Canterbury Catch Club 1916: music in the frame
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Partitur Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publishing
2019
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xxi, 471 , 1 Faltblatt, 4 ungezählte Seiten Tafeln Illustrationen, Karte, Notenbeispiele |
| ISBN: | 9781527519367 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Table of Contents
List of Illustrations...............................................................X11
List of Colour Plates................................................................
List of Tables......................................................................x*v
List of Musical Examples.............................................................xv
Acknowledgements....................................................................XV1
List of Abbreviations.............................................................xviii
Note concerning monetary value 1825-6.............................................xviii
Editorial Practice................................................................xviii
Introduction...........................................................................X1X
Chapter 1: 1
Prologue: The Image of Convivial Song
Part I: Clearly Visible....................................................................15
Chapter 2: .............................................................................16
Provenance and Corroboration
2.1. Print, Sketch, and Other Evidence.......................................... 16
2.2. Minutes Books and Henry Ward.................................................18
2.3. Local Newspapers.............................................................19
Chapter 3: .............................................................................21
Evidence in writing
3.1. John Marsh...................................................................21
3.1.1. Canterbury: a sure foundation for a Catch Club..........................22
3.1.11. The Club at The Prince of Orange; Thomas Goodban (Senior)..............23
3.1.iii. Canterbury Catch Club Personalities...................................23
3.2. Richard John Samuel Stevens................................................ 24
3.3. Charles Dickens............................................................ 26
3.4. Percy Scholes................................................................28
3.5. William Thackeray............................................................29
Chapter 4: .............................................................................31
The Membership
4.1. From Inclusive Tavern to Exclusive Club......................................31
4.2. Masculinity Matters..........................................................35
4.2.1. Conspicuous Consumption.................................................35
4.2.11. Dress and Display......................................................37
4.3. Occupation and Class.........................................................40
Chapter 5: .............................................................................45
The Club Room
Table of Contents
viii
5.1. Decoration and Ornament........................................................45
5.2. Chandelier, Motto, and the Royal Arms..........................................46
5.3. Portraits .....................................................................47
Chapter 6: ...............................................................................51
A Performance of Class
Part II: Indistinctly Sketched...............................................................55
Chapter 7: ...............................................................................56
A Trivial and Degrading Business
7.1. John Marsh accounts............................................................58
7.2. Newspaper accounts.............................................................60
Chapter 8: ...............................................................................62
Musicians at the Catch Club
8.1. The Early Years................................................................62
8.2. Thomas Goodban.................................................................63
8.2.1. Orchestra management.......................................................64
8.2.11. A Transactional Relationship..............................................64
8.2.111. Orchestra Mutiny.........................................................67
8.2.iv. The Fall and Rise of Thomas Goodban.......................................69
8.2.v. Thomas Goodban, Music Educator.............................................70
8.3. William Henry Longhurst........................................................75
8.4. A Collective Conclusion........................................................75
Chapter 9: ...............................................................................78
Musicians in the Cathedral
9.1. Lay Clerks Pay and Conditions............................................... 79
9.1.1. Statutes...................................................................79
9.1.11. Pay, Pensions, Penalties, and a Parliamentary Petition....................80
9.1 .iii. A brief digression on dismissal.........................................82
9.1.iv. Lay Clerks and Minor Canons: Class Distinction in Statute and Pay.........84
9.2. On Choristers..................................................................88
9.3. Cathedral Music in 1826........................................................91
9.3.1. Catalogue evidence.........................................................92
9.3.11. Samuel Wesley.............................................................94
9.3.111. John Jebb................................................................96
9.3.iv. A Canterbury contribution.................................................97
9.4. Between the Church and the Play-house ........................................97
9.5. Sacred and Secular Musicians..................................................100
I
Table of Contents
IX
9.5.i The Goodban Clan..........................................................1UU
9.5.ii. Thirteen Lay Clerks.....................................................
