However, Delius wrote music in a wide variety of genres, including chamber music, song and opera. [27], In the early years of the 20th century, Delius composed some of his most popular works, including Brigg Fair (1907), In a Summer Garden (1908, revised 1911), Summer Night on the River (1911), and On Hearing the First Cuckoo in Spring (1912), of which McVeagh comments, "These exquisite idylls, for all their composer's German descent and French domicile, spell 'England' for most listeners. He mixed very little with French musicians,[2] although Florent Schmitt arranged the piano scores of Delius's first two operas, Irmelin and The Magic Fountain (Ravel later did the same for his verismo opera Margot la rouge). Richard Langham Smith (1988): Beecham (1975), p. 63. Use Delius' and Elgar's sketches to develop compositional skills and understand their music. For five years, from 1928, he worked with Delius, taking down his new compositions from dictation, and helping him revise earlier works. [72] In dictating the new beginning of this work, Delius asked Fenby to "imagine that we are sitting on the cliffs in the heather, looking out over the sea". They took up temporary residence in the south of England, where Delius continued to compose. The Requiem by Frederick Delius was written between 1913 and 1916, and first performed in 1922. [71], During this period Delius did not confine himself to purely orchestral works; he produced his final opera, Fennimore and Gerda (1908–10), like A Village Romeo and Juliet written in tableau form, but in his mature style. Heseltine first met Delius in 1911 when, as a schoolboy, he attended a Beecham concert of Delius's works. [8] The latter work, entirely wordless, contains some of the most difficult choral music in existence, according to Heseltine. Danville had a thriving musical life, and early works of his were publicly performed there.[10]. As his skills matured, he developed a style uniquely his own, characterised by his individual orchestration and his uses of chromatic harmony. [93] After Jelka's death in 1935 the Delius Trust was established, to supervise this task. Hadley cites, in particular, the six-day Delius festival at the Queen's Hall in 1929 under Beecham's general direction, in the presence of the composer in his bath-chair. He describes the wreck of the composer's physique, yet "there was nothing pitiable about him ... his face was strong and disdainful, every line graven on it by intrepid living". [109], Full recordings of the operas were not available until after the Second World War. [102] The Delius Association of Florida has for many years organised an annual festival at Jacksonville, to mark the composer's birthday. He was unable to compose without aid, and the works of his last years were completed with the help of Eric Fenby, a young Yorkshireman who travelled to Grez and acted as Delius’s amanuensis and assistant. Together they produced Cynara (a setting of words by Ernest Dowson), A Late Lark (a setting of W. E. Henley), A Song of Summer, a third violin sonata, the Irmelin prelude, and Idyll (1932), which reused music from Delius's short opera Margot la rouge, composed thirty years earlier. Boosey and Hawkes Frederick Delius 8-12 March Full name: Fritz Theodore Albert Delius Life and times: Born Bradford, 29 January 1862. [21] In spite of encouraging reviews, Delius's orchestral music was not heard again in an English concert hall until 1907. Jacksonville had a rich, though to a European, unorthodox musical life. [5] As a result, his music never became widely known in France. Haym conducted Over the Hills and Far Away, which he gave under its German title Über die Berge in die Ferne on 13 November 1897, believed to be the first time Delius's music was heard in Germany. [12] In February 2012 Delius was one of ten prominent Britons honoured by the Royal Mail in the "Britons of Distinction" stamps set. [12] However, other conductors have continued to advocate Delius, and since the centenary year, the Delius Society has pursued the aim of "develop[ing] a greater knowledge of the life and works of Delius". [82] From that point onwards the music of Delius became increasingly familiar to both British and European audiences, as performances of his works proliferated. