger de Coverley (H.155) is a great success at the Last Night of the Queen’s Hall Proms.

November

Mrs. Coolidge invites the Bridges to her Berkshire Festival of Chamber Music, Pittsfield, Massachusetts, September 1923.

1923

Bridge buys a plot of land in the hamlet of Friston, on the Sussex Downs near Beachy Head on which to build a cottage.

Good Friday Bridge conducts the Royal Choral Society in a performance of Messiah.

17 June

A musical evening for Mrs Coolidge in St John’s Wood includes Bridge, Tertis, Bax, Goossens, Bliss, Cedric Sharpe, and Harriet Cohen as guests.

July

The Bridges join Mrs Coolidge for a motor trip through the Low Countries.

26 July

Records The Sea for Columbia Records, L1500, L1501.

22 August

The Bridges leave for USA on the Magestic.

September

Guests of Mrs Coolidge at Pittsfield Festival. Coolidge’s offers of financial help are rejected, but Bridge shows concern over her deafness.

27 September Sextet (H.107) performed during the Festival, which includes a great deal of British music, played by British artists including Lionel Tertis, Myra Hess, Rebecca Clarke, and the London String Quartet.

Bridge and his wife embark on a motor tour of the East Coast States with Mrs. Coolidge.

xiii

28 October

Reception for Bridge at the Colony Club, New York, organised by Mrs. Coolidge.

200 guests include Bliss, Grainger, Rubenstein, Salmond, the London String Quartet (who play String Quartet in G minor), Elena Gerhardt (who sings a group of songs) and friends from College days, James Friskin, Rebecca Clark and Cecil Forsyth.

Bridge, accompanied by Ethel, undertakes a conducting tour, organised by Mrs. Coolidge:

18 October

Cleveland - The Sea.

26-7 October Boston - The Sea. 1-2 November Detroit - Summer / Sir Roger de Coverley.

4 November London String Quartet plays Quartet in G minor in Detroit.

5 November Sees Niagara Falls.

11 November New York Symphony Orchestra - Two Poems 13 November London String Quartet plays Quartet in G minor and Felix plays Cello Sonata in Aeolian Hall, New York.

Bridge gives important and revealing interview to Musical America (17 November issue), outlining his creative philosophy.

18-19 November Visits Eastman College, Rochester, NY, on the advice of Eugene Goossens, who suggests the possibility of teaching there.

1-8 December Returns to Britain; finally accepts Mrs Coolidge’s offer of financial support for the rest of his life and the promise of regular performances in Mrs. Coolidge’s ‘globe-trotting’ Festivals of Contemporary Chamber Music.

1924

Bridge gives up teaching and performing in public to concentrate on composing and conducting. Receives FRCM during the year.

26 February Conducts recordings for Columbia with the Queens Hall Light Orchestra: Gounod Mireille Overture, Humperdinck Hansel and Gretel Overture (unpublished), Planquette Les Cloches de Corneville (unpublished), Ravel Pavane pour une infante defunte.

1925

13 March

Conducts Sir Roger de Coverley and the second orchestral Poem for Columbia (unpublished).

March

Completes Piano Sonata (H166).

October

Conducts The Sea at the Norwich Triennial Festival.

12 February Re-records Humperdinck’s overture and his own unpublished recordings for Columbia.

Spring July - August

Begins String Quartet No 3 (H.175).

The Bridges, with Harold Samuel, accompany Mrs Coolidge on a motoring tour of the Alps and the Mediterranean coast.

xiv

1926

1927

October

Composes Vignettes de Marseilles (H.166).

15 October

Myra Hess gives premiere of Piano Sonata (H.160) at Wigmore Hall.

April

Bridge visits Mrs Coolidge’s Ojai Festival, California, where the London String Quartet plays String Quartet in G minor. Bridge, accompanied by Harold Samuel, spends some time sight-seeing along the West Coast, including a visit to the Grand Canyon.

17 May

Completes first version of String Quartet No 3, which is rejected by the quartet Mrs. Coolidge had engaged for her European concerts that year.

August

Begins Enter Spring (H.174).

January

Composes There is a Willow Grows Aslant a Brook (H173) using material originally intended for Enter Spring, which is also completed in sketch.

24 February Conducts a Royal Philharmonic Society Concert 27 May

Completes Enter Spring.

July

Completes revisions to String Quartet No 3.

20 August

Conducts first performance of There is a Willow Grows Aslant a Brook.

August

Rehearses ensembles engaged for the performances of String Quartet No 3.

17 September First performance of String Quartet No 3 in Vienna by the Kolisch Quartet, during Mrs. Coolidge’s European Tour. Further performances follow in London and Paris.

1928

27 October

Bridge conducts first performance of Enter Spring during the Norwich Triennial Festival. Introduced to Benjamin Britten by Audrey Alston.

28 March

Completes Rhapsody Trio (H176).

September

Attends ISCM Festival in Siena for performance of String Quartet No. 3.

28 September American premiere of String Quartet No 3.

1929

October

Begins Piano Trio (H.178).

January

Completes Piano Trio.

Summer

Completes orchestration of The Christmas Rose (H.179).

4 November First performance of Piano Trio at a reception organised by the Coolidge Foundation at the Langham Hotel, London.

1930

1931

After the formation of the BBC Orchestra, Bridge invited to conduct studio concerts. In March conducts this orchestra in British premiere of Ravel’s Bolero.

29 June

Completes Oration (H.180).

October

Bridge visits USA for performance of Piano Trio under auspices of the Coolidge Foundation.

July

Completes Phantasm (H.182).

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October

1932

Bridge attends Coolidge Foundation Concerts in Paris for a performance of Piano Trio; conducts performance of Hindemith’s Concert Music for piano, brass and two harps.

Composition of Violin Sonata (H.183) is delayed by an eye ailment and recurrent high blood pressure; finally completed

8 December Bridge conducts premiere of A Christmas Rose at The Royal College of Music.

Mrs. Coolidge sees no prospect of a performance of Violin Sonata or Phantasm under her auspices, due to the precarious state of her finances.

1933

1934

25 July

Bridge conducts first broadcast of Dance Poem.

10 January

Bridge conducts first performance of Phantasm, with Kathleen Long (pno).

18 January

First performance of Violin Sonata, Antonio Brosa (vln), Harold Samuel (pno).

13 June

Completes Bagatelle and Nocturne for flute and oboe as a birthday gift for Mrs. Coolidge, 30 October 1935. Also composes A Merry Merry Xmas (H.185) as a Christmas present.

21 September Violin Sonata receives American premiere in the presence of the composer.

1935

1936

Spring

Mrs. Coolidge visits England, during her European tour.Bridge arranges a reception for her during which Violin Sonata is played again.

14 May

Bridge conducts first broadcast of Isabella.

25 August

Bridge conducts a concert performance of Dance Poem.

17 January

Adrian Boult conducts premiere of Oration, with Florence Hooton (vlc) and BBC Symphony Orchestra (Adrian Boult) in the presence of the composer.

July

Begins a movement for string quartet (H.187).

October

Becomes seriously ill (see H.188), takes six months to convalesce but never recovers full health.

6 December Adrian Boult conducts second performance of Oration.

1937

1938

April

Bridge and Ethel, plus his nurse, go to Paris during his convalescence; then resumes work on String Quartet No. 4 (H.188).

November

Completes String Quartet No. 4.

27 February Completes Divertimenti (H.189), a birthday gift for Mrs. Coolidge, 30 October .

13 September Gordon String Quartet gives first performance of String Quartet No. 4 in Pittsfield, Massachusetts, in the presence of the composer and his wife.

October

1939

Further performances take place at New York Public Library and Library of Congress, after which Bridge awarded Coolidge Medal for services to chamber music.

Bridge moves permanently to Friston Field, dividing his manuscript collection between his publishers and himself for safe keeping.

xvi

1 September Dance Poem is performed on the night Hitler’s troops invade Poland.

1940

1941

14 April

Divertimenti (H.189) performed at the Library of Congress.

2 August

Completes Rebus (H.191).

November

Begins Symphony for Strings (H.192).

10 January

Bridge dies

23 February Sir Henry Wood conducts premiere of Rebus (H191), ‘In Memoriam’.

March

Vignettes de Danse broadcast from BBC in Glasgow by BBC Scottish Orchestra, conducted by Guy Warrack.

12 August

Sir Henry Wood conducts a memorial concert, comprising Rebus, The Sea and Suite for Strings.

The Brits : Frank and Ethel with Marjorie Fass (centre)

xvii

The Edwardian Bridge

Frank and Ethel at home in 4 Bedford Gardens, London

Bridge (front right) at a meeting of the Performing Rights Society committee

xviii

PART ONE Frank Bridge in his time

Drawing of Frank Bridge by Marjorie Fass

Prawning at Birling Gap, near Beachy Head, Sussex. Left to right: Ethel and Frank, Howard Ferguson, Harold Samuel.

Frank and Ethel at Fristion Field

CHAPTER 1 Biographical sketch - Seeds of Discontent Paul Hindmarsh When Frank Bridge died on 10 January 1941, he had become one of the forgotten generation of British composers with few supporters left. One of the most loyal was Benjamin Britten. In 1947 he began a tribute to his teacher and mentor with this observation: ‘A highly intelligent conductor made an interesting remark the other day. It was after a concert in London when the Divertimenti for wind instruments of Bridge was played. “Why”, he said, “I had no idea that Bridge was an interesting composer. I had always connected his name with salon music”. And so would have ninety per cent of the highly intelligent and open-minded musicians and music lovers in this country, if they connected his name with anything at all - so neglected has his music become.’1 Thirty years earlier, it was this very ‘salon’ style that had made Bridge one of the most successful of the pupils of Sir Charles Stanford at the Royal College of Music. Then in the 1920s and 30s, Bridge’s intense and chromatic later style drew much adverse criticism. One view, that Bridge was ‘bartering a noble birthright for less than a mess of pottage’2, was shared by many. Few of the works from these years entered the repertory and by 1947, when British musical life was just catching up with Bridge and recognising the true worth of composers like Alban Berg and Arnold Schoenberg, both of whom Bridge knew and admired, his later music was all but forgotten.

The best of Bridge’s music - early or late, ‘conservative’ or ‘radical’ - is no longer neglected.

However, he remains one of the few important British composers from the first half of the century, whose life and times have not been fully documented. Detailed research did not begin in earnest until the late 1960s, by which time it was almost too late to construct a complete picture of his life. Many of his circle of friends and colleagues had died. Most of his personal papers, including a lifetime’s correspondence and some unique manuscripts, were burned after his widow’s death in 1961. There are large gaps in our knowledge of Bridge, especially the early years. However, the situation improves greatly after 1918. His voluminous correspondence with friends like Elizabeth Sprague Coolidge, Marjorie Fass, Edward Speyer and Benjamin Britten provides a more detailed picture.

A contemporary of John Ireland, Bridge was a few years younger than Vaughan Williams and Holst and a few years older than Arnold Bax and George Butterworth. He was a product of the Royal College of Music and one of the many pupils of Sir Charles Stanford. However, unlike the other leading lights of the Stanford generation, he never became part of the musical establishment in a career that spanned almost forty years. During the first phase of his career (1903-1915) he was a performer-composer. He was a fine viola player. From 1915 until 1924 he strived to become a full-time composer and conductor, but had to increase his teaching commitments to earn his living. Then from 1924 he was able to fulfil his ambitions through the financial support of the American patroness Elizabeth Sprague Coolidge.

Bridge was born on 26 February 1879 at 7 North Road, Brighton, the tenth of twelve children of William Henry Bridge (1845-1928) and the first of the three children from his third marriage, to Elizabeth Warbrick (1846-1899). Frank’s father was a printer who in middle age, gave up his job as a master lithographer, to become a violin teacher and theatre orchestra conductor. As a child Frank, like all the younger children, became involved in family music making. His father started him on the violin when he was six. Frank’s sister Nellie (1881-1965) had a fine singing voice and youngest brother William (1883-1956) was to become a professional cellist. William senior travelled to boarding schools in Brighton, Eastbourne and Seaford to teach the violin and he was also the music director at two local theatres, the Old Oxford and the Empire. He was a stern disciplinarian, bringing up his twelve offspring with Victorian strictness and turning them out when they reached their late teens. His insistence on

1 BBC Third Programme, 9 November 1947, published in Kildea (ed.), Britten on Music, Oxford (2003), p.75 2 The Musical Times, May 1930, p. 42

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FRANK BRIDGE : The Complete Works

regular and long practice gave Frank a strong sense of standard, but at the expense of a marked rounding of the shoulders. Frank inherited many of his father’s traits, both good and bad.

At twelve he was sent to the local Brighton School of Music for weekly violin and piano lessons.

Run by two leading Brighton musicians Dr. Alfred King and Robert Taylor, this flourishing institution included composer Frederick Corder among its visiting teachers. Corder was the professor of composition at the Royal Academy of Music in London, where he was to teach Granville Bantock, Arnold Bax and Josef Holbrooke. Frank also played in his father’s theatre orchestra. He arranged items of music and even filled in on other instruments when the need arose. It was around this time that Bridge began to compose. A steady stream of songs, instrumental and orchestral pieces flowed from his youthful pen.

In the ‘Nursery’: The Royal College of Music In 1896, Frank, aged seventeen, was enrolled as a violin and piano student at the Royal College of Music, London. Progress during his first three years was steady if unremarkable. Much of his time was devoted to instrumental lessons, orchestra rehearsals and ensemble sessions. He rose from the back desk to lead the second violins in the college symphony orchestra, which was conducted by the redoubtable Sir Charles Stanford. Bridge continued to compose without formal tuition until 1899, when he won a Grove Scholarship that enabled him to remain at the RCM for a further four years as a composition pupil of Stanford. His regime was founded on a disciplined study of harmony and counterpoint, the classics and the ancient modes, while across London at the Royal Academy of Music, Frederick Corder gave his students greater freedom to follow their own creative inclinations. Writing in 1918 to family friend Marjorie Fass, Bridge compared his seven year apprenticeship ‘in the nursery’ to sucking ‘water through a straw instead of glaxo and bovril’. Nevertheless, there is no doubt that Stanford’s insistence on craftsmanship, clarity of thought and self-criticism served him well, as Bridge began to blossom as both composer and performer. Bridge penned this tribute to his teacher, in memoriam, in an edition of RCM Magazine published just after Stanford’s death in March 1924: It may be that perspective on an early impression is altered by the march of time or indeed by the present-day enthusiasms which increasingly dominate one’s point of view, but after a period of more than twenty years there remains the conviction that in Sir Charles Stanford we all had a mastermind at work. Whether during a composition lesson or an orchestral rehearsal, one was conscious of the power and sincerity with which he exercised his art. His complete sympathy with the classics and their traditions was an outstanding quality which he happily imparted to all who came under his refining influence. Who can forget his unfailing contempt for the meretricious and the vulgar, or faced with a youthful harmonic indiscretion, the softened grin as he would say “It won’t do, me bhoy!”3 Thirty years on from his RCM days, Frank Bridge’s dealings with the young Benjamin Britten would appear to have been of a strikingly similar kind. For Stanford, as for Bridge, the teaching of composition went hand-in-hand with the performance of the end product. In an extract from his diary, also quoted in Harry Plunkett Greene’s biography, Stanford writes of his department of composition and orchestral training: I was fortunately able to profit by personal experience of the obvious lacunae in the (set up) of foreign conservatories... Young composers were taught abroad upon paper and only the most finished examples of their work ever reached the point of hearing. We went on the principle that the hearing of a composition is the best lesson the writer can get, and that the perspiration and agony from which a composer suffers when he hears the sounds of his own experience is the most valuable part of his training. The Patron’s Fund concerts were founded on that principle.4

3 RCM Magazine, vol. 2, no. 2, (1924) p.55 4 Greene, H.P. Charles Villiers Stanford, Edward Arnold, London (1935)

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Bridge in his Time : Seeds of Discontent

Bridge made his public debut as performer and composer at a Royal College of Music chamber concert, when he led the first performance of his Piano Trio in D minor (H.1). By then he had also begun to play the viola. The RCM Magazine charted his progress as a chamber player in some detail.

We read, for instance, that he made his debut on the viola in a performance of the Dvorak Terzetto just three weeks after the Piano Trio. Playing and coaching chamber music was to be a major part of his professional life for the next twenty years. Later on there are references to his stylish playing in the chamber music of Brahms, Borodin, Franck, and more Dvorak, The American Quartet.

All of his extended student works were played professionally or in student performances, some of them, like the C minor Piano Quartet and E minor String Quintet receiving encouraging notices. These are the best of his student pieces. The String Quintet in particular reveals a solid, well ordered technique, a performer’s understanding of instrumental idioms and a freshness of manner that few of his fellow students could match. Some of the songs and salon items from this time were to become some of his most popular pieces when they were published a during the 1914-18 war.

Bridge was also a leading light in a students’ music club called The Beloved Vagabonds, which met two or three times a term to play chamber music in an informal studio atmosphere. The only condition of entry was that the students should be musicians, not just performers. Many of Bridge’s subsequent circle of friends and professional colleagues were members, like the pianist Harold Samuel and the cellist Felix Salmond - two musicians for whom Bridge had the highest regard. The viola player Audrey Alston was later to be the young Benjamin Britten’s first viola teacher. She was responsible for introducing the boy to Bridge at the 1927 Norwich Festival. The composer Ernest Farrar, whose death on the Somme in September 1917 deeply affected Bridge, was the posthumous dedicatee of the Piano Sonata (H.160). It was also on these occasions that Bridge’s own quartet, the English String Quartet (ESQ), made its early outings, with violinist Thomas Morris and Herbert Kinsey, cellist Ivor James and Bridge himself on viola. Above all, there was the Australian violinist Ethel Sinclair, who sat next to Bridge in the first desk of second violins in the College orchestra and was to become his wife (on 2nd September 1908). In his obituary of Bridge, their friend Ivor James described the Bridge’s married life as ‘a most beautiful companionship’5.

Of the lighter side of student life, Ivor James recalled, in the RCM Magazine, the annual parties of the RCM Union, ‘when our quartet (Thomas Morris, who died just after the last war, Herbert Kinsey, Frank Bridge and myself) was “let loose” on the platform of that Concert Hall in the second half of the programmes. We became known as the “Chips Quartet”, owing to the odd fragments of musical snippets we played, and Bridge was the inspiration of these chips. What fun we had producing them!

We played tunes on four woodwinds, on four brass instruments, and Sweet and low on four double basses, also a passionate love duet for two violins accompanied by viola and cello, in which one of the violinists became so enraptured that he was unable to hold his instrument, which slipped over his shoulder and shot up into the air behind him; we all rushed to save it, but down it dropped on the floor.

In our anxiety to pick it up someone trod on it. I shall never forget the sound of that scrunch, nor the sight of the faces in the audience, all of which paled with horror. It was only later they discovered that it was a toy fiddle! All these doings, grave or gay, were typical of his varied gifts, but there was also a constant and intimate side of his character.’6 In April 1903, when Bridge finally left the Royal College of Music, the principal, Sir Hubert Parry wrote, ‘I am sorry that Mr. Bridge’s time as a scholar at the College has come to an end. His career here has been most distinguished and I heartily wish him distinguished success in the wider career before him’. He received the Tagore Gold Medal ‘for the most generally deserving pupil’.

The ‘Edwardian Years’; Earning a Living

For a number of years after his student days at the RCM, Bridge with the ESQ remained an influential presence. He returned almost weekly to conduct the orchestra or coach and play in student ensembles and also travelled to Oxford University most Thursdays to coach chamber music, where he made is first encounters with Adrian Boult, ten years Bridge’s junior. Bridge made his mark in London’s 5 RCM Magazine, vol. 37, no. 1 (1941), p. 22 6 ibid. p.23

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FRANK BRIDGE : The Complete Works

musical life first as an orchestral violinist. He played in several theatre orchestras, the orchestra of the Royal Philharmonic Society and in Henry Wood’s Queen’s Hall Orchestra. However, he found his natural métier in chamber music, playing in three string quartets - second violin for Jessie Grimson Quartet (from 1902 - other members Ernest Tomlinson and Edward Mason) and viola for Marie Motto (from 1903 - other members Thomas Morris and R. Purcell-Jones) and his own English Quartet until the 1920s. With them Bridge regularly performed in St.James’s Hall series of popular concerts, at the Small Queen’s Hall, Broadwood Concert Rooms and South Place Concerts, as well as provincial tours.

In November 1906, Bridge was invited to play the second viola part in the Brahms Sextet No.2 with the famous Joachim Quartet. Joachim was by then almost blind and played entirely from memory.

Apparently, he was impressed with Bridge’s contribution. The ESQ promoted its own concerts and tours and also took part in concert seasons promoted by enterprising individuals, such as the concerts promoted by Donald Tovey in Northlands, those of British music organised by pianist and composer Thomas Dunhill, whose the concert on 14 June 1907 included the Three Idylls (H.67) and the original version of the Piano Quintet (H.49), and a few years later the prestigious Classical Concerts Society, founded by the German-born businessman Edward Speyer (1838-1934). Bridge’s contact with Edward Speyer began with this letter, preserved in the Royal College of Music Bridge Collection.

February 28th 1912 Dear Mr. Speyer, Thank you very much for your letter. The usual fee of the E.S. Quartet is twenty guineas, although on some occasions we have played for less. For instance, we play for Donald Tovey at Northlands for eighteen guineas and expenses. We of course make the reduction when there are a series of concerts - like the subscription drawing rom ones we are now doing, but as we are to have all the surplus (already a good one) money that is over - after seven concerts - I rather imagine it will be about the same thing as playing for ordinary fees.

Thank you very much for your kind enquiries about Mrs. Bridge. She is as well as she can be under the circumstances and she is to go to the nursing home on Friday next. The operation is to take place Saturday or Sunday. She sends her love to you and Mrs. Speyer. Expect to see you tonight.

Kind regards, Yours very sincerely Frank Bridge Following her abdominal surgery, Ethel and Frank Bridge remained childless. They and the ESQ became regular performers for Speyer and through this connection, which developed into a friendship with the whole family, especially Speyer’s son Ferdinand. Bridge shared the stage with some of the leading musicians of the day, including Fauré and Ravel. The ESQ’s repertoire was rooted in the classics (Haydn, Mozart and Beethoven) but they also introduced most of Bridge’s own music and gave the first British performances of the quartets by Debussy and Ravel, the latter’s Introduction and Allegro and several works by Fauré. Bridge’s own chamber music betrays these influences. As Benjamin Britten observed in 1947, Bridge’s ‘inclination was instinctively towards the French tradition of skill, grace and goo workmanship...Subconsciously then, as consciously later, he rebelled at having to play and listen to music that was...ineffectual, badly written and poorly worked out.’7 For over 20 years until Speyer’s death, the Bridges enjoyed many weekends of chamber music at his home, Ridgehurst in Hertfordshire. They were often joined by some of the greatest artists of the age Casals, Thibaud, Rubenstein et al. Speyer wrote about Bridge in affectionate terms in his autobiography My Life and Friends (London, 1937): ‘Frank’s name recalls...many of the happiest hours of our life at Ridgehurst spent listening to chamber music. By reason of his great qualities as a musician, he dominated and guided the various London quartets with which he was associated...At Ridgehurst he was always ready not only to do music but to ensure the utmost possible perfection of performance. He had the conscience of the true artist.’

7 BBC Third Programme, 9 November 1947, published in Kildea (ed.), Britten on Music, Oxford (2003), p.75

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Bridge in his Time : Seeds of Discontent

Right from his earliest professional years, Bridge harboured ambitions to be a conductor and composer for the orchestra. He made his conducting debut on 20 May 1904 in the first performance of his Symphonic Poem Mid of the Night and the following year he rose from the ranks to conduct the New Symphony Orchestra in some of its early repertoire rehearsals. Bridge began to establish a conducting profile with music other than his own in 1910, when he conducted two seasons of opera at The Savoy Theatre, London in November 1910 and June 1911 (see H.95). After that he made frequent appearances in London conducting his own music, introducing all but three of his orchestral works to the public. Sir Henry Wood liked his music and his conducting, and invited Bridge to conduct a number of Queen’s Hall Proms. Wood had introduced Bridge’s Symphonic Poem Isabella at a Queen’s Hall Promenade Concert in 1907 and gave the first of many readings of The Sea on 24 September 1912.

In 1913, Bridge made his conducting debut at Covent Garden, conducting two operas in Raymond Roze’s season: Tannhauser on 15, 17 and 20 November and Hansel and Gretel on 26, 27 November and 1, 6 December.

Creatively the period 1903-12 was the most productive of his entire career. He was writing fluent, romantic music, the bulk of which comprised songs and instrumental pieces for the salon’. Composing occupied his spare moments, adding up only to about three months a year, so it is not surprising that he made a few false starts, particularly on a larger scale. In 1904 he left a Violin Sonata tantalisingly incomplete half way through its second movement. The muscular Piano Quintet in D minor received a couple of performances before being put aside for further revision and then in 1906 he began work on an ambitious String Sextet in E flat. This too was problematic and Bridge did not return to either work until 1912. In the short string quartets, Novelletten (H.44) and Phantasie in F minor (H.55), Bridge made great strides towards creative maturity. Although performances given by friends and colleagues created some interest among London audiences, it was success in several important competitions that boosted his reputation.

In September 1905, the Phantasie won second prize in the first W.W. Cobbett Musical Competition.

The following year he entered a hastily written String Quartet in E minor for a competition organised by the Filhamonica Accademica, Bologna. It received a mention d’honneur. The Phantasie in C minor for piano trio won the first prize in the Cobbett’s third competition, in 1907 and the Phantasie in F# minor was commissioned by W.W. Cobbett in 1910. The flexible arch-like designs he evolved for these one-movement Phantasies satisfied his natural instincts for formal proportion and balance, while allowing for melodic and tonal freedom. His fondness for symmetrical forms also conditioned his approach to long-form composition throughout his creative maturity. Of the earlier chamber works, the E minor String Quartet is cast in a four-fold cyclic design and the others have their roots in the phantasy principle (see H.105, 49A, 115 and 125).

In 1911, Bridge was one of the leading young British composers invited to contribute music for a Pageant of London, in celebration of the Coronation of George V. He also played in the Coronation orchestra in Westminster Abbey.

A Change of Course: the Great War and its Aftermath Bridge’s quest for perfection was the hallmark of his professional music making, whether as composer, performer or conductor. Until 1912, Bridge’s own music had been notable for its fluency and largely unruffled surface. After his marriage in 1908, he was less prolific and during the period of his wife’s illness in 1912, composed very little. Then after finishing The Sea and substantially revising the Sextet and Piano Quintet, he seemed quite consciously to close that chapter of his composing and adopt a more experimental voice. The fastidious craftsmanship remained, as did many of the basic structural principles, but the ‘composer without a problem’8 disappeared. The examples of Debussy and Ravel, whose music he had played, and of Scriabin and Schoenberg, which he had heard, were not lost on him.

However, his was not a ‘road to Damascus’ conversion; the process of exploration and transformation was slow and painstaking. The i ntensification of harmony and a shift towards a more concise thematicism apparent in Dance Poem (H.111) for orchestra, were the first steps. The Three Po ems (H .

112) and Characteristic Pieces (H.126) for piano explore a more elusive harmonic world of Scriabinesque chromaticism.

8 Howells, Herbert. Music and Letters, 1941, no.2, pp.208-215

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FRANK BRIDGE : The Complete Works

The Cello Sonata (H.126) reveals the clearest evidence of this transition taking place. The symmetry of the sonata form first movement looks back to the Edwardian manner, while the ‘phantasy arch’ form finale reveals the extent to which his harmonic style had evolved during the work’s long gestation.

Writing in the second edition of Music Review at the time of Bridge’s death in 1941, Edwin Evans wrote that his chamber works up to 1917 ‘...would suffice to give him high rank among English composers of the period’.9 Bridge’s music was becoming more widely available. From 1915, he published all that he considered suitable from the previous decade as well as some new material. There was a ready market for his piano pieces and songs. He sold the sheet music variously to Augener, Goodwin and Tabb and initially G. Schirmer, which was bought by his friend, the Anglo-American Winthrop Rogers in 1917. In 1925, three years after Rogers’ death, his widow Mary sold the catalogue to Boosey & Co. Bridge was a founding member of the Performing Rights Society in 1914 and served on its management committee for many years. He invested his royalties and sales, which were buoyant for some time.

The period of musical transformation was closely bound up with Bridge’s changing personal circumstances in the wake of World War 1. Bridge was 35 when war as declared on Germany in August 1914 and was not called up for military service. However, the conflict cast long and deep shadows over his life and music. His surviving letters reveal the extent to which he was shocked and horrified by the slaughter in the trenches of France and Belgium. Many of his musician friends and composer colleagues volunteered for active service. Ralph Vaughan Williams, who was seven years older than Bridge enlisted in the Medical Corps. A whole generation of younger composers also witnessed the full horror of the trenches in Flanders or on the battles fields of Gallipoli. Some, like Arthur Bliss and Ivor Gurney returned changed men. Others were cut off before their prime, including Australian Frederick Kelly and his friend from Oxford University days William Denis Browne.

Bridge wrote to Edward Speyer on 30 November 1916 after receiving the news about Kelly, ‘It only makes the ache worse. For the next forty years I can foresee all the warring countries being positively poverty-stricken in all the higher aims of civilisation. There will be no one left except the munition workers! It’s an appalling prospect’. The death of George Butterworth (1885 - 1916), who was killed by sniper fire on the Somme, is well documented. Butterworth’s orchestral pastorale The Banks of Green Willow (1913) speaks so eloquently of a rural idyll, bathed in summer sun and a world away from the horror of the trenches. Butterworth’s brooding impression A Shropshire Lad hints at a darker, more forbidding landscape. Butterworth, who served as a Lieutenant in the Durham Light Infantry, was killed on the Somme in 1916. He was 31 and joined a growing army of young men, who ‘will die in their glory and never be old’ 10.

Of the other lost composers, the dedicatee of Bridge’s Piano Sonata (H.160), Ernest Farrar (1885 – 1918) is perhaps the least known, yet one of the most interesting. In common with many budding composers of his generation, including Arthur Bliss, Herbert Howells and Ivor Gurney, Farrar studied composition with Stanford at the Royal College of Music in London. Farrar was actually Stanford’s favourite pupil, perhaps because he was the one who followed most closely his teacher’s example. After leaving college, Farrar struggled to find his professional feet, as it were. For a few years he served as a church organist in South Shields, but later established himself in Harrogate. Vaughan Williams was a great supporter and Frank Bridge was a great friend, but still Farrar struggled to find a platform for his music. In 1915 he enlisted in the Grenadier Guards. On 3 July 1918, 2nd Lieutenant Farrar conducted the first performance of Heroic Elegy (For Soldiers), based on the Agincourt Song, back in Harrogate while on leave. Only weeks later, on 18 September, he was killed on the Somme.

Bridge was especially saddened by the death in action of Thomas Morris, first violin in the English String Quartet. In 1915 Bridge composed his only musical ‘war memorial’, a touching Lament for String Orchestra, not in memory of a soldier on active service but of an innocent child, ‘Catherine, aged 9’, who was lost at sea along with her entire family, when the Lusitania was torpedoed by a German submarine in June 1915. In his 1919 feature article on Bridge’s music (see Chapter 4), Edwin Evans states that Catherine was a ‘well-loved family friend’, although this cannot be verified. If Bridge did not 9.Evans, Edwin. ‘In Memoriam: Frank Bridge and Sir Hamilton Harty’, Music Review, vol. 2 (1941), pp. 159–66 10. Housman, A.E., The Lads in their Hundreds (No. 23 from A Shropshire Lad, London 1896)

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Bridge in his Time : Seeds of Discontent

know the family, he may have created this poignant little lullaby after reading about the tragedy in the newspapers. (See H.117). In orchestral works like the second of the Two Poems for orchestra, Bridge’s message was one of hope in a world torn by violence: “How beautiful a delight to make the world joyous! The song should never be silent, the dancer never still, the laugh should sound like water that runs for ever” (from The Story of my heart by Richard Jefferies, quoted at the top of the score). He seems to have been at pains not to dwell upon the distressing emotions of the time, preferring instead to escape into the idyllic musical landscapes of Two Poems and Summer.

In the 1947 BBC broadcast, Benjamin Britten offered this poignant portrait of his old teacher at this time, especially the impact on his music: ‘I didn’t meet Frank Bridge until I was twelve – seven years after the 1914-18 War had shattered the easy-going, self-confident Edwardian life. But the many talks I had with him, indeed everything about him, told me of the utter horror and revulsion that he felt about that catastrophe. The seed of discontent, or whatever it was, at the end of the Phantasy grew and grew until the horrible protest of the Piano Sonata, written in memory of Ernest Farrar, a young composer killed in that war. Some people think that the protest in that sonata is too subjective, too near the surface, not digested enough. But whether they are right or not, the whole of Bridge’s musical world was now shattered – unlimited possibilities, harmonically and texturally especially, became possible. As he was exploring territories unknown to him, he had to go slowly and sometimes went a little off the path. But always his instinct for form and workmanship and unerring ear brought him back, and occasionally, as in the big Piano Trio dating from 1929, he reached great heights.’11 By the time the armistice had been signed, Bridge had all but given up playing professionally and being ‘the viola player who composes’ was not how he wanted to be labelled. After Morris’ death, the English String Quartet now with Marjorie Hayward as first violin, appeared less frequently in public, preferring instead to give private subscription concerts prepared to the highest standard with unlimited rehearsal time and without the material pressures of the London concert scene. Many of these were given in the studio of Marjorie Fass, who lived 46 Bedford Gardens. The Bridges had moved to 4 Bedford Gardens in 1915. Fass had been a fellow music student with Ethel Bridge at the Royal College of Music. She was also an accomplished amateur water-colourist. Although her health was not strong, Fass outlived both Frank and Ethel Bridge. The closeness of their relationship, and the influence she exerted on Bridge especially in widening his literary horizons and in the texts he set to music, is evident in the letters and cards they exchanged between August 1918 and Ethel Bridge’s death in 1962. Both Frank and Ethel wrote long, almost daily letters when Fass was away from London, during spells in hospital or extended periods spent in rented cottages by the Cornish or Sussex coasts and when Frank and Ethel were in the United States or Europe. They are written in a relaxed, informal style, full of gossip and ‘off the cuff ’ remarks and opinions, giving an impression perhaps of Frank and Ethel Bridge in conversation. The correspondence begins in August 1918, when not for the first or last time, Marjorie Fass was ill. In October, Fass’ birthday approached and all the talk was of the Armistice and the keenly anticipated end of four years of War. …There’s nothing in tonight’s paper to confirm that rumour I told you.

The people seen to have made up their minds it’s all over. O dear, it makes me feel quite limp and I can hardly hold my pen…

[Ethel Bridge to Fass, 7 October 1918] In the same envelope, Frank’s birthday greeting included a reference to their pacifist stance. …Unconditional surrender, or whatever this means, is so in the air, that it is pleasant, to say the least of it, of being passive. We could both of us say a great deal more of the extraordinary difference in life in Bedford Gardens since the last few months - but just don’t let us…

[Frank Bridge to Fass, 8 October 1918] Bridge was conscious that the war and its aftermath was opening up deeper levels of creativity. He had more private and personal things to say in music that could not be satisfied by composing ‘potboilers’ like Love went a-riding and he longed for more time to realise them. Unlike Vaughan Williams, 11. BBC Third Programme, 9 November 1947, published in Kildea (ed.), Britten on Music, Oxford (2003), p.75

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FRANK BRIDGE : The Complete Works

Bridge did not have a private income and having largely given up playing, he actually found he had less time than ever to compose. He already visited Oxford once a week to coach the University Music Society in chamber music. Then as his sheet music options declined - he had exhausted the ready supply of ‘nursery‘ works - he found himself teaching violin two days a week at schools in Ascot, Hastings and Wadhurst (Kent), in addition to teaching pupils violin at home. Time for composition was at a premium.

The Bridges were also trying to save enough money to build a ‘bolt-hole’ cottage in the hamlet of Friston, near Beachy Head in Sussex, near to the one Marjorie Fass was planning. Her health and money worries were a recurring themes of the Bridge-Fass correspondence throughout the summer and autumn of 1919. The Bridge’s had already let their house maid go. They were looking forward to joining Fass in Cornwall, where the Bridge’s had enjoyed many holidays. …I do hope you have enough energy left to enjoy this morning at Con. Cottage. It is a wonderful day again. How lucky. Anyway, I don’t care if it snows this summer. I am longing to work. I think I am going to write some PRETTY music soon. Don’t forget about the piano space! It looks like costing a fortune to get one down to Cornwall…I’ve got to get a fortune from somewhere.What with the Miniature Pastorals selling about two thousand since February and later the Turtle’s Retort, I begin to see the Brit family in ITALY, Switzerland and Bedford Gardens - three in one. Do you see? BUT, when you next take your house upon your back, you are to be allowed only one change of shoes and three pocket handkerchiefs.

So there. Hope you are comparatively good and happy this lovely day and looking forward to days and days of doing what you want to. You lucky woman…

[Frank Bridge to Fass, 30 May 1919] It appears as though the summer break from travelling and teaching couldn’t come fast enough. Bridge did his best to cheer her up with one of his rhymes.

And now, of course, it’s Derby Day The rain it rainiest very wet, And wot’s it like across your bay?

I’ll bet it’s jolly hard to get Milk, cream ands water without fret!

And on Thursdays, out at seven Oh, the joys of trains to catch.

Is it very far to heaven?

Four hour’s pupils in a batch Not one cigarette or match.

How to be a happy nurse?

Plenty Glaxo! That’s the thing Hope you’re better and not worse!

Can you hear the phone bell ring?

Hark the _____ _____ sing!

Not a penny for dejection!

Why not glorious flowers and cream.

Never laid eggs and but(ta) affection Stick it out and get up stream Longing for the July Dream.

And so on - ‘don’t cher know’ Best love, Yours, Fco

[Frank Bridge to Fass, 11 June 1919]

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Bridge in his Time : Seeds of Discontent

Early in 1920, Marjorie Fass took out a lease out on Crowlink Farm, on the Sussex Downs near Beachy Head, thus fuelling further Frank and Ethel’s ambition to join her with a cottage retreat of their own.

Conducting ambitions Bridge pinned his financial hopes on developing a conducting career that would evolve alongside his composing. Eugene Goossens, 14 years Bridge’s junior, was already making a successful transition from viola player-composer to conductor-composer. At this time he was often asked to conduct his own music. There were concerts of popular classics and choral music at the Royal Albert Hall, but he was rarely invited to conduct a complete concert at the Queen’s Hall, unless it was as a last-minute substitute for an indisposed maestro. Bridge invariably acquitted himself well on these occasions, but eventually found the label ‘ambulance conductor’ as frustrating as ‘the viola player who composes’.

How accomplished a conductor he actually became is difficult to quantify. Bridge set the highest standards for himself, and expected those around him to be of a like mind. Limited rehearsal time and the deputy system was a constant frustration, as he wrote to Edward Speyer on 30 November 1916.

I went to the Philharmonic Concert last Monday. Poor Elgar. The orchestra positively scrambled through the Symphony as if they had never before seen it. If it had been a work of mine, I should have gone and vowed “never again without three long rehearsals”. In fact I had never heard the work before and felt quite sick about it. Performances of this kind do far more harm than good. I am hoping that, after the war, some munition millionaire will put me in charge of a decent orchestra, which will be in a position to devote a serious amount of time to rehearsing and knowing upside-down every blessed thing it performs in public. No wonder the public knows so little at a first performance. If a play were produced on the same lines - with actors half mumbling and shouting their lines, others reading their parts and some coming on to the stage late and missing lines and cues - there wouldn’t be a theatre open except the cinema!

Love from us both, Yours ever, Frank Bridge Opinions of Bridge’s effectiveness on the podium vary a great deal. Writing in The Musical Times (Feb. 1919), the critic Edwin Evans considered Bridge to be both under-rated and underemployed in this capacity (see Chapter 4). In his letters and diaries, Benjamin Britten was invariably enthusiastic about Bridge’s conducting, preferring his musical insights and insistence on high standards to what he regarded as the less demanding approach of Adrian Boult. The few recordings that survive from the early 1920s are not a reliable guide. Between 1923 and 1925 he conducted the London Symphony Orchestra and the New Queen’s Hall Orchestra in pre-electric acoustic discs for Columbia of Ravel’s Pavane pour une infante defunte, Gounod’s Mireille Overture, Humperdinck’s Hansel and Gretel Overture and excerpts from Planquette’s Les Cloches de Corneville, plus three items of his own, The Sea, Poem No. 2 and Sir Roger de Coverley. That he did not record more was largely due to his own dissatisfaction with the acoustic process.

Bridge received one of his most significant last minute bookings on 23 February 1922, when he was asked to take over a Royal Philharmonic Society concert after first Landon Ronald and then Eugene Goossens had fallen ill. The programme included Strauss’ Don Juan, Lalo's Symphonie Espagnole, Butterworth’s A Shropshire Lad, the Bach-Elgar Fugue in C minor and Beethoven’s Symphony No 5. On 12 February 1926, the Master of the King’s Musick wrote in sympathetic and admiring terms about Bridge’s Beethoven: I have always regretted that you do not have the chance to conduct more than this heathen and wholly inartistic country (perhaps I should say generation?) permits you. It is a loss to art which many of us feel...I am reminded of my intention (to write) by hearing on the radio your reading of two movements of the Eroica which filled me with pleasure and honourable content for which I thank you.

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FRANK BRIDGE : The Complete Works

PS. By “honourable” I meant to convey my satisfaction of your dignified, emotional and “no trick” reading of it’.