James Shrubsole.........................................................102
William Loop............................................................102
Thomas Halsey...........................................................103
Edward Pillow...........................................................103
Highmore Skeats.........................................................106
Thomas William Halsey...................................................107
Edward Nicholson........................................................108
Samuel Newington........................................................108
Thomas Evance Jones.....................................................109
Stephen Elvey............................................................HO
Castle Kempton..........................................................Ill
Charles Henry Dobson ...................................................112
James Shoubridge........................................................113
9.6. Another Collective Conclusion................................................. 114
Part III: Out of Sight......................................................................117
Chapter 10: .............................................................................118
Present Absences
10.1. The Archive..................................................................119
10.2. The Concert Records..........................................................122
10.3. A very contemporary music....................................................127
Chapter IT............................................................................. 130
Repertoire
11.1. Instrumental Music...........................................................130
11.2. Vocal Music..................................................................135
11.2.1. Glees...................................................................135
11.2.ii. Catches................................................................156
11.2.iii. Theatre Music.........................................................166
11.3. Conclusion...................................................................175
Chapter 12: ..............................................................................177
Epilogue: Perspectives
12.1. A Historical Perspective.....................................................177
12.3. A Performance Perspective....................................................180
12.2. A 21st-century Perspective...................................................187
12.4 A Final Perspective...........................................................189
X
Table of Contents
Appendices...........................................................................................................191
A: The Catch Club Print - key corroborative information....................................................192
B: A description copied from a manuscript, by Mr Welby, 1875.................................................196
C: The Goodban Subscription..................................................................................199
D.l: Extracts from the Catch Club Minutes recording the Subscription....................................199
D. 2: Goodban s response.................................................................................200
D: Samuel Sebastian Wesley: Preface to the Service in E......................................................201
E. l: Part 1 The Musical Times, Vol. 48, No. 776 (Oct. 1,1907), pp. 662-664..............................201
E. 2: Part 2 The Musical Times, Vol. 48, No. 778 (Dec. 1,1907), pp. 797-799..............................205
E: Glees performed in the 1825-6 season, by frequency of performance......................................210
F: Music I: Glees Madrigals................................................................................213
F. l: Arne, Thomas (1710-1778): The Emperor Adrian, Dying, to his Soul...................................213
F.2: Ame, Thomas (1710-1778): Punch, An Emblem of the Meaning of Life...................................215
F.3: Atterbury, Luffman (1735-1796): Now Round the Board................................................218
F.4: Bennet, John (1575-1614): When As I Look d.........................................................221
F.5: Bishop, Henry Rowley (1786-1855): Mynheer Vandunck.................................................223
F.6: Callcott, John Wall (1766-1821): The May Fly.......................................................232
F.7: Callcott, John Wall (1766-1821): The Red Cross Knight..............................................236
F.8: Callcott, John Wall (1766-1821): Thou Art Beautiful, Queen of the Valley...........................241
F.9: Callcott, John Wall (1766-1821): When Arthur First in Court Began..................................248
F.10: Cooke, Benjamin (1734-1793): If the Prize You Mean to Get...........................................251
F.ll: Goodban, Thomas (1784—1863): Charter Glee..........................................................253
F.12: Goodban, Thomas (1784-1863): The Motto — Harmony and Unanimity.....................................265
F.13: Harington, Henry (1727-1816): Goody Groaner........................................................269