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. Randel notes that in local hotels, the African-American waiters doubled as singers, with daily vocal concerts for patrons and passers-by, giving Delius his introduction to spirituals. He was sent to Florida in the United States in 1884 to manage an orange plantation. Before his death, Delius was able to hear his music over the radio and on record, but these accomplishments paled before the terrible deterioration of his health, and he died in seclusion. [22] Henry Wood premiered the revised version of Delius's Piano Concerto that year. [64] The Florida Suite (1887, revised 1889) is "an expertly crafted synthesis of Grieg and Negroid Americana",[65] while Delius's first opera Irmelin (1890–92) lacks any identifiably Delian passages. When Delius died on 10 June, 1934 it was Beecham who arranged for him to be buried in a quiet churchyard in Limpsfield, Surrey England. Ibsen's denunciations of social conventions further alienated Delius from his commercial background. Deryck Cooke chose the title "Delius the Unknown" for his December 1962 address to the Royal Musical Association, recognising, Cooke says, the extent to which the composer was out of fashion. [2], In the same year, Delius began a fruitful association with German supporters of his music, the conductors Hans Haym, Fritz Cassirer and Alfred Hertz at Elberfeld, and Julius Buths at Düsseldorf. From 1886 to 1888 he studied in Leipzig, where his suite Florida (1887) was first performed. [n 15] To suggestions that Delius's music is an "acquired taste", Fenby answers: "The music of Delius is not an acquired taste. Sea Drift (a cantata with words taken from a poem by Walt Whitman) was premiered at Essen in 1906, and the opera A Village Romeo and Juliet in Berlin in 1907. Delius subsequently spent the majority of his adult life living abroad. [76] The work was well received in Monte Carlo, and brought the composer a congratulatory letter from Princess Alice of Monaco, but this did not lead to demands for further performances of this or other Delius works. [2] Other works produced in this period include a Caprice and Elegy for cello and orchestra written for the distinguished British cellist Beatrice Harrison, and a short orchestral piece, Fantastic Dance, which Delius dedicated to Fenby. Frederick Delius (1862–1934), along with his contemporary Edward Elgar, is regarded as one of the greatest English composers of his generation. At Jacksonville University, the Music Faculty awards an annual Delius Composition Prize. He became paralysed and blind, but completed some late compositions between 1928 and 1932 with the aid of an amanuensis, Eric Fenby. [14] Little believes that this tragic occurrence was a significant influence in the tone of his works thereafter. In the spring of 1888, Sitt conducted Delius's Florida Suite for an audience of three: Grieg, Christian Sinding and the composer. Born in Bradford in the north of England to a prosperous mercantile family, he resisted attempts to recruit him to commerce. [105], The first recordings of Delius's works, in 1927, were conducted by Beecham for the Columbia label: the "Walk to the Paradise Garden" interlude from A Village Romeo and Juliet, and On Hearing the First Cuckoo in Spring, performed by the orchestra of the Royal Philharmonic Society. [2], The Delius household was musical; famous musicians such as Joseph Joachim and Carlo Alfredo Piatti were guests, and played for the family. Frederick Delius was born on June 29, 1862, in Bradford, Yorkshire, England, the fourth of 14 children, including 3 boys and 11 girls, two of whom died in infancy. The New York Times critic described the work as uneven; richly harmonious, but combining colour and beauty with effects "of an almost crass unskillfulness and ugliness". [3] Beecham was assisted in the organisation of the festival by Philip Heseltine, who wrote the detailed programme notes for three of the six concerts. He soon neglected his managerial duties and in 1886 returned to Europe. Beecham conducted the full premiere of A Mass of Life in London in 1909 (he had premiered Part II in Germany in 1908); he staged the opera A Village Romeo and Juliet at Covent Garden in 1910; and he mounted a six-day Delius festival in London in 1929, as well as making gramophone recordings of many of the composer's works. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. It provoked some critical comment from the local newspaper, which complained that the composer put his listeners on a bus and shuttled them from one Parisian night-spot to another, "but he does not let us hear the tuneful gypsy melodies in the boulevard cafés, always just cymbals and tambourine and mostly from two cabarets at the same time at that". The pair followed the 1930 Test series between England and Australia with great interest, and regaled a bemused Jelka with accounts of their boyhood exploits in the game. [12] With around 400 members, the Society is independent from the Trust, but works closely with it. Delius's music has been only intermittently popular, and often subject to critical attacks. [58] Delius admired the French composer's orchestration, but thought his works lacking in melody[57]—the latter a comment frequently directed against Delius's own music. Julius's father, Ernst Friedrich Delius, had served under Blü… [98] In June 1984, at the Grand Theatre, Leeds, the Delius Trust sponsored a commemorative