Bridge received a second Royal Philharmonic Society invitation on 24 February 1927, when he conducted the Queen’s Hall Orchestra in Mozart's Magic Flute Overture, the Delius Violin Concerto (with Albert Sammons, vln), Bax’s tone poem In the Fairy Hills, Vaughan Williams’ The Lark Ascending and Brahms’ Symphony No. 2. Before the BBC Orchestra was established, the BBC’s musical adviser, Percy Pitt, engaged the Royal Albert Hall, Queen’s Hall and London Symphony orchestras to give broadcast concerts. Concert series were also given by the short-lived Wireless Symphony Orchestra.

Bridge had hopes that he would be invited to the BBC when its permanent orchestra was formed in 1930. If he was unsuccessful, he hoped that Eugene Goossens would get the job. However, the BBC appointed Adrian Boult as its first Director of Music. Bridge made a regular, if lower profile contribution to the pioneering broadcast of orchestral music as a regular guest conductor of live studio concerts, usually with Section D of the BBC Orchestra and often broadcasting late at night to the Empire and the nation from a studio in Waterloo.

Bridge’s relationship with the hugely influential BBC Music Department under Adrian Boult was not always a comfortable one. Boult did not share Elgar’s opinion of Bridge’s conducting of the established core repertoire. In a BBC internal memo, dated 6 April 1938, when Bridge’s health was no longer robust, Boult reinforced the view of his chief assistant Kenneth Wright, that Bridge’s studio concerts ‘had lost their freshness and his conducting likewise...He is anxious to do a more classical programme, but I am not sure that we should let him go too far in this direction as he worries the orchestra a good deal when he does familiar work’. For his part, Bridge was often critical of Boult’s conducting.

The problem with Bridge as orchestral conductor seems to have been related to his temperament rather than his musical insight. Among the first recruits to the BBC Orchestra was harpist Sidonie Goossens (1899 - 2004). Bridge admired the conducting of her eldest brother Eugene (1893-1962), but Sidonie Goossens was not an admirer of Bridge’s manner on the podium. The shudder which she gave when I broached the subject during a BBC research interview in 1993 said more than any words.

Writing in 1941, Ivor James considered that Bridge’s reputation as a conductor would have been higher ‘but for his unfortunate (for himself) blunt honesty, he being quite unable to restrain himself from saying exactly what was in his mind. He had an exceptional sense of standard, which is certainly the quality that enabled him to advance from theatre player to the position he eventually reached’. 12 James considered that this sense of standard made Bridge impatient of any shortcomings he saw in others, ‘…and being a bundle of sensitiveness, out would come some remark which probably the players would resent. If only they could have understood that it was impossible for Bridge to wrap up his pills in sugar, his recognition as a really fine conductor would have been assured. He was frequently called on to take the place of eminent conductors, literally at the last minute, when he always came through with flying colours. A member of one orchestra told me that Frank Bridge was one of the few conductors who really interpreted the work performed. That he could get the finest results was proved by the playing of the semi-amateur Audrey Chapman Orchestra, which he trained for many years and from which outstanding performances were heard.’13 This was nearest Bridge got to achieving his ambition of being a sponsored permanent conductor.

Audrey Chapman, later Melville, founded and financed this orchestra to give predominantly female string players an opportunity to perform. Bridge trained and conducted the orchestra for over twenty years. Concerts were given in some of the less privileged areas of London - Finsbury Town Hall was a popular venue - where classical orchestral music rarely reached. Bridge introduced a wide repertoire and from notes in the diaries of Benjamin Britten, who as a student was co-opted into the percussion section from time to time, Bridge achieved a remarkably high standard from this largely amateur band.

Among the notable highlights with this orchestra was the first performance in this country of Ravel’s Bolero, a short while before Toscanini’s official British premiere with the BBC Orchestra in the Queen’s Hall.

12 RCM Magazine, vol. 37, no. 1 (1941), p. 22 13 ibid.

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Bridge in his time : Seeds of Discontent

A life-line from America As Bridge struggled to transform his creative and personal circumstances, he became increasingly sensitive to criticism, especially to his reputation as a composer. For example, a postcard from Edward Speyer, highlighting what he thought was a positive review, prompted a response suggesting Bridge considered the critic’s tone to be damning with faint praise.

March 12th 1921 My dear Mr Speyer, A thousand thanks for your card. But for your vigilant eye, that article, notice, public advertisement of FB’s musical failings would never have been seen by us. To the casual reader it may appear to be an important and worthy review, but to my eye, nothing is seen but a determination to expose as faults anything that might be considered favourable qualities in my music, and that certain qualities which might in some quarter be considered faults in Vaughan Williams’ work are made to appear as virtues. Without a moment’s hesitation I see the master hand of ………14! If you read the notice carefully, you will see that I am only a composer of chamber music because I am a player! That players mostly play my things because they are nice to play (not nice for those who listen) - hence the reason my name is so surpassingly common in programmes of English chamber music.

Our Times friend, I might say, is no friend. He never loses an opportunity to make any article he writes include the name of Vaughan Williams. Sheer propaganda. And he never loses a chance of being absolutely grudging in his remarks about me - sometimes going so far as to ignore my works in some programmes that he has to write about. This may be fancy - but I think it anyway. To sum up, the real essence of this Times Lit. Sup. notice is to prove that Vaughan Williams is a batter composer than I am. I am sure I can’t help it. Over twentytwo years I expect I have utilised, at the outside, about three months in a year working at composition. I have been compelled to earn a living. VW has done nothing else but composition through the whole of his life- except when doing war service - and so he ought to be the one composer of his generation that matters.

I never pretended that my things mattered to anyone, but this excursion into a critical survey of my young list of works is merely a subtle way of saying that the Vaughan Williams Phantasy just published is of more value to the musical community than the whole of the list. And so it may be, but this article is not likely to influence the number of performances of either of the works - one way or the other. However, having got this off my chest, forgive me for pestering you with this out-pouring of over-sensitiveness!

Much love to you and Mrs. Speyer, Ever yours, Frank Bridge On 28 May 1922 Bridge was introduced to the American millionairess and musical patron Elizabeth Sprague Coolidge (1864 - 1953) at a party hosted by Mary Rodgers, the widow of his publisher Winthrop Rodgers. Styled by W.W. Cobbett as ‘the lady bountiful of chamber music’, she was a pianist and lover of chamber music. After the death of her father, who was a wealthy Chicago wholesale dealer, Coolidge used her inherited wealth to support the composition of chamber music on both sides of the Atlantic. In 1918 she founded the Berkshire Festival of chamber music at South Mountain, near Pittsfield, Massachusetts. The Berkshire Symphonic Festival at Tanglewood, which Coolidge also supported, grew out of her enterprise. In 1924 Coolidge also entered into a partnership with the Library of Congress, supporting the building of the Coolidge Auditorium and establishing the Coolidge Foundation, through which she commissioned new work and supported the careers of others through regular stipends. Her motivation was primarily to create a lasting legacy of contemporary work, as she explained: ‘My plea for modern music is not that we should like it, nor necessarily that we should even understand it, but that we should exhibit it as a significant human document.’ She ‘collected’ composers, ensuring that all her commissions were heard at least once through promoting concerts and festivals in 14 The music critic of The Times in this period was H.C. Coles

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FRANK BRIDGE : The Complete Works

Europe and the United States. Schoenberg’s Third and Fourth Quartets, Bartok’s Fifth, the popular Flute Sonata by Poulenc and Stravinsky’s Apollon Musagete were all commissioned by her.

Coolidge befriended Bridge and his wife and appreciative of his financial and creative problems, offered to help. She was overheard by Ethel Bridge to say of her husband, “I know a lion when I see one!”15 The Bridges’ extensive correspondence with Mrs. Coolidge reveals an association that grew from mutual respect to blossom into a close friendship from a rather cautious beginning. Early tensions on the part of both Ethel and Frank Bridge are vividly expressed in the extensive correspondence that survives between them and their friend Marjorie Fass. Not wishing to be under any obligation to Mrs. Coolidge, Bridge declined her first offer of support. He did however agree to be part of her 1923 Pittsfield Festival. When plans for the trip were first mooted, Ethel Bridge, more than her husband, expressed misgivings about the implications that such a visit would have on her husband’s long sought creative independence.

I feel we’ve got to get our cottage as soon as we can, or else Susie (sic) will try to NAB us, and thank goodness that invitation from the Choral Society came (Royal Choral Society, Royal Albert Hall, to conduct a performance of Handel’s Messiah), which definitely fixed us for Easter and then Frank said he must be back for Christmas too. There had to be a lot of wrangling done….Frank told Susie quite definitely last night that he didn’t want to go travelling, that he only wanted to get into his own room in the new cottage and work. She said ‘What about a Symphony?’ and Frank said ‘Of course, but there’s no time while I have to teach and I find it so much harder to write now than twenty years ago, because I discard nearly everything’. So she knows we never want to live anywhere but England and what’s more we won’t.

[Ethel Bridge to Marjorie Fass, 29 May 1923] Mrs. Coolidge had come over to London to begin organising her 1923 Berkshire Festival, which was to feature predominantly English chamber music and artists. She invited the London String Quartet, cellist May Mukle and no fewer than three viola players - Rebecca Clarke, Eugene Goossens and Lionel Tertis. Coolidge offered commissions to Eugene Goossens, who composed a Sextet (for three violins, two violas and cello) and to Rebecca Clarke, whose Rhapsody for Cello and Piano was played by Mukle and Myra Hess. Bridge also agreed to attend, but his letters to Coolidge make it quite clear that he did not want to add to the viola ‘party’, but to attend purely as a composer. What Bridge’s English colleagues thought of his decision is not documented, but it is clear from the daily reports that Frank and Ethel wrote back to Marjorie Fass, who was supervising the building of Friston Field, old tensions and professional rivalries followed them across the Atlantic. Ethel especially was frustrated that Eugene Goossens, who despite his comparative youth (he was 27 and Bridge 42) was already making waves internationally as viola player and aspiring conductor, and seemed to be assuming a higher profile than her husband. Bridge’s opinion of Lionel Tertis was not positive and he was also critical of Clarke’s new Rhapsody for Cello and Piano. Coolidge’s sometime overbearing and unpredictable behaviour - she was very deaf - brought out the less charitable side of Bridge, in his private letters home at least, where Coolidge was often referred to as the ‘Dowager Empress’.

Bridge was not commissioned. He didn’t have time. Instead, his recently published Sextet received its first public performance in the USA by the London String Quartet, with Clarke and Mukle. In addition, several other chamber works were played through privately for Mrs. Coolidge to hear in South Mountain and later in the autumn in a reception for Bridge and the London Quartet in New York (See. H.107, 115). After September’s festival visit, Bridge and Ethel enjoyed a motoring tour with Mrs. Coolidge to the US East coast. In October Bridge embarked on an extended conducting tour, which Mrs. Coolidge arranged at his request. He conducted the Cleveland, Boston, Detroit and New York orchestras in works of his own (see. H.100, 116, 118, 155). His music and conducting were well received wherever he appeared. There was some talk of a permanent post as conductor of the Rochester Philharmonic and as a violin teacher on the music faculty of Eastman School of Music, but Bridge did not take up either offer. Eugene Goossens took up the conducting post. Working with the cream of US 15 Quoted in a letter from Ethel Bridge to Fass, May 1923

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Bridge in his Time : Seeds of Discontent

orchestras had reaffirmed Bridge’s creative ambitions back home, as he confessed to Marjorie Fass on 15 November, 1923: ‘All I want is a large commission to write a symphony, large enough to keep me off practical professional work for two years. Not that I don’t want to write another string quartet, but I do want to create a big work for orchestra, and by gad, I know I don’t want it to be in Detroit or Cleveland but in Fripon [the new cottage, Friston Field] or BGs' [4 Bedford Gardens, his London home].

Towards the end of the three month stay, Elizabeth Coolidge renewed her offer of permanent financial support from the Coolidge Foundation that would be more than sufficient to relieve Bridge of the need to teach and play. He finally accepted by letter on his way back to England.

I have one big desire and that is to give my musical faculty full reign to create...I am determined to get my mind cleared of all obstacles...Such words as kindness and generosity are hopelessly meagre when I consider how much your gift of material freedom means to me...I see only your decision to help me out of my grey-haired professional existence, and because you wanted to do this for me. If I can only say thank you, you will know how much this really means...The stupendous surprise of my life is that my views should change so fundamentally in the space of three months and that I should accept the very gift from you that I have so firmly refused.

[Bridge to Mrs. Coolidge, 7 December 1923] Bridge was one of the first composers to benefit from Coolidge Foundation largess. Ernest Bloch and Rebecca Clarke had won first and second prizes, respectively, for their Viola Sonatas in the Coolidge composer competition of 1919. Italian composer and scholar Gian Francesco Malipiero (1882 - 1973) received the $1000 prize in 1920 for a String Quartet. Ottorino Respighi dedicated his Three Botticelli Pictures to Elizabeth Coolidge in 1927. Bohuslav Martinu won the Coolidge Prize in 1932 and a third Italian, Alfredo Casella (1883-1947) won the Coolidge Prize in 1934. However, Bridge appears to be the only composer to have been given annual stipends, which he received on his birthday each year.

Years of Patronage These birthday gifts were more than sufficient to relieve Bridge of the need to teach and perform, and they transformed his outlook. Bridge and Ethel were able to support two homes, their rented London house, 4 Bedford Gardens, north of Kensington High Street, and their brand new country cottage, Friston Field, in the hamlet of Friston, near Beachy Head on the Sussex coast. With their great friend Marjorie Fass next door (they had both purchased land from a local farmer on which to build), Friston Field was to become more than a country retreat in the last decade of Bridge’s life. For the first time in his life, 44 year old Bridge was able to immerse himself totally in his creative work and his conducting.

The transformation in his music, threatened for over a decade, was dramatic and far-reaching. The troublesome, but far-reaching Piano Sonata was completed within three months of his return. Over the next ten years Bridge produced a series of radical chamber and orchestral works, which are now considered to be his finest achievements. He relied on Elizabeth Coolidge's support and repaid her generosity by composing some of his most adventurous chamber music for her festivals in the United States and Europe. There followed a third String Quartet (1927), a Piano Trio (1929) – arguably his chamber music masterpiece – and a Violin Sonata (1932), all dedicated to Mrs. Coolidge. In the orchestral field, Bridge completed four adventurous works, none of which received a warm initial critical reception: Enter Spring (1927), There is a Willow Grows Aslant a Brook (1927), Oration (Concerto Elegiaco for cello and orchestra, 1930) and Phantasm (Rhapsody for Piano and Orchestra, 1931) Bridge was determined to be ‘his own man’. He resisted all offers of a formal teaching post either at home or abroad. He was not part of the establishment centred on the London conservatoires, and the Royal College of Music in particular, where Vaughan Williams and his friends and colleagues looked to English folksong and past musical traditions. Bridge maintained his gaze steadfastly on the heart of Europe. He was often critical of the technical limitations he observed in much of the music of his contemporaries, including Vaughan Williams. In a letter to Gustav Holst from 1932, Vaughan Williams revealed how much he distrusted composers, especially Bridge, who demonstrated too much skill: ‘I

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FRANK BRIDGE : The Complete Works

wonder how much a composer ought to know of instrumental technique - of course the deepest abyss of the result of writing “effectively” is Frank Bridge.’ 16 By the 1930s Bridge became increasingly depressed ‘at the almost complete indifference to my existence in London music - always excepting the cases of emergency conducting... I realise how alone I am when I observe the contentment with inferior standards and the degradingly necessary wire-pulling to obtain recognition which means one livelihood,’ (from a letter drafted on 13 May 1933 to Sir Hugh Allen, Principal of the Royal College of Music). These were Bridge’s leanest creative years. Mrs Coolidge’s regular money orders, which he had received since 1923, had diminished in value in the wake of the US stock market collapse. The music profession, particularly the music critics were often baffled by Bridge’s post-1918 music. He became prone to bouts of ill health. He composed very little between the Violin Sonata in 1932 and String Quartet No. 4 in 1937.

Benjamin Britten: ‘My Quasi-adopted Son’

Frank and Ethel Bridge had no family of their own. Ethel’s sister, who was an opera singer, had set up her home in Hannover, Germany. Frank was never on good terms with his own siblings, even though his brother William was a professional cellist. Their close and influential relationship with the young Benjamin Britten proved to be one of the consolations of their later years. They met for the first time at the 1927 Norfolk and Norwich Triennial Festival, at which Bridge conducted the first performance of Enter Spring. The Bridges were staying with a friend from College days, Audrey Alston (née Ffoulkes), who happened to be Britten’s viola teacher. Writing in 1963, Britten recalled having been ‘knocked sideways’ by the sound of Bridge’s suite The Sea at the 1924 festival. Three years later, Audrey Alston took him to see Frank and Ethel Bridge: ‘We got on splendidly and I spent the next morning with him going over some of my music. I’d been writing music since I was about five. From that moment I used to go regularly to him, staying with him in Eastbourne or in London in the holidays from my prep school. Even though I was barely in my teens, this was immensely serious and professional study’.17 In his diary Britten noted down the dates of nine lessons with Bridge at 4 Bedford Gardens or at Friston Field: 12 and 13 January 1928, 26 and 18 April 1928, 10 November 1928, 15 December 1928, 26 April 1929, 16 September 1929 and 10 January 1930. These lessons may have been few and far between, but they usually took all day: ‘I remember one that started at half past ten and at tea-time Mrs. Bridge came in and said, “Really, Frank, you must give the boy a break”. Often I used to end these marathons in tears – not that he was beastly to me but the concentrated strain was too much for me. I was perhaps too young to take in so much at one time, but I found later a good deal of it had stuck firmly. This strictness was the product of nothing but professionalism. Bridge insisted on the absolutely clear relationship of what was in my mind to what was on the paper. I used to get sent to the other side of the room. Bridge would play what I’d written and demand if it was what I really meant. He taught me to think and feel through the instruments I was writing for. He was most naturally an instrumental composer, and as a superb viola player he thought instrumentally.’18 Once he got into his teens, Benji (as the Bridges called him) began to write in a more adventurous style, in response to the range of contemporary composers who interested him,and that included Bridge’s own latest music. ‘At this time that he was consolidating his latest style, highly intense and chromatic, although never actually atonal. Also at this time, after his considerable early popularity, the public and critics were turning against him and I became his staunchest defender.’ Echoes of Bridge’s later style can occasionally be heard in some of the chamber music Britten was writing, the Rhapsody and Quartettino being the clearest instances. However, such direct influences are relatively few and as Britten began to question his teacher’s approach, pupil and teacher did not always agree. ‘At about eighteen or nineteen perhaps naturally I began to rebel. There were also sharp conflicts as I came to

16 Quoted in Vaughan Williams, Ursula, and Holst, Imogen, (eds): Heirs and Rebels, Oxford 1959.

17 ‘Britten Looking Back’, Sunday Telegraph, 17 November 1963/ Composer 19 (Spring 1966) 18 ibid.

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Bridge in his Time : Seeds of Discontent

resist his influence over me. Also his approach was largely German – eighteenth and nineteenth century at that – and by then I’d discovered Purcell and the English madrigalists.’19 Britten’s official teacher at the RCM was Bridge’s contemporary John Ireland. The student’s letters to Bridge and his diary entries reveal a less than happy relationship. He soon became impatient of Ireland’s lack of consistency. Frank and Ethel Bridge, whose London home was a short walk from the RCM, took on a quasi parental role, particularly after the death of Britten’s father in 1934. Bridge spent a great deal of time with them. Bridge continued to look over Britten’s compositions and frequently took him to concerts of the latest premieres at the Queen’s Hall. For his part, Britten was often called upon by Bridge to act as his unofficial proof reader, especially during the mid-1930s when Bridge’s eyes were troublesome. Bridge also intervened on several occasions when he considered that the RCM was not working in the best interests of his ‘quasi adopted son’, as Bridge described Britten in his letters to Elizabeth Coolidge.

Britten recalled two significant instances: ‘Bridge intervened angrily when I could not get a performance of two choral psalms I’d written. I heard practically nothing of the reams of music I was writing then. He said I ought to hear them because without aural experience it was difficult to link notes and sounds. Vaughan Williams claimed that the singers weren’t good enough, to which Bridge retorted that it was up to the RCM to have a chorus good enough and that he ought to use his influence. He intervened with no greater success when the question arose of my going to study with Berg. I’d finished at the College with a small travelling scholarship and wanted to go to Vienna. Bridge greatly admired Berg. He later, after Berg’s death, introduced me to Schoenberg. But when the College was told, coolness arose. I think but cannot be sure that the Director, Sir Hugh Allen, put a spoke in the wheel. At any rate, when I said at home during the holidays “I am going to study with Berg, aren’t I?” the answer was a firm “No, dear.” Pressed, my mother said “He’s not a good influence” – which I suspected came from Allen.’20 Bridge’s letters to Britten (it seems than the Bridge’s didn’t keep Britten’s letters to them) reveal an influence that extended beyond musical matters. There were cautionary words of advice over the way Britten ought to conduct himself in public and sage words about being resilient to adverse criticism.

Then there was their pacifism: ‘A lot of my feelings about the First World War which people seemed to see in the War Requiem came from Bridge. He had written a piano sonata in memory of a friend killed in France and though he didn’t encourage me to take a stand for the sake of a stand, he did make me argue and argue and argue. His own pacifism was not aggressive, but typically gentle.’21 Bridge maintained a wide circle of like-minded artistic friends. Closest of all was Marjorie Fass, but musician friends like Antonia Brosa, Ivor James and Harold Samuel were frequent weekend visitors to Friston Field. Benjamin Britten also took friends of his own for weekend and holiday visits. Britten recalls: ‘It was of course the first time I had seen how artists lived. I heard conversations which centred round the arts. I heard the latest poems discussed and the latest trends in painting and sculpture. Bridge was not intellectually over-sophisticated perhaps, although well-read and full of curiosity. But he had a circle of highly cultured friends, many of whom were artists and musicians but most of them distinguished amateurs. He also drove me round the South of England, though to my hypercritical juvenile standards he was never a good driver, and opened my eyes to the beauty of the Downs with their tucked-away little villages and the magnificence of English ecclesiastical architecture. I can also remember a trip to Paris with him and Mrs. Bridge. Opportunity for travel had never much come my way. I was the fourth child who had had to be expensively educated, so it can be imagined what I owed to Bridge’s guidance at this particularly impressionable time of life.’22 Bridge had a tennis court marked out on the lawn at Friston Field. Britten, who was good at sport and thought his tennis rather stylish, considered Bridge’s playing to be ‘’wild and unconventional’.

Bridge was exceptionally domesticated. Having left home in his teens, domesticity was rather forced upon him. Ivor James recalled a holiday which six or seven students spent together. ‘Bridge did all the 19 ibid.

20 ibid.

21 ibid.

22 ibid.

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FRANK BRIDGE : The Complete Works

catering, enabling us to have a very happy and inexpensive time. It was during this holiday that I discovered what a fine swimmer he was. I had long known, however, what a friend he was. Though Frank as his name, and so honest and blunt that he was frequently misunderstood, he had a heart of gold and a sense of loyalty in friendship that is very rare’.23 Writing about Bridge’s Suite The Sea for a 1971 Aldeburgh Festival performance, Benjamin Britten wrote about how Bridge’s ‘love of the sea and the rocky seashore led him to build a house a mile or so from Beachy Head, where he lived until his death. It was his habit to take his friends walking over the cliffs with the superb view of the channel and also (whenever it was fine) he would enjoy going prawning before breakfast.’24 In October 1936, Bridge’s sea-side idyll almost came to an end when he became seriously ill with acute bronchitis and lay in a coma for some days.

A week ago yesterday he was his usual jolly, happy self. We’d parted with our maid who was going to be married and had tidied up the cottage preparatory to leaving for London for the rest of the winter, except for a weekend now and then. About a quarter to nine, he felt very sick and then was dreadfully sick…His condition worried me as I thought he’d strain his heart…Two days later he seemed to collapse and we’ve had a nightmare time all the week….We had one specialist down on Friday, who practically gave us no hope, but today’s man has and actually the difference tonight is most marked and he is conscious again at times…..He’d caught a severe chill, which turned out to be bronchitis with complications and of course he’d strained himself so badly ….. [part of a letter from Ethel Bridge to Mrs. Coolidge, 25 October 1936] Bridge was a heavy smoker and suffered with high blood pressure and a weak heart for the remaining five years of his life. After six months convalescence, he was able to resume some of his conducting activities and began to take up composition once more, in what was to be a final flowering of creativity. These last works, which included a fourth String Quartet (1938), Divertimenti (1934 – 1938) for wind quartet, and the Overture Rebus (1940) are more optimistic in character and classical in concept than the more introspective music he had composed ten years earlier.

For the last five years of his life, Bridge and his wife spent most of their time at Friston Field, travelling up by car to London for conducting engagements or major performances. Dance Poem was performed at the Queen’s Hall on the night Hitler’s troops invaded Poland. As the threat of another war became reality, he dispersed his manuscript collection to his publishers for safekeeping and effectively closed down 4 Bedford Gardens. However, perched on the South Downs just a short distance from Beachy Head, the Bridges were never far from the noise and sight of the conflict. When Bridge’s nurse was bombed out of her Eastbourne home, she came to live at Friston Field. They were also obliged to take in two young evacuee s from Croydon. Bridge was not at all enthusiastic about this. Despite his uncertain health, he began to compose again with some purpose, first the Overture Rebus and the a Symphony for String Orchestra. On the afternoon of 10 January 1941, while repairing his car, Bridge was taken ill, and he died peacefully in his sleep later that evening. Marjorie Fass recalled the events of Bridge’s last day in a letter to Benjamin Britten. The pattern of events leading up to his death was much the same as in October 1936, before his first major illness: Friston Field, 23.1.41 Benji darling, What a sad, sad grief our telegram must have been to you. I am so deeply sorry for what you have lost in our lovely old Franco, with all his sweetness, his greatness and his gentleness. Thank heaven he was spared suffering - for his heart just stopped in his sleep. He had been out in the snow and bitter wind for a day or so and must have caught a chill on his tummy. He was his cheery dear self in the morning of Friday 10th and went out after lunch to fiddle with his car, and stopped out in the cold to have a word with Stella Churchill, and then he went upstairs to his room. About three he said he felt sick and he was very sick for 23 RCM Magazine, vol. 37, no. 1 (1941) 24 ibid.

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Bridge in his Time : Seeds of Discontent

an hour, and nurse Baldock, who had been living here with them for the past three months, since her room in Eastbourne was bombed, looked after him and put him to bed, and then came down looking a little worried, but not realising anything might happen. She told me Franco was sick and I asked her if she’d sent for the doctor, and she did, but the doctor was in Lewes. I didn’t realise there was any urgency. Nor did Eth., nor the nurse, as there were no cardiac symptoms, then, only near exhaustion after his sickness. Nurse gave him two aspirins and he went to sleep. During his sleep, about seven-thirty, nurse suddenly saw a change come over his face, and she knew by his colour his heart was failing. By the time another doctor came it was too late. But both doctors, who were in the house before eight, said nothing could have been done. His arteries were hardened and his heart too weak to stand the vomiting... Lovely that during this war he could turn his mind with his beautiful world of sound, and write the Overture Rebus... and he was making a fair copy of a string symphony he liked very much - and told Eth. that we should like. Alas the score isn’t finished - and how we long for our Benji to look over the sketches and see what he meant to do. Perhaps you will some day...

In fact he never did. After Bridge’ death, his music was rarely heard over the air or in the concert hall for three decades. Ethel Bridge, who lived on until 1962, did what she could to keep interest in her husband’s music alive, although the evidence of Bridge’s BBC file indicates that the Music Division did not consider it worth reviving. For example, on 10th March 1960, in response to ‘a rather pathetic letter from Bridge’s widow’, Adrian Boult wrote to the late Robert Simpson at the BBC, ‘I am afraid I cannot recommend very strongly any of the orchestral work I know, but the Suite The Sea... was often done by Henry Wood...It is quite well written, but not very distinguished.’ However, Benjamin Britten remained staunch in his support of his old teacher’s work and continued to programme his music at the Aldeburgh Festival and recorded some of it. Those friends and colleagues who remembered Bridge were polarised in their assessment of his work. There were those whose admiration for his qualities as composer and conductor was unequivocal. There were many others who thought him arrogant, tiresome and ordinary.

After Ethel Bridge’s death in 1961, many letters and manuscripts were either dispersed or burned by Ethel’s over zealous housekeeper. The many hundreds of letters that have been located provide valuable, if one-sided, insights into Bridge’s life and work. The renewed level of interest and appreciation that Bridge’s music enjoys early in the 21st century is due in large measure to the efforts of the Frank Bridge Bequest, which was established as part of the Estate of Ethel Bridge to manage her husband’s royalties and promote performances of the music. It was administered by the Royal College of Music, London until Bridge’s published music went out of copyright in 2011. This increased interest has been enriched by a level of academic research that Bridge’s music never really received in his life time or in thefirst two decades after his death.

When Bridge died, several illuminating obituaries were published. The most perceptive was written by the composer Herbert Howells (Music and Letters, 1942, 208). Benjamin Britten’s broadcast talks and writings about the life and music of his first teacher are well documented. They have been brought together in Paul Kildea’s anthology Britten on Music (Oxford, 2003). Very few first-hand accounts of Bridge and his wife survive. The two most important have been brought together here, one by the cellist Ivor James, Bridge’s friend and former colleague in the English String Quartet (RCM Magazine, 1954) and one by Daphne Oliver, a close family friend of the Bridges and Marjorie Fass, and contemporary of Benjamin Britten. Her memories are drawn from an article printed in the programme book of the 1979 Aldeburgh Festival and from a correspondence with the author.

17

PART TWO The Complete Works

Sketch of Bridge by 'Marcus' published in Musical America, 1923

FRANK BRIDGE : The Complete Works

1. Introduction Each work is ordered as follows: 1. The chronological catalogue of H numbers is followed by the title of the work. Where a work exists in more than one version, or was published with a different title or volume to its original manuscript, it has been given the same number followed by an upper case letter. For example, the revision of the Piano Quintet (H.49) has been given the number 49A and placed chronologically according to the date of revision. This system does not apply to the piano, instrumental pieces and songs that Bridge revised for publication several years after their original composition and for these piano pieces that Bridge orchestrated in the late 1930s. In the revisions he was merely tidying up early manuscripts; in the orchestrations, the means of presentation rather than the musical content has been altered. In neither case has the essential character of the music been changed.

2. The vocal or instrumental requirements.

3. Words: The poet or librettist where appropriate.

4. Durations are approximate, and have been listed for all pieces excepting unfinished works and fragments. For these works the length in bars is given.

5. Source(s) of the final autograph manuscripts are listed first. Detailed bibliographical descriptions have not been included, as their authenticity is indisputable and their chronology for the most part straightforward. Apart from his highly characteristic handwriting, Bridge customarily initialled and dated his autograph manuscripts.

MS copies: non-autograph scores and parts have been listed under a separate heading. In certain cases, copied scores were used by the engraver of the published edition.

MS sketches: full descriptions of the surviving sketches have been included under each appropriate work. Incomplete or unfinished manuscripts have been labelled MS fragment(s).

6. Dates: In most cases the date on which Bridge completed a work appears at the end of the autograph manuscript or printed copy. He usually appended the precise date (day, month, and year), but occasionally added only the month and year or simply the year of composition. It has been possible to date some of the pieces in the last category more accurately from the first performance. However, other methods have been employed for those works which Bridge did not date and those for which no manuscript has been traced: the year of publication - not always reliable, since the date of publication and composition are, in many cases, widely separated, a comparison of musical style, the nature of Bridge’s calligraphy and type of manuscript paper he used with those works whose precise date of composition is known, have been a useful guide. Where the date of composition is not known, an estimate has been made and the work placed at the end of the relevant year.

7. Publishers: Because most of Bridge’s publishers have changed since his death and the music published in his lifetime is now out of copyright, the original and present publishers have been listed (in abbreviated form), together with relevant dates and details of availability.

8. First performances: The dates venues and performers of all known first performances have been listed.

9. Bibliographical references for each work have been included here rather than in a general bibliography.

The references are mostly to reviews and notices, in principal national newspapers and music journals, of first performances and publications.

10. Recordings: These selections are restricted to CD, downloads and vinyl discs released up to June 2015, and 78 rpm records conducted by the composer. Frank Bridge: A Discography (Recorded Soundm April-July 1977) by Foreman, Hughes and Walker includes full details of 78 rpm records, reference material of BBC Transcription Service discs, recordings in the British Library of Sound and private recordings held in the Library of Congress, Washington, DC. 11. Where appropriate the names of dedicatees, relevant biographical and musical information drawn from primary sources (letters and press cuttings), a discussion of any problem of chronology or general musical style, and any additional MS fragment sources have been included in a commentary.

34

2. Sources Catalogues of Bridge’s Works The unpublished catalogue of the Frank Bridge Collection, housed in the Royal College of Music, London, compiled by Peter Horton; this supersedes the list prepared by Oliver Davies and Kenneth Hayle (1962).

‘Modern British Composers: 1 - Frank Bridge’ by Edwin Evans, The Musical Times, vol. 60, February 1919. This article includes a list of works compiled with Bridge’s assistance.

The New Grove Dictionary of Music and Musicians, Macmillan, 1980/2001. The entry on Frank Bridge

by Anthony Payne includes a catalogue of his works by Paul Hindmarsh.

An unpublished, hand-written list of works compiled by Marjorie Fass with references to sources and publishers (undated) The Music of Frank Bridge - a Catalogue of Works by Lewis Foreman, Thames Publishing, 1976.

Contemporary British Composers by Joseph Holbrooke, Palmer 1925.

‘The Songs of Frank Bridge’ by Roderick Keating, a Doctor of Musical Arts dissertation at the University of Texas, Austin, 1970, unpublished.

British Library Catalogue of Printed Music.

BBC Music Library Catalogues.

Library of Congress Union Catalogues.

The Manuscripts Boosey & Hawkes Ltd, London Of the works originally published by Winthrop Rogers Ltd, the following autograph manuscripts were held in the Archive of Boosey & Hawkes: H.57, 60, 68b, 77, 113, 151, 166, 169, 170, 172, 189, 190, 191. Now on permanent loan to the RCM (Frank Bridge Collection).

A number of other autographs of works in the Winthrop Rogers catalogue were returned to the composer, and also form part of the Frank Bridge Collection; the whereabouts of the remainder (detailed below) are unknown.

British Library, Reference Division, Additional Manuscripts Nos. 54352-435 (The Galliard Collection), London On 20 July 1968 the British Library acquired manuscripts from the warehouse of Galliard, the music publishers incorporating Augener Ltd. (Since then the Galliard catalogue has been taken over by Stainer and Bell). Bridge’s manuscripts are collected in Add MSS 54355-68 (14 vols.): H.44, 49a, 52, 80, 86, 103, 107, 108, 112, 115, 116, 118, 128, 140, 148, 153, 154, 155, 160, 161, 162, 164, 167, 168, 171, 173, 183, 188.

During Ethel Bridge’s last years at Friston Field, she was frequently taken on car trips by the Vicar of East Dean, Rev. Burns-Cox. Hearing that his schoolboy son J. Anthony Burns-Cox, was keen on music, Ethel invited him to Friston Fields on one or two occasions. When she died the nurse-cum-housekeeper

35

FRANK BRIDGE : The Complete Works

invited the young man to take some books and scores as a memento. Master Burns-Cox took away some of Bridge’s own sets of printed scores and parts (now in the possession of the author), a number of personal effects and three original manuscripts: H.3, 15 and 176 (original version). These were purchased by the British Library at a Sotheby sale, 22 May 2003 and are catalogued under BL (MUS RP7004).

A number of other manuscripts in these catalogues were returned to the composer and now form part of the Frank Bridge Collection, while the whereabouts of some others are unknown.

The Britten-Pears Library, The Red House, Aldeburgh, Suffolk The library holds four autograph manuscripts: H.57,152, 174, 181. H152 and 181 are on loan from the Britten Estate and H57 is on loan from the estate of Sir Peter Pears.

J. and W. Chester Ltd, London The manuscript score of H141 is in the hand of Sir Eugene Goossens.

Library of Congress, Music Division, Washington DC, USA. Between 1925 and 1939 Bridge presented Mrs Elizabeth Sprague Coolidge with nine autographs of the chamber works he dedicated to her and which were written with her financial support. Mrs Coolidge in her turn presented them to the Music Division of the Library of Congress: H.161a, 163, 164c, 175, 178, 183, 188, 189.

Pendelbury Library, University of Cambridge A version in E major for tenor and string quartet of H.113.

Royal Academy of Music, London The autograph full score of H.98 is housed with other manuscripts of The Pageant of London music.

Royal College of Music, London On the death of Ethel Bridge in 1962, the largest portion of the Bridge Estate was left to the College.

Bridge’s collection of autograph scores, parts and sketches form the basis of the Frank Bridge Collection. Half of his monetary legacy (some £25,000) was left in trust for the Royal College to make use of in the promotion of his music. Other manuscripts have been added to the collection by donation, purchase or permanent loan.

Marjorie Fass, a close family friend of the Bridge’s, was given several manuscripts which were passed on to the Royal College of Music after her death.

Helen Just, widow of Ivor James (cellist and colleague of Bridge in the English String Quartet), donated the autograph manuscript of H.19a to the Royal College of music in 1975.

David Wookey donated manuscripts of H.66 and H.90 in 1976.

The Estate of violinist May Harrison donated the autograph manuscript of H.83 to the Royal College of Music in 2001.

Stainer and Bell Ltd, London Seven autograph manuscripts were transferred to the Reigate warehouse of Stainer and Bell after their incorporation of the Galliard catalogue: H.78, 140, 155, 164, 179 and 180 (cello and piano reduction), 181. H.78, 140, 155, 180 and 181 have since been transferred to the Royal College of Music.

The full orchestra scores of H.164 and 179 appear to have been mislaid.

36

SOURCES

Missing autograph manuscripts Published works Augener Edition / Stainer and Bell: H. 53a (revised version), 54b, 55, 67, 70, 79, 82, 115 (second movement), 164 (orchestral version), 179.

Chappell (including Cary and Reid): H. 23, 70, 102, 104, 105, 142, 165.

Goodwin and Tabb / Curwen Edition: H. 47, 93, 117.

Keith Prowse: H. 8, 12, 13.

Novello: H. 24, 55, 63, 79, 115 (second movement) Oxford University Press: H. 159 Winthrop Rogers Edition / Boosey & Hawkes: H. 25, 27b (full score), 34, 48, 26a, 56 (revised version), 59, 60 (vln pno), 106, 113 (voice pno), 114 (original and orchestra MSS), 119, 120, 121, 122, 123, 126, 127, 133, 147, 149.

Unpublished works H.1, 4, 73, 75, 101

The Sketches Most of Bridge’s sketches and fragmentary manuscripts form Category XV of the Frank Bridge Collection. Davies and Hayle, in their catalogue of 1962, did not attempt to order the 200 or so pages of sketches, so that the identification and listing carried out during the preparation of this book has revealed for the first time something of Bridge’s working methods. From the many pages of pencil and ink drafts that date from the 1920s and 30s, it is clear that, for his later works at least, three stages of preparation were usually involved in the composition of each work: 1. Preliminary sketches, usually in pencil, of the principal material, and its compositional possibilities.

2. A complete draft of the work, in short score, usually labelled ‘sketch’. In a number of cases Bridge actually added a date at the end of the draft score. The composition of extended chamber or orchestral works often involved more than one attempt at the ‘sketch’ (Rhapsody Trio, H.176, Oration, H.180 and Phantasm, H.182, for instance). Further amendments and cancellations were usually introduced during the final stage.

3. The preparation of the final autograph manuscript or full score: having completed, initialled and dated the autograph he would, if necessary, make a duplicate fair copy for use by the engraver of the published edition.

The distinguishing of ‘sketch’ from autograph manuscript has been a source of some confusion in previous catalogues. In their Frank Bridge Collection Catalogue, Davies and Hayle have mistakenly identified the drafts of a number of piano works as the final autograph. At that time (1962) no information was available of the contents of the Augener-Galliard manuscript collection, which included the autograph manuscripts in question. The existence of duplicate autographs and manuscripts labelled ‘sketch’ which are in fact final autograph copies (Sketch V de M, H.166, is a case in point) complicates the issue still further.

For the purposes of this volume the following criteria have been adopted as a means of distinguishing ‘sketch’ from ‘autograph’, in these grey areas: any MS labelled ‘sketch’, apart from V de M, has been automatically listed under MS sketch(es); the same holds for orchestral short scores. Untitled MSS not labelled ‘sketch’, however hastily written or marked with amendments, have been listed under Autograph MS, provided they are complete in every respect. This applies particularly to the initial autographs of short piano pieces and songs written in the early 1920s, for which fair autograph copies

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FRANK BRIDGE : The Complete Works

are extant. Neat autograph fragments (ie. incomplete or unfinished MSS and the jottings of themes for the opening of a number of early projects) have been listed under MS fragment.

The sketches and fragments from which no final MS was prepared have also been listed in the main sequence, despite their unperformable state. Three sets of sketches, H.184, H.186 and H.187, probably dating from the mid-30s, deserve particular mention since they reveal most clearly Bridge’s working method.

Unfortunately, about a quarter of the sketch material (some 50 pages) is completely disorganised and barely legible. Often Bridge seems to have used the first available sheet to jot down an idea or to work out a technical problem, with the result that ideas for more than one work, and themes that do not resemble any of the more legible sketches or complete works, are written on the same page. For instance, he jotted down the main theme for the tone-poem Summer in 1915 on the back of a sheet of paper he had first used in 1903.

The identified sketches and fragments have been listed thus: Short-score drafts (‘Sketches’) 62, 65, 66, 70, 74, 75, 98, 101, 103, 112, 118, 127, 132, 139, 151, 160, 164a, 167, 174, 177, 179, 180, 181, 182, 183, 184, 185, 189, 190, 191, 192.

