Sound and vision blog

Photograph of Clara Schumann by Franz Hanfstaengl 1857

Guest blog by Edison Fellow Yanran Li

            I was fortunate to obtain a fellowship at the British Library last fall. As a pianist, given my interest in Robert Schumann, I was delighted to be able to take advantage of the many unusual recordings of Clara Schumann’s students., a number of them becoming famous in their own right. Mr. Jonathan Summers afforded me access to the rich collection of these audio recordings. He also made available contemporary interviews with musicians, as well as the archive of newspaper reviews of both Clara’s and her students’ concerts in the possession of the British Library.

            As one of the most prominent pianists and educators of the 19th century, Clara Schumann (1819-1896) has made immense contributions to the evolution of modern and contemporary piano performance. Her musical sphere is familiar to a broad range of music practitioners and enthusiasts, creating an entire generation of remarkable pianists. By analysing the surviving musical recordings, one can discern the multifaceted interpretations that these pianists have gained from her teachings. This, in turn, broadens our understanding of how Schumann's piano music can be performed.

            Within a single pedagogical framework, students of the revered educator naturally develop unique styles. Examining diverse interpretations by musicians connected to Schumann’s musical world offers a rich tapestry of insights. This analytical approach aids contemporary musicians in understanding Schumann's piano music by identifying commonalities and differences among Clara Schumann's students, providing profound insights into his compositions.

            Before delving into my in-depth study of performances by several of Clara's students, like many pianists, I was already familiar with some of Clara's teaching principles, particularly her emphasis on touch. Indeed, among numerous concert reviews of her solo and chamber performances that I found in the Newspaper Archive, the most prominent praise often centered on the kaleidoscopic tonal qualities she elicited by her touch on the keys. Additionally, in Nancy Reich's renowned biography of Clara, there are multiple references to the influence of her father, Friedrich Wieck, demanding absolute uniformity in touch, cultivating a fine touch. Clara would use this touch to construct incredibly smooth and nuanced musical phrases.

            As Robert Schumann entered the creative realm of the 1830s, deepening his relationship with Clara, he nearly exclusively envisioned and styled his compositions based on Clara's performance manner. One of the most conspicuous resultant stylistic traits was Schumann's pursuit of orchestral expression on the piano, a direct and passionate tribute to Clara's rich tonal palette. It is the intricate inner voice-leading and counterpoints, which are the most distinctive compositional characteristics in Schumann's piano works, that are closely related to Clara's keeping of her fingers close to the keyboard. From a technical standpoint, this was a consistent feature in both Clara's and her father's techniques. Even when playing demanding passages or powerful chords requiring substantial force, they employed the method to produce sound. According to Clara’s pupils, she often explained the method as playing the instrument through "pressure rather than percussion”, which is a rather unusual concept for a modern pianist like myself.  With access to the Library's resources, I have been able to systematically compile Clara's piano-playing principles, refining them through comparisons of Schumann's piano solo recordings by pianists directly connected to her, resulting in the following insights.

            Edith Heymann (1872–1960), an English pianist who visited Clara Schumann's home in Frankfurt in 1894, provided valuable insights into Clara's approach to piano touch. According to Heymann, Clara was known for her soft, warm touch, particularly in her mastery of intertwining melodies, exhibiting a super legato touch without exaggerating tone or tempo, and she rarely used the pedals except for chords. Clara's technique emphasized sensitive fingers, resulting in a fine tone, and phrasing through subtle tone gradations. Many biographies of Clara highlight her dedication to achieving an even touch and cultivating a refined sense of the use of soft pedal and tone quality in her teaching.

            However, as I explored reminiscences of Clara by pianists like Fanny Davies, Adelina de Lara, and Carl Friedberg, it became evident that Clara Schumann's emphasis on touch had a deeper purpose – transforming the piano into a fully symphonic instrument. Adelina de Lara (1872-1961), in her Farewell Lecture and concert at Wigmore Hall in 1956, recalled Clara Schumann's insistence on treating piano solo works as if they were orchestral compositions. Clara believed that, just like in an orchestra, every minute phrase in piano music could be seen as a separate instrument. Clara encouraged her students to develop "visions" of the music, granting individual life to each musical element within a piece and imagining orchestral effects to enhance the piano's timbre.

