[2] Delius's reputation in Germany remained high until the First World War; in 1910 his rhapsody Brigg Fair was given by 36 different German orchestras. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. 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. One either likes it the moment one first hears it, or the sound of it is once and for ever distasteful to one. The music of Frederick Delius hints at various influences: black American folk song and dance; Wagner's rich, shifting chromatic harmonies; Debussy's Impressionism; and the pastoral style of Vaughan Williams and other English composers. [2] Delius's early biographer, the composer Patrick Hadley, observed that no trace of his academic tuition can be found in Delius's mature music "except in certain of the weaker passages". [85], For the rest of his lifetime Delius's more popular pieces were performed in England and abroad, often under the sponsorship of Beecham, who was primarily responsible for the Delius festival in October–November 1929. "There can be no superficial view of Delius's music: either one feels it in the very depths of one's being, or not at all. [106] By 1936 Columbia and HMV had issued recordings of Violin Sonatas 1 and 2, the Elegy and Caprice, and of some of the shorter works. Musically it shows a considerable advance in style from the early operas of the apprentice years. [78], Of the May 1899 concert at St. James's Hall, London, The Musical Times reviewer remarked on the rawness of some of the music, but praised the "boldness of conception and virile strength that command and hold attention". Danville had a thriving musical life, and early works of his were publicly performed there.[10]. [22] Henry Wood premiered the revised version of Delius's Piano Concerto that year. 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. Delius was able to enjoy an unexpected last summer until10 June, 1934, the day he died. [80] Delius was much better received in Germany, where a series of successful performances of his works led to what Beecham describes as a Delius vogue there, "second only to that of Richard Strauss". She chose St Peter's Church, Limpsfield, Surrey as the site for the grave. [77] Some of his individual songs (he wrote more than 60) were occasionally included in vocal recitals; referring to "the strange songs of Fritz Delius", The Times critic expressed regret "that the powers the composer undoubtedly possesses should not be turned to better account or undergo proper development at the hands of some musician competent to train them". [88] The music has never become fashionable, a fact often acknowledged by promoters and critics. Having access to the Beecham family's considerable fortune, he ignored commercial considerations and programmed several works of limited box-office appeal, including A Village Romeo and Juliet. [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". His music was important for a younger generation of composers, including Peter Warlock, Balfour Gardiner, Percy Grainger, and Bernard Herrmann. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. [56] Palmer identifies aesthetic similarities between the two, and points to several parallel characteristics and enthusiasms. [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]. [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". [n 5] Ward sometimes stayed there, as did an old Bradford friend, Charles Douglas, and Delius's brother Ernest. [41], Delius died at Grez on 10 June 1934, aged 72. [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. Fenby's initial failure to pick up the tune led Delius to the view that "[the] boy is no good ... he cannot even take down a simple melody". (Beecham misdates the concert to February 1893), See Malcolm Walker's "Beecham/Delius discography", included (unpaginated) in Beecham's, Delius: a discography compiled by Stuart Upton and Malcolm Walker, "Delius, Frederick Theodor Albert (1862–1934)", "Tamsin (sic) Little on Delius: regrets of a lost composer", "So Mighty, So Unmusical: How Britannia Found Its Voice", "Warlock, Peter [Heseltine, Philip (Arnold)]", "The Published Writings of Philip Heseltine on Delius", "Philharmonic Concert: Percy Grainger, soloist, plays Delius's Piano Concerto", "About this Recording: 8.557242 – Delius: Violin Concerto (Tintner Edition 10)", "BBC Symphony Orchestra, Sir Andrew Davis, Barbican", Electric Eden: Unearthing Britain's Visionary Music, International Music Score Library Project, Delius's house in Solano Grove, Florida, before and after restoration in 1961, Life, Music and Character of Frederick Delius, Two Songs to be sung of a summer night on the water, Category:Compositions by Frederick Delius, https://en.wikipedia.org/w/index.php?title=Frederick_Delius&oldid=998406687, Members of the Order of the Companions of Honour, People educated at Bradford Grammar School, Royal Philharmonic Society Gold Medallists, University of Music and Theatre Leipzig alumni, Pages containing links to subscription-only content, Short description is different from Wikidata, Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 5 January 2021, at 06:42. Of these pieces Payne highlights two: the Violin Concerto (1916), as an example of how, writing in unfamiliar genres, Delius remained stylistically true to himself; and the Cello Sonata of 1917, which, lacking the familiarity of an orchestral palate, becomes a melodic triumph. Frederick Delius, Soundtrack: Crush. [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. [2] Delius was then sent to represent the firm in France, but he frequently absented himself from business for excursions to the French Riviera. (The Delius House is illustrated and discussed in Jacksonville's Architectural Heritage: Landmarks for the Future , a really great book available through the Jacksonville Historical Society .) [2] He was the second of four sons (there were also ten daughters) born to Julius Delius (1822–1901) and his wife Elise Pauline, née Krönig (1838–1929). He took treatment at clinics across Europe, but by 1922 he was walking with two sticks, and by 1928 he was paralysed and blind. Protected from excessive summer heat by river breezes and a canopy of oak trees, the house was an agreeable place to live in. [70] In Payne's view, the Sketches are the high water mark of Delius's compositional skill,[59] although Fenby awards the accolade to the later Eventyr (Once Upon a Time) (1917). 