Preliminary sketches 89, 101, 115, 116, 150a, 151, 166, 173, 174, 180, 182, 188, 189, 190, 191, 192.

Incomplete / unfinished autograph fragments 28, 32, 39, 41, 42(3), 53b, 127, 129, 159, 163, 176, 184, 186, 187, 192.

The Published Music Most of Bridge’s original publishers changed after his death. A number have ceased operations altogether, while others have amalgamated with larger publishers. The majority of the published music is now in the public domain worldwide. The catalogue gives both the original and present positions, while the following table details the changes that have taken place.

Stainer & Bell incorporates Augener Edition, Galliard, Goodwin & Tabb.

Boosey & Hawkes incorporates Schirmer , Winthrop Rogers, Hawkes & Son, Boosey & Co. Faber Music incorporates Goodwin & Tabb (orchestral), Curwen, G. Schirmer Chappell & Co incorporates Cary & Co. (H.70 to Augener), Chappell; Reid Bros.

Oxford University Press is unchanged.

Novello & Co. and Thames Publishing [taken over by Elkin Music are now subsidiary imprints of Music Sales Ltd., London, the latter now available on line through www.musicroom.com.

38

SOURCES

The Correspondence BBC Written Archives A file of letters written by Bridge and his wife to the Music Department of the BBC between 1927 and 1941. In these letters, Bridge’s remarks and suggestions are confined to forthcoming broadcasts as composer or conductor. None of the letters of criticism of BBC music policy, orchestral standards, etc., that he is known to have written to Sir Adrian Boult and others survive. Also included are BBC internal memos about Bridge and his music.

British Library Add. MSS. 52256, a letter written to Edward Clark, of the BBC. A number of photographs taken at the 1923 Berkshire Festival of chamber music, Pittsfield, USA. Britten-Pears Library, Aldeburgh Marjorie Fass (1884-1968) was a close friend of the Bridge’s. She was a gifted amateur artist and painter who had studied piano, violin and art in Brussels and singing in Italy, where Ethel Bridge’s sister, later a member of the Hannover Opera Company, was also a student. Fass and the Bridges met in 1918.

They were neighbours in Bedford Gardens, Camden Hill, London. She also had a cottage in Friston, near Eastbourne. In 1923 the Bridges became her neighbours there too. While Frank and Ethel Bridge were in the United States in the autumn of 1923, Fass supervised the building of their cottage, ‘Friston Field’. They wrote almost every day. Fass was a tall, elegant woman, and although never of robust health, she outlived both of her beloved friends. Her many portraits of Frank Bridge and Benjamin Britten are testimony of her affection for them both. Over 200 letters from Frank and Ethel to Marjorie written between 1918 and 1939 survive in the Britten-Pears Library. (They were a gift of Daphne Oliver.)

Benjamin Britten (1913-1976) was Bridge’s ‘quasi adopted son’. In many ways the letters of Bridge and Britten (over 150) are the most significant non-musical sources, since they illuminate one of the influential master-pupil relationships of the century. They contain advice, admonishment, encouragement and opinion on both musical and personal matters. Frank and Ethel Bridge did not have any children of their own, and the young Benji became a much-loved member of the ‘family Brit’ the Bridge’s circle of close friends.

Library of Congress, Music Division Elizabeth Sprague Coolidge (1864-1953) was the leading patron of music in the United States between the wars. In 1925 she created a charitable foundation at the Library of Congress which promoted concerts, music festivals and commissioned new works. The list of composers with works ‘dedicated to Mrs Elizabeth Sprague Coolidge’ reads like a Who’s Who of Twentieth Century Composers - including Stravinsky, Bartok, Schoenberg, Hindemith, Respighi, Britten and Bridge. The Foundation promoted chamber music festivals in Europe and America, but principally the Berkshire Festival of Chamber Music at Pittsfield, Mass, and at the Library of Congress itself. The Bridge-Coolidge correspondence (567 letters, mostly by Bridge, with some carbon copies of replies by Mrs Coolidge) is preserved at the Library of Congress. Although they spent holidays together when Coolidge came over to Europe, and they had pet names for each other, their letters are much more formal than those to Fass or Britten.

There are also 11 letters from Bridge to Carl Engel, who administrated the Coolidge Foundation from the Music Division of the Library of Congress. One letter to Walter Damrosch , the American conductor of the Boston Symphony Orchestra, and one to Burnet Tuthill, of the New York Symphony Orchestra, are also included.

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FRANK BRIDGE : The Complete Works

The Frank Bridge Bequest, Royal College of Music, London All the documentary holdings of the Frank Bridge Bequest are housed in the Reference library of the Royal College of Music. This includes letters, photographs, postcards and sketches (by Marjorie Fass and by Bridge himself). Bridge’s correspondence with Edward and Ferdinand Speyer is preserved.

Other documents and effects have been donated or purchased following the death of the original owner. Peter Alston, the dedicatee of Bridge’s organ Prelude (H.189a), and the son of Audrey Alston, possessed a number of effects. J.A. Burns-Cox possessed a letter addressed, but not posted, to Sir Hugh Allen, in which Bridge expressed something of his bitterness at his treatment by the musical establishment; a letter from Sir Edward Elgar (the reply of which is in the Elgar Museum, Malvern) congratulating Bridge on his conducting of Beethoven’s Eroica Symphony; a letter from Queen Mary; effects and reports. George Dannatt, of East Hatch, Wiltshire, possessed a collection of letters written by Bridge to John B. Gordon, the first written on 29th July, 1921, when Mr. Gordon was a student. The remaining nine letters, written between 19th August 1930 and December 1932, concern the production, at the Royal College of Music, of Bridge’s opera in one act The Christmas Rose, which John Gordon produced.

40

Abbreviations General ac. add. arr. ed(n).

Hire Lib. ISCM KFIC MS(S) opt.

PC trans.

acoustic recording additional arranged editor/edition Hire Library International Society for Contemporary Music Poems selected from Heinrich Heine by Kate Freiligratt Kroeker manuscript(s) optional piano conductor score translator

Publishers Augener BH Chappell Curwen FM Galliard GT KP MS Novello OUP PHM Schirmer SB TP WR

Augener Ltd Boosey & Hawkes Ltd Chappell and Co Ltd Curwen and Sons Ltd Faber Music Ltd Galliard Ltd Goodwin and Tabb Ltd Keith Prowse Ltd Music Sales Novello and Co Ltd Oxford University Press PHM Publishing Schirmer Ltd Stainer and Bell Ltd Thames Publishing Winthrop Rogers Edition

Sources BL BPL FBC FBB GC LC RCM

Instrumentation picc piccolo fl flute ob oboe ca clarinet cl clarinet bcl bass clarinet bsn bassoon cbsn contra-bassoon asax alto saxophone tsax tenor saxophone bar sax baritone saxophone hn F horns tpt trumpet tbn trombone btbn bass trombone bar baritone horn euph euphonium hp harp pno piano cym cymbal sdr side(snare) drum tdr tenor drum bdrum bass drum tri triangle vln violin vla viola vlc cello db double bass

British Library, London Britten-Pears Library, Frank Bridge Collection Frank Bridge Bequest Galliard Collection Library of Congress, Royal College of Music, London

41

3. Thematic Catalogue of Works 1900-1941 H.1 1.

2.

3.

4.

1900 TRIO in D minor

for violin, cello and piano Allegro moderato Scherzo: Allegretto Andante Allegro

Autograph MS Date

Whereabouts unknown Before November 1900. Comparison with the dates of composition of H.3,7 and 15, Bridge’s other major student works, would suggest that the Piano Trio might have been composed during the spring or summer of 1900.

Unpublished First performance 14 November 1900 at the RCM. The first public performance was given on 4 April 1902 at the Steinway Hall by the Hubert Sharp Trio. These are the only documented performances.

References RCM Programme Book, 1900; The Musical Times, Vol. 44, February 1903, p. 177.

H.2

ROMANCE: UNE LAMENTATIONE D’AMOUR for violin and piano

Duration Autograph MS Date Unpublished

H.3

5’ RCM, FBC, H.2: 6ff. Quarto. Ink, score.

Bridge added the date 17 August 1900 at the end of the MS

QUARTET in B flat major for 2 violins, viola and cello

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FRANK BRIDGE : The Complete Works

Duration Autograph MS

31` BL(MUS RP7004), formerly in the possession of Anthony BurnsCox, acquired at Sotherby's sale 22 May 2003: 68pp, bound ink score.

Bridge added the date December 1900 at the end of the MS.

Date Unpublished First performance On title page, ‘First performance at Alexandra House, Royal College of Music, South Kensington, London SW, March 14th 1901’.

References RCM Programme Book, 1901; RCM Magazine, vol.1, no. 4, 1905.

Recording The Bridge Quartet, Meridian CDE 84525, trs. 1-4, (2004).

H. 4 1.

THREE DANCES for violin and piano Adagio ben sostenuto e con tristezza

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FRANK BRIDGE : The Complete Works

2.

Allegretto

3.

Moto perpetuo: Allegro

Autograph MS Copy MS Date Publisher Recording

H.5

RCM, FBC H.4c: 4ff. Quarto. Ink score, later used by the engraver.

RCM, FBC, uncatalogued: an undated copy of all three items.

1900 - the date given at the end of the printed edition.

GT (1911), pl. no. 16381; Augener (1925), now SB: c only.

Reprinted TP (1995) in vol. 17 of the Frank Bridge Edition.

3. Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr.21, (1999); 3. Madeleine Mitchell, Andrew Ball (piano), Violin Songs, Divine Art DDA250-63, tr. 20 (2007).

1901 SONNET

for voice and piano Words Shakespeare, Sonnet 43 Duration 2’30”

Autograph MS Date Unpublished Recording

RCM, FBC HS: 4ff. Quarto. Ink Bridge added the date 8 April 1901 at the end of the MS Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67181, tr. 1, (1997).

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FRANK BRIDGE : The Complete Works

H.6

SCHERZO PHANTASTICK

for 2 violins, viola and cello

Duration 6' Autograph MS RCM, FBC H6: full score [8ff. folio. Ink] and set of parts [each 2ff. Quarto. Ink] Date Publisher Recordings

H.7

Bridge added the date 8 July 1901 at the end of the score PHM Publishing. Also available in a version for string orchestra by Paul Hindmarsh, as the fourth of Four Pieces (see H.17) Moscow Chamber Orchestra, conducted by Constantine Orbelian, The Music of Frank Bridge, Delos DE3263, tr. 7 (2001) Northern Sinfonia, conducted by David Lloyd-Jones, English String Miniatures, Vol. 4, NAXOS 8.555070, tr.5

QUINTET in E minor for 2 violins, 2 violas and cello

1

Allegro appassionato

2

Andante ma non troppo

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FRANK BRIDGE : The Complete Works

3

Presto

4

Allegro molto vivace

Duration Autograph MS Date

c 30' RCM, FBC H7: score [54ff. Quarto. Ink] and set of parts [each 12ff.

Quarto. Ink].

Bridge wrote on the title page ‘Commenced May 6th 1901, finished July 21st 1901’; each movement is also individually dated - 31 May, 17 June, 29 June and 21 July.

Unpublished First performance 4 December 1901 at the RCM, London.

Recordings The Bridge Quartet with Ivo-Jan Van der Werff (2nd viola), Meridian, CDE 84525 (2004).

Raphael Ensemble, Hyperion CDA 67426, tr.5-8 (2004).

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FRANK BRIDGE : The Complete Works

H.8

BERCEUSE for violin or cello and piano; for violin and strings; for orchestra; for piano

Duration Autograph MS

Date Publisher

3’ RCM, FBC H.8: full score [6ff. folio. Ink] of a version for small orchestra only (21+ca 22-2000 - strings) with accompanying set of parts [14ff. Quarto. Ink]. In this version, the introduction and coda are longer and the texture of the principal episode is expanded. The whereabouts of the other autograph versions are unknown.

Bridge added the date 18 August 1901 at the end of the full score.

KP in the following versions: i. Violin or cello and piano (1902); ii.Violin and strings (1902) iii. Small orchestra (1929), PC and parts(1121-2000-strings); also available from the BBC MusicLibrary (cat. no. 3021) iv. Light orchestra arr, Hubert Bath, PC and parts (112+3 sax 1-2230 - perc strings); also available from the BBC Music Library (cat. no. 9019) v. Piano solo (1929) Version for cello and piano reissued by Faber Music (1982), No. 1 in a volume of Four Pieces (ed. Julian Lloyd Webber), with Serenade, Elegie and Cradle Song.

ABRSM Grade 7 (2013/14)

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FRANK BRIDGE : The Complete Works

Recordings

H. 9

Moray Welsh (cello), Roger Vignoles (piano), PEARL SHE 571, tr. 6 (1982) Britten Sinfonia conducted by Nicholas Cleobury, Conifer 75605 51327-2, tr. 15, (1997); Peter Jacobs (piano), Continuum CCD 1018, tr.2, (1990). Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, tr. 11, (2001).

BBC National Orchestra of Wales (Richard Hickox), Bridge Orchestral Music vol.

6, Chandos, CHAN 10310, tr. 10 (2005).

Madeleine Mitchell (violin), Andrew Ball (piano), Divine Art, DDA25063, tr. 22 (2007) Mark Bebbington (piano), Bridge Piano Music, Vol.3, SOMM 0107, tr. 19, (2011).

BERCEUSE for soprano and orchestra or piano 21+ ca 21 - 4000 - timp - strings Words Dorothy Wordsworth, ‘The Cottager to her infant’

Duration Autograph MS

5` RCM, FBC H9: piano and vocal score, containing some instrumental indications [4ff. Quarto. Ink.] Date Bridge added the date 17 October 1901 at the end of the score.

Publisher TP (1990), in vol.12 of the Frank Bridge Collection, with piano accompaniment edited by Paul Hindmarsh.

First performance 20 June 1902 at the RCM, sung by Delia Mason (soprano), conducted by the composer.

Reference RCM Programme Book, 1902.

Recording Patricia Wright (soprano), John Alley (piano), The Early Bridge, Pavilion Records, PEARL, (1983).

Sarah Connolly (mezzo), BBC National Orchestra of Wales (Richard Hickox), Bridge Orchestral Works, Vol.6, Chandos CHAN 10310, tr.6.(2005).

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FRANK BRIDGE : The Complete Works

H.10

CORONATION MARCH for orchestra 2 + picc 222 - 4231 - timp perc - strings

Duration Autograph MS Date Unpublished

H.11

8` RCM, FBC H.10: full score [26ff. folio. Ink].

Bridge added the date November 1901 at the end of the score.

ADAGIO MA NON TROPPO (for organ)

Duration 1`30” Autograph MS RCM, FBC, H. 11: 1f. folio. Ink. On reverse of score is a rough draft of an arrangement for organ of the hymn tune Vulpius.

Date c. 1901 Unpublished

H.12

IF I COULD CHOOSE for voice and piano Words

Thomas Ashe, No and Yes [Songs Now and Then, 1876]

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FRANK BRIDGE : The Complete Works

Duration Autograph MS Date Publisher Recording

H.13

1`30” whereabouts unknown before 1902 - the year of publication.

KP (1902). Archive copies were available from TP. Gerald Finlay (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 2.

THE PRIMROSE for voice and piano Words

Duration Autograph MS Date Publisher Recording

Robert Herrick, Hesperides [1648]

1` whereabouts unknown before 1902 - the year of publication.

KP (1902). Archive copies were available from TP. Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 3. (1997).

H.8, H.12 and H.13 were the only items Bridge sold to Keith Prowse publications. The two songs were originally published in a single volume, and aimed at the drawing-room ballad market.

Also dating from 1901 are the Allegro ben moderato, the Andante con moto (both for organ – H.106(1) and 106(3)), and the original version of the Minuet for piano (H.108b).

H.14

THE HAG for baritone and orchestra 2+picc 2 3 2 - 4 2 3 1 - timp cym bd - string Words

Duration Autograph MS

Date Unpublished

Robert Herrick

2’ 30” RCM, FBC H.14: full score [15ff. folio. Ink], vocal score [4ff. folio. Ink] and orchestral parts, some in copyist’s hand, and 21 lithograph string parts from Bridge’s autographs.

Bridge added the date 18 June 1902 at the end of each score.

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First performance 9 December 1902 at the RCM, sung by Albert Garcia (baritone), conducted by Frank Bridge. The Hag was also performed at the first and sixteenth Patron’s Fund concerts (see H.30).

References RCM Programme Book, 1902; The Musical Times, vol. 45, July 1904, p. 397; The Musical Times, vol. 52, July 1911, p. 471; RCM Magazine, vol. 7, No. 3, 1911, p.94.

Recording Roderick Williams (baritone), BBC National Orchestras of Wales, conducted by Richard Hickox, Bridge Orchestral Music, vol.5. Chandos, CHAN 10246 (2004).

H.15

QUARTET in C minor for violin, viola, cello and piano

1.

Allegro ma non troppo

2.

Scherzo: Presto

3.

Poco adagio

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FRANK BRIDGE : The Complete Works

4.

Presto

Duration Autograph MS

Date

32` BL (MUS RP7004), formerly in the possession of Anthony Burns- Cox, acquired at Sotheby's sale 22 May 2003.

RCM, FBC H.15: the autograph set of parts [15+13+12ff. Quarto. Ink] Bridge dated each movement individually: 16 February, 25 February, 10 April, 14 July 1902.

Unpublished First Performance 23 January 1903 at the RCM, played by Ethel Sinclair (violin), Frank Bridge (viola), Arthur Trew (cello) and Harold Samuel (piano).

References RCM Programme Book, 1903; The Musical Times, vol. 44, Feb.1903, p 177.

Recording The Fibonacci Sequence, Dutton Epoch, CDLX 7220, tr. 8-11, (2009).

H.16

PENSEE FUGITIVES 1 for piano

Duration Autograph MS Date Publisher Recordings

H.17

3`30” RCM, FBC H.16: 2ff. Quarto. Ink. Bridge added the date 22 August 1902 at the end of the score.

TP (1993) in vol. 20 of Frank Bridge Edition, with H. 20 and 29.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 2, Continuum CCD 1018, tr.16 (1990); Ashley Wass, Frank Bridge Complete Piano Music, vol. 2, NAXOS, 8.557921, tr.12, (2007); Mark Bebbington, Frank Bridge Complete Piano Music, vol. 3, SOMM, tr.7,(2011).

VALSE INTERMEZZO A CORDES for string orchestra

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Duration Autograph MS Date Publisher Recordings

H.18

7' RCM, FBC H.17: full score [8ff. folio. Ink] and set of parts [each 2ff. Quarto. Ink].

Bridge added the date 22nd August 1902 at the end of the score.

PHM Publishing, as the second of Four Pieces for Strings.

Northern Sinfonia conducted by David Lloyd-Jones, English String Miniatures, vol. 4, NAXOS 8.555070, tr. 4, (2000).

Moscow Chamber Orchestra, The Music of Frank Bridge, DELOS DE 3263, tr. 5, (2001).

BBC National Orchestra of Wales, conducted by Richard Hickox, Bridge Orchestral Music, vol. 5, Chandos, CHAN 10246, tr. 14, (2004).

TROIS MORCEAUX D’ORCHESTRE for small orchestra 1121-2110- cym harp - strings

1.

Chant de Tristesse

2.

Chant d’Espérance

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3.

Chant de Gaieté

Duration Autograph MS Date Unpublished Recording

H.19

12' RCM, FBC H.18: full score [24ff. folio. Ink].

Bridge dated each movement individually: April 1902; 11 April 1902; scored August 1902; September 1902, Eastbourne.

No. 2, BBC National Orchestra of Wales, conducted by Richard Hickox, Chandos, Bridge Orchestral Music, vol. 6, CHAN 10310, tr. 11, (2005).

SCHERZETTO for cello and piano (or orchestra)

Duration Autograph MS Date Publisher Recording

H.19A

SCHERZO

for cello and piano (or orchestra)

Duration Autograph MS Date

4' RCM, FBC H19: undated score of the original version [4ff.folio.Ink].

1901-2 - an estimate on the basis of musical style.

FM (hire), orch. Robert Cornford [1111-2000- strings].

Julian Lloyd Webber, National Philharmonic Orchestra, conducted by Charles Gerhardt, RCA Red Seal RL25383 (1981), vinyl LP and cassette.

4’ RCM, MS 4863: undated score and part of the revision. This copy was donated to the RCM by Helen Just, widow of Ivor James.

The revisions to the first section are substantial. later than H.19, presumably for Ivor James to play.

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Publisher

Recordings

H.20

SCHERZETTINO

for piano

Autograph MS Date Publisher Recordings

H.21

FM (1982), with Mélodie (H.99), edited by Julian Lloyd Webber.

FM (hire) in an orchestration by Robert Cornford [2 2 2 2 - 2 0 0 0 - hp - strings] with Morning Song (H.99) and Elegie (H.47). This suite for cello and orchestra was commissioned by the Frank Bridge Bequest.

Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records, PEARL SHE 571, tr. 6 (1982), Lowri Blake (cello), Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records, PEARL SHE CD 9600, tr.6, (1986), Julian Lloyd-Webber, John McCabe (piano), ASV/Master Classics (re-issued 2010), Steven Doane, Barry Snyder (piano), Bridge Records, BCD 9056, tr. 5 (1995), Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, tr.

12 , (2001), Penelope Lynex, Alexander Wells (piano), SOMM 229, tr.4, Kate Gould (cello), Daniel Tong (piano), Dutton, CDLX 7205, tr. 6.

RCM, FBC H20: 2ff.folio.Ink. c.1901-2 TP (1993), vol. 20 of the Frank Bridge Edition.

Peter Jacobs, Frank Bridge Complete Piano Music, vol.2.

Contiuum, CCD 1018, tr. 17 (1990); Ashley Wass, Bridge Piano Music, vol.2, NAXOS 8.557921, tr.13 (2007); Mark Bebbington, Bridge Piano Music, vol.3, SOMM 0107, tr.11, (2011).

A DIRGE for medium voice and piano Words

Duration Autograph MS

Shelley, from Poems of 1822

1’ RCM, FBC H.21. Two copies autographed and dated.

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Date Bridge added the date 7 April 1903 at the end of the MS. Publisher TP (1981) in a volume of Five Early Songs, ed. Paul Hindmarsh.

First performance 6 December 1904, the second Patron’s Fund Concert at the Aeolian Hall, sung by F. Aubrey Millward (see H.38).

Recordings Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL, 1982.

Louise Winter (mezzo), Roger Vignoles (piano), Songs of Frank Bridge, Hyperion CDA 67181, tr. 4 (1997).

Ivan Ludlow (baritone), Daniel Tong (piano), Bridge Songs and Chamber music, Dutton Epoch, CDLX 7205, tr. 12 (2008).

H.22

CON MOTO (Song without words) for violin and piano (or string orchestra)

Duration Autograph MS Date Publisher Recording

H.23

2’ RCM, FBC H.23: score [2ff.foilio.Ink] Bridge added the date 16 April 1903 at the end of the MS PHM Publishing, with the title Song Without Words, as the third item in an anthology of Four Pieces for String Orchestra, arr. Paul Hindmarsh (See H.17).

Moscow Chamber Orchestra conducted by Constantine Orbelian, The Music of Frank Bridge, DELOS DE 3263, tr.6.

SERENADE for violin or cello and piano; for orchestra; for piano

Duration Autograph MS Date

2' Whereabouts unknown April 1903 - the date given at the end of the printed edition.

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Publisher

Recordings

H.24

Burns and Co., reissued Reid Bros Ltd (1906); Chappell, in the following versions: i. Piano solo; ii. Violin or cello and piano; iii. Orchestra. PC and parts (1 1 2 1 - 2 2 1 0 - timp tri harp - strings) were for many years available on hire from Chappells. However, since 1964, the year of their fire, the score and parts have been available only from the BBC Music Library, London.

Version for cello and piano re-issued by Faber Music (1982) in a volume of Four Pieces edited by Julian Lloyd Webber, with Berceuse, Elegie and Cradle Song.

Moray Welsh (cello), Roger Vignoles (piano), Pearl SHE 571(1982); Lorraine McAslan (violin), John Blakely (piano), Britten and Bridge, Continuum CCD 1022, tr. 10 (1991); Britten Sinfonia (Nicholas Cleobury), Conifer 75605 51327-2, tr. 16 (1997).

Louise Williams (viola), David Owen Norris (piano), The Music for Viola, ASV CD DCA 1064, tr. 18, (1997). Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, tr.

10, (2001).

BBC National Orchestra of Wales conducted by Richard Hickox, Bridge Orchestral Music, vol. 6, Chandos, CHAN 10310, tr.12, (2005).

DRAMATIC OVERTURE

for orchestra

Autograph MS Date Unpublished

Whereabouts unknown. A set of lithographed copies of string parts in the composer's hand survive in FBC III, addenda.

Before May 1903

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H.25

AUTUMN for SATB unaccompanied Words

Duration Autograph MS Date Publishers Recordings

H.26

Percy Bysshe Shelley (A Dirge, Posthumous Poems, 1824)

3'15” Whereabouts unknown.

Uncertain. It will have been submitted some months before August 1903.

Novello (The Musical Times, Supplement, August 1903); TP (1989), No.1 in a volume of Five Unaccompanied Part-Songs, ed. Paul Hindmarsh.

Louis Halsey Singers, conducted by Louis Halsey, Pavilion Records, PEARL SHE 550 (1981).

THE DEVON MAID for medium voice and piano Words

Duration Autograph MS Date Publisher Recording

H.27

John Keats, 1818 (published 1853)

1' 30” Whereabouts unknown.

July 1903 - the date given at the end of the printed edition.

The Vocalist No. 42, Series No.126(a), September 1905, pp 127 - 129; Schirmer (1916); WR, now BH (1979), Frank Bridge Song Album.

Jamie MacDougall (tenor), Roger Vignoles (piano, The Songs of Frank Bridge, Hyperion CDA 67181, tr. 4 (1997).

RISING WHEN THE DAWN STILL FAINT IS for voice and piano Words

Heine, trans Francis Hueffer, printed in KFK

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Duration Autograph MS Date

H.27A

2' RCM: 2ff.folio.Ink Bridge added the date 28 July 1903 at the end of the MS.

DAWN AND EVENING for voice and piano or orchestra Words

Duration Autograph MS Date Publisher

Recordings

H.28

C.A. (after Heine), printed in KFK

2' Whereabouts unknown. It is a revision, set to a different translation, of H. 27; hence this separate entry.

1903 - the date given at the end of the printed edition.

The Vocalist, No 43, Series No. 130, October 1905, pp. 157-159; WR(1916), now BH, as the first of Four Lyrics. All four songs were issued separately in high and low keys; reissued (1979) in the Frank Bridge Song Album.

BH (Hire Lib), the full score and parts (1 1 2 1 - 2 0 0 0 - harp - strings).

Gerald Finlay (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 5 (1997).

Ivan Ludlow (baritone), Daniel Tong (piano), Frank Bridge Songs and Chamber Music, Dutton Epoch, CDLX 7205, tr. 4, (2008).

(THREE HEINE SONGS) for tenor and piano or small orchestra (2 only)

1.

Where e’er my bitter teardrops fall

Words

Heine, trans. J E Wallis, printed in KFK

2.

E’en as a lovely flower

Words

Heine, trans. KFK, by permission of the Walter Scott Publishing Co.

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3.

The Mountain Voice

Words

Heine, trans. unknown

Durations 1. 1’30”; 2. 3’ Length 3. 20 bars, incomplete Autograph MSS RCM, FBC: The original versions of 1 and 2 [2ff.folio.Ink], the revised version of 1 entitled Three Songs for Tenor Voice, and an undated revision of 2 [both 1ff.folio.Ink].

MS fragment RCM, FBC : the first page of the autograph MS of The Mountain Voice.

Dates 1: 30 July 1903 (the original version); 2: 20 August 1903, Eastbourne (the revision); 3: 28 July 1903.

Publisher 2: The Vocalist, No. 43, Series No. 131, October 1905, pp. 160-162; WR (1916), also 2, as the second of Four Lyrics; now BH(1979) in the Frank Bridge Song Album. Four Lyrics also issued separately in keys for high and low voices (see also H.28A, H.69 and H.77).

2: BH (Hire Lib): the full score and parts (1 1 2 1 - 2 0 0 0 - harp - strings).

1: PHM Publishing (2015) Recordings E’en as a Lovely Flower: Maggie Teyte (soprano), Rita McKay (piano), DECCA LXT 6126; London 5889 (mono); Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, Side 1, tr.3, (1982).

Where e’er my bitter teardrops fall and E’en as a lovely flower: Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, trs. 6 & 7, (1997).

H.29

MODERATO in E minor for piano (and string orchestra)

Duration Autograph MS Date Publisher Recordings

2' 30” RCM, FBC: 2ff.folio.Ink ‘Cardigan, September 5th 1903’ added at the end of the MS. TP (1993) in vol. 20 of the Frank Bridge Edition; PHM Publishing: the first of Four Pieces for String Orchestra, (See H.17).

Peter Jacobs (piano), Frank Bridge Piano Music, vol. 2, Continuum CCD 1018, tr. 18, (1990); Ashley Wass (piano), Bridge Piano Music, Vol. 2, NAXOS 8.557921, tr.11 (2006); Moscow Chamber Orchestra, conducted by Constantine Orbelian, The Music of Frank Bridge, DELOS DE3263, tr. 4, (2001); Mark Bebbington (piano), Bridge Piano Music, vol. 3, SOMM 0107, tr.15 (2011).

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H.30

SYMPHONIC POEM [Mid of the Night] for orchestra 3+picc 2+ca 2 2 - 4 4 3 1 - timp cym - strings

Duration 24’ Autograph MS RCM, FBC: full score [58ff.Ink. Bound],set of non-autograph parts.

Date ‘October 18th 1903, London’ at the end of the score.

Publisher Faber Music, edited Paul Hindmarsh, entitled Mid of the Night.

First performance 20 May 1904, the first Patron’s Fund Concert at the St. James’s Hall, London conducted by Frank Bridge.

References The Musical Times, vol. 45, June 1904, p 397.

Recording BBC National Orchestra of Wales conducted by Richard Hickox, Bridge Orchestral Works, vol. 1, Chandos CHAN 9950, tr. 5, (2001).

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H.31

MUSIC WHEN SOFT VOICES DIE for high voice and piano Words

Duration: Autograph MS Date

Percy Bysshe Shelley, Posthumous Poems (1824)

2' RCM, FBC: 2ff.folio.Ink. Bridge added the date 3 November 1903 at the end of the MS.

Below the title, Bridge added ‘cello obbligato’, although no such indication is given in the score itself. H.76,3 is a revised version in C minor with viola obbligato.

H.32

MAZURKA for cello and piano

Duration Autograph MS

4' RCM, FBC: an untitled, hastily written draft [2ff.folio.Ink]. Bridge used one page of a large sheet of orchestral score paper on the reverse of which are two further fragments in ink for cello and piano and for strings, each of twelve bars.

Publisher TP (1991), vol.13 in the Frank Bridge Edition, ed Paul Hindmarsh.

First performance July 1990, Studio 7, BBC New Broadcasting House, Manchester, by Raphael and Peter Wallfisch.

Recording Penelope Lynex (cello), Alexander Wells (piano), The Complete Music for Cello and Piano, SOMM 229, tr.11.

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H.33

BLOW, BLOW THOU WINTER WIND for medium voice and piano Words

Autograph MS Date Publisher Recordings

H.34

Shakespeare, As you like it (1599)

RCM, FBC: two copies in D minor and C minor [each 2ff.folio.Ink].

Bridge gave both versions the same date – 1903.

Schirmer (1916); WR, now BH, in D and C minor (both the revised version); reissued BH (1979) in the Frank Bridge Song Album.

Stephen Varoce (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, side 1, tr.1, (1982); Gerald Finlay (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 9, (1997).

GO NOT, HAPPY DAY for voice and piano or small orchestra Words

Duration Autograph MS Date Publisher

Recordings

Tennyson, by permission Macmillan & Co.

1'15” Whereabouts unknown.

1903 - the date given at the end of the printed edition.

The Vocalist, No. 42, Series No. 126b, September 1905, pp. 130 - 134; WR, now BH, in G and A major; reissued BH (1979) in the Frank Bridge Song Album.

BH (Hire Lib) for the version for voice and strings (arr.Wurmser) in A major only, and the arrangement for voice, harp and strings (by G. Willliams) also in A major.

Kathleen Ferrier (contralto), Frederick Stone (piano): DECCA LX3133 (mono, 25 cm), London LW5353 (mono, 25 cm); DECCA Ace of Clubs ACL310 (Richmond 23187), recorded 1952;

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FRANK BRIDGE : The Complete Works

Peter Pears (tenor), Benjamin Britten (piano): DECCA LW5241 (mono, 25 cm; DECCA Eclipse ECS545 (stereo), 1970; Valerie Baulard (mezzo), Roger Vignoles (piano), Pavilion Records PEARL SHE 514. (1974); John Stratton (baritone), Avery Byram (piano), Cantilena 6237; Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 10 (1997).

H.35

REMEMBRANCE for high voice and piano Words Percy Bysshe Shelley (Lament, Posthumous Poems, 1821)

Duration Autograph MS Date

3' RCM FBC c.1903. Although the MS is not dated, it is clearly an early work. All the rest of his settings of Shelley were composed between April 1903 and March 1904.

Remembrance is a simple setting, with two-bar phrase sequences that have more in common with songs of early 1903, like A Dirge (H.21) and Go not, Happy Day (H.34), than songs of 1904 like A Dead Violet (H.38). The manuscript has been copied with a further autograph of H.21 and H.36.

Publisher PHM Publishing (2015) First performance 13 May 1995 at Garsington Manor, Oxford, sung by Nicholas Sears (tenor) with Iain Burnside (piano).

1904 H.36

NIGHT LIES ON THE SILENT HIGHWAYS for medium voice and piano Words

KFK(after Heine), from ‘Poems selected from Heinrich Heine by Kate Freiligrath Kroeker’ (1887)

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Duration Autograph MS

2'50” RCM, FBC H36: 4ff.folio.Ink. This score comprises H.36 [f1-2r] and H.21 [f.2v-3r] Date Bridge added the date 12 January 1904 at the end of the MS. Publisher TP (1981), No. 2 of Five Early Songs, ed Paul Hindmarsh, vol. 1 of the Frank Bridge Edition.

First performance See H.38 Reference The Musical Times, vol. 46, January 1905, p. 40.

Recordings Gerald Finlay (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 11 (1997).

Ivor Ludlow (baritone), Daniel Tong (piano), Bridge Songs and Chamber Music, Dutton Epoch CDLX 7205, tr.12 (2009).

H.37

MUSIC WHEN SOFT VOICES DIE for SATB unaccompanied Words

Percy Bysshe Shelley, Posthumous Poems (1824)

Duration 2' Autograph MS RCM, FBC H.37: 5ff.Quarto.Ink. Date 1904 – the inscription on the first page of the MS Publisher TP (1989), the third of Five Unaccompanied Part-Songs.

First performance 20 October 1979, London College of Music, by the Exultate Singers, director Garrett O’Brien.

Recording Louis Halsey Singers, conducted by Louis Halsey, Pavilion Records , PEARL SHE 550, (1981).

H.38

A DEAD VIOLET for medium voice and piano Words

Duration Autograph MS Date

Shelley, On a faded violet from Poems of 1818.

2’ RCM, FBC H38: 2ff.folio.Ink. Bridge added the date 21 March 1904 at the end of the MS.

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Publisher TP (1987), No.3 of Five Early Songs ed. Paul Hindmarsh.

First performance H.21, H.36 and H.38, 6 December 1904, the second Patron’s Fund Concert at the Aeolian Hall, sung by F. Aubrey Millward.

References The Musical Times, vol. 46, January 1905, p. 40; RCM Magazine, vol. 1, no.1, p. 21.

Recordings Gerald Finlay, Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67181, tr. 12 (1997).

Ivor Ludlow (baritone), Daniel Tong (piano), Bridge Songs and Chamber Music, Dutton Epoch CDLX 7205, tr.14, (2009).

H.39

SONATA in E flat major for violin and piano

1.

Allegro

Duration 2.

8’

Andante ed espressivo

Length

110 bars (unfinished)

Autograph MS

RCM, FBC H.39: score [12ff.folio.Ink] and part {2ff.folio.Ink], comprising the complete first movement and a substantial fragment of the second.

Bridge added the date 13 April 1904 at the end of the first movement.

Date

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Publisher

TP (1997), vol. 19 in the Frank Bridge Edition, completed and ed. Paul Hindmarsh, with the title Sonata (1904).

First performance Broadcast on BBC Radio 3, 8 January 1997, by Per Ennoksen (violin) and Kathryn Stott (piano), from the Concert Hall, BBC New Broadcasting House, Manchester.

Recording Jennifer Orchard (violin), Igor Kraevsky(piano), Phantasie, Minstrel MLCD0301, trs. 1 & 2, (2003)

H.40

(TWO SONGS) for voice and orchestra (or piano)

1.

Lament: Fall now my cold thoughts

Words

Laurence Binyon

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2.

Fly home my thoughts

Words

author unidentified

Durations 1. 2’30”; 2. 3’ Autograph MSS RCM, FBC H40a: voice and piano score of Lament[2ff.Quarto.Ink]; RCM, FBC H40b: voice and piano score of Fly home my thoughts[4ff.Quarto.Ink].

Bridge added the number ‘3’ at the head of 2 and ‘horn’ over the first note. There is no other indication of instrumentation.

Date Bridge added Midsummer 1904 at the end of both MSS. Unpublished

H. 41

HAREBELL AND PANSY for voice and orchestra Words

Length MS fragment Date Unpublished

H.42

author unidentified

58 bars (incomplete) RCM, FBC H.41: the first three pages of the voice and piano score [4ff.Quarto.Ink]. The whereabouts of the remainder, if indeed it was composed, is unknown. c.1904 - a date estimated by stylistic comparison with H.40.

(THREE PIECES) for 2 violins, viola and cello

1.

Allegro marcato

2.

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3.

Allegretto

Duration Autograph MS Date Publisher Recording

H.43

4’30” RCM, FBC H.42. The order of the items in this rough full score is uncertain, but since Bridge added a date at the end of 3, presumably this movement is the finale [2ff.Quarto.Ink].

1904, for the English String Quartet (alias the ‘Chips Quartet’) to play at the RCM Union AGM Concert at the end of the summer term SJ Music, in the order 3,2,1.

Maggini Quartet, Naxos 8.553718, trs. 14-16, (1994).

(SONG CYCLE) for voice and piano Words author unidentified

1.

Love

3.

Death

2.

Life

Durations 1. 2’; 2. 1’30”; 3. Length 38 bars (unfinished) Autograph MS RCM, FBC H43: an ink sketch, c incomplete [4ff.Quarto.Ink] Date Bridge added the date 7 September 1904 at the end of 1.

Unpublished

H.44

NOVELLETTEN for 2 violins, viola and cello

1.

Andante moderato

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2.

Presto

3.

Allegro vivo

Duration Autograph MS Date

12' BL (GC) add MSS 54361.

September 1904. Bridge dated each movement individually: 7 September, 12 September, 19 September 1904.

Publisher Augener (1915); Augener (1924) miniature score; both now SB. First performance 24 November 1904 at the RCM, played by the English String Quartet.

References RCM Magazine, vol. 1, no. 1, 1904, p. 13; The Musical Times, vol.

52, January 1911, p. 31.

Recordings Gabrieli Quartet, DECCA Ace of Diamonds SDD479 (1974); Maggini Quartet, Frank Bridge - Works for String Quartet, NAXOS 8.553718, trs. 4-6 (1994); The Bridge Quartet, Chamber Music by Frank Bridge, SOMM 087, trs. 4-6, (2009).

H.45

ROMANZE for violin and piano

Duration Autograph MS Date Publisher Recording

3' RCM, FBC H45: score [4ff.Quarto.Ink] Bridge added Christmas 1904 at the end of the MS. TP (1992), vol. 18 of the Frank Bridge Edition.

Lorraine McAslan (violin), John Blakely (piano), Britten and Bridge, Continuum, CCD1022, tr.7, (1991); Madeleine Mitchell (violin), Andrew Ball (piano), Divine Art DDA25083,tr. 14, (2007).

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H.46

CRADLE SONG for voice and piano Words Tennyson, from Sea Dreams, Enoch Arden and other poems (1876)

Duration Autograph MS Date Publisher Recording

H.47

2' RCM, FBC H46: undated score [2ff.folio.Ink]. c. 1904 TP, in Six Early Songs, vol. 31 in the Frank Bridge Edition.

Janice Watson (soprano), Roger Vignoles, The Songs of Frank Bridge, Hyperion CDA67181, tr.13, (1997).

ELEGIE

for cello and piano (or orchestra)

Duration Autograph MS Date Publisher

Recordings

4' 30” Whereabouts unknown.

1904 - the date given at the end of the printed edition.

GT (1911); FM (1981) in a volume of Four Pieces for cello and piano, edited by Julian Lloyd Webber, with Berceuse, Serenade and Cradle Song.

FM(Hire): version with orchestral accompaniment, arranged by Robert Cornford, as the second of three pieces in a Suite commissioned by the Frank Bridge Bequest. The others items are Morning Song and Scherzo (see H.19A).

Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records, PEARL SHE 571, side 1, tr. 7, (1982); Lowri Blake (cello), Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records, PEARL SHE CD9600, tr. 5, (1986); Louise Williams (viola), David Owen Norris (piano), ASV DCA1064, tr.9,(1999); Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX, PSC 1160, tr. 13, (2001); Penelope Lynex (cello), Alexander Wells (piano), The Complete Music for Cello and Piano, SOMM 229, tr.2.

Elegie is dedicated to Ivor James.

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H.48

SOUVENIR

for violin and piano

Duration Autograph MS Date Publisher Recording

H.49

3' Whereabouts unknown 1904 - the date given at the end of the printed edition.

WR (1919), now BH; TP (1992).