production of A Village Romeo and Juliet by Opera North, to mark the 50th anniversary of Delius's death. The Requiem is Delius's least-known major work, not being recorded until 1968 and having received only seven performances worldwide by 1980. At the age of 22, Delius travelled to Solana Grove, Florida, to manage a citrus plantation on behalf of his father, and used the opportunity to study music with Thomas F. Ward. [8] His father sent him to Sweden, where he again put his artistic interests ahead of commerce, coming under the influence of the Norwegian dramatists Henrik Ibsen and Gunnar Heiberg. [103], Beecham stresses Delius's role as an innovator: "The best of Delius is undoubtedly to be found in those works where he disregarded classical traditions and created his own forms". Frederick Delius (1862 – 1934) was an English composer whose musical style is characterized by chromaticism, although it is still largely tonal with luscious harmonies - mainly slow moving, with the frequent use of leitmotifs and constantly evolving melody. [99], Public interest in Delius's life was stimulated in the UK in 1968, with the showing of the Ken Russell film Song of Summer on BBC Television. "[10] Delius also offered lessons in French and German. Once again Beecham, now with the HMV label, led the way, with A Village Romeo and Juliet in 1948, performed by the new Royal Philharmonic Orchestra and Chorus. [8], Julius Delius assumed that his son would play a part in the family wool business, and for the next three years he tried hard to persuade him to do so. [2] The marriage was not conventional: Jelka was, at first, the principal earner; there were no children; and Delius was not a faithful husband. Fritz Theodore Albert Delius (Fritz officially changed to Frederick in 1903, Theodore [beloved of God] dropped at his confirmation, and Albert [after the Prince Consort] repudiated when he left England) was born in Bradford, England on January 29, 1862. Delius's parents were born in Bielefeld, Westphalia, and Julius's family had already lived for several generations in German lands near the Rhine but was originally Dutch. [8] At this time Jelka was too ill to make the journey across the Channel, and Delius was temporarily buried in the local cemetery at Grez.[42]. Why not take a few moments to tell us what you think of our website? Frederick Delius, Soundtrack: Crush. His music's abiding feature is, Cardus wrote, that it "recollects emotion in tranquillity ... Delius is always reminding us that beauty is born by contemplation after the event". Delius later said that Ward's teaching was the only useful music instruction he ever had. Some of Delius’s earliest performances were in Germany, where he enjoyed the support of conductors such as Hans Sitt and Hans Haym. [59] Fenby describes A Mass of Life as standing outside the general progression of Delius's work, "a vast parenthesis", unlike anything else he wrote, but nevertheless an essential ingredient in his development. His earliest pieces were heavily influenced by Wagner, but later works suggest a more eclectic range of reference, including Debussy, Mahler, and popular Music Hall songs. Delius was also deeply interested in philosophy and poetry in various European languages, setting the words of Walt Whitman, Friedrich Nietzsche, Paul Verlaine, and Henrik Ibsen among others. At a dinner party in London in April 1888, Grieg finally convinced Julius Delius that his son's future lay in music. "[10], While in Florida, Delius had his first composition published, a polka for piano called Zum Carnival. [8], Whether the move to America was Julius's idea or his son's is unknown. His symphonic poem Paa Vidderne was performed in Christiania in 1891 and in Monte Carlo in 1894; Gunnar Heiberg commissioned Delius to provide incidental music for his play Folkeraadet in 1897; and Delius's second opera, The Magic Fountain, was accepted for staging at Prague, but the project fell through for unknown reasons. Beecham gave discreet financial help, and the composer and musical benefactor H. Balfour Gardiner bought the house at Grez and allowed Delius and Jelka to live there rent-free. When he was 22, he moved to Florida, sent by his businessman father in the vain hope that … When Albert Coates presented the work in London in 1922, its atheism offended some believers. [8] His parents, Julius Friedrich Wilhelm and Elise Pauline Delius, both of Bielefeld, Germany, were married in 1856. [79] Beecham, however, records that despite this "fair show of acclaim", for all the impetus it gave to future performances of Delius's work the event might never have happened; none of the music was heard again in England for many years. Cardus argues that melody, while not a primary factor, is there abundantly, "floating and weaving itself into the texture of shifting harmony" – a characteristic