            In this context, Clara's requirements for pressing the keys (rather than striking them), which resulted in consistent touch and flawless legato, align with the requirements for flexible and relaxed arm and wrist movements. This approach facilitated seamless coordination between the pianist's key touch and their sensitivity to sound nuances. Such training undoubtedly laid the foundation for executing and distinguishing more intricate and nuanced tonal qualities with pianists’ fingers.

            Not only a solid foundation for the execution of a diverse tone quality is essential, but the idea of timing in piano playing is also crucial to ensure the accomplishment of an orchestral-sounding piano which was mutually desired and pursued by Clara and Robert Schumann. Clara, as documented in the Pearl Collection of her pupils and in Adelina's interviews, emphasized the rejection of mechanical or rushed playing.  Whenever the student was rushing through transitional segments, Madame Schumann would point out agitatedly, ‘No Passages!’, from the other side of the room. Viewing musical elements as individual instruments, each with an irreplaceable role, Clara expected her students to master timing – both the overall tempo selection and the precise timing of each musical element's entrance. Upon examining recordings by Clara Schumann's students, I observed distinct timing styles that breathe vitality and a full orchestral dynamic quality into the piano. Subsequent passages will elaborate on these observations.

            One of the most influential pupils of Clara Schumann, Fanny Davies (1861-1934), has demonstrated a most notable rhythmic interpretation through the way she handled the pronounced independence of the middle voices and her creative phrasings. An exemplary instance can be found in her 1930 recording of Schumann's Davidsbündlertänze. Davies's interpretation resonates with the distinctive style of Robert Schumann and aligns with the principles emphasized in Clara Schumann's teaching. In this recording, during the first ritardando, where the melodic line leans on an E flat major chord borrowed from the parallel minor key, G minor, Davies pays special attention to the concluding note, F sharp. She sustains it with a string-instrument-like quality while complementing the fermata effect with a series of arpeggio chords in the left hand. Subsequently, she continues the sustained left-hand note, F natural, from the preceding F sharp, thus weaving a melodic line that traversed F sharp – F natural – E – D – C – E – D – B. This intricate approach intertwined the upper-voice melodic line with the middle voice, infusing it with vibrant tonal colours, especially as it progressed into the "Im Tempo" section.

Fig.1 Davidsbündlertänze: Movt. 01 Lebhaft: Lively (Vivace), G major, Florestan and Eusebius, mm. 16-21

Davidsbundlertanze 01 Lebhaft

            Another instance can be found in the second piece, “Innig”, from the same work. Schumann's notation suggests a rhythmic pattern ambiguously involving a parallel existence of three and two groupings per measure. Davies enhances the audibility of the middle voice, G, by slurring the second and third eighth notes, E - G, in each measure. Consequently, not only does the small slur of E - G become an independent musical unit, adding another viola-like tonal layer to the sonority, but it also serves as a complement to the high-register melodic line, C sharp - G.

Fig.2 Davidsbündlertänze: Movt. 02 Innig: Intimately (Con intimo sentimento), B minor, Eusebius, mm.1-6

Davidsbundlertanze 02 Innig

            In the final movement of the first section of Davidsbündlertänze, No. 9, “Lebhaft," Davies demonstrates another unexpected phrasing technique. This section comprises two groups of four measures forming an eight-measure long phrase. When the low bass melody, outlined by octave intervals in the left hand, first appears in measures five to eight, Davies not only allows the low B flat to slightly precede the right-hand melody, disrupting the straightforward 3/4 rhythm established in the first four measures but also elongates the rhythmic gap between G – D – B in measure six. This guides the listener's ear to the left-hand melody and makes them momentarily forget that it's a repetition. As the music enters a new phrase, she similarly hastens the left-hand F sharp in measure twelve, ensuring a seamless transition of the melodic line to the left hand. The combined effect of tonal variation and the timing of different layers' appearances illustrates one of the key technical approaches in revealing the tonal structural complexity in Schumann's piano compositions.