Peter Hanson (violin), Christopher Cox (piano), Pavilion Records, PEARL SHE 586, side 2, tr. 8, (1985); Louise Williams (viola), David Owen Norris (piano), ASV CD DCA1064, tr.17, (1999); Benjamin Nabarro (violin), Daniel Tong (piano), Dutton Epoch, CDLX 7205, tr.10, (2008).

1905 QUINTET in D minor (original version)

1.

for 2 violins, viola, cello and piano Allegro energico

2.

Adagio ma non troppo

3.

Allegro con brio

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4.

Adagio - Allegro con fuoco

Duration Autograph MS

32' RCM, FBC H49: piano score [49ff.folio.Ink] and set of parts [10 + 8 + 8 + 8ff.folio.Ink].

Date Bridge dated each movement individually: 26 December 1904 (Fernholt), 31 January 1905 (Chelsea), 15 February 1905 (Chelsea), 4 April 1905 (Chelsea).

Unpublished in this version First performance 28 May 1907, at the home of Miss M. C. Hall, 79 Emperor’s Gate, London; played

by Thomas Morris and Ethel Sinclair (vlns), Frank Bridge (vla), Ivor James (vlc) and Harold Samuel (pno). This was a private performance at a Royal College of Music Students’ Union ‘At Home’. The first public performance of this version took place during one of Thomas Dunhill’s concerts, 14 June 1907, played by the Erinson Quartet and Thomas Dunhill (pno).

Reference RCM Magazine vol. 4, no.1, p. 6

H. 50

LEAN CLOSE THY CHEEK AGAINST MY CHEEK for voice and piano Words

Duration Autograph MS Date Unpublished Recording

Heine, trans. Franklin Johnson, printed in KFK.

2' 50” RCM, FBC H.50: score [2ff.folio.Ink] Bridge has added the date 10 April 1905 at the end of the MS. Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67181, tr.14, (1997).

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H.51

FAIR DAFFODILS for voice and piano Words

Duration

Robert Herrick, To Daffodils, Hesperides, 1648

2'10”

Autograph MSS RCM, FBC H.51: scores of the original and revised versions, the latter used by the engraver in 1919 [both 2ff.folio.Ink]. Also an incomplete score of the latter.

Date Bridge added the date April 1905 at the end of both MSS. The substantial revisions probably date from the period immediately prior to publication.

Publisher WR (1919), now BH, in high, medium and low keys; reissued (1979) in the Frank Bridge Song Album.

Recording Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, side. 1, tr. 5, (1982); Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67181, tr.15, (1997).

H.52

CAPRICCIO No.1 in A minor for piano

Duration Autograph MSS

2’ RCM, FBC H.52: original version, entitled Caprice [2ff.folio.Ink].

BL (GC) Add MSS 54366: revised version for the engraver.

Date Bridge added ‘April 1905’ at the end of both MSS. Publisher Augener (1905), now SB. First performance 20 May 1905, Queen’s Hall, London, played by Mark Hambourg.

References The Musical Times, vol. 46, June 1905, p. 384; The Morning Post, 22 May 1905, p. 4d; The Daily Telegraph, 22 May 1905, p.11c; The Times, 22 May 1905, p. 3d.

Recordings Peter Jacobs, Frank Bridge Complete Piano Music, vol. 1, Continuum CCD1016, tr.1, (1990); Mark Bebbington, The Piano Music of Frank Bridge, vol. 1, SOMM CD 056, tr.1,(2006).

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H.53

(TWO PIECES) for viola and piano

1

Pensiero (Andante moderato)

Duration 2

2’30”

Allegretto

Length Autograph MSS

99 bars (incomplete); 117 bars (completed by Paul Hindmarsh) RCM, FBC H53: original version of 1 and the incomplete fragment of 2[4ff.folio.Ink]. The autograph MS of the revision of 1 has not been traced.

Date 23 May 1905 added at the end of the MS of 1.

Publisher SB (1908) 1 only, under the title Pensiero, no. 1 in The Lionel Tertis Viola Library; reissued 1981, with Allegro Appassionato (H.82), Two Pieces for viola and piano.

TP(1980), 2, completed by Paul Hindmarsh, vol. 10 of The Frank Bridge Edition.

First performance Pensiero, 24 November 1909, at the Royal College of Music, with Audrey Ffoulkes (viola) and Harold Smith (piano), with Allegro Appassionato (H.82).

Recordings Michael Ponder (viola), John Alley (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, Side 2 (1982); Michael Coletti (viola), Leslie Howard (piano), English Music for Viola, Hyperion CDH55085, tr. 8, (1993) Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 4(1) and tr. 20 (2), (1999).

H.54 1.

TWO PIANOFORTE SOLOS A Sea Idyll

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2.

Capriccio No 2 in F sharp minor

Durations Autograph MSS

1. 4’; 2. 4’ RCM, FBC H54a: score entitled Two Pianoforte Solos, No 1 A Sea Idyll [2ff.folio.Ink]. The whereabouts of the autograph of 2 has not been traced.

Dates 1 June 1905, 2 July 1905 - the dates given at the end of the printed editions.

Publisher Houghton & Co.(1906), issued as a pair; Augener (1917), reprinted in separate editions; now SB. First performance 15 July 1905 at the Bechstein Hall, played by Harold Samuel.

References The Daily Telegraph, 16 June 1905, p. 12g; The Times, 16 June 1905.

Recordings Peter Jacobs, Frank Bridge - complete music for piano, vol. 1, Continuum CCD1016, tr. 2 (1) and tr. 3 (2), (1990).

Mark Bebbington, The Piano Music of Frank Bridge, (1) vol. 2, SOMM CD082, tr.

16 (2007) and (2) vol. 1, SOMM CD056, tr.5, (2006).

H.55

PHANTASIE in F minor

for 2 violins, viola and cello Allegro moderato - Andante moderato - Allegro ma non troppo

Duration Autograph MS

12’ Worshipful Company of Musicians, London holds a bound full score (20 pages, ink), with front cover mistakenly titled Animo et Fide (see H. 97)

Copy MS

A full score in the hand of Bridge’s American pupil, Bernard Rogers, including some corrections in Bridge’s hand, is held at the publisher Stainer and Bell.

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Date

Probably composed between July and September 1905, when Bridge began work on his First Book of Organ Pieces (H.56).

Publisher Novello (1906), parts only, for the Worshipful Company of Musicians; Augener; now SB. First performance 22 June 1906, at the Bechstein Hall, by the Saunders String Quartet.

References The Musical Times, vol. 46, July 1905, p. 455; The Musical Times, vol. 46, Dec. 1905, p. 791; The Musical Times, vol. 47, July 1906, p. 459; The Musical Times, vol. 52, April 1911, p. 242; The Times, 23 June 1906; The Morning Post, 23 June 1906, p. 6b.

Recordings Hanson String Quartet, Pavilion Records, PEARL SHE 570, Side 2, tr.2-4, (1982) Maggini Quartet, Frank Bridge - Works for String Quartet, NAXOS 8.553718, tr. 1-3, (1995); The Bridge Quartet, The English Phantasy, EM Records EMRCD025, tr. 1, (2015).

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H.56 1.

FIRST BOOK OF ORGAN PIECES Allegretto grazioso

Duration 2.

Allegro comodo

Duration 3.

4’

3’

Allegro marziale e ben marcato

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Duration

3’30”

Autograph MSS

RCM, FBC H.56: the original versions of 1[4ff.folio.Ink] entitled Allegretto Pastorale, and 3 entitled March. The original version of 2 is a trio [3ff.folio.Ink].

1st September 1905, 2nd October 1905 and 3rd October 1905 - the dates given at the end of the printed editions.

WR (1917), now BH. The three pieces have been reissued (1979) in a collected edition with the Second Book (H.106), under the title Six Organ Pieces.

Stuart Campbell, Pavilion Records, PEARL SHE 545 (1980).

Christopher Nickol, Priory PRCD537, trs. 2-4, (1995).

1. Stanley Curtis, Apollo AS1004 (mono); Philip Marshall, HMV CSD3678 (st.)

3. Stanley Curtis, Apollo AS1004 (mono); Christopher Dearnley, HMV CSD 3677 (st.).

Dates Publisher Recordings

This is the only set of organ pieces Bridge composed as a group. They are thematically linked: following this publication, three independent pieces were issued as a second book (See H.106). Bridge used the first part of the March in The Pageant of London music (See H.97).

H.57

ADORATION

for medium voice and piano or orchestra

Words

Duration Autograph MS

Date Publisher

Recordings

John Keats, from Extracts from an Opera, 1848.

4’ In 1905 and again in 1918 Bridge made extensive alterations to parts of the vocal line and to passages of accompaniment harmonies; thus an unusually large number of autograph scores survive: BPL: A copy of the final published version on loan from a private source, O.W. Neighbour: the second voice and piano version in D major, entitled Asleep, RCM, FBC H.57: the original voice and piano version, also entitled Asleep [2ff.folio.Ink]; the final, published voice and piano version, entitled Adoration, [2ff.folio.Ink]; and a copy of the latter, used by the engraver [2ff.folio.Ink].

All these MSS are in C major.

RCM: the full score of the orchestral version (on loan from Boosey and Hawkes).

November 1905 added at the end of the first and second MSS. WR (1918); now BH, in the final version for voice and piano; reissued in the Frank Bridge Song Album.

BH (Hire Lib), score and parts of the orchestral version (2 2 + ca 2 + bcl 2 - 4 3 3 1 - timp - strings).

Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577. side 1, tr. 5, (1982).

Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA 67181, tr. 16, (1997).

Philip Langridge (tenor), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 6, Chandos CHAN 10310, tr.2 (2005).

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H.58

ÉTUDE RHAPSODIQUE for piano

Duration Autograph MS Date Publisher

2’15” RCM, FBC H58: 4ff.folio.Ink. Bridge added the date November 1905 at the end of the MS. TP (1990), vol. 15 of the Frank Bridge Edition, published in association with the Frank Bridge Bequest.

First performance 16 October 1986, BBC Radio 3, played by John Gough.

Recordings Peter Jacobs, Frank Bridge - Complete music for piano, vol. 2, Continuum CCD 1018, tr.1, (1990); Mark Bebbington, The Piano Music of Frank Bridge, vol. 2, SOMM CD082, tr.10, (2007).

H.59

AMARYLLIS for violin and piano

Duration Autograph MS Date Publisher Recordings

H. 60

2’30” Whereabouts unknown 1905 - the date given at the end of the printed edition.

WR (1919); TP (1995) in vol. 18 of the Frank Bridge Edition, published in association with the Frank Bridge Bequest.

Louise Winter (viola), David Owen Norris (piano), Frank Bridge - The Music of Viola, ASV CD DCA 1064, tr. 1. (1999).

Madeleine Mitchell (violin), Andrew Ball (piano), Divine Art DDA25063, tr.13, (2007).

NORSE LEGEND

for violin and piano; for piano; for orchestra; arr. for wind ensemble

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Duration Autograph MS Date Publisher

Recordings

4’ RCM, FBC: the full score only (on loan from Boosey and Hawkes), the autographs of the instrumental versions have not been traced.

1905 - the date given at the end of the printed edition. Bridge made the orchestral version in January 1938.

WR (1919) in the instrumental versions; now BH. Hawkes & Son (Concert Edition, 1939) in the orchestral version, PC and parts; now BH. (Hire Lib), score and orchestral parts (1 1 2 1 - 2 2 1 0 timp - harp - strings).

TP (1995) in vol. 17 of the Frank Bridge Edition, for violin and piano.

Wonderful Winds: arr. for double wind quintet by Alfie Pugh .

Peter Hanson (violin), Christopher Cox (piano), Pavilion Records, PEARL SHE 586, Side 2, tr. 6, (1986); Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records, PEARL SHE CD9866, tr. 1, (1986); Lorraine McAslan (violin), John Blakely (piano), Britten and Bridge, Continuum, CCD1022, tr.9, (1991); Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 16, (1999); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 2, tr.8, (2002).

Between 1936 and 1938 Bridge scored a number of other piano works for the same forces Rosemary and Canzonetta as Two Entr’actes (H.68,2 and H.169), three items from Vignettes de Marseilles (H.166) under the title Vignettes de Danse, and the Two Intermezzi from the incidental music to Threads (H.151). The Entr’actes and Intermezzi were also published in the Hawkes Concert Edition.

H.61

SO PERVERSE for medium voice and piano Words

Duration Autograph MS Date Publisher Recordings

Robert Bridges, Triolet, Shorter Poems, Book 1 (1873)

1’20” Whereabouts unknown 1905 - the date given at the end of the printed edition.

The Vocalist, No 45, series no. 136 (December 1905), pp. 203-205; Schrimer (1916); WR, now BH, for medium voice only; reissued (1979) in the Frank Bridge Song Album.

Peter Pears (tenor), Benjamin Britten (piano), Argo RG418 (mono)/ ZRG 5418 (stereo)/ ZK 28 (1964/1977; David Johnston (tenor), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records, PEARL SHE 514, side 1, tr. 3, (1973); Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67181, tr. 17, (1977).

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H.62

TEARS, IDLE TEARS for medium voice and piano Words

Tennyson, from The Princess, IV (1849)

Duration 5’ Autograph MS RCM, FBC H62: score [4ff.folio.Ink] MS sketch RCM, FBC : an incomplete and undated sketch [2ff.folio.Ink] Publisher TP (1981), the fourth of Five Early Songs, edited by Paul Hindmarsh (See H.38).

First performance 13 November 1981, Royal Scottish Academy of Music and Drama, Glasgow, sung

by Paul Hindmarsh (tenor) with Jack Keaney (piano).

Recordings Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, Side 1, tr.2, (1982); Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67181, tr. 18, (1977).

H.63 1.

THREE PIECES FOR ORGAN Andante moderato in C minor

Duration 2.

Adagio in E major

Duration 3.

4’30”

7’

Allegro con spirito in B flat major

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Duration Autograph MSS Date Publisher Recordings

H.64

3’ Whereabouts unknown. At one time the publishers possessed the autographs of all three pieces, but no longer have record of them. c.1905 - the year Bridge assigned the copyright to Novello & Co. Novello (1905) separately (organ compositions Nos. 336, 337 and 338) and reissued (1974) in a collected edition.

Stuart Campbell, Pavilion Records, PEARL SHE 545, side 1, tr. 1-3, (1980).

Christopher Nickol, Priory PRCD537, trs. 10-12, (1995).

2: Simon Preston, Argo ZRG 528 (stereo); Christopher Herrick, Vista VPS 1001; 2 & 3: Eric Suddrick, Wealdon WS 149 (stereo).

(THREE PIECES) for 2 violins, viola and cello

1.

Pizzicati

Duration 3.

2.

30”

(untitled)

Length

16 bars

Adagio

Duration

50”

Autograph MS RCM, FBC H64. Items 1 and 3 are sketched out in open score, while 2 is in short score only, without tempo or dynamic markings [2ff.folio.Ink] Date c.1905, probably for an RCM Union AGM Concert Unpublished

1906 H.65

TWO SONGS for high baritone and orchestra (or piano) 2+ picc 2 2 2 - 4 2 3 1 - timp - strings Words

1.

Robert Bridges

I praise the tender flower

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Duration 2.

3’

Thou didst delight my eyes

Duration

3’

Autograph MSS RCM, FBC H65: full score [6ff.folio.Ink], vocal scores [both 2ff.Quarto.Ink] and set of 4 orchestral parts.

MS sketch RCM, FBC H65: an untitled sketch of both songs, the first incomplete [both 2ff.Quarto.Ink].

Date Bridge dated each song individually: October 1905, scored 2 January 1906; scored 20 January 1906.

Unpublished First performance 14 July 1909 at the 12th Patron’s Fund Concert, Queen’s Hall, sung by Robert Chignall (baritone) and conducted by Frank Bridge. The second song (b) was repeated at the 16-th Patron’s Fund Concert, sung by Jamieson Dodds, accompanied by the London Symphony Orchestra, again under the composer’s direction.

Reference The Times, 15 July 1909, p. 13e; RCM Magazine, vol. 5, no. 3 (1909), pp. 85-86.

Recording Roderick Williams (baritone), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 5, Chandos, CHAN 10246, trs. 6 & 7, (2004).

H.66

DRAMATIC FANTASIA

for piano Adagio - Allegro moderato - Lento - Allegro moderato

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Duration 12’ Autograph MS RCM, FBC H.66 Date Bridge added the date January 1906 at the end of the MS. Publisher TP (1989), vol. 4 of the Frank Bridge Edition, edited by Paul Hindmarsh.

First performance 2 June 1979 at the Wigmore Hall, played by Peter Jacobs.

Recordings Peter Jacobs, Frank Bridge Complete music for piano, vol.2, Continuum CCD 1018, tr.2, (1990); Anthony Goldstone, The Britten Connection, Gamut Classics GAM CD 526, tr.1, (1991); Mark Bebbington, Frank Bridge Piano Music, vol.2, SOMM CD 082, tr.12, (2007).

MS fragment RCM,FBC: 15-bar theme for a projected set of variations (possibly the slow movement of Bridge’s Sonata, as originally conceived)

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H.67

THREE IDYLLS for 2 violins, viola and cello (or string orchestra)

Autograph MS

Whereabouts unknown; RCM, FBC H67: set of autograph parts [7 + 8 + 7 + 7ff.Quarto.Ink]; Violin and cello parts [ 4 + 4 + 4ff.]

Date Each piece is dated 18 April 1906, 26 April 1906, 6 May 1906 in the viola part.

Publisher Augener (1911), miniature score and parts; now SB; Augener (1938), arranged by Bridge for string orchestra.

First performance 8 March 1907 at the Bechstein Hall, by the Grimson Quartet.

References The Daily Telegraph, 9 March 1907, p. 12b; The Morning Post, 9 March 1907, p. 5c; The RCM Magazine, vol. 2, no. 2, p. 55; The Times, 9 March 1907, p. 7f; The Maltings Prom Programme Book (Aldeburgh), 21-31 August 1987, p. 33.

Recordings Gabrieli String Quartet, DECCA Ace of Diamonds, SDD 497, side 2, tr. 1-3, (1977); Delme String Quartet, Frank Bridge Music for String Quartet, Chandos ABRD 1073 (LP)/ CHAN 1073 (CD); Maggini Quartet, Frank Bridge Works for String Quartet, Naxos 8.553718, trs. 7-9, (1994); Moscow Chamber Orchestra (Constantine Orbelian), The Music of Frank Bridge, Delos De 3263, trs. 8-10, (2000); Coull Quartet, Hyperion CDH55218, trs. 4-6, (2006); Goldner String Quartet, Bridge chamber music, Hyperion CDA67726, trs. 4-6, (2009).

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H.68

THREE SKETCHES for piano (or for small orchestra, 2 only)

1.

April

Duration 2.

Rosemary

Duration 3.

2’20”

2’30”

Valse Capricieuse

Duration Autograph MS

1’30” RCM, FBC H.68: untitled score [2 + 2 + 2ff.folio.Ink]; RCM, FBC: the full score of the orchestral version of b (with Canzonetta, H.169).

Date 1906 - the date given at the end of the printed edition. Bridge added the date 12 May 1906 at the end of 1, in his MS. Rosemary orchestrated in January 1938.

Publisher WR (1915), for piano; now BH, available separately.

Hawkes and Son (Concert Edition, 1939), PC and parts of the orchestral version of Rosemary, no. 1 of Two Entr’actes (with H.169); now BH (Hire Lib), score and parts (11 2 1 - 2 2 0 0 - timp harp - strings).

First performance 4 November at the Bechstein Hall, by Ellen Edwards (piano).

Reference The Musical Times, vol. 51, Dec 1910, p. 791.

Recordings Richard Deering (piano), Saga 5445, stereo, (1977); Peter Jacobs (piano), Frank Bridge Complete music for piano, vol. 3, Continuum CCD 1019, trs. 1-3, (1990); Mark Bebbington (piano), The Piano Music of Frank Bridge, vol. 1, SOMM CD 056, trs. 2-5, (2006); Ashley Wass (piano), Bridge Piano Music, vol. 2, Naxos 8.557921, trs. 8-10,(2007).

(2) Edward Moore (piano) Saga 5400; London Philharmonic Orchestra (Sir Adrian Boult), Lyrita SRCS73, side 2, tr.4, (1978); Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records, PEARL SHE CD 9600, trs. 2, (1986); English String Orchestra (William Boughton), An English Suite, Nimbus Records NI 5366, tr.11, (1993); Britten Sinfonia (Nicholas Cleobury), Conifer 75605 51327 2, tr. 13, (1998); BBC National Orchestra of Wales (RichardHickox), Frank Bridge Orchestral Works, vol. 5, Chandos, CHAN 10246, tr. 11, (2004);

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H.69

THE VIOLETS BLUE

for voice and piano, or string quartet Words James Thompson, after Heine, printed in KFK.

Duration 1’30” Autograph MSS RCM, FBC: score in E minor, labelled Song, Heine[2ff.folio.Ink], plus an autograph [2ff.folio.Ink] copy in F sharp minor. RCM, FBC: the titled MSS, used by the engraver, on loan from Boosey and Hawkes.

Date ‘5 September 1906’ added at the end of the E minor MS. Publisher WR (1916), as the third of Four Lyrics, in keys for high and low voice; BH, reissued (1979) in the Frank Bridge Song Album.

BH (Hire Lib), for the parts of the version for voice and string quartet.

Recordings Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records PEARL 577, side 1, tr.9, (1982); Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67181, tr. 19, (1997).

H.70

QUARTET in E minor for 2 violins, viola and cello

1.

Adagio - Allegro appassionato

2.

Adagio molto

3.

Allegretto grazioso

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4.

Allegro agitato

Duration Autograph MS

Other MSs

Date Publishers References

Recordings

30’ Whereabouts unknown. The original publisher, Cary & Co, had charge of an autograph at the time of incorporation into the Chappell catalogue. The latter believes that Bridge’s original score was destroyed in a warehouse fire of 1964. Augener/ SB, the subsequent publisher, does not recall ever possessing it.

RCM, FBC H.70: Set of parts 8 + 6 + 5 6ff.folio.Ink], draft score of the finale (some bars missing) plus three further folios containing sketches for the finale, a rejected leaf of an orchestral arrangement of Easter Hymn (H.102), a sketch for Sunset (H. 117) and other unidentified sketches.

October 1906 Cary & Co. (1916), The Avison Edition, for the Society of British Composers, score and parts; Augener (1920), now SB. The Musical Times, vol. 47, June 1906, p. 417; The Daily Telegraph, 17 June 1909; The Morning Post, 17 June 1909, p. 7e; The Times, 17 June 1909, p.13d; The Musical Times, vol. 50, July1909, pp. 468-9; RCM Magazine, vol. 5 no. 3 (1909) pp. 86-7; The Musical Times, vol. 52 (January 1911), p. 31.

Hanson Quartet, Pavilion Records PEARL SHE 563, side 1, (1980); Brindisi String Quartet, Frank Bridge String Quartets, vol. 1, Continuum CCS 1035, trs. 1-4, (1990); Bridge String Quartet, Frank Bridge Quartets, Meridian CDE 84369, trs. 4-7, (1998); Maggini Quartet, Frank Bridge String Quartets 1 & 3, Naxos 8.557133, trs.1-4, (2002).

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H.71

COME TO ME IN MY DREAMS for voice and piano Words

Matthew Arnold, Longing from Empedocles on Etna and other Poems,1852.

Duration Autograph MSS Date Publisher Recordings

H.72

3’ RCM, FBC H71: score in E flat, plus copies in D flat and F major with minor revisions [all 2ff.folio.Ink] Bridge added the date November 1906 at the end of the original version. The revision probably dates from the time of publication.

WR (1918), in the revised version (E flat and D flat); BH (1979), reissued in the Frank Bridge Song Album.

Valerie Baulard (mezzo), Roger Vignoles (piano), Pavilion Records, PEARL SHE 514, side 2, tr. 4, (1974); Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, side 1, tr. 2, (1982); Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67181, tr. 20, (1977); Ivan Ludlow (baritone), Daniel Tong (piano), Frank Bridge Songs and Chamber Music, Dutton Epoch, CDLX 7205, tr. 3.

MY PENT-UP TEARS OPPRESS MY BRAIN for voice and piano Words

Duration Autograph MS Date Publisher Recordings

Matthew Arnold, from The River, 1852. (the last 12 lines)

1’30” RCM, FBC H72: dated, but untitled score [2ff.folio.Ink] Bridge added the date 27 December 1906 at the end of the MS. TP (1981), the fifth of Five Early Songs, selected and edited by Paul Hindmarsh (see H.38).

Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, side 1, tr. 7, (1982); Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67181, tr. 21, (1997).

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H.73

(TWO RECITATIONS) for speaker and piano

1.

The Lovers’ Quarrel

2.

The Maniac

Words

Robert Browning

Words

Matthew Gregory Lewis

Autograph MSS RCM, FBC: neither score is dated. Dialogue cues are included. Copies of the poems and detailed instructions to the reciter are interleaved.

Date c. 1906, given in Davies and Hayle as 1905, although Banfield has suggested a later date of 1906 or 1907, which is a more plausible estimate from the musical style.

Unpublished In his notes, the narrator is at pains to point out that the musical settings are not merely incidental, but were dramatic and pictorial commentaries on the poems. Since their mood and content change every few bars, they are hardly substantial enough to be performed as independent piano pieces.

Despite the earnestness of the notes, Bridge’s intention is clear - an over-melodramatic presentation bordering on the ridiculous.

H.74

THE RAG for string quartet

Duration MS Sketch

Date Unpublished

c.4’ RCM, FBC H.74: This undated short-score sketch was written on a rejected sheet of the Valse Capricieuse, thus dating its composition later than June 1906. Bridge did not compose the music in sequence, but linked the jumbled episodes with a series of cues. The Rag comprises an introduction, theme and two variations on The Old Folks at Home, concluding with an extended coda. The introduction quotes Beethoven’s String Quartet (Op.18, no.1) and from the Ninth Symphony.

Instructions to ‘weep and squirm’ have been added to an autograph set of parts [10ff.folio.Ink].

After June 1906.

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H.75

VALSE FERNHOLT for strings and piano

Length MS Sketch Date

194 bars, including repeats RCM, FBC H.75: this ink sketch, an undated short score, gives no indication of the number of string players required [2ff.folio.Ink]. c 1904-6 The date of composition of this piece is unknown, although it is most certainly an early work. ‘Fernholt’ was the name of the Sydenham home of the violinist Herbert Kinsey.

Unpublished

H.76 1

THREE SONGS

for medium voice and piano, with viola obbligato

Far, far from each other Words

Duration 2

1907

Matthew Arnold, Empedocles on Etna and other poems, 1852.

4’

Where is it that our soul doth go?

Words

Heine, trans K. F. Kroeker, printed in KFK.

Duration

3’

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3 Words

Music, when soft voices die (H.31) Shelley, from Posthumous Poems, 1824

Duration Autograph MSS

2’ RCM, FBC H.76: the original MSS [4+2+2ff.folio.Ink], plus copies [3+2+3ff.folio.Ink], and viola part of 3.

Dates

Each song is dated individually: 1. November 1906, 2. Christmas 1906 and 3. (11 November 1903) / 11 January 1907.

Publisher

TP (1982), in vol. 2 of the Frank Bridge Edition, published in association with the Frank Bridge Bequest.

First performance 9 December 1908 at the Broadwood Concert Rooms, by Ivy Sinclair (contralto), Audrey Ffoulkes (viola) and Frank Bridge (piano).

Reference RCM Magazine vol. 4, no. 4.

Recordings Patricia Wright (soprano), Michael Ponder (viola), John Alley (piano), The Early Bridge, Pavilion Records PEARL SHE 577. side 2, tr.1, (1982); Louise Winter (mezzo), Roger Chase (viola), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67181, trs. 22-24, (1997); Jean Rigby (mezzo), Louise Williams (viola)), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, trs. 10-12, (1999); Ivan Ludlow (baritone), Tom Dunn (viola), Daniel Tong (piano), Frank Bridge Songs and Chamber Music, Dutton Epoch CDLX 7205, trs. 7-9, (2008).

H.77

ALL THINGS THAT WE CLASP for voice and piano Words

Heine, trans Emma Lazarus, printed in KFK.

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Duration Autograph MSS Date Publisher Recordings

H.78

1’40” RCM, FBC H.77: dated MS, entitled Heine [2ff.folio.Ink] BH: a fully titled MS used by the engraver.

Bridge dated the RCM score 21 January 1907.

WR (1916); now BH, as the last of Four Lyrics, issued in high and low keys; reissued (1979) in the Frank Bridge Song Album.

Stephen Varcoe (baritone), Christopher Cox (piano), The Early Bridge, Pavilion Records, PEARL SHE 577, side 1, tr. 4, (1982); Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion, CDA67182, tr.1, (1997); Ivan Ludlow (baritone), Daniel Tong (piano), Frank Bridge Songs and Chamber Music, Dutton Epoch CDLX 7205, tr. 2(2008).

ISABELLA, Symphonic Poem after Keats for orchestra 3(picc) 2+ca 2+dbsn - 4223 - timp tri bd cym hp - strings

Adagio ma non troppo - Allegro moderato - Allegro moderato

Duration Autograph MS MS sketches

18’ SB: full score; the RCM holds a set of 57 orchestral parts in a copyist’s hand.

RCM, FBC H.78: 4 sheets of the final draft, in short score, of the opening and central section, a piano reduction of the string parts up to fig, 6, bar 6, and the final page of the autograph viola part.

Date January 1907 added at the end of the full score.

Publisher FM : 2006, published full score; FM Hire Library, orchestral performing material.

First performance 3 October 1907 at a Queen’s Hall Promenade Concert, conducted by Henry Wood.

References The Musical Times, Vol. 48, November 1907, p. 740; RCM Magazine, vol. 4 no. 2; The Morning Post, 4 October 1907, p. 7f; The Times 27 February 1908, p.14e.

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Recordings

Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records PEARL SHE 568, side 1 (1982); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestra Music, vol. 1, Chandos CHAN 9950, tr. 2, (2001).

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H.79

PHANTASIE in C minor for violin, cello and piano

Duration Autograph MS

17' Whereabouts unknown. The Worshipful Company was the last organisation known to have used it.

Date After June 1907.

Publisher Novello (1909), for the Worshipful Company of Musicians; Augener; now SB. First performance 27 April 1909 at a banquet of the Incorporated Society of Musicians, by the London Piano Trio.

References The Times, 28 April 1909, p. 13a; The Musical Times, vol. 48, June 1907, p. 380; The Musical Times vol. 50, March 1909, p. 179; The Musical Times, vol. 52, April 1911, p. 242.

Recordings Music Group of London, Enigma Classics K53578, side 2, tr.2, (1979); The Dartington Piano Trio, Frank Bridge Chamber Music, Hyperion CDA66279, trs. 7-10, (1988); The Hartley Trio, British Piano Trios, Gamut Classics GAM CD 518, tr. 5, (1990); The Dussek Piano Trio, Frank Bridge Piano Trios, Meridian Records CDE 84290, tr.1, (1995); The Bernard Roberts Piano Trio, Black Box BBM1028, tr.1 (2000);

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The Pittsburg Piano Trio, Phantasie, Minstrel MLCD301, tr.5, (2003); Jack Liebeck (violin), Alexander Chaushian (cello), Ashley Wass (piano), Frank Bridge Piano Trios, Naxos 8.570792, trs. 1-4, (2008); London Bridge Ensemble, Frank Bridge Songs and Chamber Music, Dutton Epoch CDLX 7205, tr. 15(2008).

H.80

GONDOLIERA for violin and piano

Duration Autograph MS

5’ RCM, FBC H.80: the original version [4ff.folio.Ink] BL (GC) Add MSS 54365: the revised version Date 1907 - the date given at the end of the printed edition.

Publisher Augener (1915); now SB in the revised version. Reprinted TP in vol. 17 of the Frank Bridge Edition.

First Performance 6 April 1908 at the Bechstein Hall, by May Harrison (violin) and Hamilton Harty (piano). Morçeau Characteristique (H.83) was performed at the same concert.

References The Musical Times, vol. 44 (May 1908), p. 326.

Recording Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 3, (1999).

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H.81

LOVE IS A ROSE for voice and piano Words

Duration Autograph MSS Date Unpublished Recording

H.82

Leah Durand, from Smart Set, vol. XV, no. 2 February 1905

1’30” RCM, FBC H.81: on original and a revised version [both 2ff.folio.Ink] Bridge added ‘December 31st 1907, Penzance’ at the end of the original MSS. Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 2, (1997).

ALLEGRO APPASSIONATO

for viola and piano

Autograph MS Date Publisher

Whereabouts unknown c .1907-8 SB (1908), as No. 2 in Lionel Tertis’ Viola Library; reissued 1981, with Pensiero (H.53,1).

First performance See H.53 Reference Lionel Tertis My Viola and I (London, 1975).

Recordings Michael Ponder (viola), John Alley (piano), The Early Bridge, Pavilion Records PEARL SHE 577, side 2, tr. 3, (1982); Michael Coletti (viola), Leslie Howard (piano), English Music for Viola, Hyperion CDH55085, tr. 9, (1993) Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 5, (1999).

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H.83

MORÇEAU CARACTÉRISTIQUE for violin and piano

Duration 7' Autograph MS RCM, May Harrison Collection, score and violin part.

Date c.1907-8 Publisher PHM Publishing (tbc) First performance 6 April 1908, Bechstein Hall, London, played by May Harrison (violin) and Hamilton Harty (piano).

Recording Madeleine Mitchell (violin), Andrew Ball (piano), Violin Songs, Divine Art DDA25063, tr. 10, (2007).

The manuscript of this substantial virtuoso showpiece was thought to be lost until 2007, when it was re-discovered in the May Harrison Collection, bequeathed to the Royal College of Music. The work returned to the concert hall a century after it was first heard, played by Madeleine Mitchell (violin) and Andrew Ball (piano).

1908 - 9 H.84

DANCE RHAPSODY for orchestra 2+picc 222 - 4231 - timp tri sd bd gong cym cel harp - strings

Duration Autograph MS

19’ RCM, FBC H.84: the full score [61ff.folio.Ink], with a set of 48 non-autograph parts.

Date Bridge added the date 20 May 1908 at the end of the full score.

Publisher FM (2007)score; parts available for hire.

First performance 21 July 1908 at the RCM, conducted by Frank Bridge.

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References

Recordings

H.85

The Daily Telegraph, 22 July 1908, p. 7b; The Musical Times, vol. 49, August 1908, p.354; The Musical Times, vol. 50, November 1909, p. 715; The Musical Times, vol.

59, October 1918, p. 468; RCM Magazine, vol. 4, No. 3; The Times, 23 July 1908, p.

113c; The Musical Times, vol. 50 (August 1909), p. 514-17.

London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 114,(1979)/ SRCD 243, tr. 1, (2007); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge orchestral Music, vol. 2, tr.1, (2002).

DEAR, WHEN I LOOK INTO THINE EYES for voice and piano Words

Duration Autograph MS Date

Heine, trans Alma Strettell, printed in KFK.

2’ RCM, FBC H.85: score [2ff.folio.Ink] Bridge added the date 27 June 1908 at the end of the MS.

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Publisher Recording

H.86

PHM Publishing (tbc) Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 3, (1997).

AN IRISH MELODY for string quartet or string orchestra

Duration Autograph MS

7’ BL(GC) Add MSS 54361: the dated full score, with a separate part for the double bass.

Date 8 September - 6 October 1908, added at the end of the MS. Publisher Augener (1915), string quartet parts; Augener (1924), string quartet miniature score; Augener (1939) string orchestra miniature score; SB string orchestra parts for hire.

First performance 1908, Aeolian Hall, Hambourg String Quartet.

Recordings Delmé String Quartet, Frank Bridge-Music for String Quartet, Chandos CHAN ABRD 1073, side 2, tr.2, (1983); English String Orchestra (William Boughton), An English Suite, Nimbus NI 5366, tr. 3, (1993); Maggini Quartet, Bridge -Works for String Quartet, Naxos 8.553718, tr. 10,(1994).

Nash Ensemble, Hyperion CDA68003, tr. 4, (2013).

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H.87

MINIATURES (SET 1) for violin, cello and piano

1

Minuet

3

Allegretto con moto

Autograph MS Date Publisher

H.88

2

Gavotte

RCM, FBC H.87: 1. Score used by engraver [6ff.folio.Ink]; 2. Second set of parts {each 2ff+2ff.folio.Ink]. c. 1908 GT (1909); Augener, now SB, numbered 1-3

MINIATURES (SET 2) for violin, cello and piano

4

Romance

5

Intermezzo

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6

Salterello

Autograph MS Date Publisher

H.89

RCM, FBC H.88: score and parts used by the engraver {each 2ff +2ff.folio.Ink]. c. 1908 GT (1911); Augener; now SB, numbered 4-6

MINIATURES (SET 3)

for violin, cello and piano

7

Valse Russe

8

Hornpipe

9

March Militaire

Autograph MS MS sketch

RCM, FBC H.89: scores of each piece used by the engraver [all 4ff.folio.Ink]; parts of each piece [2+2ff.folio.Ink].

RCM, FBC H89: 1) Ink and pencil sketch for (7) and (9):

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Date Publisher Recordings

2) Unidentified fragments for cello and piano; 3) sketch of opening of To you in France (see H.192); 4) Other unidentified sketches. c. 1908 GT (1915), Augener; now SB, numbered 7-9.

1-9: Hanson Trio, Pavilion Records PEARL SHE 586, side 1, (1985); Dussek Piano Trio, Meridian Records CDE 84290, trs. 6-14, (1995); Jack Liebeck (violin), Alexander Chaushian (cello), Ashley Wass (piano), Frank Bridge Piano Trios, Naxos 8.570792, trs. 9-17, (2008).

7-9: Tunnell Trio, Decca Argo ZK40, side 2, tr.2, (1978) / Lyrita SRCD 302, disc 2, trs. 6-8, (2007).

4,6-8: Jack Liebeck (violin), Alexander Chaushian (cello), Ashley Wass (piano), Frank Bridge Piano Trios, Naxos 8.570792, trs. 1-4, (2008);

The nine miniature piano trio movements (H.87-9) were written for Rachel and Betty Hanbury.

Their younger sister Patricia, subsequently Lady Cunningham-Graham, recalled to the author that they were written about 1908 in three sets of three. Bridge used to visit the Hanbury home (Wexham Springs, Fulmer, Bucks) to teach Betty the violin. Rachel was taught by Ivor James. Patricia played the piano parts at a later date.

H.90

“?” for piano

Autograph MS Date Unpublished

RCM, FBC c1908-9

Together with the Dramatic Fantasia (H.66), this strangely titled, humorous miniature was originally in the possession of the late Florence Smith, for whom it was written. Florence Smith and her sister were leading musicians in Plymouth. College friends of Bridge and his circle, they promoted midday concert series in Plymouth before the First World War. The Motto, Grimson and English String Quartets with were regular visitors. Bridge’s quartet music figured prominently in the programmes, and Florence Smith featured as pianist in such works as the Schumann Piano Quintet. She lived out her last years in Sanderstead, Surrey. These two autographs and the manuscript copy of the Three Dances (H.4) came to light only in March 1978 when, in response to letters in the musical press, the erstwhile owner, Mr David Wookey, donated them to the Frank Bridge Bequest (see also H.66).

H.91

HILLI-HO! HILLI-HO! for SATB unaccompanied Words Thomas Moore

Duration

1’30”

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Autograph MS Date Publisher

RCM, FBC H.91: score [4ff.folio.Ink].

Bridge added the date March 1909 at the end of the MS. TP (1989) the third of Five Unaccompanied Part-Songs, edited by Paul Hindmarsh as vol. 5 of the Frank Bridge Edition.

First performance 20 October 1979, London College of Music, Exultate Singers (Garrett O’Brien).

Recordings Louis Halsey Singers (Louis Halsey), Pavilion Records PEARL SHE 550, (1981); Trinity College Choir (Richard Marlow), Pavilion Records PEARL SHE 593, side 2, tr. 1, (1986).

H.92

O WEARY HEARTS for SATB unaccompanied Words

Henry Longfellow

Duration Autograph MS Date Publisher

2’30” RCM, FBC H.92: score [4ff.folio.Ink].

Bridge added the date March 1909 at the beginning of the MS. TP (1989), the fourth of Five Unaccompanied Part-Songs, edited by Paul Hindmarsh as vol. 5 of the Frank Bridge Edition.

First performance 20 October 1979, London College of Music, Exultate Singers (Garrett O’Brien).

Recordings Louis Halsey Singers (Louis Halsey), Pavilion Records PEARL SHE 550, (1981); Trinity College Choir (Richard Marlow), Pavilion Records PEARL SHE 593, side 2, tr. 2, (1986).

H.93

1910 - 11 SUITE

1.

for string orchestra (or piano duet) Prelude

2.

Intermezzo

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3.

Nocturne

4.

Finale

Duration: Autograph MS Date

21’ Whereabouts unknown In the printed edition each movement is individually dated: 26 December - January 1910, 21 December 1909, December 1909 January 1910.

Publisher GT (1920), score and parts; Curwen; now FM TP (1991) arranged for piano duet by Hwee San Tan in Vol. 25 of the Frank Bridge Edition, published in association with the Frank Bridge Bequest.

First performance Date unknown.

References RCM Magazine, vol. 17, no. 1; The Times, 8 October 1920; The Musical Times, vol.

61, December 1920, p. 821; The Musical Times, vol. 62, March 1921, p. 177.

Recordings Boyd Neel Orchestra (Boyd Neel), Decca X250-2, 78s, (1939); Bournemouth Sinfonietta (Norman del Mar), Chandos CHAN 8373, trs. 5-8, (1979); New Zealand Chamber Orchestra (Nicholas Braithwaite), Koch International Classics 3-7139-2H1, trs. 1-4, (1992); Britten Sinfonia (Nicholas Cleobury), Conifer 75605 51327-2, trs. 1-4, (1998); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 5, trs. 1-4, (2004).