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. [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. He was sent to Florida in the United States in 1884 to manage an orange plantation. His parents had emigrated from Bielefeld, Westphalia, Germany to the United Kingdom, where … 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. As a pupil he was neither especially quick nor diligent,[5] but the college was conveniently close to the city for Delius to be able to attend concerts and opera. [59] In the more mature works Foss observes Delius's increasing rejection of conventional forms such as sonata or concerto; Delius's music, he comments, is "certainly not architectural; nearer to painting, especially to the pointilliste style of design". 1901) Aarhus Symphony Orchestra Bo Holten, conductor. [59] In Paris (1899), the orchestration owes a debt to Richard Strauss; its passages of quiet beauty, says Payne, nevertheless lack the deep personal involvement of the later works. 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". An ability to construct long musical paragraphs is, according to the Delius scholar Christopher Palmer, Delius's lasting debt to Wagner, from whom he also acquired a knowledge of chromatic harmonic technique, "an endlessly proliferating sensuousness of sound". She was buried in the same grave as Delius. Elgar was born in 1857, Delius in 1862; both died in the same year, 1934. [10] In late 1885 he left a caretaker in charge of Solano Grove and moved to Danville, Virginia. Delius died on June 10, 1934, at age 74. 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. After 1918, Delius began to suffer the effects of syphilis, contracted during his earlier years in Paris. He was baptised as "Fritz Theodor Albert Delius", and used the forename Fritz until he was about 40. Frederick Delius was an English composer who forged a unique version of the Impressionist musical language of the early twentieth century. [18] Other works of the period were the fantasy overture Over the Hills and Far Away (1895–97) and orchestral variations, Appalachia: Variations on an Old Slave Song (1896, rewritten in 1904 for voices and orchestra).[8]. The lyricism in Delius's early compositions reflected the music he had heard in America and the influences of European composers such as Edvard Grieg and Richard Wagner. [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. Richard Langham Smith (1988): Beecham (1975), p. 63. Whereas Elgar relished the materialistic Edwardian society he celebrated alike industrial Bradford where he was born, and all churches, which he believed to be shibboleths fostered by man’s shaming fragility. [n 6] Grieg and Sinding were enthusiastic and became warm supporters of Delius. [5] At the conservatoire, Delius made little progress in his piano studies under Carl Reinecke, but Salomon Jadassohn praised his hard work and grasp of counterpoint; Delius also resumed studies under Hans Sitt. [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. AllMusic | AllMovie | SideReel | Celebified He was baptised as "Fritz Theodor Albert Delius",[1] and used the forename Fritz until he was about 40. Ibsen's denunciations of social conventions further alienated Delius from his commercial background. For five years, from 1928, he worked with Delius, taking down his new compositions from dictation, and helping him revise earlier works. [81], In England, a performance of the Piano Concerto on 22 October 1907 at the Queen's Hall was praised for the brilliance of the soloist, Theodor Szántó, and for the power of the music itself. View more 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. Please consider the environment before printing, All text is © British Library and is available under Creative Commons Attribution Licence except where otherwise stated. It was also in Paris that Delius met his wife, the artist Jelka Rosen. [2] Sir Thomas Beecham was buried in the same cemetery, a short distance away from Delius and Rosen. Fenby recounts that on his first day in Grez, Jelka played Beecham's First Cuckoo recording. [5][n 3] From 1874 to 1878, Delius was educated at Bradford Grammar School, where the singer John Coates was his slightly older contemporary. Its general objectives are the furtherance of knowledge of Delius's life and works, and the encouragement of performances and recordings. Some of Delius’s earliest performances were in Germany, where he enjoyed the support of conductors such as Hans Sitt and Hans Haym. The first of these works was A Village Romeo and Juliet, a music drama which departs from the normal operatic structure of acts and scenes and tells its story of tragic love in a series of tableaux. "Delius never forgot the singing as he heard it, day or night, carried sweet and clear across the water to his verandah at Solano Grove, whenever a steam-ship passed; it is hard to imagine conditions less conducive to cultivating oranges—or more conducive to composing. [8] Elgar described Delius as "a poet and a visionary". [47] This "extremely individual and personal idiom"[48] was, however, the product of a long musical apprenticeship, during which the composer absorbed many influences. Britain]; he does not teach in any of the academies, he is not even an honorary professor or doctor of music. Other operas in this season included Richard Strauss's. Frederick Delius, Lebenstanz (Life's Dance) for orchestra (1899 rev. 