Fig.3 Davidsbündlertänze: Movt. 09 Lebhaft: Lively (Vivace) (2nd edition), C major, Florestan, mm.1-8

Fig.4 Davidsbündlertänze: Movt. 09 Lebhaft: Lively (Vivace) (2nd edition), C major, Florestan, mm.12-14

Download Davidsbundlertanze 09 Lebhaft

            Fanny Davies' unexpected phrasing in her performances often integrates precise timing of the lower bass notes, creating an independent yet cohesive effect in the low registers, which Clara Schumann highly valued. What is notable in her performance is her interpretation of Schumann’s rhythmic notation, which incorporates characteristic variations within an unchanging rhythmic pattern.

            The nuances of voice layering and timing intricacies shine through in Adelina de Lara's performances, particularly in her rendition of Schumann's polyrhythm. These instances are abundant in her playing, with the most representative example being her 1951 recording of the second movement, "Sehr innig und nicht zu rasch," from Kreisleriana. In this passage, measures cease to adhere to a rhythmically uniform structure; instead, they suggest opportunities for breath and expression. De Lara's interpretation allows for a freer, more flowing sense of rhythm. Both the left and right-hand melodies maintain relatively independent rhythms, and the appearance of triplets and sixteenth notes in the bass melody after the double bar carries an improvisational quality, unburdened by rigid rhythmic divisions. De Lara's approach to ornaments is equally intriguing. These inherently rhythmically complex elements offer a broader canvas for Schumann's polyrhythm. De Lara's fingertips evoke a sensation akin to playing the cello, with the resonance produced by the bow's friction on the strings and subtle rhythmic delays contributing to the overall experience.

Carl Friedburg

            The flexibility of tempo serves as a potent expressive tool in Carl Friedberg's musical interpretations. Friedberg (1872–1955), who met Clara Schumann and maintained a close connection with Brahms, has left a limited body of recorded material. However, Mr. Allan Evans compiled and published a set of two CDs about Brahms in 2015, which includes precious recordings of Friedberg's performances. This album even features a remarkable performance segment of Brahms' Piano Trio in C minor by the Trio of New York in 1939. Among others, one of the most impressive recordings is a brief excerpt on Disc 2, less than two minutes long, featuring Friedberg's rendition of Schumann's Arabeske.

            In Minore 1, in e minor, of Arabeske, Friedberg demonstrates a flexible sense of rhythm. This enables him to delineate layers within what initially appears to be a straightforward eighth-note melody. First, there's the slightly impulsive melodic line of B – C – B – F sharp – G. Then, he lingers briefly on the highest note of the melody, transforming the descending scale in the second measure of every two measures into an inner voice that enriches the upper-register melody’s colour. His musical consideration also makes the arrangement of every three harmonies in a small phrase more musically sensible and natural to the listener's ear.

Fig.5 Arabeske op.18, mm.40-48

Arabeske Friedberg

            Having written above, a significant moment during the entire fellowship experience was the discovery of recordings by Australian pianist Elsie Hall (1877-1976). Her farewell concert at the age of 90 not only showcased the highly infectious musical expression and extraordinary technical prowess of a mature and eminent pianist but also embodied the soul of the Schumann era and a unique personal touch. Originally from Australia, Elsie Hall relocated to Germany at the age of 11 to pursue her piano studies. Following a performance by the young Elsie in England, Fanny Davies encouraged her to play for Clara Schumann. In 1896, Elsie had the opportunity to perform for Clara Schumann. This encounter did not directly propel Elsie's performing career, and they did not show much mutual interest - Clara's remark, as later recalled by Hall in interviews, was that she “…is much too delicate ever to be a concert player…hasn’t got the particular stamina for it.” Though the meeting with Madame Schumann was not entirely harmonious, the Classical musical world of the late 19th century definitely left an indelible mark on Elsie Hall's musical journey. Not only did she receive patronage from Marie Benecke, Felix Mendelssohn's eldest daughter, Elsie Hall also once mentioned that she gained the most musical inspiration and advice from Joseph Joachim, the Hungarian violinist, an intimate friend, and collaborator of Clara and Brahms. Hall's ability to seamlessly combine the nuances of phrasing, timing, and an extensive palette of tonal colours resulted in a continuous and captivating musical narrative. Her musical style perfectly aligned with Clara Schumann's emphasis on orchestral quality and her insistence on “no passages.”