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H.94

PHANTASY in F sharp minor for violin, viola, cello and piano

Andante con moto - Poco tranquillo - Allegro vivace

Duration Autograph MS

13’ RCM, FBC H94: [26ff.folio.Ink] score and parts [4+4+4ff.folio.Ink] used by the engraver.

Date Bridge added the date 2 June 1910 at the end of the score.

Publisher GT (1911), score and parts (Cobbett Series, no. 1); Augener (1920); now SB. First performance 21 January 1911 at the Steinway Hall, by the Henkel Piano Quartet.

References The Daily Telegraph, 23 January 1911, p 8e; The Morning Post, 23 January 1911, p 3e; The Musical Times, Vol. 52, end 1911, p 117; The Musical Times, vol. 52, April 1911, p 242; The Times, 23 January 1911, p 10e.

Recordings Tunnell Trio, Decca Argo ZK40, side 2, tr.1, (1978) / Lyrita SRCD 302, disc 2, trs. 5, (2007); The Dartington Piano Trio with Patrick Ireland (viola), Hyperion CDA88279, trs. 4-6, (1987); Martin Roscoe (piano), members of Maggini Quartet, Frank Bridge quartets, Naxos 8.557283, tr. 4, (2003); The London Bridge Ensemble, Frank Bridge Songs and Chamber Music, Dutton Epoch CDJX 7205, tr. 1 (2008); The Mariani Piano Quartet, Phantasy, Genuine GEN13259, tr. 1; Frith Piano Quartet, Nimbus Alliance NI6183, tr. 1, (2012); Benjamin Britten (piano), members of Amadeus Quartet, Britten the Performer -

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complete Decca recordings, Decca 4785672, 27 discs, released 16 September 2013; The Nash Ensemble, Bridge Piano Quartet and Sonatas, Hyperion CDA68003, tr.1, (2013); The Primrose Piano Quartet, Meridian CDE84547, (2014).

H.95

1.

THE TWO HUNCHBACKS Five Entr’actes to the play by Emile Cammaerts (trans. Tita Brand) for orchestra 2222 - 4230 - timp tri harp - strings Prelude to Act 1

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2.

Entr’acte between Acts I and II

3.

Change of scene, Act II

4.

Prelude to Act III

5.

Change of scene, Act III

Total duration Autograph MS

13’ RCM, FBC H.95: the undated full score [36ff.folio.Ink] plus a set of 20 orchestral parts in a copyist’s hand.

Date Before November 1910 Publisher FM, edited by Paul Hindmarsh as Five Entr’actes ( in the order 1,3,5,4,2).

First performance 17 November 1910 at the Savoy Theatre, in Marie Brema’s Opera Season, conducted by Frank Bridge.

First concert performance BBC New Broadcasting House, Manchester, played by BBC Philharmonic, conducted by Adrian Leaper.

References The Musical Times, vol. 51, December 1910, p. 789.

Recordings Britten Sinfonia (Nicholas Cleobury), Conifer Records, 75605 51327 2, trs. 6-10, (1998); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 2, Chandos CHAN 10012, trs. 2-6, (2002).

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H.96

CRADLE SONG for violin or cello and piano

Duration Autograph MS Date Publisher Recordings

2’30” RCM FBC: score [3ff.folio.Ink], used by the engraver. The score is of the violin version. The part is of the version for cello.

1910, according to the date at the end of the printed edition.

GT (1911); FM in a volume of short pieces for cello and piano.

Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records PEARL SHE 571, side 1, tr. 5, (1982); Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 7, (1999); Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, tr. 14, (2001).

Cradle Song is dedicated to Phyllis Compton.

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H.97

CORONATION MARCH Animo et Fide

for orchestra 2+picc 2+ca 2+bcl 2+dbsn - 4331 - timp sd tri bd - strings

Duration 7’ Autograph MS RCM, FBC: undated full score entitled March [16ff.folio.Ink] Date Before 1 May 1911 Publisher PHM Publishing, score and parts available for sale or hire on request (tbc) First performance September 1977, by the Kensington Symphony Orchestra, conducted by Leslie Head.

First broadcast performance: BBC New Broadcasting House, Manchester, BBC Philharmonic conducted by Adrian Leaper.

Recording BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 3, Chandos CHAN 10188, tr. 1, (2003).

H.98

THE PAGEANT OF LONDON Incidental music for military band, with male-voice chorus picc 2fl 2ob Ebcl 3bcl 2bsn dbsn - 4hn 2cn 3tbn bar euph 2Ebtuba 2BBbtuba string basses - timp side-drum bass-drum cym

1.

Part 2, Scene 3i – Solemn March (Richard II leaving London)

2.

Part 2, Scene 3ii – March (Henry VII entering London)

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3.

Part 2, Scene 4 – First Discoveries a. Introduction (Minuet)

b. Pavane

c. La Romanesca (Galliard)

4.

Lines from Seneca

Autograph MSS

Library of The Royal Academy of Music, London: the undated full scores: Part 2, Scene 4 (A and B), Part 2 Scene 5 Introduction, part 2, Scene 5 Dances: ‘Pavane and La Romanesca (Gaillard)’ and ‘Lines from Seneca’ (mens’ voices unaccompanied).

MS sketches: RCM FBC H.98: sketches in short score of four items, titles Part 2, Scene 4a. It comprises preliminary and final drafts of Scene 4 A and B, Lines from Seneca and Scene 5 Introduction. [7ff.folio.Ink].

Date before May 1911.

Publisher FM Band Series, edited for for concert band by Paul Hindmarsh: Solemn March Richard II, First Discoveries (Minuet, Pavane, Galliard), March Henry VII. First performance May 1911, at the Crystal Palace, during the Empire Pageant, conducted by W.H. Bell.

References Festival of Empire: Souvenir of the Pageant of London, ed. Sophie C. Lomas, printed by Bemrose & Sons Ltd., London, 1911; The Musical Times, vol. 51, April 1910, p. 223; The Musical Times, vol. 52, June 1911, p. 384.

Recordings Tokyo Kosei Wind Orchestra (Douglas Bostock), The Best of British vol. 2, Kosei Publishing Co., KOCD-8012, trs. 7-11, (2004);

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BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 6, Chandos CHAN 10310, trs. 13-17, (2005).

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H.99

MÉLODIE for cello or violin and piano

Duration Autograph MSS

4’ RCM, FBC: score and violin part and a later revision of the piece, for cello and piano with an unpublished quiet ending.

Date ‘12 May 1911’ at the end of the original version, used by engraver.

Publisher GT (1911); FM (1982) with Scherzo (H19A) for cello ; TP (1994) in a volume of violin pieces, vol. 17 of the Frank Bridge Edition, violin.

Recordings Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records PEARL SHE 571, side 1, tr. 8, (1982); Steven Doane (cello), Barry Snyder (piano), Bridge and Britten, Bridge Records BCD 9056, tr. 4, (1995); Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA 1064, tr. 7, (1999); Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, tr. 14, (2001).

Bridge dedicated Mélodie to his friend, the cellist Felix Salmond.

H.100

THE SEA

1.

Seascape

Suite for orchestra 3 (picc) 2+ca 2+bcl 2+dbsn - 4331 - timp tri sd cym bd harp - strings

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2.

Sea Foam

3.

Moonlight

4.

Storm

Duration Autograph MS Date Publisher

19’30” RCM, FBC H.100: the full dated score, used by the engraver [65ff.folio.Ink].

1910-11. Bridge added the date 5 July 1911 at the end of the last movement.

SB (1920), score and parts (for the Carnegie Trust’s Collection of British Music); now available on hire from the publishers; mph Munich (2012), score only (re-print).

First performance 24 September 1912 at a Queen’s Hall Promenade Concert, conducted by Henry Wood.

References The Eastern Daily Press, 10 September 1924; The Eastern Daily Press, 31 October 1924; The Morning Post, 25 September 1912, p. 8g; The Musical Times, vol. 53, November 1912, p. 737; The Musical Times, vol. 57, December 1916, p. 552, the Carnegie Trust Publications Scheme; The Musical Times, vol. 58, May 1917, p. 218, the Carnegie Trust’s First Publications; The Musical Times, vol. 65, December 1924, p. 1112, Norwich Festival performance; The Times 24 September 1912, p.

9d; The Times, 25 September 1913, p. 9b, Bridge’s debut as conductor of The Sea; Scholes, Percy: The Carnegie Trust’s Collection of British Music (Carnegie Trust programme note booklet, 1920) p. 9.

Recordings London Symphony Orchestra (Frank Bridge), Columbia Col.L 1500/1, matrix AX 114-7, (rec. 1923) / Pavilion Records OPAL 801, side 1, trs. 1, (1982); Ulster Orchestra (Vernon Handley), Chandos CHAN 8473, trs. 6-9, (1986); Royal Liverpool Philharmonic Orchestra (Sir Charles Groves), Frank Bridge - The Sea, EMI Studio CDM 7 69870 2, trs.1-4, (1976/1989); English Chamber Orchestra (Benjamin Britten), Britten the Performer, BBC Music BBCB 8007-2, trs. 2-5, concert recording Blythburgh Church, Suffolk, 23 June 1971, (1999); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 2, Chandos CHAN 10012, trs. 9-12, (2002); Singapore Symphony Orchestra (Lan Shui), Seascapes, BIS BIS-SACD-1447, trs. 5-8, (2007); New Zealand Symphony Orchestra (James Judd), Naxos 8.557167, trs. 3-6, (2004) /reissued in The Sea (February 2014) and Thunderstorm (June 2014).

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H.101

1912 TWO PIECES for 2 violas

1.

Caprice

2.

Lament

Length Autograph MS Sketch MS Date

132 bars Whereabouts unknown.

RCM, FBC H101: incomplete sketches for (1), complete draft of (b)[4ff.folio.Ink].

1911-12. In The Literature of the Viola (Zeyringer), date of composition is listed as 1911 and it cannot be later than March 1912.

Publisher TP (1981), ed. Paul Hindmarsh, 2 only First performance 18 March 1912, Aeolian Hall, London, played by Frank Bridge and Lionel Tertis.

References: My Viola and I by Lionel Tertis (Elek, 1975); F. Zeyringer, Literatur für viola (Hartberg, 1963, supp. 1965, rev 1976); The Musical Times, vol. 53, April 1912, p. 259.

Recordings 2. Michael Ponder and Tomas Tichauer, Pavilion Records PEARL SHE 550, (1981); Louise Williams and Asid Valdimarsdottir, Hyperion CDA67426, tr. 4, (2004); The Bridge Quartet, Chamber Music by Frank Bridge, SOMM 087, tr. 8, (2009).

Zeyringer lists the title Caprice and Lament. In the published edition the title Lament has been retained. The first performance of the published edition was given on 12 February 1980 at the British Music Information Centre, London, by Michael Ponder and Thomas Tichauer. Lament is all but complete in an ink sketch. It lacks some dynamic markings and the parts needed some minor redistribution to make them practical, but the performing edition which I made some years ago retains all

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of Bridge’s text. Some of his most personal music is to be found in his nocturnes and laments – the slow movement of the Suite for strings, the Lament for strings or the orchestral impression There is a willow grows aslant a brook for example. Knowing how the viola works from the inside, Bridge makes his two players sound like four. He spins one of longest and most haunting lyrical dialogues in the outer sections. The central episode is an elegant, wistful minuet, which flows seamlessly into an elaborated return of the opening chromatic dialogue. After a more dynamic climax, with energy seemingly spent, the dialogue gradually fades away into oblivion.

H.102

ISOBEL for voice and piano Words

Duration Autograph MSS

Date Publisher

Recording

H.103

Digby Goddard-Fenwick

2’15” RCM, FBC H.102: score [2ff.folio.Ink] Chappell; this MS, used by the engraver, was destroyed in Chappell’s warehouse fire of 1964.

Bridge added the date September 1912 at the end of the autograph MS. Chappell (1913), in F minor and F sharp minor. Reissued (1979) in The English Recital Song (vol. 1), compiled by David Patrick.

Republished TP (1990), the third of Six Songs, vol. 12 of the Frank Bridge Edition [in F sharp minor]; Chappell (Hire Lib.) arr. G. Stacey for strings and piano.

Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 4, (1997).

EASTER HYMN (Ein Fröhlicher Gesang) ‘Let joy and praise to Heaven rise’ (‘Lasst uns erfruen herzlich sehr’) 17th-century German hymn arranged for voice and piano or SATB Words Hans Wagemann (trans.)

Duration Autograph MS MS sketch Date Publisher

2’30” Destroyed in the Chappell warehouse fire of 1964.

RCM,FBC H.103: one sheet containing the draft of the SATB arrangement [1ff.folio.Ink]. c. 1912, the year of publication.

Chappell (1912), for voice and piano, in C and E flat.

TP (1990), the last of Six Songs, Vol. 12 of the Frank Bridge Edition [in E flat].

Chappell (1930), for SATB in Chappell’s Vocal Library of part-songs, no. 197; now IMP Archive.

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In the estate of the composer John Foulds is an arrangement of Bridge’s Easter Hymn for flute, string quartet, bells and organ.

H.104

FOUR SHORT PIECES for violin or cello and piano

1.

Meditation

Duration 2.

Spring Song

Duration 3.

2’

Lullaby

Duration 4.

2’30”

3’

Country Dance

Duration Autograph MS Date Publisher Recordings

2’30” BL (GC) Add MSS 54365 c. 1912, the year of publication Augener (1912), scores and parts. Each piece was issued separately; now SB; Meditation and Spring Song are also available in versions for cello and piano; TP (1994) in vol. 18 of the Frank Bridge Edition, for violin and piano.

1-4: Louise Winter (viola), David Owen Norris (piano), Frank Bridge - The Music

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for Viola, ASV CD DCA 1064, trs. 19, 15, 6, 14, (1999).

1 & 2 : Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records PEARL SHE 571, side 1, trs. 2 & 4, (1982); 2 : Lowri Blake (cello), Caroline Palmer (piano), Pavilion Records PEARL SHE CD 9810, tr. 7, (1989); Steven Doane (cello), Barry Snyder (piano), Bridge Records BCD 9056, tr. 1, (1995); Madeleine Mitchell (violin), Andrew Ball (piano), Divine Art ddd25063, tr. 16, (2007).

Bridge dedicated the four pieces to Cynthia Lubbock.

H.105

O THAT IT WERE SO for voice and piano or orchestra Words

Autograph MS Date Publisher

Recordings

H.49A 1.

Walter Savage Landor (1775-1864)

Destroyed in Chappell’s warehouse fire of 1964. c. 1912 Chappell (1913) for voice and piano in B flat, C and D. Reissued (1979) in The English Recital Song (vol. 1), compiled by David Patrick.

Republished TP (1990), the fourth of Six Songs, vol. 12 of the Frank Bridge Edition, in association with the Frank Bridge Bequest [in C major].

Several orchestral versions were prepared for the Chappell Hire Library (sets in BBC Music Library, London: i. In E flat, B and B flat; scored for 1121 - 2200 perc - strings; ii.In A flat; scored for 1121 - 2210 - perc piano - strings; iii. In D and D flat; scored for piano and strings (by G. Stacey).

Leonard Warren (bass), Willard Sektberg (piano), Victor LM2266 (mono); Frederick Harvey (bass), Gerald Moore (piano), HMV CLP 3587; Louise Winter (mezzo); Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 5, (1997).

QUINTET in D minor (revised version)

for 2 violins, viola, cello and piano Adagio - Allegro moderato

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2.

Adagio ma non troppo - Allegro con brio

3.

Allegro energico

Duration Autograph MS

28’ BL Add MSS 54360 (Galliard Collection, Bridge vol. II: score and parts. Also BL 403v: corrected proof sheets).

Date Bridge added the dates 1904-12 at the end of the MS. Publisher Augener (1912), score and parts; now SB First performance The revised version was launched at a Royal College of Music Union ‘At Home’ Concert. On this occasion the musical evening was held at the home of Mrs. Capel, Queen’s Gate on 29 May 1912. The English String Quartet, was joined by Harold Samuel (piano).

References Aldeburgh Festival Programme Book, 1951 (note by Benjamin Britten).

Recordings Music Group of London, Enigma Classics K53578 stereo, (1979); Carol Rosenberger (piano), Moscow Chamber Orchestra (Constantine Orbelian), The Music of Frank Bridge, Delos DE3263, trs. 1-3, (2001) recorded as Chamber Concerto for Piano and Strings. Reissued by Naxos , USA; Piers Lane (piano), Goldner String Quartet, Hyperion CDA67726, trs.1-3, (2008); Ashley Wass (piano), Tippett Quartet, Naxos 8.572474, trs. 4-6, (2009).

Michael Dussek (piano), Bridge Quartet, Chamber Music by Frank Bridge, SOMM 087, tr. 1-3, (2009).

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H. 106 1.

SECOND BOOK OF ORGAN PIECES Andante con moto

Duration: 2.

Andantino

Duration 3.

4'

3’30”

Allegro ben moderato

Duration Autograph MSS

2’20” The whereabouts of the autographs of 1 and 2 is unknown. The

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Date Publisher

H.107

autograph of 3 is lodged in the Memorial Library of Music, Stanford University, USA. 1912 - according to the date added at the end of the printed edition.

G Shirmer (1914), The Organ Loft: 1. Book 100, No. 329 (December 1913), pp. 152-155; 2. Book 103, No. 308 (March 1914), pp. 40-43; 3. Book 105, No. 314 (May 1914), pp. 72-75.

BH, Second Book of Organ Pieces (see H.56).

SEXTET in E flat for 2 violin, 2 violas and 2 cellos

1.

Allegro moderato

2.

Andante con moto - Allegro giusto

3.

Allegro ben moderato

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Duration Autograph MS

28’ BL Add MSS 54359 - Galliard Collection (Bridge vol. V), score and parts. Also BL H4043, corrected proof sheets.

Date Bridge added the dates 1906-12 at the end of the MS. Publisher Augener (1920), score and parts; now SB. First performance 18 June 1913 at the Bechstein Hall, played by the English String Quartet with Ernest Tomlinson (viola) and Felix Salmond (cello).

References The Daily Telegraph, 19 June 1913, p. 16a; The Musical Times, vol. 54, July 1913, p. 468, The New York Times, 27 September 1923, 10a; The Times, 19 June 1913, p.10f; Aldeburgh Festival programme book, 16 June 1949 (note by Benjamin Britten); The Times, 31 October 1918, p.8; Musical America, No. 38, 6 October 1923, (Berkshire Festival by Bernard Rogers).

Recordings Hanson Quartet, Stephen Tees (viola) and Lionel Handy (cello), Pavilion Records PEARL, side 1 & side 2, tr. 1, (1982); Academy of St. Martin-in-the-Fields Chamber Ensemble, Chandos CHAH 9472, trs. 7-9, (1997); The Raphael Ensemble, Hyperion CDA67426, trs. 1-3, (2004).

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H.108

THREE PIECES for piano

1.

Columbine

Duration

3’

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2.

Minuet

Duration 3.

2’

Romance

Duration Autograph MS Dates Publisher Recordings

4’ BL (GC) Add. MSS. 54366: undated score. RCM, FBC H.108b: the first page of the original version of the Minuet [2ff.folio.Ink].

1901 - the original version of the Minuet; 1912 - Columbine, Romance and the substantial revision of the Minuet, according to the dates added at the end of the printed editions.

Augener (1913); now SB, published separately.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 2, Continuum CCD 1018, trs.7-9, (1990); Ashley Wass, Frank Bridge Piano Music, vol. 1, Naxos 8.557842, trs.14-16, (2006); Mark Bebbington, Frank Bridge Piano Music, vol.2, SOMM CD 082, trs. 13-15, (2007).

1913 H.109

STREW NO MORE RED ROSES for voice and piano Words Matthew Arnold, last stanza of The New Sirens (1849)

Duration Autograph MS Date Publisher

3’ RCM, FBC H.109: score [2ff.folio.Ink] Bridge added the date 10 April 1913 at the end of the MS. WR (1917), now BH, in high and low keys; reissued (1979) in the Frank Bridge Song Album.

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Recordings

H.110

David Johnston (tenor), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL SHE 514 (stereo), Side 1, tr.2, (1973)/ reissued PEARL SHE 550, (1981); Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr.6, (1997).

THE BEE

for SATB unaccompanied Words Alfred, Lord Tennyson

Duration Autograph MS Date Publisher

1’20” RCM, FBC H.110: score [4ff.folio.Ink] Bridge added the date April 1913 at the end of the MS. TP (1989) the last of Five Unaccompanied Part-Songs ed Paul Hindmarsh in vol. 5 of the Frank Bridge Edition.

First performance 20 October 1979, London College of Music, by the Exultate Singers, director Garrett O’Brien.

Recordings Louis Halsey Singers (Louis Halsey), Pavilion Records PEARL SHE 550, (1981); Trinity College Choir (Richard Marlow), Pavilion Records PEARL SHE 593, side 2, tr. 3, (1986).

H.111

DANCE POEM for orchestra 1+picc 2+ca 2+bcl 2+dbsn- 4231 - timp cel tri gong tamb sd bd 2 harps - strings

Duration 15’ Autograph MS RCM, FBC H.111: the full score [4ff.folio.Ink], plus a set of parts.

Date ‘Sketch January to March, score finished July 30th 1913’ at the end of full score.

Publisher FM (full score for sale,tbc); Hire Lib, score and parts; First performance 16 March 1914 at a Royal Philharmonic Society Concert, Queen’s Hall, London, conducted by Frank Bridge.

References The Musical Times, vol. 55, April 1914, p. 256; The Observer, 22 March1914, p. 6d; The Sunday Times, 22 March 1914, p. 7d.

Recordings London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 114,(1979)/ SRCD 243, tr. 2, (2007); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge orchestral Music, vol. 2, tr.7, (2002).

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1914 H.112

FOUR CHARACTERISTIC PIECES for piano

H.112A 1

Solitude

2

Ecstasy

THREE POEMS

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3

Sunset

Durations

1. 3’20”, 2. 4’, 3. 3’30”

H.112B ARABESQUE

Duration Autograph MS MS sketch Date Publisher Recordings

4’ BL(GC)Add.MSS 54366: under the title Four Characteristic Pieces.

RCM, FBC H.112b: an untitled and undated draft of 2 with extensive cancellation and alterations [2ff.folio.Ink]. See also H.70.

Bridge dated each piece individually: 26 December 1913, January 1914, 25 April 1914 and 23 April 1914.

H.112A: Augener (1915), published as Three Poems; H.112B: Augener (1916); SB. H.112A : 1. Peter Wallfisch, Frank Bridge Songs and Piano Music, Pavilion Records PEARL Stereo SHE 513, tr. 2, (1973); Eric Parkin, Piano Music by Frank Bridge, Unicorn RHS 359 Stereo, side 1, tr.1-3, (1978); Peter Jacobs, Frank Bridge Complete Piano Music, vol. 2, Continuum CCD 1018, trs. 4-6, (1990); Ashley Wass, Frank Bridge Piano Music, vol. 1, Naxos 8.557842, trs. 19-21, (2006); Mark Bebbington, Frank Bridge Piano Music, vol. 3, SOMM 0107, trs. 10-12, (2011) H.112B : Peter Jacobs, Frank Bridge Complete Piano Music, vol. 1, Continuum CCD 1016, trs. 4, (1990); Mark Bebbington, Frank Bridge Piano Music, vol. 3, SOMM 0107, trs. 14, (2011)

Bridge began these harmonically elusive piano pieces shortly after taking part in a Speyer Classical Concert Society event (13 December), in which Frederick Kelly played Scriabin piano pieces. The impact of this experience on the group published as Three Poems is audible.

H.113

WHERE SHE LIES ASLEEP for voice and piano, string quartet or orchestra Words

Duration

Mary E. Coleridge (1861-1907), entitled Hush, from Poems (1907)

3’

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Autograph MSS

Date Publisher Recordings

RCM, FBC: in the version for tenor and orchestra. The whereabouts of the voice and piano autograph is unknown.

Pendelbury Library (University of Cambridge): the version for tenor and string quartet, with a set of copied parts (F major).

April 1914 - the date added at the end of the printed edition and the full score.

Bridge dated the string quartet versions ‘Constantine Bay, N. Cornwall, September 1920.’

G. Schirmer (1916), Two Songs for medium voice (with H.114); WR (1916), now BH BH(Hire Lib) for the orchestral version (22+ca 2+bcl 0-4000 - harp – strings).

David Johnston (tenor), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL SHE 514 (stereo), Side 1, tr.4, (1973)/ reissued PEARL SHE 550, (1981); Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr.7, (1997); Philip Langridge (tenor), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 6, Chandos CHAN 10310, tr. 3, (2005).

Bridge completed the version for string quartet during one of his many holidays in Constantine Bay, Cornwall. On this occasion Marjorie Fass, who had rented a cottage in Devon, was not well enough to join Frank and Ethel.

H.114

LOVE WENT A-RIDING for voice and piano or orchestra Words

Duration Autograph MS Copy MS Date Publisher

Recordings

Mary E. Coleridge, In Spring from Poems (1907)

1’30” RCM, FBC H.114: the transposition for high voice in G flat, probably dating from 1918 [4ff.folio.Ink]. The whereabouts of the autographs of the orchestral version and the original E major voice and piano version are unknown.

BH: the full score Bridge added the date 5 May 1914 at the end of the MS. G. Schirmer I1916), Two Songs for medium voice, with H.113 (in E major); WR (1916) in E major and G flat major; now BH for voice and piano, reissued (1979) in the Frank Bridge Song Album.

BH (Hire Lib.) for the orchestral version. Scoring: 2+picc 2+ca 2+bcl 2-4 (2opt) 2 3 1 (opt) - timp glock tri cym harp - strings.

BH (1946) in a French version by Lilian Fearn with a simplified accompaniment.

Kirsten Flagstaff (soprano) and unnamed pianist, Golden Age of Opera, EJS 338, mono, (1956); Joan Hammond (soprano), Ivor Newton (piano), HMV ALP 2068 (mono)/ ASD 616 (stereo); Jan Preece (tenor) and unnamed pianist, United Artists UAL 3477 (mono) / SAL 6437 (stereo); Peter Pears (tenor), Benjamin Britten (piano), Decca LW 5241 (mono, 25 cm) / London LL 1532 and 5324 (mono) / Eclipse ECS 545, side 2, tr.10, (1970); David Johnston (tenor), Jonathan Hinden (piano), Pavilion PEARL SHE 514, Side 1, tr. 6, (1973) / SHE 551, side 1, tr. 9, (1980);

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Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 8, (1997); Philip Langridge (tenor), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 6, Chandos CHAN 10310, tr. 4 (2005).

H.115

QUARTET in G minor for 2 violins, viola and cello

1.

Allegro ben moderato

2.

Allegro vivo - andante con moto

3.

Molto adagio - allegro vivace

Duration Autograph MS

24’ BL (GC) Add MSS 54361, wanting the second movement, the score of which was mislaid by the original publishers.

RCM, FBC H.115: set of autograph parts, used by the engraver [7+7+9+9ff.folio.Ink].

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MS sketch Date Publisher

RCM, FBC: one sheet of sketches for the opening of the first movement.

‘Summer 1914 - March 30th 1915’ added at the end of MS. Novello (1916), for the Committee of Trustees of the RCM’s Patron’s Fund, miniature score and parts; Augener, now SB. First performance 4 November 1915 at the Aeolian Hall by the London String Quartet.

References The Daily Telegraph, 5 November 1915, p. 11c; The Musical Times, vol. 55, May 1914, p. 305; The Musical Times, vol. 56, July 1915, p. 434; The Musical Times, vol.

57, January 1916, p. 30; The Sunday Times, 7 November 1915, p. 11c; The Times, 6 November 1915, p. 11d; The New York Times, 11 November 1923.

Recordings Delmé String Quartet, Frank Bridge Music for String Quartet, Chandos CHAN ABRD 1073, side 1/ CHAN 8426, tr. 1-3 (1983); Brindisi String Quartet, Frank Bridge String Quartets, vol. 2, Continuum CCD 1036, trs.1-3, (1991); The Bridge Quartet, Frank Bridge - Quartets, Meridian CDE 84311, trs. 4-6, (1996); Maggini Quartet, Naxos 8.557283, trs. 1-3, (2005).

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H.116

SUMMER tone poem for orchestra 2+pic 2222 - 2200 - timp cym cel harp - strings

Andante ben moderato - A tempo ben moderato e tranquillo

Duration Autograph MS

10’ RCM, FBC, H.116: the full score later used by the engraver [18ff]; BL (GC), Add. MSS. 54355 (Galliard Collection, Bridge vol.1): a set of copied orchestral parts. Also BL H4038(2): a set of corrected proof sheets.

MS sketch RCM, FBC : on the recto of the sketch mentioned in H.39 are pencil sketches for the three versions of the principal oboe melody (fig.3 in the printed edition).

Date ‘Sketch written July 1914, score 11th - 22nd April 1915’, at end of full score.

Publisher Augener (1923), full score and parts; now SB (Hire Lib); mph Munich (2013), Study score (for sale).

First performance 13 March 1916 in a Royal Philharmonic Society Concert at the Queen’s Hall, conducted by Frank Bridge.

References The Daily Telegraph, 14 March 1916, p. 11d; The Detroit Free Press, 2 November 1923; The Musical Times, vol. 57, April 1916, p 200; The Sunday Times, 18 March 1916, p. 4d; The Times, 14 March 1916, p. 9b; Musical America, 17 November 1923, p. 23.

Recordings Royal Liverpool Philharmonic Orchestra (Sir Charles Groves), Frank Bridge - The Sea, HMV ASD 3190, (1976)/ EMI Studio CDM 7 69870-2, tr.5 , (1989); Bournemouth Sinfonietta (Norman del Mar), RCA RL 25184, (1979) / Chandos CHAN 8373, tr. 2, (1985); Academy of St. Martin in the Fields (Sir Neville

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Marriner), English Seasons, Philips 454 444-2, tr. 4, (1997); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 3, Chandos CHAN 10112, tr. 2, (2003); New Zealand Symphony Orchestra (James Judd), (Frank Bridge Orchestral Music), Naxos 8.557167, tr. 2, (2004).

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H.117

LAMENT for string orchestra, piano (or brass band)

Duration Autograph MSS

5’ Whereabouts unknown. Like the autograph manuscript of Suite for String Orchestra (H.93), Bridge’s other Goodwin and Tabb/Curwen publication, it is a distinct possibility, according to a former Managing Director of Curwen, that the autographs of Lament were destroyed before being transferred to Curwen Date 14 June 1915, although the printed edition adds only the month of composition.

Publisher GT (1915), full score and parts; J. Curwen & Sons; now FM (Hire Lib), score on sale from musicroom.com.

GT(1915), for piano solo; now TP, in the Frank Bridge Edition, entitled Lament for Catherine, available from musicroom.com; mph, Munich (2013), Study score 1366 (re-print of original edition) PHM Publishing, arrangement for brass band by Paul Hindmarsh.

First performance 15 September 1915 at a Queen’s Hall Promenade Concert, conducted by Henry Wood.

References The Daily Telegraph, 16 September 1915, p.11e; The Musical Times, vol56, October 1915, p.619; The Times 7 August 1915, p. 6d (British ‘Novelties’ at the Promenade Concerts).

Recordings Royal Liverpool Philharmonic Orchestra (Sir Charles Groves), Frank Bridge - The Sea, HMV ASD 3190, (1976)/ EMI Studio CDM 7 69870-2, tr. 8, (1989); London Philharmonic Orchestra (Sir Adrian Boult), Lyrita SRCS 73, side 2, tr. 3, (1978); Peter Jacobs (piano), Frank Bridge Complete music for piano, vol. 2, Continuum CCD 1018, tr. 14, (1990); English String Orchestra (William Boughton), An English Suite, Nimbus Records NI5366, trs. 13 & 14, (1993); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 4, Chandos CHAN 10188, tr. 4, (2004); Ashley Wass (piano), Frank Bridge Piano Music, vol. 2, Naxos 8.557921, tr. 4, (2007).

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H.118

TWO POEMS (after Richard Jefferies)

for orchestra

1

Andante moderato e semplice

2

Allegro con brio

Durations Autograph MS Copy MSS

8’ and 4’ BL Add. MSS. 54345 (Galliard Collection, Bridge, Vol II): the full score.

BL (GC) Add. MSS. 54357 (Galliard Collection, Bridge, Vol III): a set of nonautograph parts.

MS sketches RCM, FBC. H.118: short-score draft of the first Poem [2ff.folio.Ink]; RCM, FBC H.118,2: incomplete short-score draft of the first Poem [2ff.folio.Ink].

Dates 20 October 1915 and 20 October 1915 added at the end of each poem.

Publisher Augener (1923), full and miniature scores; now SB (Hire Lib), score and parts [1. 2222 - 4000 - timp harp - strings; 2. 2+picc 2 2 2 - 4 2 3 1- timp sd cym glock harp - strings].

First performance New Year’s Day 1917 at the Queen’s Hall, conducted by Frank Bridge.

References The Daily Telegraph, 2 January 1917, p. 4b; The Musical Times, vol. 58, February 1917, p. 82; The New York Times, 11 November 1923; The Times, 2 January 1917, p. 5d; The Times, 18 November 1921, p. 8b (Bridge’s conducting was ‘ a feature of the evening’).

Recordings 2 : Queen’s Hall Light Orchestra (Frank Bridge), rec. 13/03/24, Columbia matrix AX 368 (unpublished); rec. 12/02/25, Columbia L.1678 (acoustic recording), matrix AX 885 (78 r.p.m.).

London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 104(1974) / SRCD 243, tr.3 & 4, (2007); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 1, Chandos CHAN 9950, trs. 3 & 4, (2001).

New Zealand Symphony Orchestra (James Judd), (Frank Bridge Orchestral Music), Naxos 8.557167, trs. 3 & 4, (2004).

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1916 H.119

TWO OLD ENGLISH SONGS arr. for string quartet, string orchestra or piano duet

1

Sally in our alley

Duration 2

4’20”

Cherry Ripe

Duration 3’30” Autograph MSS Whereabouts unknown Date May 1916. The dates of completion of both pieces are given at the end of the printed edition: 1. 19 May 1916 and 2. 30 May 1916.

Publisher Schirmer (1916); WR; now BH. Full score and parts (2 violins, viola, cello and ad.lib. bass part) are available on hire from the publishers.

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TP (1991): piano duet version, vol. 24 of the Frank Bridge Edition.

Rakeway Music: 1 only, for brass band, arr. Howard Snell.

First performance On the afternoon of 17 June 1916 the London String Quartet gave the premiere of the chamber version at the Aeolian Hall. The orchestral version, with its added bass part, received its first hearing at a Queen’s Hall Promenade Concert on 26 September 1916, conducted by Henry Wood.

References The Daily Telegraph, 19 June 1916, p. 11c; The Morning Post, 19 June 1916,p.4f; The Musical Times, vol. 57, July 1916, p. 34; The Musical Times, vol. 57, November 1916, p. 508; The Sunday Times, 1 October 1916, p. 4d (Leonard Rees); The Times, 19 June 1916, p. 11c; The Times, 28 September 1916, p. 11d (EE).

Recordings London Philharmonic Orchestra (Sir Adrian Boult), Lyrita SRCS 73, side 2, tr. 2 & 5, (1978); Delmé String Quartet, Frank Bridge Music for String Quartet, Chandos CHAN ABRD 1073, side 1/ CHAN 8426, tr. 1-3 (1983); English Northern Philharmonia (David Lloyd-Jones), English String Miniatures, vol. 2, Naxos 8.555068, trs. 1 & 2, (1993); Maggini Quartet, Frank Bridge Works for String Quartet, Naxos 8.553718, trs. 12 & 13, (1994); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol. 5, Chandos CHAN 10246, tr. 10 & 11, (2004); The Nash Ensemble, (Frank Bridge chamber music), Hyperion CDA86003, trs. 5 & 6, (2013).

2 : Royal Liverpool Philharmonic Orchestra (Sir Charles Groves), Frank Bridge The Sea, HMV ASD 3190, (1976)/ EMI Studio CDM 7 69870-2, tr. 6, (1989); 2 : New Zealand Chamber Orchestra (Nicholas Braithwaite), Koch International Classics, 3-7139-2H1, tr. 5, (2000); 2 : The Bridge Quartet, Chamber Music by Frank Bridge, SOMM 087, tr. 9, (2009).

H.120

FOR GOD AND KING AND RIGHT for unison voice and piano, or orchestra Words Veronica Mason

Duration Autograph MS Date

3’30” RCM, (FBC): full score of the version with orchestra.

July 1916 - the date at the end of the printed edition. The full score is dated 1919.

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Publisher

H.121

G. Schirmer (1916); WR; now BH. The score and parts of the orchestral version (2+picc 2 2 2 - 4 2 2 1 - timp sd bd cym - strings) are available on hire only.

THE GRACEFUL SWAYING WATTLE for two-part chorus and piano or string orchestra Words Veronica Mason

Duration Autograph MS Date Publisher Recording

H.122

2’30” RCM (FBC): full score for chorus and strings. probably July 1916 - the date printed at the end of two of the four part-songs H.120-3. Full score dated ‘July 1916, scored January 1933’.

G. Schirmer (1916); WR; now BH. The score and parts of the orchestral version are available on hire only.

TP (1994) in vol. 23 of the Frank Bridge Edition.

Trinity College, Cambridge (Richard Marlow), Choral Music by Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 7, (1986).

LULLABY for SSA and piano or string orchestra Words

Duration Autograph MS Date Publisher

H.123

Veronica Mason

2’30” Whereabouts unknown.

July 1916 - the date at the end of the printed edition.

G. Schirmer(1916); WR; now BH. The score and parts of the orchestral version are available on hire only.

TP (1994) in vol. 24 of the Frank Bridge Edition.

PETER PIPER for a chorus of three equal voices unaccompanied Words

Traditional

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Duration Autograph MS Date Publisher Recording

1’ Whereabouts unknown Probably July 1916 G. Schirmer (1916); WR; now TP (1994) in vol. 24 of the Frank Bridge Edition.

Trinity College, Cambridge (Richard Marlow), Choral Music by Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 10, (1986).

The four part-songs (H. 120, 121, 122 , 123) were originally written at the request of the publisher G. Schirmer Ltd. as school songs. When re-issued under the Winthrop Rogers imprint their status was raised to that of ‘The Festival Series of Choral Music’. In March 1919, Bridge agreed to make orchestral version of the accompaniments of the first three items. The composition of part-songs was for Bridge rewarding only financially and carried out as a duty towards the publishers.

1917 H.124

THY HAND IN MINE for voice and piano or orchestra Words

Duration Autograph MSS Date Publisher Recordings

Mary E. Coleridge, Song from Poems (1907).

2’10” RCM, FBC H124: the voice and piano version [2ff.folio.Ink]; RCM, (FBC): the full score of the orchestral version, on loan from Boosey and Hawkes.

‘10 February 1917’ added at the end of the voice and piano MS, and ‘scored April 1923’ at the end of the orchestral score.

WR (1917); now BH, in high and low keys; reissued (1979) in the Frank Bridge Song Album. The full score and parts for tenor and orchestra (2 2 2 2 - 2 0 0 0 harp - strings) are available for rental.

Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA7182, tr. 9, (1997); Philip Langridge (tenor), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works, vol. 6, Chandos CHAN 10310, tr. 5, (2005).

Bridge’s three Mary Coleridge settings, Where she lies asleep (H.113), Love went a-riding (H.114) and Thy Hand in mine (H.124), are suitable for performance as a group, although there is no documentary evidence to prove that Bridge composed them with this in mind.

H.125

SONATA in D minor for cello and piano

1.

Allegro ben moderato

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2.

Adagio ma non troppo - andante con moto - molto allegro e agitato

Duration Autograph MS

23’ RCM, FBC H125:the score[14ff.folio.Ink]and part [5ff.folio.Ink], used by the engraver.

Date Bridge added the date 1913-17 at the end of the autograph score.

Publisher WR (1918); reissued by BH (1976) First performance 13 July 1917 at the Wigmore Hall, played by Felix Salmond (cello) and William Murdoch (piano).

References The Daily Telegraph, 16 July 1917, p. 3d; The Morning Post, 14 July 1917, p. 9d; The Musical Times, vol. 58, August 1917, p. 374; The New York Times, 11 November 1934, p. 6x; The Strand, July 1930, p. 136-7.

Recordings Mstislav Rostropovich (cello), Benjamin Britten (piano), Decca SXL 6426 (LP, 1968)/ 443 575-2, tr. 4&5 (CD, 1995); Rohan de Saram (cello), Druvi de Sarum (piano), Pavilion Records, PEARL SHE 541, (1977); Raphael Wallfisch (cello), Peter Wallfisch (piano), Chandos CHAN 8499, trs. 4&5, (1987); Lowri Blake (cello), Caroline Palmer (piano), Frank Bridge, Pavilion Records PEARL SHE CD 9610, trs. 5&6, (1989); Steven Doane (cello), Barry Snyder (piano), Bridge BCD 9056, trs. 2&3, (1995); Øystein Kirkland (cello), Vebjørn Anvil (piano), SIMAX Classics, PSC 1160, trs. 1&2, (2001); Mikhail Istomin (cello), Igor Kraevsky (piano), Minstrel DDD MLCD0309, trs.3&4, (2003); Paul Watkins (cello), Ian Brown (piano), Hyperion CDA68003, trs. 2&3, (2013).

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H.126

CHARACTERISTIC PIECES for piano

1

Water Nymphs

Duration 2

Fragrance

Duration 3

1’20”

Bittersweet

Duration 4

2’30”

3’10”

Fireflies

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Duration

3’

Autograph MS Dates Publisher Reference Recordings

Whereabouts unknown May 1917, May 1917, May 5 1917, April 1917 respectively.