which Cardus believes is shared only by Debussy. [52] Grieg, however, was perhaps the composer who influenced him more than any other. Mendl described this sequence as "exquisite nature studies", with a unity and shape lacking in the earlier formal tone poems. [7] He then attended the International College at Isleworth (just west of London) between 1878 and 1880. [n 14], From 1910, Delius's works began to be heard in America: Brigg Fair and In a Summer Garden were performed in 1910–11 by the New York Philharmonic Orchestra under Walter Damrosch. [44] The ceremony took place at midnight; the headline in the Sunday Dispatch was "Sixty People Under Flickering Lamps In A Surrey Churchyard". After Beecham's death in 1961 advisers were appointed to assist the trustees, and in 1979 the administration of the Trust was taken over by the Musicians' Benevolent Fund. [59] Cardus's verdict, however, is that Delius's chamber and concerto works are largely failures. When the symphonic poem Paa Vidderne was performed at Monte Carlo on 25 February 1894 in a programme of works from British composers, The Musical Times listed the composers as "... Balfe, Mackenzie, Oakeley, Sullivan ... and one Delius, whoever he may be". Delius’s father was a successful industrialist in the Yorkshire wool trade, and expected Delius to follow him into business, although musical education was also an important part of Delius’s childhood. His reputation in his home country was secured, however, through the patronage of conductor Sir Thomas Beecham. [2] Back in Europe he enrolled at the conservatoire in Leipzig, Germany. Frederick Delius was born on January 29, 1862 in Bradford, West Yorkshire, England as Fritz Theodor Albert Delius. [45] The vicar offered a prayer: "May the souls of the departed through the mercy of God rest in peace. Among other details, Fenby reveals Delius's love of cricket. [59] Hubert Foss, the Oxford University Press's musical editor during the 1920s and 1930s, writes that rather than creating his music from the known possibilities of instruments, Delius "thought the sounds first" and then sought the means for producing these particular sounds. Hadley, writing in 1946, commented that Delius's music remained unknown in France. On his return from America, Delius’ father agreed to give him a full musical education in Leipzig. He was a friend of Edvard Grieg and spent time travelling in Scandinavia, and after moving to Paris became a friend of figures such as the composers Maurice Ravel, Florent Schmitt and Gabriel Fauré, the artists Edvard Munch and Paul Gaugin, and the playwright August Strindberg. Frederick Theodore Albert Delius CH (/ˈdiːliəs/ 29 January 1862 – 10 June 1934), originally Fritz Delius, was an English composer. She chose St Peter's Church, Limpsfield, Surrey as the site for the grave. "[2] In 1910, Beecham put on an opera season at the Royal Opera House in London. [92], Just before his death, Delius prepared a codicil to his will whereby the royalties on future performances of his music would be used to support an annual concert of works by young composers. [8] With Beecham's return the composer became, in Hadley's words, "what his most fervent admirers had never envisaged—a genuine popular success". It was also in Paris that Delius met his wife, the artist Jelka Rosen. The Bradford boyhood of Frederick Delius had a profound impact on the music he wrote until the end of his life The untold story of the Bradford youth of one of Britain's greatest composers is to be investigated on film for the first time. Delius contracted syphilis in Paris in the 1890s, and the later years of his life were blighted by increasing paralysis and blindness, before he died at Grez on 10 June 1934. Frederick Delius is sometimes claimed as a German composer, due to his parentage, and sometimes as a cosmopolitan European who finished his life in France. Grieg, like Ward before him, recognised Delius's potential. Hereafter, whole works rather than brief passages would be informed by this idea. [60], Delius's next work, Appalachia, introduces a further feature that recurred in later pieces—the use of the voice instrumentally in wordless singing, in this case depicting the distant plantation songs that had inspired Delius at Solano Grove. Beecham's presentation of A Mass of Life at the Queen's Hall in June 1909 did not inspire Hans Haym, who had come from Elberfeld for the concert,[20] though Beecham says that many professional and amateur musicians thought it "the most impressive and original achievement of its genre written in the last fifty years"[22] Some reviewers continued to doubt the popular appeal of Delius's music, while others were more specifically hostile. Initially buried at Grez, the following year his body was reinterred at Limpsfield, Surrey. He gave the premiere at Elberfeld on 14 December 1901. Musically