            Even though Elsie publicly stated (multiple times on various occasions) that she “did not like the Schumann coterie at all”, during her farewell concert, she gave Schumann's Fantasie, op. 17 a prominent place. She performed the first and third movements of the piece. The performance was grand and impactful, exuding orchestral tonal qualities and volume. The separate treatment of the left-hand bass and right-hand melody, both in terms of tone and rhythm, maintains their independence while interweaving with each other, a characteristic performance style emblematic of the 19th-century era. Furthermore, Elsie Hall's meticulous handling of internal layers ensures that not a single note goes unnoticed. For instance, in the first movement, when “Adagio” transitions back to “Im Tempo”, falling into a C major chord, she carefully leads dynamics from piano to fortissimo over six measures, assigning each note of every chord a distinct position. Her attention to detail is equally evident in the opening passage of the third movement with chromatic signs. Hall’s interpretation does not overly indulge in any of the chromatic signs, neither rhythmically nor sonorously, yet she thoughtfully incorporates every harmonic colour outside of C major, capturing the audience's attention. The most sublime musical treatment is in the ritardando of the third movement. Her ritardando is executed with an absolute legato while preserving the individuality of inner and outer voices. The rhythmic complexities, such as two against three, presented her with an excellent opportunity to demonstrate her mastery of polyrhythm.

Fig.6 Fantasie op.17, mm. 272-278

Elsie Hall Schumann Fantasie extract

            Concluding this discussion with admiration for Elsie Hall is a deliberate decision. My immense gratitude to Mr. Summers and the British Library for providing this enlightening and educational opportunity. This research journey, initiated with profound respect and curiosity for Clara Schumann, has illuminated diverse facets of the 19th-century classical music universe. The Geist, or spirit, embedded in this music continues to inspire generations, a testament to Clara Schumann's steadfast training methods, the harmonious collaboration of musicians from varied backgrounds, and the relentless pursuit of artistic excellence worldwide. And all these precious spiritual experiences and artistic insights are transmitted vividly and directly to our ears through precious historical recordings, through the medium of sound, almost two hundred years later, continuing to fascinate musicians, inspiring us to explore tradition and the progressive evolution of musical expression.

The Sıbızğı Recordings from Northern Xinjiang Collection (British Library ref: C1960) includes digital copies of several home-made cassettes, radio interviews, and film soundtracks from northern Xinjiang, documenting the repertoire of the bi-phonic, end-blown flute sıbızğı (also: sybyzghy), played among Kerey (also: Kereit or Kerei) Kazakhs. The collection contains more than eight hours of music and folk narratives, 309 recording pieces in total. Historically, the sıbızğı was played by eloquent Kazakh orators, often village leaders, at anniversaries, celebrations, and discussions of village affairs. Each sıbızğı melody relates to a unique folktale, of ancient warriors, modern rebel heroes, animals and hunters, birds, orphans, and famous poets of the Kazakhs. Geographically, the sıbızğı tradition is performed primarily in modern-day Xinjiang and western Mongolia. Most Kazakhs in this region trace their ancestors to the Orta Cüz (Middle Horde) group, and the majority of sıbızğı players, though by no means all, are Kerey Kazakhs, whose clans, families, and villages share cultural memory through performance and recordings of the sıbızğı repertoire.

Above: A map of sıbızğı sound collections in Xinjiang. The collections document performances by musicians in northern Xinjiang, including the regions of Altay, Qumul, and Erenqabırğa, a strip region from Sauan to Urumchi.