WR (1917); now BH. Fragrance is dedicated to EEB (Ethel Bridge).

The Musical Times, vol. 59 (January 1918), p.20.

Eric Parkin, Frank Bridge Piano Music, Unicorn RHS 359 Stereo, trs. 4-7, (1978); Peter Jacobs, Frank Bridge Complete Music for Piano, vol. 2, Continuum CCD 1018, trs. 10-13, (1990); Mark Bebbington, Bridge Piano Music vol.2, SOMM082, trs. 18-21, (2008).

H.127

MINIATURE PASTORALS (Set 1) for piano

1.

Allegretto con moto

Duration 2.

Tempo di valse

Duration 3.

1’30”

2’

Allegretto ben moderato

Durations

2’

Autograph MS MS sketches

Whereabouts unknown.

RCM, FBC H127: one sheet containing the opening bars of the first, a complete draft of the second and a fragment of the third.

July 1917 - the date added at the end of the printed edition.

WR (1917); BH, in a single volume numbered 1-3; re-issued TP (1994) in vol. 7 of the Frank Bridge Edition. The original edition of these children’s pieces included line drawings by Margaret Kemp-Welch.

Peter Jacobs, Frank Bridge Complete Music for Piano vol. 2, Contiuum CCD 1016, trs. 7, (1990); Ashley Wass, Frank Bridge Piano Music vol. 1, Naxos 8.557842, trs. 8-10, (2005); Mark Bebbington, Bridge Piano Music vol. 2, SOMM082, trs. 1-4, (2008).

Dates Publisher Recordings

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H.128

A FAIRY TALE Suite for piano

1.

The Princess

Duration 2.

The Ogre

Duration 3.

1’20”

The Spell

Duration 4.

3’30”

4’

The Prince

Duration Autograph MS Dates Publisher Recordings

2’30 BL (GC) Add. MSS. 654366 September 1917 (1-3) and October 1917 (4) Augener (1918); now SB, published separately and in a single volume.

Peter Jacobs, Frank Bridge Complete Music for Piano, vol. 1, Continuum CCD 1016, tr.7, (1990); Ashley Wass, Frank Bridge Piano Music vol. 1, Naxos 8.557842, trs. 8-10, (2005); Mark Bebbington, Bridge Piano Music vol. 2, SOMM082, trs. 7-9, (2008).

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H.129

TO YOU IN FRANCE for voice and piano

Words

Helen Dircks

Length MS sketch

25 bars, unfinished RCM, FBC H129: a draft, in pencil, of the first part of the song, plus a typescript of the which Bridge took from the Westminster Gazette, 16 October 1917 [2ff.folio].

Probably late October 1917.

Date

1918 H.130

SO EARLY IN THE MORNING, O for high voice and piano

Words

James Stephens (1882-1950), from'The Rocky Road to Dublin', 1915.

Duration

2’30”

Autograph MS Date Publisher

RCM, FBC H130: the original versions [2ff.folio.Ink].

Bridge added the date February 1918 at the end of the MS. WR 91918), now BH, in a slightly revised version; reissued (1979) in the Frank Bridge Song Album.

Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr.10, (1997).

Recording

H.131

MANTLE OF BLUE for voice and piano or orchestra

Words

Padraic Colum (1881-1972), poem from Wild Earth, 1907.

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Duration Autograph MS Date Publisher Recordings

H.132

2’30” RCM, FBC H131, entitled O men from the fields [2ff.folio.Ink]; full score on loan from Boosey and Hawkes.

Bridge added the date March 1918 at the end of the piano version and the same date at the end of the orchestral score.

WP (1918); now BH, in versions for high and low voices; reissued (1979) in the Frank Bridge Song Album.

BH (Hire Lib), score and orchestral parts (2 2 2 2 - 2 0 0 0 - harp – strings).

Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL SHE 514, side 2, tr. 4, (1973); Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr.11, (1997).

Sarah Connolly (mezzo), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol.6, Chandos CHAN 10313, tr. 7, (2005).

BLOW OUT YOU BUGLES for tenor and orchestra or piano, with optional trumpet

Words

Rupert Brooke, The Dead, Poems of 1914

Duration 6’ Autograph MSS RCM, FBC H132, 1&2: two titled and dated copies, one used by the dedicatee, Gervase Elwes, and the other by the engraver of the vocal score [each 4ff. folio.Ink].

Copy MS RCM (FBC): non-autograph MS of the full score.

MS sketches RCM, FBC H132, 3: untitled, undated draft, many alterations and cancellations [2ff.folio.Ink].

Date ‘May 1918’ added at the end of the autograph MSS. Publisher WR (1919), vocal score only, now BH; reissued in 1979 in the Frank Bridge Song Album.

BH (Hire Lib), full score and parts (2 2+ca 2+bcl 2 - 4 3 3 1 timp sd cym harp strings).

First performance 26 October 1918 Queen’s Hall, London, sung by Gervase Elwes and conducted by Frank Bridge.

References The Daily Telegraph, 2 December 1918, p. 2f; The Musical Times, vol. 60, August 1919, p. 249; RCM Magazine, vol. 15 no. 3, RCM Magazine, vol. 16, nos. 1 and 3; The Times, 28 October 1918, p. 9c; The Times, 2 December 1918, p. 11d; Boston Symphony Orchestra Programme Book, 1920.

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Recordings

H.133

David Johnston (tenor), Hank Shaw (trumpet), Roger Vignoles (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL SHE 514, side 2, tr. 1, (1973); Philip Langridge (tenor), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol.6, Chandos CHAN 10313, tr. 1, (2005).

MORNING SONG for cello and piano

Duration Autograph MS

4’ Whereabouts unknown

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Date Publisher Recordings

H.134 1

THREE IMPROVISATIONS

for piano, left hand At Dawn

Duration 2

April 1918 - at the end of the printed edition.

WR (1919); now BH; FM (Hire Library) in an orchestral version by Robert Cornford [2222 - 2000 - hp - strings], the first movement in a Suite for cello and orchestra, commissioned by the Frank Bridge Bequest (see H.9A and H.47).

Moray Welsh (cello), Roger Vignoles (piano), Pavilion Records PEARL SHE 571, side 1, tr. 2, (1982); Lowri Blake (cello), Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records PEARL SHE CD 9600, tr. 4, (1986);

2’

A Vigil

3

A Revel

Duration

2’

Autograph MS Dates

RCM, FBC H134: used by the engraver [6ff.folio.Ink] Bridge dated each piece individually: May 1918, 24 June 1918, 22 July 1918.

WR (1919); reissued TP (1990) as vol. 11 of the Frank Bridge Edition, published in association with the Frank Bridge Bequest.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 1, Continuum CCD 1016, tr. 14-16, (1990); Ashley Wass, Frank Bridge Piano Music, vol. 2, Naxos 8.557921, tr. 5-6, (2007); Mark Bebbington, Bridge Piano Music vol. 3, SOMM 0107, trs. 4-6, (2011).

Publisher Recordings

Duration

1’30”

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H.135

A LITANY for SSA with organ (ad lib.)

Words

Phineas Fletcher (1580-1650)

Duration Autograph MS

1’30” RCM, FBC H135: score used by the engraver [2ff.folio.Ink] and a set of corrected proofs.

Bridge added the date 17 September 1918 at the end of the MS. WR (1919); now TP (1994) in Vol. 24 of the Frank Bridge Edition.

Trinity College Choir (Richard Marlow), Choral Music of Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 10, (1986).

Date Publisher Recording

H.136

THE LAST INVOCATION for voice and piano

Words

Walt Whitman (1819 - 1892), Whispers of Heavenly Death, 1868

Duration Autograph MS Date Publisher

2’30” RCM, FBC H.136: score [2ff.folio.Ink] Bridge added the date 23 September 1918 at the end of the MS. WR (1919), in keys for high, medium and low voice, now BH; reissued (1979) in the Frank Bridge Song Album.

Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Chamber Music, Pavilion Records PEARL SHE 514, tr. 7, (1973); Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 12, (1997).

Recordings

H.137

SISTER, AWAKE for SS and piano

Words

Thomas Bateson (17th century)

Duration

1’20”

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Autograph MS Date Publisher Recording

H.138

RCM, FBC H.137: score, used by the engraver Bridge added the date 26 September 1918 at the end of the MS. WR (1919); now TP (1994) in vol. 23 of the Frank Bridge Edition.

Trinity College Choir (Richard Marlow), Choral Music of Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 5, (1986).

LAY A GARLAND ON MY HEARSE 2-part vocal canon with piano accompaniment

Words

Beaumont and Fletcher (17th century)

Duration Autograph MS Date Publisher Recording

1’40” RCM, FBC H.138: score used by the engraver [2ff.folio.Ink] Bridge added the date 27 September 1918 at the end of the MS. WR (1919); now TP (1994), in vol. 23 of the Frank Bridge Edition.

Trinity College, Cambridge (Richard Marlow), Choral Music by Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 6, (1986).

H.139

LENTO (IN MEMORIAM C.H.H.P.) for organ

Duration Autograph MSS

2’30” RCM, FBC H139: the original version [2ff.folio], with the title In memoriam C.H.H.P. neatly crossed out, a sketch for the revision [2ff.folio], and the fair copy of the revision entitled For The Little Organ Book probably completed just prior to publication [2ff.oblong.folio].

Date Original version dated 15 October 1918.

Publisher HFW Deane & Sons (The Year Book Press Ltd) 1924, no. 7 of The Little Organ Book.

First performance 16 October 1918 at St Paul’s Cathedral, Sir Walford Davies (organ).

Recordings Stuart Campbell, The Organ Music of Frank Bridge, Pavilion Records PEARL SHE 545, side 2, tr. 4, (1979); Christopher Nickel, Priory PRCD 537, tr. 13, (1995).

The original version was written for the funeral service of Sir Hubert Parry and was subsequently revised for publication in a book of short organ pieces, all written to his memory by friends, colleagues and ex-pupils. The proceeds from the sale of The Little Organ Book supported the establishing of the Parry Memorial Room at the Royal College of Music.

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H.140

A PRAYER for SATB chorus and orchestra picc 2 2 2 2 - 4 3 3 1 - timp bd cym - strings (or organ and strings)

Words

Thomas á Kempis

Duration 18’ Autograph MSS RCM, FBC: the full score; BL (GC) Add. MSS. 54367: the organ and vocal score.

Date Bridge dated the vocal score March 1916, and the full score March 1916, scored 1-18 October 1918.

Publisher Augener (1918), vocal score; Augener (1919), string parts; Augener (1925) wind parts arr. for organ. SB (Hire Lib) for full score, vocal score, orchestral parts and organ part.

First performance January 1919, probably at the Royal Albert Hall, conducted by Frank Bridge.

References The Musical Times, vol. 61, January 1920, p. 52; The Musical Times, vol. 62, May 1921, p. 366; RCM Magazine, vol. 17, No. 2 January 1921.

Recordings Chelsea Opera Group Chorus and Orchestra with Prospect Music Group (Howard Williams), Pavilion Records PEARL SHE 568, (1982); The Hampstead Singers, The Emmanuel Chamber Orchestra (Mark Denza), Jeremy Filsell (organ), Guild GMCD 7200, tr.7, (2000); Royal Liverpool Philharmonic Choir and Orchestra (Douglas Bostock), The British Symphonic Collection vol. 12, Olufsen Records (Denmark) Classico 456, tr.2, (2002); BBC National Chorus and Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol.4, tr.5, (2004).

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H.141

(THREE) VARIATIONS ON CADET ROUSSELLE for voice and piano, for orchestra, or for male voices and orchestra

Words

Traditional French

Duration Copy MS Date Publisher

4’ J & W Chester Ltd, in the hand of Sir Eugene Goossens.

1918 - the date given at the end of the vocal score.

J. & W. Chester Ltd (1920), Repertoire Collignon, no. 1, for voice and piano; J & W Chester Ltd (1931), for orchestra (2 1 2 1 - 2 1 0 0 - timp sd tri glock xyl bells cym harp - strings).

First performance 6 June 1919, Aeolian Hall, Raimond Collignon (soprano) with Harriet Cohen (piano).

The French folk-tune Cadet Rousselle enjoyed great popularity in Britain during the early part of this century. It was the suggestion of the music critic Edwin Evans that four of his composer-friends should make arrangements of the tune for voice and piano. Bridge arranged variations 1, 3 and 6; Arnold Bax variations 2, 5 and 12; John Ireland variations 4, 8, and 9 and Eugene Goossens variations 7, 10 and 11. In December 1930, Goossens scored eight of the twelve variations for small orchestra. In this version nos. 8-11 are omitted.

H.142

WHEN YOU ARE OLD AND GREY for high voice and piano

Words

W.B. Yeats (1865-1939), The Countess Kathleen, 189

Duration Autograph MSS

3’30” RCM, FBC H142 score [2ff.folio.Ink]; Chappell: this autograph was destroyed in Chappell’s warehouse fire of 1964.

Bridge added the date 25 January 1919 on the surviving MS.

Date

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Publisher Recordings

Chappell (1919); reprinted (1979) in The English Recital Song (vol. 1), compiled

by David Patrick; TP (1990), the first of Six Songs, vol. 12 of the Frank Bridge Edition.

Peter Pears (tenor), Benjamin Britten (piano), DECCA Argo RG418 (mono) / ZRG 5418 (stereo), 1964 / Argo ZK 28, side 1, tr. 10, (1977); Gerald Finlay (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 15, (1977).

A note on the title page reads ‘The words of this song are reprinted by permission of the author and represent only a part (two strophes) of the complete poem.’

H.143 Words

INTO HER KEEPING for voice and piano Henry Dawson Lowry (1869 - 1906)

Duration Autograph MS Date Publisher Recording

H.144

2’ RCM, FBC H.143, entitled Now that my love lies sleeping [2ff.folio.Ink] Bridge added the date 4 May 1919 at the end of the MS WR (1919), in keys for high, medium and low voice, now BH, reissued (1979) in the Frank Bridge Song Album.

Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 14, (1997).

LANTIDO DILLY for SSA with piano accompaniment

Words

Anon. (17th century)

Duration Autograph MS Date Publisher

1’30” RCM, FBC H144: score used by the engraver [4ff.folio.Ink].

Bridge added the date 8 May 1919 at the end of the MS. WR (1919) New Century Series of School Songs, no. 18.

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H.145

WHAT SHALL I YOUR TRUE LOVE TELL? for voice and piano

Words

Francis Thompson (1859-1907), entitled Messages

Duration Autograph MS Date Publisher

4’ RCM, FBC H145: score [2ff.folio.Ink] Bridge added the date 31 May 1919 at the end of the MS. WR (1919) in keys for high, medium and low voice, now BH; reissued (1979) in the Frank Bridge Song Album.

Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Chamber Music, Pavilion Records PEARL SHE 514, tr. 3, (1973); Louise Winter (mezzo), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 15, (1997).

Recordings

H.146

‘TIS BUT A WEEK for voice and piano

Words

Gerald Gould (1885-1939), from Lyrics, 1906

Duration 2’ Autograph MSS RCM, FBC H146: two scores[3ff & 2ff.folio.Ink], the second one used by the engraver.

Publisher WR (1919), In keys for high, medium and low voices, now BH; reissued in the Frank Bridge Song Album.

Recording Peter Pears (tenor), Benjamin Britten (piano), DECCA Argo RG418 (mono) / ZRG 5418 (stereo), 1964 / Argo ZK 28, side 1, tr. 8, (1977); Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Chamber Music, Pavilion Records PEARL SHE 514, tr. 3, (1973); Gerald Finley (baritone), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA67182, tr. 16, (1997).

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H.147

THE TURTLE’S RETORT (ONE-STEP) for piano

Duration Autograph MS Date Publisher Recordings

4’ Whereabouts unknown c. 1919, the year of publication WR (1919); now BH TP (Hire): arr. for small orchestra by Eric Wetherell Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records PEARL SHE CD 9600, tr. 12, (1986);

Bridge wrote his best selling one-step under the pseudonym of John L. More - from his wife’s middle name Elmore - at the request of his publisher, Winthrop Rogers. The Turtle’s Retort was published as one of ten American Dance Tunes (foxtrot, one- and two-steps and waltzes). Bridge introduced his dance-tune into the first section, adding the text at the appropriate place.

‘This is,’ said the turtle as he waddled away, ‘Wot is?’ said the lady as she sat down to play, ‘That is,’ said the turtle with a grin, ‘Why can’t you see, That is the tune, that is the tune, for you and for me!’

1920 H.148

THE HOUR GLASS Suite for piano

1.

Dusk

Duration 2.

3’50”

The Dew Fairy

Duration

3’20”

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3.

The Midnight Tide

Duration Autograph MSS Dates Publisher Recordings

4’10” BL (GC) Add. MSS: the MS used by the engraver; RCM, FBC H.148: nos. 1 and only 2 only, untitled [4ff.folio.Ink].

1.September 1919, 2. 28 February 1920, 3. April 1920.

Augener (1920); now SB, published separately and in a single volume.

Peter Wallfisch, Frank Bridge Songs and Piano Music, Pavilion Records PEARL Stereo SHE 513, side 1, trs. 1-3, (1973); Peter Jacobs, Frank Bridge Complete Piano Music, vol. 3, Continuum CCD 1019, tr. 4-6, (1990); Ashley Wass, Frank Bridge Piano Music, vol. 1, Naxos 8.557842, tr. 5-7, (2006); Mark Bebbington, Bridge Piano Music vol. 1, SOMM 056, trs. 6-8, (2006).

1921 H.149

MINIATURE PASTORALS (Set 2) for piano

1.

Allegro giusto

2.

Andante con moto

3.

Allegro ma non troppo

Durations Autograph MS

1. 2’10”; 2. 3’ ; 3. 2’30” Whereabouts unknown.

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Dates Publisher Recordings

Bridge dated each piece individually in the printed edition: February 1921, February 1921 and March 1921.

WR (1921), with drawings by Margaret Kemp-Welch, in a single volume numbered 4-6; TP (1994) in vol. 7 of the Frank Bridge Edition.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 1, Continuum CCD 1016, tr. 14, (1990).

H.150A MINIATURE PASTORALS (Set 3) for piano

1.

Andante molto tranquillo

Duration 2.

Allegro con moto

Duration 3.

2’

1’40”

Allegretto vivace

Duration

1’20”

Autograph MSS Dates

RCM, FBC H.150A: sketches and dated fair copies [6ff.folio.Ink] Bridge dated each piece individually: 21 April 1921, 25 April 1921 and 27 April 1921.

TP (1978), under the title Miniature Pastorals (Set 3), edited by Paul Hindmarsh, vol. 7 of the Frank Bridge Edition.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 3, Continuum CCD 1019, tr. 8-10, (1990); Mark Bebbington, Bridge Piano Music vol. 3, SOMM0107, trs. 7-9, (2011).

Publisher Recordings

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H.150B MINIATURE SUITE for piano 1

[Chorale]

Duration 2

[Impromptu]

Duration 3

2’

[Caprice]

Duration 4

2’30”

1’ (completed)

[March]

Duration

1’

Autograph MSS

RCM, FBC H.150B: pencil and ink sketches of 1, 3 and 3; an incomplete sketch of 4 Bridge dated the completed sketches, 2. 17 April; 1. 18 April 1921; 4. 22 April 1921.

TP (1990), edited and completed by Paul Hindmarsh, entitled Miniature Suite.

Peter Jacobs, Frank Bridge Complete Piano Music, vol. 3, Continuum CCD 1019, tr. 11-14, (1990); Mark Bebbington, Bridge Piano Music vol. 2, SOMM0107, trs. 14-17, (2009).

Dates Publisher Recording

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The pencil-and-ink sketches of 1, 2 and 4 were discovered by chance in January 1984, while I was sifting through and identifying the many uncatalogued pages of sketches in the Frank Bridge Collection (Royal College of Music, London). Two of them are dated: the chorale-like piece (April 18) and the lilting 6/8 fragment (April 17 1921). This was the same week during which Bridge composed the third set of children’s pieces, the Miniature Pastorals (Set 3). The 6/8 sketch is closely related to the second of the published Pastorals, so it is safe to assume that these sketches and the neater draft of the Moderato e ben marcato were rejected items from the same project.

Items 1, 2 and 3 are shorter than the items in H.150A, but more complex technically and more adventurous in harmony. Perhaps that is why Bridge chose not to prepare them for publication. The miniature march (4) required some editorial intervention. The others required varying degrees of editing as follows: (1) Pedal markings have been added and the triplet figure in the left hand has been filled out. The tempo marking is editorial.

(2) The closing bars needed to be re-ordered to make Bridge’s much amended copy clear. An appropriate tempo indication has been added.

(3) This is the most adventurous item. Bridge completed 38 bars, which have been completed for the published edition. The second half of the piece is based on music that Bridge had either already composed or had jotted down elsewhere on the manuscript page.

Bridge’s existing material has been turned into a miniature ‘phantasy-arch’ (one of his favourite formal devices). All other significant editorial additions are bracketed.

In the published Miniature Suite, the movements have been given titles that give some indication of their character - Chorale, Impromptu, Caprice, and March.

H.151

THREADS (Two Intermezzi) Incidental music to the play by Frank Stayton for piano or small orchestra

1

Andante molto moderato

Duration 2

4’

Tempo di Valse

Duration Autograph MS

4’30” RCM (FBC): the full score of the Two Intermezzi. The whereabouts of the complete autograph MS has not been traced.

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MS sketches

RCM, Frank Bridge Collection H 151: 10ff of ink and pencil sketches for two entr’actes and for three other incidental pieces. They include the complete shortscore draft of the first entr’acte, Andante molto moderato e tranquillo, the complete short-score draft of the second entr’acte, Tempo di Valse, and a complete draft of a short untitled item, thematically related to the first entr’acte.

Date Bridge added ‘July 1921, score May 1938’ at the end of the full score.

Publisher Hawkes and Son, Concert Edition (1939), PC and orchestral parts.

BH (Hire Lib), full score and parts (1 1 2 1 - 2 2 1 0 - timp perc harp - strings).

First performance 3 August 1921 at the St James’s Theatre, London.

References The Evening News, 24 August 1921; The Stage Year Book, 1921-3, p. 121.

Recordings Chelsea Opera Group Orchestra (Howard Williams), Frank Bridge Orchestral Works, Pavilion Records PEARL SHE CD 9600, trs. 7&8, (1986); Britten Sinfonia (Nicholas Cleobury), Bridge Suite for Strings, Conifer Records 75605 51327-2, trs. 11&12, (1998); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol. 5, Chandos CHAN 10246, trs. 8&9, (2004).

H.152

IN THE SHOP (Act 2) Ballet for piano duet (4 hands) or piano solo Six dances linked by short, related transitions.

1.

Introduction

2.

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3.

Giant’s Dance

4.

Tempo di Minuetto

5.

Rent Collector’s Dance

6.

Moderato and Finale

Duration 14’ Autograph MSS BPL: the piano-duet score, on loan from a private donor. RCM, FBC H.152: a suite of four of the dances arranged by Bridge for piano solo (Introduction, The Giant’s Dance, Tempo di Minuetto and Moderato and Finale) [14ff.folio.Ink and pencil].

Date October to December 1921. Bridge added the dates of completion at the end of nos. 1, 3, 4 and 6 in both MSS: 12 December 1921, 12 November 1921, 31 October 1921 and December 1921.

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Publisher

TP (1992), entitled Dance Suite, edited by Paul Hindmarsh, as Vol. 30 of the Frank Bridge Edition.

1922 H.153

GOLDEN SLUMBERS for SSA unaccompanied

Words

Thomas Dekker

Duration

3’

Autograph MS Date Publisher Recording

BL (GC) Add. MSS. 54368 ‘22 May 1922’ added at the end of the MS. Augener (1923); now TP (1994) in vol. 24 of the Frank Bridge Edition.

Trinity College, Cambridge (Richard Marlow), Choral Music by Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 8, (1986).

H.154

HENCE CARE for SSA unaccompanied

Words

Anon. (1595)

Duration Autograph MS

1’30” BL (GC) Add. MSS. 65468

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Date Publisher Recording

H.155

‘23 May 1922’ added at the end of the MS. Augener (1923); now TP (1994) in vol. 24 of the Frank Bridge Edition.

Trinity College, Cambridge (Richard Marlow), Choral Music by Britten and Bridge, Pavilion Records PEARL SHE 593, side 2, tr. 9, (1986).

SIR ROGER DE COVERLEY A Christmas Dance for string quartet, string orchestra or orchestra (also arranged for brass and concert band)

Duration Autograph MSS

4’30” BL (GC) Add. MSS: the string quartet score, with a separate part for the double-bass.

RCM (FBC): the version for full orchestra.

SB: the orchestral parts written by Frank and Ethel Bridge.

Dates Bridge added 30 June 1922 at the end of the original MS. The orchestral version was completed during the second week of the following October, and the double-bass part for the alternative string-orchestral arrangement in the summer of 1938.

Publisher Augener (1922), string quartet parts; Augener (1923), miniature score; Augener (1939), miniature score (string orchestra); now SB (Hire Lib).

SB (Hire Lib), set of orchestral parts (2+picc 3+ca 3+bcl 2+dbsn - 4 3 3 1 - timp perc harp - strings).

FM Band Series (2015): for concert band, arr. Alastair Wheeler.

Rakeway Music: for brass band, arr. Howard Snell.

First performance 21 October 1922 at a Queen’s Hall Promenade Concert, conducted by Frank Bridge.

References The Morning Post, 23 October 1922, p. 4f; The Sunday Times, 22 October 1922; Musical America, 17 November 1923, p. 33; Detroit Free Press, 2 November 1923, p. 2e.

Recordings String Quartet: Delmé String Quartet, Frank Bridge Music for String Quartet, Chandos CHAN ABRD 1073, side 2, tr.4/ CHAN 8426, tr. 7 (1983); Maggini Quartet, Frank Bridge -Works for String Quartet, Naxos 8.553718, tr. 11, (1994); Bridge Quartet, Chamber Music by Frank Bridge, SOMM087, tr.10 (2009); The

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Nash Ensemble, Hyperion CDA68003, tr. 7, (2913).

String Orchestra: English Chamber Orchestra (Benjamin Britten), DECCA London 425 160-2, tr.10 (1969, reissued on CD 1989); London Philharmonic Orchestra (Sir Adrian Boult), Lyrita Stereo SRCS 73, side 2, tr. 1, (1978); New Zealand Chamber Orchestra (Nicholas Braithwaite), Koch International Classics KOCH 3-7139-2H1, tr. 6, (1992); English String Orchestra (William Boughton), An English Suite, Nimbus NI 5366, tr. 2, (1993); Academy of St. Martin in the Fields (Sir Neville Marriner), English Seasons, Philips Classics 454 444-2, tr. 7, (1997); English Northern Philharmonia (David Lloyd-Jones), English String Miniatures vol. 2, Naxos 8.555068, tr. 22, (2000); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol.5, Chandos CHAN 10246, tr.16.

Symphony Orchestra: Queen’s Hall Light Orchestra (Frank Bridge), Columbia, matrix AX367 (rec. 13.03.1924, unpublished), Columbia L.1678 (matrix AX884, rec. 12.02.1925), acoustic recording 78rpm; BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 3, Chandos CHAN 10112, tr.8, (2003).

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H.156

THE FAIRY RING for SSA with optional piano accompaniment

Words

anon

Duration

1’15”

Autograph MS Date Publisher

RCM (FBC) H.156: score [2ff.folio.Ink] Bridge added the date 14 October 1922 at the end of the MS. OUP (1923), Oxford Choral Songs, No. 202.

H.157

A SPRING SONG for unison voices with piano or string orchestral accompaniment

Words

M. Howitt

Duration

1’20”

Autograph MSS RCM, Frank Bridge Collection H. 157: the vocal and piano score [2ff.Oblong folio.Ink], the full string orchestral scores [2ff.folio.Ink] and a set of 11 nonautograph string parts.

Dates Bridge added the date 21 October 1922 at the end of the short score. At the end of the full score he added ‘(October 1922), score February 1930’.

Publisher OUP (1923), Oxford Choral Songs, No. 203.

H.158

PAN’S HOLIDAY

for SS with piano or piano and strings

Words

James Shirley

Duration

1’30”

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Autograph MS Dates Publisher

RCM, FBC, H. 158: the full score of the arrangement for voices, piano and strings [4ff.folio.Ink] plus 24 non-autograph parts. The whereabouts of the original voice and piano MS is unknown.

Bridge added the following at the end of the full score: ‘(November 4th 1922) score March 1924, Friston Field’.

OUP (1923), Oxford Choral Songs, No. 103; TP (1994) in vol. 23 of the Frank Bridge Edition.

Also held in the Frank Bridge Collection are a set of 11 copied orchestral parts for A Spring Song (H. 157) and a set for Pan’s Holiday.

H.159

EVENING PRIMROSE for SS with piano accompaniment

Words

John Clare

Duration Autograph MS MS fragment Date Publisher

1’30” Whereabouts unknown RCM, FBC, H. 159: a 24-bar fragment of an autograph MS [1f.folio.Ink].

Probably October or November 1922 (see H. 156, 157, 158).

OUP (1923), Oxford Choral Songs, No. 102; TP (1994) in vol. 23 of the Frank Bridge Edition.

1923 - 4 H.160

SONATA for piano

1.

Lento am non troppo - andante ben moderato - allegro energico

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2.

Andante ben moderato

3.

Lento - allegro ma non troppo

Duration Autograph MS MS sketch

25’ BL (GC) Add MSS 65466: the final autograph MS used by the engraver.

RCM, FBC, H. 160: the first complete MS score, which Bridge labelled ‘sketch’.

Containing some alterations and cancellations incorporated in the final MS, this draft was identified by Davies and Hayle as the only autograph, probably because of the dates Bridge added at the end of the outer movements. There are a few minor divergencies between the draft and the final autograph / printed edition [26ff.folio].

Date Bridge added the date 3 March 1924 at the end of both MSS and the inscription ‘Easter 1921 to May 5th 1922’ at the end of the first movement in the sketch.

Publisher Augener (1925), now SB; first reprint 1979 (Stainer and Bell Centenary Edition); mph Munich (Study score).

First performance 15 October 1925 at the Wigmore Hall, played by Dame Myra Hess.

References The Daily Telegraph, 16 October 1925, p. 15b; The Morning Post, 16 October 1925, p. 6e; The Sunday Times, 18 October 1925, p. 7c; The Musical Times, vol. 67, April 1926, p. 391.

Recordings Peter Wallfisch, Frank Bridge Songs and Piano Music, Pavilion Records PEARL Stereo SHE 513, (1973); Eric Parkin, Piano Music by Frank Bridge, Unicorn RHS 359, side 2, (1978); Peter Jacobs, Frank Bridge Complete Music for Piano vol. 3, Continuum, CCD 1019, tr. 19-21, (1990); Mark Bebbington, Bridge Piano Music vol. 1, SOMM 056, trs. 13-15, (2006); Ashley Wass, Frank Bridge Piano Music, vol. 2, Naxos 8.557921, tr. 1-3, (2007).

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H.161

THREE LYRICS for piano (1 also for violin and piano, or for small orchestra)

1

Heart’s Ease

2

Dainty Rogue

3

The Hedgerow

Durations

1. 1’50”; 2. 1’50”; 3. 2’30”

Autograph MSS

BL (GC) Add MSS 54366: three autograph engraver’s MSS. BL (GC) Add MSS 54365: autograph of Heart’s Ease for violin and piano also used by the engraver.

LC.ML29cB85, M55 13O2: autograph copy of Heart’s Ease for piano

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Dates Publisher References Recordings

H.162

inscribed,‘For Souzie with sincerest affection, June 6th 1922, Frank Bridge.’

RCM, FBC H.162: autograph of The Hedgerow [3ff.folio.Ink].

1. April 1921, 2. June 1922, 3. June 1924 - on the engraver’s copies.

At the end of the other MSS: 1. 26 April 1921 and 3. 10 June 1924.

Augener (1922), 1 and 2; Augener (1925), 3; now SB; Augener (1930), 1, for violin and piano.

The Musical Times, vol. 66, August 1925, p. 704-6.

Eric Parkin, Piano Music by Frank Bridge, Unicorn RHS 359, side 1, trs. 8-10, (1978); Peter Jacobs, Frank Bridge Complete Music for Piano vol. 3, Continuum, CCD 1019, tr. 15-17, (1990); Ashley Wass, Frank Bridge Piano Music vol. 1, Naxos 8.557842, tr. 11-13, (2005); Mark Bebbington, Bridge Piano Music vol. 3, SOMM0107, trs. 1-3, (2011).

1. Orchestrated by Robert Cornford (1970s), Chelsea Opera Orchestra (Howard Williams), Frank Bridge Orchestral Music, Pavilion Records PEARL SHE CDF 9600, tr. 9, (1986); 1. Lorraine McAslan (violin), John Blakely (piano), Bridge and Britten, Continuum CCD 1022, tr.11, (1991); Louise Williams (viola), David Owen Norris (piano), Frank Bridge - The Music for Viola, ASV CD DCA1064, tr. 2, (1999).

IN AUTUMN Two pieces for piano

1.

Retrospect

Duration 2.

5’

Through the Eaves

Duration

2’30”

Autograph MSS

BL (GC) Add MSS: the MS used by the engraver with the original titles Retrospect and Under the Eaves in black ink, and the substitute title of no. 2 amended to Through the Eaves in red ink.

RCM, FBC H.162: the original autograph from which Bridge copied the engraver’s MS. The title of no. 2 has not been altered [3+2ff.folio.Ink].

Each piece in both MSS: no.1 29 April 1924 and no. 2 30 June 1924.

Augener (1925), published separately; now SB The Musical Times, vol. 66 August 1925, p. 706.

Peter Jacobs, Frank Bridge Complete Music for Piano vol. 1, Continuum, CCD

Dates Publisher References Recordings

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1016, tr. 9&10, (1990); Ashley Wass, Frank Bridge Piano Music, vol. 1, Naxos 8.557842, tr. 17-18, (2005); Mark Bebbington, Bridge Piano Music vol. 2, SOMM082, trs. 5&6, (2009).

2. Peter Wallfisch, Pavilion Records PEARL Stereo SHE 513, side 2, tr.3, (1973).

From a remark made in a letter to Mrs. Coolidge dated 29 April 1924, Bridge was evidently well pleased with Retrospect, although he was not convinced that the musical public would be of the same mind. If the comments of the music critics are a true reflection of the opinion of the musical public in general, then Bridge was proved wrong on this occasions as The Musical Times critic, at least, found In Autumn ‘very rewarding’, if ‘more dissonant than usual’.

1925 H.163

THE PNEU WORLD for cello and piano

MS fragment

Date

LC.ML29cB85.M55-1288: a parody sketch of the first four bars of The Starspangled Banner, written for his friend and benefactress Elizabeth Sprague Coolidge (piano) and her son Sprague (cello). Coolidge donated the MS to the Library of Congress on 29 May 1925, about a month after its completion, following the usual pattern of her receipt and subsequent donation of other Bridge manuscripts. c. March / April 1925

The significance of the parody lies in the series of nicknames which Coolidge and her circle adopted.

Her Foundation (for the advancement of Chamber Music) was administered by Carl Engel and the Library of Congress. One of its annual events was a Festival of Chamber Music held in the Library’s Coolidge Hall. Wayne Shirley formerly of the Reference Division of the Library of Congress explains the joke: This is part of a series of nicknames... in which Mrs Coolidge was ‘Souzie’ and Bridge ‘Twozie’. The ‘Pneu’ in ‘The Pneu World’ may refer to a series of Coolidge nicknames; Carl Engel and Mrs .Coolidge were ‘Mike’ and ‘Lane’ - two halves of the pneumatic-tyre figures in the Guides Michelin - in correspondence with each other. (As resilient figures who would bounce back after the pressures of every festival? As Guides to Culture? Or just as two people who thought they should lose weight?)

(From a letter to the author)

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H.164A (TWO TAGORE SONGS) for mezzo soprano and piano or orchestra Words

Rabindranath Tagore from The Gardener, 1913

1.

Day after day

2.

Speak to me my love

Durations 1. 4’ ; 2. 5’ Autograph MSS BL (GC), Add MSS 54368: the copies used by the engraver, which Bridge has subtitled Two Songs for mezzo soprano and orchestra.

MS sketch RCM, FBC H.164: two sheets of a complete sketch of 1, written on three staves, presumably for the orchestral version [2ff.folio.Ink].

Dates Bridge added the dates of completion at the end of each song: (1) January 1922, and (2 ) 8 October 1924.

Publisher Augener (1925); reprinted Galliard in Four Songs (with H.167); now SB. Recordings Sarah Walker (mezzo), Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records PEARL stereo SHE 568, (1982); Sarah Leonard (soprano), Malcolm Martineau (piano), Dweller in my Deathless Dreams, United/Cala Records CACD88016, trs. 14&15, (1994); Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67182, trs. 17&18, (1997); Sarah Connolly (mezzo), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 6, Chandos CHAN 10310, trs. 8&9, (2005).

1. Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL stereo SHE 514, side 2, tr. 6, (1973).

H.164B DWELLER IN MY DEATHLESS DREAMS for tenor and piano (or orchestra) Words

Rabindranath Tagore from The Gardener, 1913

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Duration 4’30” Autograph MSS LC.MLcB85, M5513O3: the original autograph MS, presented by Bridge to Mrs. Coolidge. On the title-page he has added ‘For Elizabeth, with affection from Frank Bridge. The original copy, London June 1925. Frank Bridge.’

RCM, Frank Bridge Collection H164: two further copies of in different transpositions [4ff.folio.Ink] Dates Bridge added 1 June 1925, Friston, at the end of the song.

Publisher Augener (1926); reprinted in a volume of Four Songs, with Journey’s End (H.167)

by Galliard (1974); now SB SB (Hire), in version for voice and small orchestra (c. 221 + bcl 2 - 2000 - glock susp. cym - celesta - harp - strings), orch. Robert Cornford (1982).

Recordings David Johnston (tenor), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL stereo SHE 514, side 1, tr. 5, (1973); Sarah Leonard (soprano), Malcolm Martineau (piano), Dweller in my Deathless Dreams, United/Cala Records CACD88016, trs. 16, (1994); Sarah Walker (mezzo), Chelsea Opera Group Orchestra (Howard Williams), Pavilion Records PEARL stereo SHE 568, (1982); Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67182, trs. 19, (1997).

H.165 Words

GOLDENHAIR for voice and piano James Joyce, from Chamber Music V, 1907

Duration 1’30” Autograph MSS RCM, FBC H.165: the original MS [2ff.folio.Ink], in G major. On the title page is written, ‘from the estate of Marjorie Fass. The original copy, October 1925’.

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Date Publisher Recordings

H.166

Chappell: this copy, used by the engraver, was destroyed in Chappell’s warehouse fire of 1964.

Bridge added the date 29 October 1925 at the end of the surviving MS. Chappell (1925), in C and E; reprinted (1979) in The English Recital Song (vol. 2), compiled by David Patrick, (in C); reissued TP (1990), the last of Six Songs, vol.

12 of the Frank Bridge Edition (in E).

Peter Pears (tenor), Benjamin Britten (piano), DECCA Argo RG418 (mono) / ZRG 5418 (stereo), 1964 / Argo ZK 28, side 1, tr. 9, (1977); Janice Watson (soprano), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67182, trs. 20, (1997);

VIGNETTES DE MARSEILLE Suite for piano or small orchestra (nos. 2, 3 and 1 entitled Vignettes de Danse)

1. Carmelita

Duration

4’

2. Nicolette

Duration

3’

3. Zoraida

Duration

3’30”

4. En Fête

Duration

2’15”

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Autograph MSS

RCM, FBC H.166: four pieces, each labelled ‘Sketch V de M’: Carmelita: [i]the original, dated autograph MS containing some alterations and cancellations; [ii]an undated fair copy with a loose sheet on which an introduction has been sketched in ink; [iii]the undated revision incorporating the introduction, a coda and the alterations.

Nicolette: the dated autograph with an undated fair copy.

Zoraida: the dated autograph with an undated fair copy.

En Fête: the dated autograph containing some alterations and cancellations, with an undated fair copy.

RCM, FBC: the autograph full score of he orchestral arrangement of nos. 2, 3 and 1 entitled Vignettes de Danse, from Boosey and Hawkes.

MS sketches RCM, FBC H.166. Although Bridge gave the Suite the provisional title ‘Sketch V de M’, the four dated and titled MSS are in fact the originals from which the undated fair copies were made in 1938. The remaining material in the Frank Bridge Collection H.166 consists of two pages of a draft of Nicolette, five sheets of sketches for the original version of Carmelita, Zoraida and En Fête, including one page of full score - the opening six bars of the orchestral version of the latter.

Date Bridge added the dates of completion at the end of the autograph piano MSS: 1, 8 October 1925; 2, 14 October 1925; 3, 13 November 1925; 4, 16 November 1925. The autograph full score of Vignettes de Danse also includes the following post-scripts: at the end of Nicolette, ‘sketch 1925, score June 1928’; at the end of Zoraida, ‘sketch 1925, score July 1938’, and of Carmelita, ‘sketch 1925, score July 1938’.

Publisher TP (1979), Vignettes de Marseilles for piano in an edition by Paul Hindmarsh.

BH (Hire Lib), Vignettes se Danse for small orchestra; the full score and parts.

(1 1 2 1 - 2 2 1 0 timp tri cym tamb sd cast harp - strings).

First performance Vignettes de Danse: a broadcast from the BBC studios in Glasgow, on 12 May 1941 by the BBC Scottish Orchestra, conducted by Guy Warrack.

Vignettes de Marseille: a broadcast from BBC Radio Scotland on 12 March 1978, played by Kathleen Renilson (piano).

References Introduction and editorial note to Vignettes de Marseille, by Paul Hindmarsh (Thames Publishing, 1979).