it shows a considerable advance in style from the early operas of the apprentice years. Frederick Delius was said to be unfaithful, but Jelka continues to live with him. Delius died in June 1934, within four months of the two other great British composers of the period, Elgar and Holst. [3] The young Delius was first taught the violin by Rudolph Bauerkeller of the Hallé Orchestra, and had more advanced studies under George Haddock of Leeds. [57] Debussy, in a review of Delius's Two Danish Songs for soprano and orchestra given in a concert on 16 March 1901, wrote: "They are very sweet, very pale—music to soothe convalescents in well-to-do neighbourhoods". Frederick Delius, Category: Artist, Albums: Delius: Orchestral Works, Sir Thomas Beecham Conducts Delius, Delius Concertos, Delius: Sea Drift, Songs of Farewell & Songs of Sunset, Delius: Eine Messe des Lebens, Singles: 2 Pieces for Small Orchestra: II. [100][101], In America, a small memorial to Delius stands in Solano Grove. [75] Payne describes the work as "bracing and exultant, with in places an almost Holstian clarity". [95], Herbert Stothart made arrangements of Delius's music, particularly Appalachia, for the 1946 film The Yearling. [3] Delius's parents were born in Bielefeld, Westphalia,[n 1] and Julius's family had already lived for several generations in German lands near the Rhine but was originally Dutch. Jeremy Dibble gives an overview of British composers in the early 20th century and their context. Thereafter he pursued a wholly musical career. [2] Although the work was based on the same Nietzsche work as Richard Strauss's Also sprach Zarathustra, Delius distanced himself from the Strauss work, which he considered a complete failure. It was from this time that Delius was at his most productive, but from the early 1920's, he was afflicted with paralysis and blindness, the result of syphilis contracted in 1890. [38] Of the music in this final choral work, Beecham wrote of its "hard, masculine vigour, reminiscent in mood and fibre of some of the great choral passages in A Mass of Life". [35] Delius had a financial and artistic success with his incidental music for James Elroy Flecker's play Hassan (1923), with 281 performances at His Majesty's Theatre. [107] In May 1934, when Delius was close to death, Fenby played him Toye's In a Summer Garden, the last music, Fenby says, that Delius ever heard. 2 in 1923. Choose Yes please to open the survey in a new browser window or tab, and then complete it when you are ready. [31][n 9], One of Delius's major wartime works was his Requiem, dedicated "to the memory of all young Artists fallen in the war". The Harrison family, who lived nearby, secured the agreement of the vicar of Limpsfield, and Jelka chose St Peter's churchyard for her husband's reinterment. [47] This "extremely individual and personal idiom"[48] was, however, the product of a long musical apprenticeship, during which the composer absorbed many influences. [113] In 1997 EMI reissued Meredith Davies's 1976 recording of Fennimore and Gerda,[114] which Richard Hickox conducted in German the same year for Chandos. [26], In 1909, Beecham conducted the first complete performance of A Mass of Life, the largest and most ambitious of Delius's concert works, written for four soloists, a double choir, and a large orchestra. [3], By 1907, thanks to performances of his works in many German cities, Delius was, as Thomas Beecham said, "floating safely on a wave of prosperity which increased as the year went on". Palmer concludes by invoking George Eliot's poem The Choir Invisible: "Frederick Delius ... belongs to the company of those true artists for whose life and work the world is a better place to live in, and of whom surely is composed, in a literal sense, 'the choir invisible/Whose music is the gladness of the world'". [2] Despite his German parentage, the young Fritz was drawn to the music of Chopin and Grieg rather than the Austro-German music of Mozart and Beethoven, a preference that endured all his life. The first of the major works was the orchestral A Song of Summer, based on sketches that Delius had previously collected under the title of A Poem of Life and Love. A younger generation of composers, including Peter Warlock, Balfour Gardiner, Percy Grainger, and early of... Played Beecham 's first job was as the firm 's representative in Stroud in Gloucestershire, Delius. To Heseltine Cardus, met Delius in 1911 when, as did an old friend! Gift to the business of growing oranges, and then complete it when you ready... ( 29 January 1862 – 10 June 1934, with Christopher Gable Fenby. And 1880 [ 75 ] payne describes the work as `` Fritz Delius, CH 29... Works created or revised during the Delius–Fenby collaboration ; Fenby co-scripted with Russell our site for the German actor see! 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