The origin

According to oral literature, the sıbızğı was created by shepherds while grazing, making a múñlı (sad, melancholy, or sorrowful) sound, which has a pronounced difference from the ‘cheerful’ sound produced by the dombıra (dombyra). Some folktales take the following form:

During a time of many hardships for the Kazakhs of the steppes, a cruel bay (rich lord) sent two orphans to watch over a flock of sheep and protect them from wolves, threatening to beat them if they failed in their task. One day, the younger boy thought he heard the howl of a wolf and drove the sheep to a new location. Over several days he heard the howl again and again, until he realised that the sound was not a wolf after all, in fact it was the wind blowing through hollyhock reeds that had been eaten by the sheep. Plucking one from the ground, he began to blow into it, putting his fingers over the various holes in the stem to change its pitch. One night, the other boy heard this strange new sound and asked, 'Are you crying?' The younger shepherd boy replied, 'No, I am playing a melodious voice.' Since that day, the boys began playing the hollyhock reeds together, creating new sounds. Later, the practice spread to the people, and the hollyhock came to be called 'sızılğı'. Over time, folk intellectuals adapted the reeds with two, three and four holes to make new sounds, and this came to be called sıbızğı.

While found in hardly any written, published sources, such origin stories about the sıbızğı are abundant among the community of sıbızğı players and their listeners. Most of the folktales refer to the Syr River region as an important place in the origin of the sıbızğı, partially because of the legend of Qorqıt Ata (Grandfather Qorqıt; Korkut Dede in Turkish), a famous poet, philosopher, epic chanter, and a high-ranking baqsı (shaman) in both the historical Turkic world and folk literature. Qorqıt Ata was born in the 8th century AD in the Syr River region and served as the prime minister of five khanates in his lifetime. According to The Book of Qorqit Ata, a compilation of oral literature, Qorqıt and the Prophet Muhammad lived at the same time, and the Kazakh national instrument – the qobız – was invented by Qorqıt, who also left a large number of mythological musical accounts to the later Kazakh nation.

Listening example 1

'Qorqıttıñ Küyi' (The Tune of Qorqıt), performed by Tölegen Qúndaqbay-úlı. There are a few sıbızğı pieces that depict the life of Qorqıt, and many sıbızğı players believe Qorqıt is also the inventor of sıbızğı.

Listening example 2

'Aqsaq Qúlan Cosığan' (The Crippled Red Horse Is Running), performed by Mansur Böreke-úlı.

The complexity of the stories about the early mythological history of the sıbızğı indicates a diverse and cross-regional array of folklore throughout Xinjiang and Central Asia. Sıbızğı tunes often feature folk tales with relatively concrete historical accounts up to the era of Ghengis Khan in the 12th century, also highlighting the shared cultural roots of residents in the Altaic region – merged tribes of Kazakhs and Mongols. For example, 'Aqsaq Qúlan' (Crippled Red Horse) presents a tragic, but philosophical, story of the Mongolian Khan and his son: Genghis Khan loved his son Jöchi, so much so that he ordained that anyone who brought news of the boy’s death to him would have their head filled with lead. One day, the poet Ketquba had a nightmare of Jöchi tumbling from his horse and dying, a vision that proved to be correct. To inform the Khan, Ketquba played his dombıra, making a sound like a galloping horse. Upon hearing the song, Genghis Khan trembled and wept, asking, 'Why does this song make me feel so sad, as if it heralds the news of Jöchi’s death?' The poet put down his dombıra and explained the story of Jöchi’s death in a poem. The Khan was ready to kill Ketquba in the manner he had ordained, until the poet countered: 'It was not I, but the dombıra who told you of your son’s death through sound.' True to his word, the Khan filled the dombıra with lead. In modern-day Kazakh legend, this is how the dombıra got its soundhole.