Recordings Vignettes de Danse: Chelsea Opera Orchestra (Howard Williams), Frank Bridge Orchestral Music, Pavilion Records PEARL SHE CDF 9600, tr. 10-12, (1986); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 3, Chandos CHAN 10112, tr.5-7, (2003).

Vignettes de Marseille: Peter Jacobs, Frank Bridge Complete Music for Piano vol. 2, Continuum, CCD 1018, tr. 19-22, (1990); Mark Bebbington, Bridge Piano Music vol. 1, SOMM056, trs. 9-12, (2009).

The four items that comprise this suite were written in October and November 1925 following a five-week tour of the Alps and the Mediterranean coast in July and August. Frank and Ethel Bridge travelled with Elizabeth Sprague Coolidge and Mary Rogers, the widow of one of Bridge’s publishers.

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H.167

JOURNEY’S END for tenor / high baritone and piano

Words

Humbert Wolfe (1885-1940) from The Unknown Goddess, 1925.

Duration

4’

Autograph MSS

BL (GC) Add MSS 54368: the dated MS used by the engraver.

RCM, FBC H. 167: the original MS, with a date different from the fair copy [2ff.folio.Ink].

RCM, FBC H. 167: an untitled, undated MS labelled ‘sketch’ [2ff.folio.Ink].

Bridge dated the two autograph MSS: the original, 21November 1925 and the engraver’s copy, 23 November 1925.

Augener (1926); reprinted in a volume of Four Songs, with the Three Tagore Songs (H.164), by Galliard (1974); now SB (see H. 164).

Peter Pears (tenor), Benjamin Britten (piano), DECCA Argo RG418 (mono) / ZRG 5418 (stereo), 1964 / Argo ZK 28, side 1, tr. 12, (1977); Valerie Baulard (mezzo), Jonathan Hinden (piano), Frank Bridge Songs and Piano Music, Pavilion Records PEARL stereo SHE 514, side 2, tr. 5, (1973).

Sarah Leonard (soprano), Malcolm Martineau (piano), Dweller in my Deathless Dreams, United/Cala Records CACD88016, trs. 17, (1994); Jamie MacDougall (tenor), Roger Vignoles (piano), The Songs of Frank Bridge, Hyperion CDA 67182, trs. 21, (1997).

MS sketch Date Publisher Recordings

Journey’s End was Bridge’s last solo song. Michael Pilkington astutely observes (in notes to Hyperion CDA 67181/2) that ‘Bridge sums up all that his song-writing career has been suggesting; the inevitability of death that we must face alone, and the woman or man at the bedside waiting helplessly.’

H.168

WINTER PASTORAL for piano

Duration Autograph MSS

3’ BL (GC) Add MSS: the final autograph MS, used by the engraver.

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Dates Publisher Recordings

RCM, FBC H. 168: the original autograph MS, dated, but with a number of cancellations and alterations that were incorporated into the final MS [2ff.folio.Ink].

‘4 December 1925’ added at the end of the original MS. Augener (1928); now SB. Peter Wallfisch, Pavilion Records PEARL Stereo SHE 513, side 2, tr.4, (1973); Peter Jacobs, Frank Bridge Complete Music for Piano vol. 1, Continuum CCS 1016, tr. 13, (1990); Mark Bebbington, Frank Bridge Piano Music vol.3, SOMM0107, tr. 22, (2011).

1926 H.169

CANZONETTA (Happy South) for piano or small orchestra

Duration Autograph MSS

Date Publisher

Recordings

H.170

2’30” RCM,FBC: the autograph piano score entitled Happy South and the full score of the orchestral version.

RCM, FBC[2ff.folio.Ink]: a duplicate autograph of the piano score entitled Canzonetta with Rosemary, from Boosey and Hawkes.

Bridge added the date 7 July 1926 at the end of both MSS. Hawkes and Son (1927); now BH, in the version for solo piano, dedicated to Susan Pember; Hawkes and Son (Concert Edition, 1939) PC and parts of the orchestral version.

In 1939 Canzonetta was issued as the second of Two Entr’actes with Rosemary (H. 68). BH (Hire Lib), score and parts (1121 - 2210 timp tri tamb glock harp - strings).

Two Entr’actes (2): Chelsea Opera Group Orchestra (Howard Williams), Frank Bridge Orchestral Works, Pavilion Records PEARL SHE CD 9600, tr. 3, (1986); Britten Sinfonia (Nicholas Cleobury), Conifer 75605 51327-2, tr. 13, (1998); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol.5, Chandos CHAN 10246, tr.13, (2004).

Peter Jacobs, Frank Bridge Complete Music for Piano vol. 2, Continuum CCD 1018, tr. 15, (1990); Mark Bebbington, Frank Bridge Piano Music vol.3, SOMM0107, tr. 22, (2011).

GRAZIELLA for piano

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Duration Autograph MSS Date Publisher Recordings

H.171

3’30” RCM,FBC: the titled and dated MS used by the engraver; RCM,FBC: H. 170 an untitled and undated MS [2ff.folio.Ink] Bridge added the date 26 July 1926 at the end of the titled autograph.

Hawkes and Son (1927); now BH. Peter Jacobs, Frank Bridge Complete Music for Piano vol. 3, Continuum CCD 1019, tr. 7, (1990); Mark Bebbington, Frank Bridge Piano Music vol.2, SOMM082, tr. 11, (2009).

A DEDICATION for piano

Duration Autograph MS Date Publisher Recordings

H.172

3’20” BL (GC) Add. MSS 54366: the dated and titled MS used by the engraver RCM, FBC H.171: a duplicate autograph [2ff.folio.Ink].

Bridge added ‘September 1926, Friston Field’ at the end of both MSS. Augener (1928); SB. Peter Jacobs, Frank Bridge Complete Music for Piano vol. 3, Continuum CCD 1019, tr. 7, (1990); Mark Bebbington, Frank Bridge Piano Music vol.3, SOMM0107, tr. 16, (2011).

HIDDEN FIRES

for piano

Duration Autograph MSS Date Publisher Recordings

2’30” RCM,FBC, H.172: the titled but undated autograph used by the engraver and an untitled and undated autograph with some alterations and cancellations [4ff.folio.Ink]. c. 1926 Hawkes and Son (1927); now BH. Peter Jacobs, Frank Bridge Complete Music for Piano vol. 1, Continuum CCD 1016, tr. 12, (1990); Mark Bebbington, Frank Bridge Piano Music vol.3, SOMM0107, tr. 13, (2011).

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1927 H.173

THERE IS A WILLOW GROWS ASLANT A BROOK Impression for small orchestra, or viola and piano (arr. Benjamin Britten) 1 1 2 1 - 1 0 0 0 - harp - strings

Duration Autograph MS

9-10’ BL (GC) Add MSS 54358: the unbound autograph full score (in poor condition).

RCM, FBC H. 173: the autograph harp part of the final episode from fig. 13. Bridge included pedal instructions, for use by the engraver. The whereabouts of Bridge’s piano-duet score is unknown.

Other MS BPL: Benjamin Britten’s ink manuscript of his arrangement for viola and piano.

MS sketches RCM, FBC H. 173: three sheets of sketches of the principal themes and the first page of a short score sketch, interleaved with the sketch of Enter Spring [4ff.folio and oblong folio. Ink and pencil].

Date January 1927. Bridge added the date 29 January 1927 at the end of the full score.

Publisher Augener (1928), full score and parts; now SB (Hire Lib); Augener (1933) miniature score.

TP (1990), in Britten’s arrangement for viola and piano, edited Paul Hindmarsh.

First performance 20 August 1927, Queen’s Hall Promenade Concert, conducted by Frank Bridge.

References The Daily Telegraph, 22 August 1927, p. 5g; The Morning Post, 22 August 1927, p.

5f; The Sunday Times, 20 August 1927, announcement only. EN (Ernest Newman) was unable to be present at the concert. The Times, 20 August 1927, p.

8f ; The Manchester Guardian, 22 August 1927, p.8d.

Recordings Bournemouth Sinfonietta (Norman del Mar), Chandos CHAN 8373, tr. 4, (LP 1979/CD 1985); English Chamber Orchestra (Jeffrey Tate), EMI CDC7 47945-2, tr. 6, (1987); New Zealand Chamber Orchestra (Nicholas Braithwaite), Koch International Classics KOCH 3-7139-2H1, tr. 11, (1992); English String Orchestra (William Boughton), An English Suite, Nimbus NI 5366, tr. 10, (1993); Britten Sinfonia (Nicholas Cleobury), Conifer 75605 51327-2, tr. 5, (1998); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol.3, Chandos CHAN 10112, tr.4, (2004). arr. Britten: Louise Williams (viola), David Owen Norris (piano), Frank Bridge The Music for Viola, ASV CD DCA 1064, tr. 13, (1999); Matthew Jones (viola), Annabel Thwaite (piano), Naxos 8.573136, tr. 12, (2012).

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H.174

ENTER SPRING Rhapsody for large orchestra 3+picc 2+ca 2+bcl 2+dbsn - 4 3 3 1 - timp bells glock tri gong sd bd cel 2harps - strings

Duration Autograph MS MS sketch

18’ BPL: the bound full score RCM, FBC H.174: the complete short-score draft labelled ‘sketch’ and dated ‘January 5th 1927, Friston’, plus seven sheets of sketches and revisions for the opening fanfare and the closing episode. [24ff.folio and oblong folio. Ink and pencil].

Date ‘Sketch’ composition: between August 1926 and January 1927. Although Bridge dated his sketch 5 January 1927, he wrote to Mrs. Coolidge on 11 January, ‘I am practically at the end of my “sketch” for the Norwich work.’ He added the date 27 May 1927 at the end of the full score.

Publisher FM (1977), study score; FM (Hire Lib), full score and parts.

First performance 27 October 1927 at the Norwich Triennial Festival, played by the Queen’s Hall Orchestra and conducted by Frank Bridge.

References The Daily News, 29 October 1927; The Daily Telegraph, 26 September 1930, p.8c; East Anglian Daily Times, 29 October 1927; Eastern Daily Press, 28 October 1927; Norwich Festival Programme Book, 1927, pp. 16-17; The Morning Post, 28 October 1927, p.7b; The Morning Post 26 September 1930; The Musical Times, vol. 68, December 1927, p.1124; The Musical Times, vol. 71, November 1930, p.1032; The Times, 29 October 1927, p.10b (review by Ernest Newman); The Times, 26 September 1930, p.10c; The Sunday Times, 26 September 1930; The Manchester Guardian, 26 September 1930; Aldeburgh Festival Programme Book, 18 June 1967 (by Britten); The Musical Times, vol. 108, June 1967, p. 524.

Recordings Royal Liverpool Philharmonic Orchestra (Sir Charles Groves), Frank Bridge - The Sea, HMV ASD 3190, (1976)/ EMI Studio CDM 7 69870-2, tr. 7, (1989); New Philharmonia (Benjamin Britten), Britten the Performer, BBC Music BBCB 8007-2, tr. 10, concert recording Shape Maltings, Suffolk,18 June 1967, (1999); Cologne Radio Symphony Orchestra (John Carewe), WDR Production released

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on Pavilion Records PEARL SHE CD 9601, tr.2, (1987); Academy of St. Martin in the Fields (Sir Neville Marriner), English Seasons, Philips 454 444-32, tr. 2, (1997); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music, vol.1, Chandos CHAN 9950, trs. 1, (2001); New Zealand Symphony Orchestra (James Judd), Naxos 8.557167, trs. 1, (2004); Halle Orchestra (Sir Mark Elder), English Spring, Halle CD HLL 7528, tr. 8, (2011).

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H.175

QUARTET NO. 3 for 2 violins, viola and cello

1. Andante moderato - Allegro moderato

2. Andante con moto

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3. Allegro energico

Duration Autograph MSS

30’ LC, ML29cB85, M55 13o1: a bound presentation score of the final version with a dedicatory letter mounted in the fly leaf: 4 Bedford Gardens, Campden Hill, Kensington, LONDON, W8.

12 October 1927

My dearest Souzanne,

I do ask that you please overlook the monstrous and unexpected size of the lettering on the cover. It’s a blemish that makes me blush and I’m half inclined to take it away and have it rebound. Such good intentions might have been better served.

That this score contains the best of me I do not doubt. It is most truly dedicated to you, being yours before a single note went down on paper, and in my heart it is remembered as a loving token of my devotion to you, dear Souzanne.

Bless you, 2 zee.

[Gift of Mrs Coolidge to Library of Congress, 19 November 1927] RCM, FBC H. 175: the autograph of the first version. On the first page Bridge had scribbled, ‘All wrong’. Frank Bridge’. [55ff.folio.Ink] Copy MSS BL (GC) Add MSS 54362: a non-autograph score, containing some autograph corrections, and a set of parts, all used by the engraver; RCM, FBC H.175,2: a non-autograph copy of the second autograph MS, with an autograph pencil note on the title page ‘I think this is a correct copy of the score, Frank Bridge.’ [23ff.folio.Ink] Date Bridge added the dates 1925-7 at the end of the presentation score.

He added dates of completion at the end of each movement of the first version: 17 April 1925, 21 May 1925, and 17 May 1926. There are substantial differences between the two MSS, particularly in the finale; hence its position in this catalogue.

Publisher Augener (1928), miniature score and parts; miniature score reissued by Galliard (1927); now SB. First performance 17 September 1927 in Vienna, played by the Kolisch Quartet.

First UK performance 6 November 1927 at a Coolidge Concert, London, played by the Pro Arte Quartet.

First US performances 17 September 1928 at the Berkshire Festival, Pittsfield and 30 October 1928 at the Library of Congress Founder’s Day Concert, Washington, both played by the Roth Quartet.

Other notable performances include a BBC broadcast by the Pro Arte Quartet on 9 November 1927, following concerts in Paris, Brussels and London, and by the Brosa Quartet, who played it for the first time at the 1928 ISCM Festival in Siena.

References The Musical Times vol. 68, November 1927, pp. 996-7 (the Coolidge Chamber Music Concert, Vienna); The New York Times, vol. IX, 7 October 1928, p. 8a; The Musical Times, vol. 69, October 1928, pp. 936-7; Modern Music, vol. 7/1 (November-December 1928), p.35–8; The Musical Times vol. 70, January 1929,

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Recordings

p. 46; The Observer, 13 November 1927, p. 15b (the Coolidge Concert, London), Aldeburgh Festival Programme Book, 20 June 1950 (by Britten).

Allegri String Quartet, Frank Bridge String Quartets, Decca ARGO ZRG 714, side 1, (1973)/ Lyrita SRCD 302, disc 1, trs. 1-3, (2007); Brindisi String Quartet, Frank Bridge String Quartets vol. 1, Continuum CCD1035, tr.5-7, (1991); Endellion String Quartet, Virgin Classics 7567 91196-2, tr.1-3, (1991); The Bridge String Quartet, Frank Bridge - Quartets, Meridian CDE 84311, trs.

1-3, (1996); Bochmann String Quartet, British String Quartets, Redcliffe Recordings RR013, trs. 1-3, (1997); Maggini Quartet, Frank Bridge String Quartets, Naxos 8.557133, trs. 5-7, (2002).

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H.176

1928 TRIO (RHAPSODY) for 2 violins and viola

Allegro spirito - Andante (molto moderato) - Allegro molto

Duration 17’ Autograph MSS RCM, FBC H. 176: a bound full score of the original version formerly in the possession of J. A. Burns-Cox; the score and copied parts of the revised version, which Bridge labelled ‘Version 2 - no bon!’ [30ff.folio.Ink] Copy MS RCM, FBC H. 176: a score of Version 1, copied by J. Walker.

MSS fragment RCM, Frank Bridge Collection H.176: an incomplete autograph score (seven sheets). It is heavily marked with pencil amendments [7ff.folio.Ink and pencil].

Date Bridge added the date March 1928 at the end of both autograph scores.

Publisher FM (1965), miniature score and parts (of version 2 ).

First performance 24 June 1965 in the Jubilee Hall, Aldeburgh, as part of the eighteenth Aldeburgh Festival, played by members of the Alberni String Quartet.

Reference Programme Book of the Eighteenth Aldeburgh Festival, 1965, p. 30 (Benjamin Britten).

Recordings Members of Gabrieli String Quartet, Paviolion Records PEARL SHE 347, side 1, tr.1 (1978); Members of The Bridge Quartet, Chamber Music by Frank Bridge, SOMM087, tr. 7, (2009).

After the premiere of the String Quartet No. 3, Bridge had promised Mrs. Coolidge that the true expression of his gratitude for her continued generosity would be reserved for his next venture in chamber music, However, this was not the case. Although the Rhapsody for string trio was the next to be written, it was overshadowed by the 1928 performances of the Quartet and the composition of the Piano Trio (H.178). Bridge had first thought of introducing the Rhapsody to Mrs. Coolidge following the New York premiere of the Piano Trio in October 1930 and tempting her to programme it.

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H.177

GARGOYLE for piano

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Duration Autograph MS

4’ RCM, FBC H. 177: the dated autograph score. The title has been added with a question mark on the first page and again on the envelope in which the MS was contained. [8ff.folio.Ink] MS sketch RCM, FBC: a complete draft, with cancellations and amendments.

Date Bridge added the date July 1928, Friston, at the end of the final MS. Publisher TP (1977) in an edition by Paul Hindmarsh; issued TP (1984) as vol. 6 of the Frank Bridge Edition.

First performance 21 December 1975, Glasgow University, during the Annual Conference of Music Research Students, played by Isobel Preece (piano).

First public performance 31 January 1977 at a Queen Elizabeth Hall, London, Redcliffe Chamber Concert, played by Richard Rodney Bennett (piano).

Recordings Peter Jacobs, Frank Bridge Complete Music for Piano vol. 1, Continuum CCD 1016, tr.13, (1990); Anthony Goldstone, The Britten Connection, Gamut Classics GAM CD 526, tr. 2, (1991); Mark Bebbington, Piano Music of Frank Bridge vol. 3, SOMM0107, tr. 21, (2011).

Gargoyle is Bridge’s last work for solo piano, and in many ways the most original. Inspired, perhaps, by the Études of Debussy, its textures and harmonic language are particularly daring. The envelope, mentioned above, gives the clue to the date of the work. It would appear that Bridge sent the first autograph to Boosey and Hawkes for their inspection and possible publication, only for it to be rejected and returned. For 18 years Winthrop Rogers and then Boosey and Hawkes had printed everything which Bridge chose to submit, without question. Perhaps its technical difficulty and ‘advanced’ bi-tonal procedures made it an uneconomic proposition as sheet music. In any event, its rejection effectively silenced Bridge as a composer of piano and instrumental pieces and songs - the ‘miniature’ genres through which his music was most widely known.

H.178

1929 TRIO for violin, cello and piano

1.

Allegretto ben moderato

2.

Molto allegro

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3.

Andante molto moderato

4.

Allegro ma non troppo

Duration

29’

Autograph MS

LC ML29c B82,M55 1285: the date autograph score which Bridge presented to Mrs. Coolidge in 1930. On the title page he wrote, ’Dedicated to Mrs. Elizabeth Sprague Coolidge. Frank Bridge, 4 Bedford Gardens, Kensington, London W8’.

The score was donated to the Music Division on 8 November 1930.

MS Sketches RCM, FBC H.178: drafts and sketches [22ff.folio and oblong folio. Ink and pencil].

Copy MSS BL (GC) Add. MSS 54365: non-autograph score and parts, used by the engraver.

Date Bridge dated three of the movements: 1, 10 October 1928, Friston Field; 2, 17 November 1928; 4, 31 January 1929.

Publisher Augener (1930), score and parts; now SB. First performance 4 November 1929 at the Langham Hotel, played by Antonio Brosa (violin), Anthony Pini (cello) and Harriet Cohen (piano). The same artists also gave the early American performances, all of which were organised by the Coolidge Foundation: at the Coolidge Festival of Chamber Music, Chicago, 31 October 1930; at the Colony Club, New York, 26 October 1930; and at the Founder’s Day Concert, Coolidge Hall, Library of Congress, Washington, 30 October 1930.

References The Daily Telegraph, 5 November 1929, p.8f; The New York Times, 13 October 1930, p.12c; The New York Times, 19 October 1930, p.19f; The Washington Post, 31 October 1930. ‘Bridge’s New Piano Trio’ (Thomas Dunhill), Monthly Musical Record, vol. 60, 1April 1930, p. 104-5; The Musical Times, vol. 71, May 1930, p.

422; Washington Evening Star, 31 October 1930, p. 6a; Chicago Daily Tribune, 14 October 1930, p. 19d; Chicago Daily News,14 October 1930, p. 9h; Aldeburgh Festival Programme Book, 1963, p. 23 (note by Britten).

Recordings Tunnell Trio, Decca ARGO ZK40, side 1, (1978)/ Lyrita SRCD 302, CD2, trs.1-4, (2007); The Dartington Piano Trio, Hyperion CDA66279, trs. 7-10, (1987); The Borodin Trio, Chandos CHAN 8495, trs. 1-4, (1989); Hiroko Yajima (vln), Lowri Blake (cello), Stephen Prustman (piano), Paviolion Records PEARL SHE CD 9610, trs. 1-4, (1989); The Dussek Piano Trio, Meridian CDE 84290, trs. 2-5, (1995); The Bernard Roberts Piano Trio, 20th Century British Series, Black Box BBM1028, trs.2-5, (2000); Jack Liebeck (vln), Alexander Chaushian (cello), Ashley Wass, Frank Bridge Piano Trios, Naxos 8.570792, trs. 5-8, (2008).

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H.179

THE CHRISTMAS ROSE Opera in three Scenes S M-S T Bar B soloists, SSAATB chorus; 2 2 2 2 - 2 2 1 0 - timp tri cym bells harp - strings

Words

Libretto adapted from a play for children by Margaret Kemp Welch and Constance Cotterell.

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Duration Autograph MS Ms sketches

Dates

45’ SB: the full score RCM, FBC H.179: 1. Incomplete short score [38ff.folio.Ink and pencil] 2. Further short score draft [10ff.folio.Ink and pencil] 3. 2ff of sketches 4. 4ff in oblong folio of four revised excerpts, dated November 1926.

Bridge sketched three-quarters of the opera in 1920, and completed the full score in the summer of 1929. He set out the circumstances of composition in a letter to Mrs. Coolidge, dated 5 April 1929:

I am in a queer sort of world at the moment. Looking through a three-quarters sketched work - a kind of opera on the Nativity - which I left in the cold some ten years ago. I was surprised to find that I thought it had too many good things in it to discard altogether. I have been putting it in order - or trying to - and in a little while I expect to put my nose to the grindstone and make the full score. Always a tedious business, but as it will be only for a small theatre with a moderate orchestra of about 30 players, it ought to be done in two or three months.

Publisher

Augener (1931), vocal and choral scores; now SB. SB (Hire Lib), full score and parts.

First performance 8 December 1931, Parry Opera Theatre of the Royal College of Music, in a student production conducted by Frank Bridge. Two further performances were given, on 10 and 1 December.

References The Daily Telegraph, 9 December 1931, p. 8d; The Morning Post, 11 December 1931, p. 5g; The Musical Times, vol. 73, January 1932, p. 65; The Times, 12 December 1931, p. 8a.

Recording Wendy Enthrone (sop), Eirian James (mezzo), Maldwyn Davies (tenor), Henry Herford (baritone), David Wilson-Johnson (bass baritone), Chelsea Opera Group Orchestra and Chorus (Howard Williams), Pavilion Records PEARL SHE 582 (1983) / SHE CD 9582 (1989).

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1930 H.180

ORATION, CONCERTO ELEGIACO for cello and orchestra [2+picc 2 2 2 - 4 2 3 1 - timp sd tri harp - strings]

Lento - Lento e ritmico - Allegro - Ben moderato - (Allegro giusto) - Epilogue: Andante tranquillo

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Duration: 28’ Autograph MSS

RCM, FBC: the autograph full score and Bridge’s arrangement for cello and piano, lodged until autumn 1978 with the BBC Music Library, London, and the warehouse of Stainer and Bell, Reigate, respectively.

Copy MSS RCM, Frank Bridge Collection H.180, 1: a full score copied by J. Walker with autograph inscriptions and dates. It contains a number of errors and divergencies from the original.

MS sketches RCM, Frank Bridge Collection H.180, 2: 40ff of ink and pencil sketches. i. The complete short-score draft, dated 5 March 1930 and labelled ‘Concerto’. ii.Various sketches which appear to form an earlier, shorter draft. One of the pages is dated 1 January, and above the main theme Bridge has added ‘like a funeral march’. iii. One page of a short-score draft of the Epilogue.

Date Autumn(?) 1929 - June 1930. Bridge added the following dates to his autograph scores: before the Epilogue, ‘Sketch March 25th 1930, score May 9th 1930 and piano arrangement May 21st 1930’ and at the end of the work ‘June 29th 1930’ in both scores. Presumably, he was occupied with essential revisions and corrections to his sketch between 5 and 25 May. The Epilogue was an afterthought, composed after the autograph scores had been prepared and initialled.

Publisher FM (1979), study score, ed. Paul Hindmarsh. FM (Hire Lib), full score, cello and piano score, and parts.

First performance 17 January 1936, BBC Contemporary Music Concert, played by Florence Hooton (cello) and the BBC Orchestra, conducted by Adrian Boult.

References The Daily Telegraph, 18 January 1936, p. 10d; The Catholic Times, 31 January 1936; The Evening News, 18 January 1936; The Listener, 18 January 1936, p. 93 (Edwin Evans); The Morning Post, 20 January 1936, p. 8g; The Sunday Times, 19 January 1936 (Ernest Newman).

Recordings Julian Lloyd Webber (cello), London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 104, side 2, (1979) / Lyrita SRCS 244, trs. 1-8, (2007); Alexander Baillie (cello), Cologne Radio Symphony Orchestra (John Carewe), WDR production released on PEARL SHE CD 9601, tr. 1, (1987; Steven Isserlis (cello), City of London Sinfonia (Richard Hickox), EMI CDC7 49716-2, trs. 6-14, (1988); Alban Gerhardt (cello), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 4, Chandos CHAN 10188, tr. 2, (2004).

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H.181

TODESSEHNSUCHT (COME SWEET DEATH) auf dem Schemellischen Gesangbuch, J. S. Bach, arranged for solo piano or string orchestra

Duration Autograph MSS

2’ BPL: the dated autograph of the string orchestral version (also a set of copied parts) RCM, Frank Bridge Collection H. 181: the dated autograph of the version for solo piano, entitled Come Sweet Death [2ff.folio.Ink].

MS sketches RCM, Frank Bridge Collection H. 181, 2-4: a complete sketch and its fair copy with alterations and cancellations, plus a single bass part from the orchestral version.

Date June 1931: the piano version. Bridge completed the orchestral arrangement on 13 February 1936.

Publisher OUP (1932), for solo piano, in A Bach Book for Harriet Cohen, re-issued with introduction by David Owen Norris.

Score and parts of the version for string orchestra are available from Thames Publishing, vol. 29 of the Frank Bridge Edition.

First performance of the Bach Book 17 October 1932 at the Queen’s Hall played by Harriet Cohen.

Recordings Peter Jacobs (piano), Frank Bridge Complete Piano Music vol. 3, Continuum CCD 1019, tr.18, (1990); Jonathan Plowright (piano), Piano Transcriptions vol.6 - A Back Book for Harriet Cohen, Hyperion CDA67767, tr.9, (2010).

BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 5, Chandos CHAN 10246, tr. 15, (2004).

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This arrangement of a piece by Bach for solo piano was commissioned by Harriet Cohen to be included in an album of twelve Bach transcriptions. The other contributing composers were Granville Bantock, Arnold Bax, Lord Berners, Arthur Bliss, Eugene Goossens, Herbert Howells, John Ireland, Constant Lambert, Vaughan Williams, William Walton and William G. Whittaker. Harriet Cohen recalls in her autobiography, A Bundle of Time (Faber and Faber), that the works were divided into two groups for the first performance, with each preceded by a contemporary viola sonata (Delius and Bax) played by Lionel Tertis. The forward to the first edition reads: This collection of arrangements from Bach’s music is intended by its adaptors as a tribute to the executant who has done more than any other to further the cause of British music. Miss Cohen has given first performances of works by no fewer than seven of the English composers concerned in this compilation.

H.182

PHANTASM Rhapsody for piano and orchestra 2+picc 2 2 2 - 4 2 3 1 - timp tri cym tam-tam - strings Allegro moderato - Allegretto molto moderato - Poco piu lento (Andante) Allegro moderato -(Andante molto moderato)

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Duration Autograph MS

25’ RCM, FBC H.182: the autograph full score, transferred from Augener-Galliard in the early in 1970s [64ff.folio.Ink] BPL: a 2-piano score including orchestral reduction by Bridge and the piano part copied by Benjamin Britten.

Copy MS SB: a full score, copied by H. G. Potts, with autograph inscriptions and dates.

MS sketches RCM, FBC H.182, 2: various sketches including two short-score drafts. The earlier ‘Sketch 1’ is incomplete, running to 27 pages; the final draft, which Bridge labelled ‘Sketch 2’, appears to be complete, but becomes rather fragmentary in layout after p. 22 [42ff.folio.Ink and pencil].

Date November (?) 1930 - July 1931. Bridge added ’27 July 1931’ at the end of the autograph full score.

Publisher Augener (1941), a reduced score, in which the orchestral music is given to a second piano. This is in the copyright of Ethel Bridge.

SB (Hire Lib), full score and parts.

First performance 10 January 1934 at the Queen’s Hall, during the BBC British Music Festival, with Kathleen Long (piano) and the BBC Symphony Orchestra, conducted by Frank Bridge.

References The Daily Telegraph, 11 January 1934, p. 8d; The Morning Post, 11 January 1934, p. 5d; The Musical Times, vol. 75, February 1934, p. 170; The Times, 11 January 1934, p. 8c.

Recordings Peter Wallfisch (piano), London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 91, side 1, (1977)/ Lyrita SRCS 244, trs. 9-12, (2007); Kathryn Stott (piano), Royal Philharmonic Orchestra (Vernon Handley), Conifer CDCF 175, tr. 4, (1989); Howard Shelley (piano), BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 3, Chandos CHAN 10112, tr. 3, (2003);

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H.183

1932 VIOLIN SONATA for violin and piano Allegro energico - allegro molto moderato (exposition)- Allegro molto moderato (slow section) - Vivo e Capriccioso (scherzo) - Allegro molto moderato (fig. 53 recapitulation)

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Duration Autograph MS

24’ LC.ML29cB85, M55 13o5: the dated autograph score, which Bridge presented to Mrs. Coolidge in January 1933. On top of the score he wrote, ‘Dedicated to Mrs Elizabeth Sprague Coolidge. Frank Bridge.’ He also enclosed a dedicatory letter.

4 Bedford Gardens, Campden Hill, Kensington, London, W 8, January 13th 1933

Dearest Souzanne,

If ever a performance should give half the satisfaction that I have derived from its composition, or should only partially reflect the depth of its sincerity, then I need asknothing more. My belief in myself is only equalled by that which I know you have in me.

No words of mine can express what I feel of this. But at least I can say that love, devotion, and gratitude were never more truly linked together than they are in the dedication of this Sonata to you.

Love from your devoted 2z MS copy BL (GC), Add MSS 54365: a non-autograph score and part used by the engraver.

MS sketches: RCM, Frank Bridge Collection H.183: sketches comprising the complete, but unordered, draft score [51ff.folio.Ink and pencil]. Also one rejected page of the final autograph, numbered pp.13 and 14.

Date Bridge added the date 21 November 1932 at the end of the score.

Publisher Augener (1933); SB First performance 18 January 1934, at the Wigmore Hall in a Royal Philharmonic Chamber Concert, played by Antonio Brosa (violin) and Harold Samuel (piano).

References The Daily Telegraph, 19 January 1934, p. 10c; The Morning Post, 19 January 1934, p. 16e; The Musical Times, vol. 75, January 1934, p. 43; The Musical Times, vol. 75, February 1934, p. 174; The Times, 11 January 1934, p. 8c, 19 January 1934, p. 12b.

Recordings Levon Chilingarian (violin), Clifford Benson (piano), Pavilion Records PEARL SHE 541, (1977); Lorraine McAllen (violin), John Blakeley (piano), Bridge and Britten, Continuum CCD 1022, tr. 2, (1991); Marianne Thorsen (violin), Ian Brown (piano), Frank Bridge Chamber Music, Hyperion CDA68003, tr.8, (2013).

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H.184 Text

FINALE from A Royal Night of Variety for orchestra, with narrator John Drinkwater

Duration Autograph MS

1’30” BBC Music Library: ink full score (title and 8 pages), with title in copyist’s hand ‘Finale from A Royal Night of Variety’, May 8th 1934, and set of copied parts.

MS sketch RCM, Frank Bridge Collection H.184: one quarto sheet, comprising the second and third pages of a short-score pencil sketch. Wanting the first page, this short fragment contains many cancellations and erasures.

Date Bridge added ‘May 4th 1934 and score. O effort!’ at the end of the sketches and ‘Frank Bridge (monogram) May 4th, 1934’ on the full score.

First performance Tuesday 8 May, 1934, BBC Theatre Orchestra, broadcast from the studio as an epilogue to the Royal Command Performance, with John Drinkwater (narrator).

Unpublished Recording BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Works vol. 6, Chandos CHAN 10310, tr. 18, (2005).

The Royal Night of Variety was broadcast in the BBC National Programme between 6.10pm and 11.00pm on Tuesday 8 May, 1934. The main event of the evening was a relay from the London Palladium of the Royal Command Performance, in the presence of King George V and Queen Mary. It was given in aid of the Variety Artistes Benevolent Fund and Institution and was directed by George Black. The Royal Command performance included sketches by Elsie and Doris Waters, Cedric Hardwicke, George Robey and George Clarke. Music was provided by Henry Hall and the BBC Dance Orchestra (whose selection included two favourites - Lullaby in blue and Here’s to the next time), Jack Hylton and his Band (including Eric Coates’ Knightsbridge March), and to top the bill, Sophie Tucker.

The relay from the Palladium was preceded by outside broadcasts from the Water Rats’ Club and from Brinsworth. The BBC Theatre Orchestra provided a prologue and epilogue from the studio. The prologue comprised a potpourri of music hall songs arranged by Robert Chignall, and a narration written and read by John Drinkwater, with music specially written by Haydn Wood. Frank Bridge’s Finale was used as an accompaniment to Drinkwater’s epilogue, the text of which is not in the BBC Written Archive. Bridge’s begins with a fanfare before gently winding down into more lyrical music, in his late manner. The music is tightly composed, but does not reveal Bridge at his most fluent. It was without doubt the most modern-sounding music which the listeners would have heard all evening.

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H.185

A MERRY, MERRY XMAS for oboe, clarinet, trombone and piano

Duration MS Autograph

MS sketch Date Unpublished

H.186

2’ LC. ML29cB85 M55-13o3. On the front page of the manuscript Elizabeth Sprague Coolidge has written, ‘Santa Claus - Oboe, Clarinet in B flat, Trombone, Piano. ‘A Merry, Merry Christmas!’ given to me by Frank Bridge, Christmas 1934.’ Coolidge donated the score to the Library of Congress on 22 April 1936.

RCM, formerly in the possession of J. A. Burns-Cox: ink sketch in short score.

December 1934 is the date at the end of the score.

1935-6 (VIOLA SONATA)

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MS sketches

Date

H.187

(STRING QUARTET MOVEMENT)

MS sketches

Date

RCM, FBC, H.186: i. Parts of three double folios (twelve pages) contain fragmentary ideas for a movement for viola and piano. Few passages are continuous. Many are outlines.

The sketches were written on paper already heavily marked with other sketches, including Nocturne (H.189,2). ii.A pencil draft of 24 bars of an Andantino for viola and piano, presumably the opening of a slow movement. c. 1935-6. The presence on the reverse of one of the folios of rejected sketch material for the Nocturne for flute and oboe (composed in June 1934) suggests that the music for viola and piano was started after the Two Divertimento for flute and oboe were finished.

RCM, FBC H.187: 25ff of sketches for an unfinished movement for string quartet. Bridge appears to have attempted two versions, one on 12-stave paper and a second on 16-stave paper. The music consists largely of a series of false starts, only five of the sheets (three for version 1 and two for versions 2) being written out in short-score draft form. c. 1936

On 21 July 1936, Bridge wrote to Elizabeth Coolidge: How is the South Mountain Quartet progressing? I remember so well meeting Kathleen Parlow at the Winthrop Rogers’. Such a long time ago. I wanted so much to send you something that the South Mountain Quartet might play for you, but the damned thing won’t go where I want it to, and as fast as it progresses I slash it to bits and begin again. A very tiresome and wearisome business it is to create one day and destroy the next. Even more annoying when alternate days become alternate weeks. But knots of all kinds are in the wind and it can’t be expected that they should not turn in one’s own mind...

It seems likely that Bridge was referring to these fragmentary sketches, which were eventually discarded altogether. Whether or not the movement was originally intended for the Quartet No. 4 is not conclusive, since no comparative evidence, in the form of sketches for the completed quartet, have been traced; hence the separate thematic numbering.

H.188

1937-8 QUARTET NO. 4 for 2 violins, viola and cello

1

Allegro energico

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2

Quasi Minuetto

3

Adagio ma non troppo - allegro con brio

Duration Autograph MS

23’ LC.ML29cB85, M55 1300: the dated autograph score, which Bridge presented to Mrs. Coolidge in 1938. On the title page he wrote ‘Frank Bridge, 4 Bedford Gardens, London W 8. Dedicated to Mrs. Elizabeth Sprague Coolidge.’ Also a negative photocopy. Gift of Mrs. Coolidge, 4 October 1938.

Copy MSS BL (GC) Add MSS 54363: a non-autograph copy of the full score, used by the engraver. It contains a few autograph corrections.

RCM, FBC H. 188, i and ii: a non-autograph copy of the full score [29ff.folio.Ink] and a set of parts.

MS sketches RCM, Frank Bridge Collection H 188, iii: 13ff of preliminary sketches of the main themes in each movement.

Date Bridge dated each movement individually: 23 July 1937, 31 August 1937 and 6 November 1937, Friston, Sussex.

Publisher Augener (1939), miniature score and parts; score reissued by Galliard (1972); SB. First performance 13 September 1938 at the Berkshire Festival of Chamber Music, Pittsfield, Mass, USA, played by the Gordon String Quartet.

References The New York Times, vol. 10, 9 March 1938, p. 7f; The New York Times, vol. 10, 29 May 1938, p. 5f; The New York Times, vol. 11, 2 October 1938, p. 7a; The Musical Times, vol. 81, January 1940, p. 21.

Recordings Allegri Quartet, Frank Bridge String Quartets, Decca ARGO ZRG 714, side 2, (1972)/ Lyrita SRCD 302, CD 1, trs. 4-6, (2007); Brindisi String Quartet, Frank Bridge String Quartets vol. 2, Continuum CCD 1036, trs. 4-6, (1991); The Bridge String Quartet, Frank Bridge - Quartets, Meridian CDE 84369, trs. 1-3, (1998); Bochmann String Quartet, British String Quartets (3), Redcliffe Recordings RR020, trs. 1-3, (2003); Maggini String Quartet, Frank Bridge (Chamber Music), Naxos 8.557283, trs. 5-7, (2005); Goldner String Quartet, Frank Bridge (Chamber Music), Hyperion CDA67726, trs. 7-9, (2009).

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H.189

DIVERTIMENTI for flute, oboe, clarinet and bassoon

1

Prelude

2

Nocturne

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3

Scherzetto

4

Bagatelle

Duration Autograph MSS

15’30” BH: a dated autograph score, used by the engraver.

LC.ML29cB85, M55 1286: a second autograph score, which Bridge presented to Mrs. Coolidge in 1938. On the title page he has added ‘For October 30th 1935, birthday anniversary of Elizabeth Sprague Coolidge, with affection from Frank Bridge.’ Mrs. Coolidge donated the MSS to the Library of Congress on 8 November 1938.

RCM, FBC H.189, 1: the autograph MSS of Two Divertimenti for flute and oboe, dating from June and July 1934 [4ff.folio.Ink].

MS sketches RCM, FBC H. 189, 2: two scores, each labelled ‘sketch’, of the Nocturne and Bagatelle in their original version for flute and oboe [6ff.folio].

RCM, FBC H. 189, 3: various sketches of all the movements dating from 1937-8 in short score [12ff.folio].

Dates At the end of the engraver’s score Bridge added the dates 1934-8. In the other autographs he added more precise dates: Two Divertimenti (original versions) June and July 1934; Divertimenti (incorporating the revised versions of the above), Prelude - 27 July 1937, Nocturne - 31 August 1937, Scherzetto 6 November 1937, Bagatelle - 27 February 1938.

Publisher BH (1940), miniature score and parts under Bridge’s own copyright. In 1942 the copyright was assigned to Hawkes and Son (London) Ltd, now BH (Pocket Score No. 9); TP, vol. 30 of the Frank Bridge Edition, score and parts; mph (Munich): study score First performance 14 April 1940, at the Ninth Festival of Chamber Music, Library of Congress, Washington, DC. References The New York Times, 14 April 1940; The New York Times, 15 April 1940, p. 20e.

Recordings Phoenix Ensemble, A Frank Bridge Spicilegium, Pavilion Records PEARL SHE 551, side 2, trs. 1-4, (1980); Palm Beach Chamber Ensemble, Summer Travels, Klavier K11160, trs. 7-10,(2006).

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1939-41 H.190 1.

THREE PIECES FOR ORGAN Prelude

Duration 2.

Minuet

Duration 3.

2’20”

4’15”

Processional

Duration Autograph MS MS sketches Dates

3’30” RCM, FBC H.190: the three pieces are dated and numbered. Either Bridge or the engraver has crossed out the numbers in pencil [23ff.folio.Ink].

RCM, FBC: sketches for all three pieces.