F.14: Harington, Henry (1727-1816): What Shall We Sing Now Here Are Three?................................271
F.15: Herschel, Friedrich Wilhelm (1738-1822): The Echo Catch............................................273
F.16: Horsley, William (1774-1858): Lo! On Yon-Resounding Shore..........................................276
F.17: Longhurst, William Henry (1819-1904): All Hail to Thee, Britain....................................284
F.18: Longhurst, William Henry (1819-1904): The Fairies..................................................292
F.19: Marsh, John (1752-1828): The City Feast............................................................308
F.20: Palmer, Henry (d. 1854): The Gypsies...............................................................313
F.21: Paxton, Stephen (1735-1787) Sonnet Spoken in the Character of Werter...............................319
F.22: Sacchini, Antonio Maria Gasparo (1730-1786): How Shall We Mortals Spend Our Hours?.................323
F.23: Smith, John Stafford (1750-1836): Flora Now Calleth Forth Each Flow’r..............................327
F.24: Smith, John Stafford (1750-1836): Sleep Poor Youth.................................................334
F.25: Webbe, Samuel (1740-1816): Discord, Dire Sister....................................................339
F.26: Webbe, Samuel (1740-1816): My Pocket s Low.........................................................343
F.27: Webbe, Samuel (1740-1816): Ode to Liberty..........................................................348
F.28: Webbe, Samuel (1740-1816): On His Deathbed Poor Lubin Lies.........................................354
F.29: Webbe, Samuel (1740-1816): Threnodia...............................................................356
F.30: Webbe, Samuel (1740-1816): When Shall We Three Meet Again?.........................................362
F.31: Webbe, Samuel (1740-1816): When Winds Breathe Soft.................................................365
F.32: Weelkes, Thomas (1576-1623): Like Two Proud Armies.................................................383
F.33: Young, Paul (b. 1961): New Year Rhymes.............................................................389
Table of Contents
xi
G: Music II: Catches....................................................................................392
G.l: Blow, John (1648/9-1708): Ring the Bells......................................................392
G.2: Hayes, William (1708-1777): As Sir Toby Reel d Home (original).......................393
G.3: Hayes, William (1708-1777): As Sir Toby Reel d Home (arranged).......................394
G.4: Hayes, William (1708-1777): On a Puritan, Drunk...............................................393
G.5: Nicholson: Miss Kate took John’s Oboe.........................................................400
G.6: Nicholson: My Lady at Tea.....................................................................402
G.7: Nicholson: The Three Beggars..................................................................403
G.8: Webbe, Samuel (1740-1816): As Thomas Was CudgelTd One Day by his Wife (original)..............404
G. 9: Webbe, Samuel (1740-1816): As Thomas Was CudgelTd One Day by his Wife (arranged)..............405
H: Music III: Music Theatre Pieces......................................................................410
H. l: Bishop, Henry (1786—1855): The Pilgrim of Love...............................................410
H.2: Shield, William (1748-1829): The Wolf.........................................................413
H.3: Von Weber, Carl Maria (1786-1826): Der Freischütz; Huntsmen s Chorus (complete)...............417
I: Officers Papers No 5: Memorial on the state of cathedral music in England, c. 1841..................419
J: Complete list of concert programmes 1825-6 season....................................................424
K: Xantippe.............................................................................................440
Notes..........................................................................................................441
References.....................................................................................................459
Index..........................................................................................................465
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| spelling | Price, Chris (DE-588)1158629028 cmp Canterbury Catch Club 1916 music in the frame Newcastle upon Tyne Cambridge Scholars Publishing 2019 xxi, 471 , 1 Faltblatt, 4 ungezählte Seiten Tafeln Illustrationen, Karte, Notenbeispiele txt rdacontent ntm rdacontent n rdamedia nc rdacarrier Canterbury Catch Club (DE-588)1161445927 gnd rswk-swf Geschichte 1826 gnd rswk-swf Musikgesellschaft (DE-588)4518247-4 gnd rswk-swf Canterbury (DE-588)4009422-4 gnd rswk-swf Canterbury Catch Club / History Music / Societies, etc / History / 19th century Music / Societies, etc 1800-1899 History Canterbury Catch Club (DE-588)1161445927 b Geschichte 1826 z DE-604 Canterbury (DE-588)4009422-4 g Musikgesellschaft (DE-588)4518247-4 s Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030863261&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title_short | Canterbury Catch Club 1916 |
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