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). [3] Much more important to Delius's development was meeting the composer Edvard Grieg in Leipzig. His alternative wish, despite his atheism, was to be buried "in some country churchyard in the south of England, where people could place wild flowers". [2] Back in Europe he enrolled at the conservatoire in Leipzig, Germany. [24] Later that year, Beecham introduced Brigg Fair to London audiences,[25] and Enrique Fernández Arbós presented Lebenstanz. He gave the premiere at Elberfeld on 14 December 1901. [2], Beecham was temporarily absent from the concert hall and opera house between 1920 and 1923, but Coates gave the first performance of A Song of the High Hills in 1920, and Henry Wood and Hamilton Harty programmed Delius's music with the Queen's Hall and Hallé Orchestras. Delius's first job was as the firm's representative in Stroud in Gloucestershire, where he did moderately well. [n 16], "Fritz Delius" redirects here. [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". In 1886, Julius Delius finally agreed to allow his son to pursue a musical career, and paid for him to study music formally. He married Elise in 1856. McVeagh rates their greatest joint production as The Songs of Farewell, settings of Whitman poems for chorus and orchestra, which were dedicated to Jelka. Delius's first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s. [11], Delius later liked to represent his house at Solano Grove as "a shanty", but it was a substantial cottage of four rooms, with plenty of space for Delius to entertain guests. [100][101], In America, a small memorial to Delius stands in Solano Grove. Why not take a few moments to tell us what you think of our website? Although he eschewed classical formalism, it was wrong, Cardus believed, to regard Delius merely as "a tone-painter, an impressionist or a maker of programme music". Use Delius' and Elgar's sketches to develop compositional skills and understand their music. [100] Palmer writes that Delius's true legacy is the ability of his music to inspire the creative urge in its listeners and to enhance their awareness of the wonders of life. It is generally believed that during this period he contracted the syphilis that caused the collapse of his health in later years. Delius died in France in 1934, but in 1946, themes from his Florida Suite inspired the soundtrack for The Yearling. Violinist Tasmin Little embarked on a search for descendants of Delius's alleged love-child in the 1990s. 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. [109], Full recordings of the operas were not available until after the Second World War. Its harmony and modulation are conventional, and the work bears the clear fingerprints of Wagner and Grieg. [7] He then attended the International College at Isleworth (just west of London) between 1878 and 1880. In 1934, Delius’ condition rapidly worsened and he relied on morphine to ease his suffering. [94] The Trust is a co-sponsor of the Royal Philharmonic Society's Composition Prize for young composers. Delius, Frederick (dēl`yəs), 1862–1934, English composer, of German parentage. Died Grez-sur-Loing, France, 10 June 1934. [108] By the end of the 1930s Beecham had issued versions for Columbia of most of the main orchestral and choral works, together with several songs in which he accompanied the soprano Dora Labbette on the piano. The work owes nothing to the traditional Christian liturgy, eschewing notions of an afterlife and celebrating instead a pantheistic renewal of Nature. [n 15] To suggestions that Delius's music is an "acquired taste", Fenby answers: "The music of Delius is not an acquired taste. 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". [34], By the end of the war, Delius and Jelka had returned to Grez. [38] The violin sonata incorporates the first, incomprehensible, melody that Delius had attempted to dictate to Fenby before their modus operandi had been worked out. 261–62. Grieg, like Ward before him, recognised Delius's potential. When Albert Coates presented the work in London in 1922, its atheism offended some believers. [96][97], In 1962, enthusiasts for Delius's music who had gone to Bradford for the centenary festival formed the Delius Society; Fenby became its first president. His choral works of the period, notably An Arabesque (1911) and A Song of the High Hills (1911) are among the most radical of Delius's writings in their juxtapositions of unrelated chords. [60] After 1917, according to Payne, there was a general deterioration in the quantity and quality of Delius's output as illness took hold, although Payne exempts the incidental music to Hassan (1920–23) from condemnation, believing it to contain some of Delius's best work. Also in 1907, Cassirer conducted some concerts in London, at one of which, with Beecham's New Symphony Orchestra, he presented Appalachia. Fritz Theodor Albert Delius was born in Bradford, Yorkshire, England, on 29 January 1862 to parents who had come to England from Bielefeld, Germany.Julius, his father, was a prosperous businessman in one of Yorkshire’s great Victorian industries, wool. Initially buried at Grez, the following year his body was reinterred at Limpsfield, Surrey. This occasion was an unusual opportunity for an unknown composer at a time when any sort of orchestral concert was a rare event in London. [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. "[2] In 1910, Beecham put on an opera season at the Royal Opera House in London. [8] After this, Julius Delius recognised that there was no prospect that his son would succeed in the family business, but he remained opposed to music as a profession, and instead sent him to America to manage an orange plantation. [20], The orchestral work Paris: The Song of a Great City was composed in 1899 and dedicated to Haym. By May 1935, Jelka felt she had enough strength to undertake the crossing to attend a reburial in England. [13] Upon Delius's return to Florida some years later to sell the plantation, it was suggested that Chloe, fearing that he had come to take her son away from her, fled with the child and disappeared. 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