Bridge dated each piece individually: Prelude, Friston October 1939; Minuet, Friston November 1939; Processional, November / December 1939.

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Publisher References Recordings

Curwen (1940), issued separately; reissued TP (1982) as vol.3 of the Frank Bridge Edition.

The Musical Times, Vol. 81, December 1940, p. 490.

Stuart Campbell, The Organ Music of Frank Bridge, Pavilion Records PEARL SHE 545, side 2, trs. 5-7, (1979); Christopher Nickel, The Complete organ Works of Frank Bridge and Vaughan Williams, Priory PRCD 537, trs. 15-17.

The Prelude is dedicated to John Alston, the son of Audrey Alston, Bridge’s college friend and Britten’s first viola teacher; the Minuet to Arthur M. Goodhart; and the Processional to Archibald M. Henderson, one-time organist to the University of Glasgow.

H.191

REBUS Overture for orchestra 3+picc 2+ca 2+bcl 2+dbsn - 4 3 3 1 - timp sd bd cym harp - strings

Allegro deciso - Poco moderato - A tempo grazioso e rubato

Duration Autograph MSS Copy MS MS sketches

8’30” BH: two dated score BH: one score and a set of parts RCM, FBC H.191: 19ff of sketches, eight of which comprise Bridge’s short-score draft and the rest pencil sketches labelled ‘SK 1’ to ‘SK 7’. Also a number of pencil sketches for two versions of the ending.

Date Bridge added the date 2 August 1940 at the end of the autograph scores. The short score is dated June 12.

Publisher: BH (1978), study score (copyright Hawkes and Son, first published 1980).

BH (Hire Lib), score and parts; mph (Munich), study score, 2013.

First performance Sunday 23 February 1941 at the Queen’s Hall, London, played by the London Philharmonic Orchestra conducted by Sir Henry Wood.

References The Daily Telegraph, 24 February 1941, p. 3c; The Musical Times, vol. 82, March 1941, p.117; The Observer, 2 March 1941, p.11; The Times, 24 February 1940, p.6f.

Recordings London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 104(1979) /

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FRANK BRIDGE : The Complete Works

SRCD 243, tr.5, (2007); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol. 4, Chandos CHAN 10188, trs.1, (2004).

H.192

SYMPHONY (Allegro moderato) for string orchestra

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FRANK BRIDGE : The Complete Works

358 bars, unfinished; 379 complete 14’ RCM, FBC H.192, 1: the untitled autograph full score of the unfinished movement. Of the 17 pages, 13 and 17 are unnumbered [16ff.folio.Ink].

MS sketches RCM, FBC H. 192,2: 12ff of sketches, probably comprising the complete shortscore draft of the first movement. Leaf 3 combines the accurate parts of 2 and 4.

Unlike the sketches of Oration, Phantasm, Enter Spring and Rebus, this short score agrees completely with the full score. There are also three additional sheets of preliminary sketches for various identifiable passages.

Date On Bridge’s calling card, which is inserted into the folder enclosing the full score fragment, is written ‘Unfinished Symphony for Strings’, November / December 1940 - January (10) 1941’.

Publisher FM (Hire Lib), full score and parts, edited by Anthony Pople.

First performance Snape Maltings during the 1979 Aldeburgh Festival, English Chamber Orchestra, conducted by Steuart Bedford.

Reference Aldeburgh Festival Program Notes, Snape Maltings, 20 June 1979 (note by Paul Hindmarsh).

Recordings London Philharmonic Orchestra (Nicholas Braithwaite), Lyrita SRCS 104(1974) / SRCD 243, tr.6, (2007); BBC National Orchestra of Wales (Richard Hickox), Frank Bridge Orchestral Music vol. 4, Chandos CHAN 10188, trs. 3, (2004).

Length Duration MS fragment:

222

Frank and Ethel at the piano

The composer at work

'FB rehearsing - BBC, 21.1.35', drawn by Marjorie Fass

FRANK BRIDGE : The Complete Works

4. Classified Index of Works This list includes all the works mentioned in the thematic sequence; unpublished manuscripts, published works, incomplete works and lost manuscripts. Each item is prefixed by its thematic number and listed in chronological order under the appropriate classification, as follows: MUSIC FOR THE THEATRE Opera and ballet Incidental music CHORAL MUSIC Chorus and orchestra Unison songs Two-part songs Three-part songs Four-part songs ORCHESTRAL MUSIC Solo instrument and orchestra Full orchestra Chamber orchestra String orchestra BRASS and WIND BAND Brass band Military band CHAMBER MUSIC String quartet Other wind and string ensembles Chamber ensemble with piano Violin and piano Viola and piano Cello and piano KEYBOARD MUSIC Solo piano Piano duet and two pianos Organ SOLO SONGS with orchestra with instrumental obbligato and piano with piano

225

FRANK BRIDGE : The Complete Works

MUSIC FOR THE THEATRE Opera and ballet 152 Ballet: In the Shop, Act 2 (1921) 179 The Christmas Rose, Opera in 3 scenes (1919 / 1929)

page 163-165 197-200

Incidental music 95 Five Entr’actes from The Two Hunchbacks (1910) 98 The Pageant of London (1911) 151 Two Intermezzi from Threads (1921)

109-111 112-115 162-163

CHORAL MUSIC Chorus and orchestra 120 For God and King and Right (1916 / 1919) 121 The Graceful Swaying Wattle (1916) 122 Lullaby (1916) 140 A Prayer (1916 / 1918) 141 Variations on Cadet Rousselle (arr. for male voices and small orchestra by M. Saunders) 157 A Spring Song (1922 / 1930) 158 Pan’s Holiday (1922 / 1924)

168 168-169

Unison songs 120 For God and King and Right (1916) 157 A Spring Song (1922)

141 168

Two-part songs 121 The Graceful Swaying Wattle (1916) 137 Sister Awake (1918) 138 Lay a Garland on my Hearse (1918) 158 Pan’s Holiday (1922) 159 Evening Primrose (1922)

141 152 153 168-169 169

Three-part songs 122 Lullaby (1916) 123 Peter Piper (1916) 135 A Litany (1918) 144 Lantido Dilly (1918) 153 Golden Slumbers (1922) 154 Hence Care (1922) 156 The Fairy Ring (1922)

142 142-143 152 156-157 165 165-166 168

Four-part songs 25 Autumn (1903) 37 Music when soft voices die (1904) 91 Hilli-ho! Hilli-ho! (1909) 92 O Weary Hearts (1909) 103 An Easter Hymn (c.1912 / 1930) 110 The Bee (1913)

58 65 105 106 119 128

141 142 142 153 155

ORCHESTRAL MUSIC Solo instrument and orchestra 8 Berceuse (1901) for violin and string orchestra 19 Scherzetto (1902) for cello and orchestra (arr. Robert Cornford) 47 Elegie (1904) (arr. Robert Cornford) 180 Oration, Concerto Elegiaco (1930) for cello and orchestra

226

47 54 71 200-203

CLASSIFIED INDEX

182 Phantasm, Rhapsody (1931) for piano and orchestra Suite for cello and orchestra (orch. Cornford) 1. Morning Song (H.133) 2. Elegie (H.47) 3. Scherzo (H.19A) Orchestra 8 Berceuse (1901) 10 Coronation March (1901) 24 Dramatic Overture (c1903) 30 Symphonic Poem (1903) 78 Symphonic Poem: Isabella (after Keats) (1907) 84 Dance Rhapsody (1908) 95 Five Entr’actes from The Two Hunchbacks (1910) 97 (Coronation) March Animo ed Fide (1911) 100 Suite: The Sea (1911) 111 Dance Poem (1913) 116 Tone Poem: Summer (1915) 188 Two Poems (after Richard Jefferies) (1915) 155 A Christmas Dance: Sir Roger de Coverley (1922) 174 Rhapsody: Enter Spring (1927) 184 Finale from ‘A Royal Night of Variety’ (1934) 191 Overture: Rebus (1940) Chamber orchestra 8 Berceuse (1901) and arr. 1929 for light orchestra (arr. Hubert Bath) 18 Trois Morceaux d’Orchestre (1902) 1. Chant de Tristesse 2. Chant d’Espérance 3. Chant de Gaieté 23 Serenade (1903) 60 Norse Legend (1905 / 1938) 102 An Easter Hymn (c1912) arr. for flute, organ and strings by John Foulds 141 Variations on Cadet Rousselle arr. for small orchestra by Eugene Goossens 147 The Turtle’s Retort (orch. Eric Wetherell) 151 Two Intermezzi from Threads (1921 / 1936) 1. Andante molto moderato, 2. Tempo doValse 166 Vignettes de Danse (1925 / 1938) 173 Impression: There is a willow grows aslant a brook (1927) Two Entr’actes (orchestrated 1936) 68 (2) 1. Rosemary (1906) 169 2. Canzonetta (1926) String orchestra 6 Scherzo Phantastick (1901) (arr. Paul Hindmarsh) 17 Valse Intermezzo a Cordes (1901) 22 Song without Words (1903) (arr. Hindmarsh) 29 Moderato (1903) (arr. Hindmarsh) 67 Three Idylls (1906 / 1938) 86 An Irish Melody: The Londonderry Air (1908 / 1938) 93 Suite for String Orchestra (1910) 117 Lament (1915) 119 Two Old English Songs (1916) 1. Sally in Our Alley, 2. Cherry Ripe 155 A Christmas Dance: Sir Roger de Coverley (1922 /1938) 181 Todessehnsucht (Come Sweet Death), JS Bach, arr. (1931 / 1936) 192 Unfinished Symphony (1940-1) edited by Anthony Pople

227

204-207 150 71 54 47 49 57 60 95-96 100-101 109-111 112 115-118 128-130 135-136 140-141 166-167 184-186 211 220-221 47 53

56 80-81 119 155 158 162-163 177-179 182-184 88 181 45 52 56 60 86-87 102 106-108 137-138 140-141 166-167 203-204 221-223

FRANK BRIDGE : The Complete Works

BRASS and WIND Brass band 117 Lament (1915) (arr. brass band by Hindmarsh) 119(1)Sally in our Alley (arr. brass band by Howard Snell) 155 Sir Roger de Coverley (arr. brass band by Snell)

137-138 140-141 166-167

Wind band 98 The Pageant of London (1911) (Suite compiled by Hindmarsh) 155 Sir Roger de Coverley (arr. for concert band by Alastair Wheeler)

112-115 166-167

Wind ensemble 60 Norse Legend (1905) (arr. for double wind quintet by Alfie Pugh) 68(2.) Rosemary (1906) (arr. for mixed wind ensemble by Cooper and Read)

80-81 88

CHAMBER MUSIC String quartet 3 Quartet in B flat major (1900) 6 Scherzo Phantastick (1901) 42 (Three Pieces, 1904) 44 Novelletten (1904) 55 Phantasy in F minor (1904) 64 Three Pieces (c1904-5) 67 Three Idylls (1905) 70 String Quartet in E minor (1906) 74 The Rag (c 1906) 86 An Irish Melody: The Londonderry Air (1908) 115 String Quartet in G minor, No 2 (1915) 119 Two Old English Songs (1916) 1. Sally in Our Alley, 2. Cherry Ripe 155 A Christmas Dance: Sir Roger de Coverley (1922) 175 String Quartet No 3 (1926/7) 187 String Quartet movement (c1936), unfinished 188 String Quartet No 4 (1937)

166-167 186-191 213 213-216

Other string or wind ensembles 7 String Quintet in E minor (1901) 101 (Two Pieces for two violas) (c.1912) 107 Sextet in E flat (1906-12) for two violins, two violas and two cellos 176 Rhapsody Trio (1928) for two violins and viola 189 Divertimenti (1934-8) for flute, oboe, clarinet and bassoon

45 118-119 124-126 192-193 216-219

Chamber ensembles with piano 1 Piano Trio in D minor (1900) 15 Piano Quartet in C minor (1902) 49 Piano Quintet in D minor (1905) 49APiano Quintet in D minor (1905 / 1912) 75 Valse Fernholt (c.1904-6) 79 Phantasy in C minor for piano trio (1907) Miniatures for piano trio (c.1908) 87 Set 1 88 Set 2 89 Set 3 94 Phantasy in F sharp minor for piano quartet (1910) 178 Piano Trio (1929) 185 A Merry, Merry Christmas (1934)

228

42 45 68 69-70 76-78 83 86-87 89-90 92 102 133-135 140-141

42 51 72-73 121-123 93 97-98 103-105

108-110 194-197 212

CLASSIFIED INDEX

Violin and piano 2 Romance: Une Lamentatione d’Amour (1900) 4 Three Dances (1900) 8 Berceuse (1901) 22 (Con Moto) (1903) 23 Serenade (1903) 39 Sonata (1904), incomplete 45 Romanze (1904) 48 Souvenir (1904) 59 Amaryllis (1905) 60 Norse Legend (1905) 80 Gondoliera (1907) 83 Morçeau Characteristique (c1907-8) 96 Cradle song (1910) 99 Melodie (1911) 104 Four Short Pieces (1912) 1. Meditation, 2. Spring Song, 3. Lullaby, 4. Country Dance 161(1) Heart’s Ease (1921) 183 Sonata (1932) Viola and piano 53 (Two Pieces) (1905) 1. Pensiero, 2. Allegretto 82 Allegro Appassionato (c1907-8) 173 There is a willow grows aslant a brook (arr. Benjamin Britten) 186 (Sonata) (c1934 / 1935), unfinished Cello and piano 8 Berceuse (1901) 19 Scherzetto (c1902) 19AScherzo (c1902) 23 Serenade (1903) 32 Mazurka (1903) 47 Elegie (1904) 96 Cradle Song (1910) 99 Melodie (1911) 104 Two items from Four Short Pieces (1912) Meditation, Spring Song 125 Sonata (1913-17) 133 Morning Song (1918) 163 The Pneu World (c1925), fragment 180 Oration, Concerto Elegiaco (1930)

42 43 47 56 56 66 70 72 80 80-81 98 100 111 115 120 172 207-211 75 99 182-184 212-213 47 54 54 56 62 71 111 115 120 142-145 150 174 200-203

KEYBOARD MUSIC Piano solo 8 Berceuse (1901) 16 Pensées Fugitives, 1 (1902) 20 Scherzettino (c1900-2) 23 Serenade (1903) 29 Moderato in E minor (1903) 52 Capriccio No 1 in A minor (1905) 54 Two pianoforte solos (1905) 1. A Sea Idyl, 2. Capriccio No 2 in F sharp minor 58 Etude Rhapsodique (1905) 60 Norse Legend (1905) 66 Dramatic Fantasia (1906) 68 Three Sketches (1906)

229

47 52 55 56 60 74 75-76 80 80-81 84-85 88

FRANK BRIDGE : The Complete Works

90 “?” for piano 108 Three Pieces (1912) 1. Columbine, 2. Minuet, 3. Romance 112 (Four Characteristic Pieces) (1913-1914) 112A Three Poems 1. Solitude, 2.Ecstacy, 3. Sunset 112B Arabesque 117 Lament (1915) 126 Characteristic Pieces (1917) 1. Water Nymphs, 2. Fragrance, 3. Bittersweet, 4. Fireflies 127 Miniature Pastorals, Set 1 (1917) 128 Suite: A Fairy Tale (1917) 1.The Princess, 2. The Ogre, 3. The Spell, 4. The Prince 134 Three Improvisations for the left hand (1918) 1. At Dawn, 2. A Vigil, 3. A Revel 147 The Turtle’s Retort (c1919) 148 Suite: The Hour Glass (1919-1920) 1. Dusk, 2. The Dew Fairy, 3. The Midnight Tide 149 Miniature Pastorals, Set 2 (1921) 150A Miniature Pastorals, Set 3 (1921) 150B Miniature Suite (1921) (ed. and completed by Paul Hindmarsh) 151 Two Intermezzi from Threads (1921) 152 Suite: In the Shop (1921) 160 Sonata (1921-4) 161 Three Lyrics (1921-4) 1. Heart’s Ease, 2. Dainty Rogue, 3. The Hedgerow 162 In Autumn (1924) 1.In Retrospect, 2. Through the Eaves 166 Suite: Vignettes de Marseille (1925) 1. Carmelita, 2. Nicolette, 3. Zoraida, 4. En Fête 168 Winter Pastoral (1925) 169 Canzonetta (Happy South) (1926) 170 Graziella (1926) 171 A Dedication (1926) 172 Hidden Fires (1926) 177 Gargoyle (1928) 181 Todessehnsucht (Come Sweet Death ) JS Bach, arr (1931)

105 126-127 130-131

137-138 145-146 146 147 151 157-158 158-159 159-160 160 161-162 162-163 163-165 169-172 172-173 173-174 177-179 179-180 180 180-181 181 181 193-194 203-204

Piano duets and music for two pianos 93 Suite for strings (1909-10) 106-108 199 Two Old English Songs (1916 152 Ballet: In the Shop, Act 2 (1921) 163-165 1. Introduction, 2. Allegro moderato, 3. Giant’s Dance, 4. Tempo di Minuetto 5. Rent Collector’s Dance, 6. Moderato and Finale 182 Rhapsody: Phantasm (1931) Organ 11 Adagio ma non troppo (c.1901) 49 56 First Book of Organ Pieces (1905) 78-79 1. Allegretto gracioso, 2. Allegro comodo, 3. Allegro marziale e ben marcato 63 Three Pieces for organ 82-83 1. Andante moderato in C minor, 2. Adagio in E Major, 3. Allegro con spirito in Bflat major 106 Second Book of Organ Pieces (1901 / 1912) 123-124 1. Andante con moto, 2. Andantino, 3. Allegro be moderato 139 Lento, In Memoriam C.H.H.P. (1918) 153 190 Three Pieces for organ (1939) 219-220 1. Prelude, 2. Minuet, 3. Processional

230

CLASSIFIED INDEX

SOLO SONGS Songs with orchestra 9 Berceuse: The days are cold (1901) 14 The Hag (1902) 27A Dawn and Evening (1905) 28(2) E’en as a lovely flower (1903) 34 Go not, Happy Day (1903) (arr. Wurmser) 40 Two songs (1904) 1. Lament - Fall now my cold thoughts, 2. Fly home my thoughts 41 Harebell and Pansy (c1904), incomplete voice and piano score only 57 Adoration (1905) 65 Two Songs (1906) 1. I Praise the tender flower, 2. Thou didst delight my eyes 102 Isobel (1912) 103 Easter Hymn (c. 1912) 105 O that it were so (c.1912) 113 Where she lies asleep (1914) 114 Love went a-riding (1914) 124 Thy hand in mine (1917) 131 Mantle of Blue (1918) 132 Blow out you bugles (1918) 164A Two Tagore Songs (1922-4) 1.Day after day, 2. Speak to me my love 164B Dweller in my deathless dreams

48 50 59 59 63 67 68 70 83-84 119 119 121 131 132 143 148-149 149-150 175 175-176

Songs with instrumental obbligato and piano 76 Three Songs (1906-7) 1. Far, far from each other, 2. Where is it that our soul doth go?

3. Music when soft voices die 132 Blow out you bugles (1918)

148-149

Songs with string quartet 28(2) E’en as a lovely flower (arr. A Fransel) 69 The Violets Blue (1906) 113 Where she lies asleep (1914 / 1921)

59-60 89 131

Songs with piano 5 Sonnet: When I most wink (1901) 9 Berceuse: The days are cold (1901) 12 If I could choose (1901) 13 The Primrose (1901) 21 A Dirge (1903) 26 The Devon Maid (1903) 27 Rising when dawn still faint is (1903) 27A Dawn and Evening (1903) 28 (Three Heine Songs) (1903) 1. Where e’er my bitter teardrops fall, 2. E’en as a lovely flower 3. The Mountain Voice (incomplete) 31 Music when soft voices die (1903) 33 Blow, blow thou winter wind (1903) 34 Go not, happy day (1903) 35 Remembrance (c1903) 36 Night lies on the silent highways (1904) 38 A Dead Violet (1904) 40 Two songs (1904) 1.Lament - Fall now my cold thoughts, 2. Fly home my thoughts 41 Harebell and Pansy (1904), incomplete

231

93-94

44 48 49 59 55 58 58 59 59-60 62 63 63 64 64 65 67 68

FRANK BRIDGE : The Complete Works

43 (Song Cycle) (1904), incomplete 46 Cradle Song: What does the little birdie say (1904) 50 Lean close thy cheek against my cheek (1905) 51 Fair Daffodils (1905) 57 Adoration (1905) 61 So Perverse (1905) 62 Tears, idle tears (1905) 69 The Violets Blue (1906) 71 Come to me in my dreams (1906) 72 My pent-up tears oppress my brain (1907) 73 (Two recitations)(1906/ 1907) 77 All things that we clasp (1907) 81 Love is a Rose(1907) 85 Dear, when I look into thine eyes (1908) 102 Isobel (1912) 103 Easter Hymn (c1912) 105 O that it were so (c.1912) 109 Strew no more roses (1913) 113 Where she lies asleep (1914) 114 Love went a-riding (1914) 124 Thy hand in mine (1917) 129 To you in France (1917), incomplete 130 So early in the morning, O (1918) 131 Mantle of blue (1918) 136 The Last Invocation (1918) 141 Cadet Rousselle (1920), with Goossens, Ireland and Bax 142 When you are old (1919) 143 Into her keeping (1919) 145 What shall I your true love tell?(1919) 156 ‘Tis but a week (1919) 164A Two Tagore Songs (1922-4) 1. Day after day, 2. Speak to me my love 164B Dweller in my deathless dreams 165 Goldenhair (1925) 167 Journey’s End (125)

232

69 71 73 74 79 81 82 89 91 91 92 94-95 99 101 119 119 120 127 131 132 143 148 148 148-149 152 155 155-156 156 157 157 175 175-176 176-177 179

Index of Titles and First Lines First lines of vocal works and the titles of individual movements and pieces of a larger work have been printed in italics. The appropriate thematic number has been given as the reference.

Columbine, 108(1), 126 'Come to me in my dreams', 71, 91 Concerto Elegiaco, Oration, 180, xv, xvi, 200 Con Moto, 22, 53, 56 Coronation March (1901), 10, 49 Coronation March (1911), 97, 112 Country Dance, 104(4), 120 Cradle Song (song), 46, 71 Cradle Song, 96, 111

Adagio in E major, H.63(2), 82 Adagio ma non troppo, 11, 49 Adoration, 57, 79 Allegretto for viola and piano, 53 (2), 75 Allegretto grazioso, 56 (2), 78 Allegro appassionato, 82, 75, 99 Allegro ben moderato, 106 (3), 50, 123 Allegro comodo, 56(2), 78 Allegro con spirito in Bflat major, 63 (2), 82 Allegro marziale, 56 (3), 78 Allegro moderato (Symphony),192, 17, 221 'All sadly this, the wild ravine', 28 (3), 59 'All things that we clasp', 77, 94 'All women born are so perverse', 61, 81 Amaryllis, 59, 80 Andante con moto, 106(1), 50, 123 Andante moderato in C minor, 63 (1), 82 Andantino, 106(2) 123 April, 68 (1) 88 Arabesque, 112B, 131 'Ask me why I send you here', 13, 50 'Asleep! O sleep a little while', 57, 79 At Dawn, 134(1), 26, 151 'At the last, tenderly', 136, 152 Autumn, 25, viii, 58

Dainty Rouge, 161(2), 172 Dance Poem, 111, x, xvi, xvii, 5, 25, 101, 118, 125, 128, 134, 136 Dance Rhapsody, 84, ix, xii, 25, 100, 117 'Dawn awaking hears my calling', 27A, 59 'Day after day she comes and goes away', 164A, 175 Dead Violet, A, 38, 65, 66 'Dear, now before the daylight fades away', 129, 148 'Dear, when I look into thine eyes', 85, 101 Death, 43(3), 69 Dedication, A, 171, 181 Devon Maid, The, 26, 58 Dew Fairy, The, 148(2), 158 Dirge, A, 21, 55, 64, 66 Divertimenti, 189, xvi, xvii, 16, 216 Dramatic Fantasia, 66, 84, 105 Dramatic Overture, 24, vi, 57, 67, 78 'Drop, drop slow tears', 135, 152 Dusk, 148(2), 158 'Dusty twilight films unfold', 120, 141 Dweller in my deathless Dreams, 164B 175

Bagatelle, 189(4), xvi, 216 Bee, The , 110, 128 Berceuse, 8, viii, 47 Berceuse (song), 9, 48 Bittersweet, 126(3), 145 'Blow, blow thou winter wind', 33, 63 'Blow out you Bugles' ,132, xii, 126, 149

Easter Hymn, 103, 119 Ecstacy, 112(3) 130 'E'en as a lovely flower',28(2), 59 Elégie, 47, 71 En Fête, 166(4), 177, 218 Enter Spring, 174, xv, 13, 14, 87, 117, 118, 130, 140, 163, 182, 183, 184, 222 Etude Rhapsodique, 58, 80, 85 Evening Primrose, 159, 169

Canzonetta, 169, 81, 180, 218 Capriccio no. 1 in A minor, 52, ix, 74, 76 Capriccio no. 2 in F# minor, 54(2), 75 Caprice (piano), 150B(2), 161 Caprice (two violas), 101(1), 118 Carmelita, 166(1), 177 Cello Sonata, 125, x-xii, xiv, 5, 24, 135, 143, 202 Chant de Gaiete, 18(3), 53 Chant d'Esperance, 18(2), 53 Chant de Tristesse, 18(1), 53 Characteristic Pieces, 126 , 5, 26, 145 Cherry Ripe, 119(2), 25, 29, 140 Chorale, 150B(1), 161 Christmas Dance, A, 155, xiii, xiv, 9, 101, 102, 166, 219, 222 Christmas Rose, The, 179, xii, xv, xvi, 150, 197

'Fair daffodils we weep to see you haste away so soon' , 51, 74 Fairy Ring, The, 156, 168 Fairy Tale, A, 128, 26, 147 'Fa, la, la, sing we and chant it', 154 165 'Fall now cold my thoughts', 40(1), 67 'Far, far from each other', 76(1), 93 Finale, A Royal Night of Variety,184, vi, 211 Fireflies, 126(4), 145 First Book of Organ Pieces, 56, 78, 124

241

First Discoveries, 98(3), 113 Five Entr'actes from The Two Hunchbacks, 95, 111 'Fly home my thoughts', 40(2), 67 For God and King and Right, 120, 141 Four Characteristic Pieces, 112, xi, 130 Four Short Pieces, 104, 120 Fragrance, 126(2), 145 'From morn till eve so runs the day', 42(3) 69 Galliard, 98(3), 113 Gargoyle, 177, 193 Gavotte, 87(2) 103 Giant's Dance, 153(3) 163 Goldenhair, 165, 176 'Go not, happy day', 34 63 Graceful swaying wattle, The, 121, 141 'Grant us Thy Grace, most merciful Jesus', 140, Graziella, 170, 180

153

Maniac, The, 73(2), 92 Mantle of Blue, 131, 148 March, Henry VII leaving London, 98(2), 112 March (piano), 150B(4), 161 March Militaire, 89(3), 103 Mazurka, 32, 62, 67 Meditation, 104(1), 120 Mélodie, 99, 115 Merry, merry Xmas, A, 185, xvi, 212, 217 Mid of the Night, Symphonic Poem, 30 , viii, 5, 60 Midnight Tide, The, 148(3), 158 Miniatures, Set 1, 87, 103, 160 Miniatures, Set 2, 88, 103, 160 Miniatures, Set 3, 89, 104, 160 Miniature Pastorales, Set 1, 127, 8, 146 Miniature Pastorales, Set 2, 149, 159 Miniature Pastorales, Set 3, 150A, 160 Miniature Suite, 150B, 161 Minuet (piano trio), 87(1), 103 Minuet (military band), 98(3), 113 Minuet (piano), 108(2), 50, 55, 126 Minuet (organ), 190(2), 219 Moderato in E minor, 29, 53, 60 Moonlight, 100(3), 115 Morçeau Characteristique, 83, vi, 100 Morning Song, 133, 150 Moto perpetuo, 4(3), 43 Mountain Voice, The , 28(3), 60 'Music when soft voice die' (1903), 31, 62 65 'Music when soft voice die' (1904), 37, 'Music when soft voices die' (1907), 76(3), 93 'My pent up tears oppress my brain', 72, 91

Hag, The, 14, viii, 50, 61 Happy South, 169, 180 Harebell and Pansy, 41, 68 Heart's Ease, 161(1), 172 Hedgerow, The, 161(3), 172 Hence Care, 154, 165 Hidden Fires, 172, 181 'Hilli-ho! Hilli-ho!', 91, 105 Hornpipe, 89(2), 104 Hour Glass, The, 148, xii, 158 'I cling and swing on a branch',130, 148 Idylls, Three, 67, ix, x, 3, 86, 77 'If I could choose my paradise', 12, 49 Impression: There is a Willow, 173, 182 Impromptu, 150B(2), 161 In Autumn, 162, 173 Intermezzo (piano trio), 88(2), 104 Intermezzo (string orchestra), 93(2), 106 In the Shop, Act 2, 152, 163 Into her keeping, 143, 156 'I Praise the tender flower', 65(1), 83 Irish Melody, An, 86, ix, 23, 24, 102, 126, 219 Isabella, Symphonic Poem, 78, ix, xi, xvi, 5, 24, 95, 98, 101, 125 Isobel, 102, 119 'It sometimes comes into my head', 105, 120 Journey's End, 167,

'Lean close thy cheek against my cheek, 50, 73 'Lean out of the window, Goldenhair', 165, 176 Lento, In Memoriam C.H.H.P. , 139, 153 'Let joy and praise to heaven rise' ,103, 119 'Let us dance and let us sing', 156, 168 Life, 43(1), 69 Lines from Seneca, 98(4), 113 Litany, A, 135 , 152 Londonderry Air, The, 86, ix, 23, 24, 29, 102, 219 Love, 43(2), 69 'Love is a rose', 81, 99 Lover's Quarrel, The, 73(1), 92 'Love went a-riding', 114, 7, 143, 132 Lullaby (part song), 122 142 Lullaby (violin and piano), 104(3), 120

179

Lament: 'Fall now my cold thoughts', 40(1), 67 Lament for string orchestra, 117, xi, xii, 6, 25, 119, 137 Lament for two violas, 101(1), 118 Lantido Dilly, 144, 156 La Romanesca (a Galliard), 98(2), 112 'Lasst uns erfreuden herzelich sehr', 103, 119 Last Invocation, The , 136, 152 'Lay a garland on my hearse', 138, 153

Nicolette, 166(2), 177 'Night lies on the silent highways, 36, 64, 66 Nocturne (string orchestra), 93(3), 106 Nocturne (wind quartet), 189(2), xvi, 216 Norse Legend, 60, 80, 218 Novelletten, 44, x, 5, 23, 24, 28, 69, 77 'Now that my love lies sleeping', 143, 157

242

'O'er the round throat her little head', 41, 6 Ogre, The, 128(2), 151 'One thing I'd know, when we have perished', 76(2), 93 'O men from the fields', 131, 148 Oration, Concerto Elegiaco, 180, xv, xvi, 13, 78, 150, 200, 205, 207, 222 O that is were so, 105, 120 'O Weary hearts, o slumbering eyes', 92, 106 Pageant of London, The, 98, x, 5, 79, 111, 112 Pan's Holiday, 158, 168 Pavane, 98(3), 112 Pensees Fugitives I, 16, 52 Pensiero, 53(1), 75, 99 'Peter Piper picked a peck of pickled pepper',123, 142 Phantasie in C minor (piano trio), 79, ix, 5, 23, 24, 29, 31, 78, 97, 99, 123, 125, 126 Phantasie in F minor (string quartet), 55, viii, 5, 23, 76, 85, 98, 125 Phantasm, Rhapsody, 182, xv, xvi, 13, 118, 202, 204, 222 Phantasy in F# minor (piano quartet), 94, x, 5, 7, 23, 24, 31, 78, 108, 123, 125 Piano Quartet in C minor, 15, viii, 46, 51 Piano Quintet in D minor, 49, ix, 3, 23, 72, 125 Piano Quintet in D minor (rev.), 49A, x, 5, 29, 31, 121, 126 Piano Sonata, 160, xii-xv, 3, 6, 7, 31, 166, 169, 188 Piano Trio in D minor, 1, viii, 3, 13, 42, 52 Piano Trio (1929), 178, xv, 87, 192, 194 Pizzicati , 64(1), 83 Pneu World, The, 163, 174 Prayer, A, 140, xi, xii, 153 Prelude (string orchestra), 93(1), 106 Prelude (organ), 190(1), 219 Prelude (wind quartet), 189(1), 216 Primrose, The, 13, 59 Prince, The, 128(4), 147 Princess, The, 128(1), 147 Processional, 190(3), 219 Rag, The, 74, 92 Rebus, Overture, 191, xvii, 16, 17, 220 Remembrance, 35, vi, 64 Rent Collector's Dance, 152(3), 163 Retrospect, 162(1), 173 Revel, A, 134(3), 26, 151 Rhapsody, Phantasm, 182, xv, xvi, 204 Rhapsody Trio, 176, xv, 78, 192 'Rising when the dawn still faint is', 27, 58 Romance Une Lamenatione d'Amour, 2 , 42 Romance (piano), 108(3), 126 Romance (piano trio), 88(3), 103 Romanze (violin and piano), 45, 70 Rosemary, 68(2), 81, 88, 218 'Rough wind that moanest loud', 21, 55

243

Sally in our Alley, 119(1), 25, 29, 138, 140 Salterello, 88(3), 104 Scherzettino, 20, 55 Scherzetto (cello and piano), 19, 54 Scherzetto (wind quartet), 189(3), 216 Scherzo, 19A, 54 Scherzo Phantastick, 6, 45, 53, 92 Sea, The, 100, x, xiii, xiv, xvii, 5, 9, 14, 16, 17, 25, 29, 31, 111, 112, 115, 125, 185, 221, 222 Seafoam, 100(2), 115 Sea Idyl, A, 54(1), 75 Seascape, 100(1), 87, 115 Second Book of Organ Pieces, 106, 49, 123 'See, the yellow catkins cover', 157 168 Serenade, 23, 56 Sextet in Eb for strings, 107, x, xiii, 5, 24, 102, 122, 124 Sir Roger de Coverley, 155, xiii, xiv, 9, 101, 102, 136, 166, 219, 222 'Sister awake! Close not your eyes, 137, 152 'She sleeps so lightly', 113, 131 So early in the morning, O, 130, 148 Solemn March, 98(1), 112 Solitude, 112(A), 130 Sonata for cello and piano, 125, x- xii, xiv, 5, 24, 135, 143, 202 Sonata for piano, 160, xii-xv, 3, 6, 7, 31, 166, 169, 188 Sonata for violin and piano (1904), 39, 5, 66 Sonata for violin and piano (1932), 183, xv, xvi, 13, 67, 78, 193, 207, 222 (Song Cycle), 42, 69 Sonnet: When most I wink, 5, 44 So Perverse, 61, 81 Souvenir, 48, 72 'Speak to me, my love', 164(A), 175 Spell, The, 128(3), 151 Spring Song, A, 157, 168 Storm, 100(4), 115 'Strew no more red roses', 109, 127 String Sextet in Eb, 107, x, xiii, 5, 124 String Quartet in Bb major, 3, viii, ix, 42, 46, 52, 78 String Quartet in E Minor (No. 1), 70, ix, 5, 24, 31, 46, 89, 122, 126, 134 String Quartet in G minor (No. 2),115, xi, xiv, xv, 24, 31, 78, 102, 133, 136, 188 String Quartet No. 3, 175, xiv, xv, 13, 32, 186, 192, 196 String Quartet No. 4, 188, xvi, 16, 213, 218 String Quartet (sketches), 187, 213 String Quintet in E minor, 7, viii, 45, 52 Suite for String Orchestra, 93, x, xii, xvii, 25, 106, 111, 119, 126, 221 Summer, Tone Poem, 116, xi, xiv, 7, 24, 87, 118, 134, 135, 183

Sunset, 112(A), 130 'Swifter than the summer's flight', 35, Symphonic Poem, 30, viii, 5, 60 Symphony for Strings Orchestra, 192, 17, 138, 221

64

Une Lamentatione d'Amour, 2,

xvii,

Valse Capricieuse, 68(3), 88 Valse Fernholt, 75, 93 Valse Intermezzo a Cordes, 17, 52, 101 Valse Russe, 89(1), 104 Variations on Cadet Rousselle, 141, 155 Vigil, A, 134(2), 26, 151 Vignettes de Danse, 166, xvii, 81, 177, 219 Vignettes de Marseille, 166, xv, 81, 177, 218 Viola Sonata (sketches), 186, 212 Violin Sonata (1904), 39, 5, 66, 125 Violin Sonata (1932), 183, xv, xvi, 13, 67, 78, 193, 207, 222 Water Nymphs, 126(3), 145 'We be soldiers three', 144, 156 'What does little birdie say', 46, 71 'What is the sorrow of the wind, Isobel?' ,102, 119 'What shall I your true love tell?', 145, 157 'What will they give me when day is done?', 167, 179 'When most I wink', 5, 44 'When once the sun sinks in the west', 159, 169 'When you are old and grey', 142, 155 'Where be you going you Devon Maid?', 26, 58 'Where'er my bitter teardrops fall', 28(1), 59 'Where is it that our souls doth go?', 76(2), 93 Where she lies asleep, 113, 143, 131 Winter Pastoral, 168, 179 'Woodmen, shepherds come away', 158, 168

'Tears, idle tears, I know not what they mean', 62, 82 Tempo di Mazurka, 32, 62 'The air with balmy fragrancy', 42(2), 69 'The bee buzzed up in the heat',110, 128 'The bush was grey a week ago', 121, 142 'The British flag along the sky', 120, 141 The days are long, the nights are cold', 9, 48 'The Hag is astride this night for the ride', 14, 50 'The odour from the flower is gone', 38, 65 There is a Willow Grows Aslant a Brook, 174, xv, 13, 87, 119, 138, 140, 182, 186 'The warm sun is failing', 24, 58 'The violets blue of thine eyes', 70, 89 'Thou didst delight my eyes', 65(2), 83 Threads (Incidental music), 151, xiii, 162 Three Dances, 4, 43, 85, 105 Three Heine Songs, 28, 59 Three Idylls, 67, ix, x, 3, 23, 24, 31, 86 Three Improvisations, 134, 26, 151 Three Lyrics, 161, 172 Three Pieces for Organ (1905), 63, 82, 124 Three Pieces for Organ (1939), 190, 219 Three Pieces for Piano, 108, 126 Three Pieces for String Quartet (1904), 42, 68 Three Pieces for String Quartet (1905), 64, 83 Three Poems, 112A, 5, 26, 29, 125, 130 Three Sketches, 68, 88 Three Songs, with viola and piano, 76, ix, 93 'Through life's long day and passion's pain', 43(1), 69 Through the eaves, 162(2), 173 'Thy hand in mine', 124, 143 ''Tis but a week', 146, 157 Todessehnsucht (Come Sweet Death), 181, 87, 138, 203 To you in France, 129, 148 Trio, Rhapsody, 176, xv, 192 Turtle's Retort, The, 147, 8, 157 Two Entr'actes, 68(2)/169, 81, 88, 102, 163, 180, 218, 219 Two Hunchbacks, The, 95, x, 109 Two Intermezzi (Threads), 151, xiii, 81, 102, 162, 218 Two Old English Songs, 155, xi, xiii, 25, 29, 140 Two Pianoforte Solos, 54, 75 Two Pieces for two violas, 101, x, 118 Two Pieces for viola and piano, 53, 75 Two Poems for orchestra, 188, xi, xiv, 7, 9, 24, 101, 140 Two Recitations, 73, 64, 92 Two Songs for baritone and orchestra, 65, ix, 83 Two Songs for voice and orchestra, 40, 67 Two Tagore Songs, 164A, 175

244

'You are the evening cloud', 164B, Zoraida, 166(3),

177

viii, 42

175

ABOUT THE AUTHOR Brought up in The Salvation Army, Paul Hindmarsh’s career in music and the media has focussed on aspects of British music and bands. Since graduating from Birmingham University in the 1970s, his professional life has embraced singing, conducting, producing, editing and academic research.

His initial research into the life and work of English composer Frank Bridge (1879-1941) resulted in a Thematic Catalogue, published in 1983. He enjoyed a busy singing career in Scotland, including appearances at the Edinburgh International Festival and on the BBC, before moving to Manchester to work as a producer for BBC Radio 3.

Between 1985 and 2006, he worked on a range of radio programmes with an emphasis on British, choral and band music. In 1990 Paul began the BBC Festival of Brass and since 2006 has been the Artistic Director of its successor the Royal Northern College of Music’s annual Brass Band Festival. Paul was the musical director of the famous Besses o’ th’ Barn Band in the 1990s and continues to work with leading brass bands in the North West of England.

Since in 1989, when injuries following a cycling accident brought his singing career to a premature end, Paul turned to music editing and writing. He has published widely on British music, including the band music of Edward Gregson (b. 1945), John McCabe (1939 - 2015) and Ray Steadman-Allen (1922 - 2014). He is currently writing the biography of the band composer Wilfred Heaton (1918 - 2000), whose music he has edited.

He has produced a number of award winning CDs, working with leading bands, orchestras and classical musicians. Through the BBC and Brass Band Heritage Trust, which he established in 1994, Paul has instigated the commissioning of over 30 new works for brass band.

Paul is Features Editor of British Bandsman Magazine, Band Consultant for the leading UK publisher, Faber Music, and has launched his own publishing company, PHM Publishing. In 2005 he was awarded the Iles Medal of the Worshipful Company of Musicians for his services to the brass band movement.

To buy or to find out more about the full range of PHM Publishing titles contact: Paul Hindmarsh Music Productions Ltd. T: +44 (0)7860 707780 E: phmpublishing@binternet.com www.paulhindmarsh.com

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