Throughout the history of the Kazakh nation, there have always been individuals combining the roles of philosopher, poet, and musician, and the same applies to sıbızğı performers. The first widely recognised sıbızğı master was Asan Qayğı Sábyt-úlı, a famous 14th-century Kazakh philosopher, aqın (poet), cırau (folk singer), by (debater and judge), and prophet. He served as an important minister of the Golden Horde and the Kazakh Khanate. According to the sources, Asan Qayğı worried about all matters concerning the life of the Kazakhs, from personal disputes to clan affairs. He rode a celmaya (white camel) all his life, in search of a cerúyiq (paradise), rich in water and plants and free from feuds and inequality.

During the Ablay Khan era in the 18th century, the skilful sıbızğı tradition became highly developed in the Syr River region. Berdiqoja was a famous sıbızğı player of this age, who served the Khan by playing tunes about historical heroes and their martial exploits. In the 19th century, Cılqışı Ahtan-úlı was a well-known sıbızğı master, and later performers called him the Sıbızğı Piri (The Angel of the Sıbızğı). Cılqışı was the first to have the mixed role of sıbızğı master and by, and was highly respected in solving village affairs through gatherings that featured the playing of the sıbızğı. In early 20th-century Altay, there were four prominent bys who are still venerated by contemporary sıbızğı masters, among whom Bensenbi was better known as a composer on dombıra and sıbızğı.

Contemporary practices

Until the later 20th century, any gathering including sıbızğı playing was also regarded with reverence, rather than viewed as normal entertainment. Carole Pegg (1991), writes of the necessity 'for every Kazak family to own one (sıbızğı) and to keep it in a respected place, even if they could not play' (p. 75). In any gatherings where the flute is present, storytelling, mainly in question-and-answer form, and sıbızğı playing function as one, addressing topics of history, social justice, and important public initiatives. Even today, cyın (gatherings or assemblies) and toy (parties) are still important parts of collective life within a Kazakh clan. In such events, talking and discussing issues are major activities, while music-making can serve either as an interlude to such discussions, or sometimes as the central focus.

In recent times, playing dombıra and singing án (folksongs) have become more popular, and the role of the sıbızğırole has diminished, yet historically the sıbızğı played an essential role, and continues to represent a significant cultural memory for Kerey Kazakhs. The use of the sıbızğı to control a crowd’s mood through music, or influence the atmosphere of a gathering during a moment of musical storytelling, is a deeply embedded historical practice that for many Kazakh musicians represents a more ‘true’ vision of Kazakh culture than the dombıra.

Prof. Talğat Múqışov of the National Conservatory of Kazakhstan offers the following explanation of the instrument’s historical development in Kazakhstan: before Kazakhstan’s independence in 1991, the sıbızğı was not as popular as now. In 1934, during the Soviet era, the Symphony Orchestra of Qurmangazi was established in the city of Almaty, and the flute replaced other wind instruments, including the ‘unfortunate’ sıbızğı. At that time, musical instruments that could not fully represent the spirit of the entire Soviet people would not be considered 'qualified musical instruments'. A 'real instrument' was one that could play any kind of music in a symphony orchestra. As the sıbızğı only plays Kazakh music, it was regarded as a mere 'national musical instrument' that could only be played on limited stages. According to Múqışov, the sıbızğı currently represents the true 'Kazakh spirit' that has been driving the enthusiasm of the participants in the region’s 'new folk music' (Múqışov 2016).

Above: Sıbızğı player Nığımet Qabdolla-úlı in his home in Qútıby County, date unspecified.

Above: Sıbızğı player Qúttıbay Sıdıq-úlı in a public assembly, 5 May 2002.

Above: Students playing sıbızğı, Qútıby County, 2014. Photo by Xiaoshi Wei. 

Recordings

Since the 1960s, the sıbızğı has been recorded for radio, mainly on open-reel tapes, the first ever medium to capture and preserve the sound of the sıbızğı. Due to the high acoustic fidelity of open-reel tape and to the diffusion of radio, recording artists began to be viewed with respect and to gain higher status across Xinjiang. In the early days of the radio network, artists who were played on radio, e.g., Qoşanay and Tölegen, were held in particularly high regard.

Since the 1980s, the rise of cassettes has given people a more personal connection to their recorded music, with greater autonomy over their use of the medium itself. Because of the compactness of the cassette machine, the sıbızğı community started to believe this was more advanced technology. In village life, being recorded, similarly to being photographed, became seen as an ‘advanced’ act. People began to make personalised programs on cassette to document sıbızğı gatherings, creating playlists with the music in their preferred order. Recording is also an act that can strengthen ties between clan members: events involving the sıbızğı frequently include discussion of migration history, forging strong relationships between performers within the same clans. At parties or gatherings where old friends and relatives reunite after a long time, people play songs and talk about their shared relatives who were lost along the way. Sıbızğı players would intentionally play tunes about the journey of life. Lengthy spoken introductions before each tune talk about those who were lost, and the act of recording helps to preserve these interpersonal moments.

Since the 2000s, historical recordings of the sıbızğı began to appear on VCD (Compact Disc Digital Video) and on the internet. At present, the younger generation can access performances by their fathers’ contemporaries from mobile phones and computer screens. Although the traditional large gatherings that centre on sıbızğı performance have begun to diminish, the historical recordings still function as a means to pass down the music.

Above: Sıbızğı player Mansur Böreke-úlı.

Above: A family cassette tape of performance by Mansur Böreke-úlı.

Above: A family cassette of performances by Tölegen Qúndaqbay-úlı.

Above: Múhamet Áubákir-úlı in a recording session with Urumchi-based sıbızğı players Beyilqan Qalyakbar-úlı and Qúsman Maqmırza, date unspecified.

Above: VCD of the documentary film Máñgilik Sarın: Qútby Öñiriniñ Sıbızğı Táryhi (Eternal Melody: History of the Sıbızğı in the Qútby Region), 2007.

Listening example 3

'Marğabıldıñ Qara Qasqa Atınıñ Şabısı - Bastapqı Şabısı' (The Running Posture of Marğabıl’s Horse - Beginning), performed by Nığımet Qabdolla-úlı.

This tune portrays a historical horse-racing gathering among the Kerey and Nayman tribes of Xinjiang Kazakhs. It highlights the historical rivalry between the two tribes and the sense of prideful superiority the Kerey feel over the Nayman, a sentiment that still prevails among Kerey cultural insiders, even those who live hundreds or thousands of miles from their homelands.

Above: The poster of the publication Ripples: Historical Recordings of Sıbızğı, with written text in Kazakh (in both Cyrillic and Arabic alphabets), Chinese and English.

Recovering home cassettes

Starting in 2013, Prof. Xiao Mei at the Shanghai Conservatory of Music has been financially supporting my initiative to collect and document a large number of homemade cassette recordings of sıbızğı performance. With the goal of creating an archival package containing interviews, audio recordings, and edited texts, I conducted fieldwork in Altay, Qútıby, Urumchi, Şiñgil, and Qumul, gaining access to several individuals’ private recordings. At the individuals’ homes, I also created digital copies of their private cassettes; more than 400 recordings of sıbızğı tunes were collected from families in northern Xinjiang, allowing researchers to examine the repertoire, content, and stories behind the music in unprecedented scope. The Sıbızğı Recordings from Northern Xinjiang Collection, now deposited at the British Library, displays the significance of Kazakh musical heritage, documenting a way of life that is rapidly changing and helping to preserve an image of longstanding traditional musical practice, capturing performances by masters of the sıbızğı who have since passed away.

This post was written by Dr Xiaoshi Wei, Newton International Fellow at SOAS University.

Reference

Pegg, Carole. 1991. 'The Revival of Ethnic and Cultural Identity in West Mongolia: the Altai Uriangkhai Tsuur, Tuvan Shuur and Kazakh Sybyzgy'. Journal of the Anglo-Mongolian Society, 12 (1-2): p. 71.

Múqışov, Talğat. Interview. Conducted by Qahar Erbol, 24 May 2016.

Núsúltan Núrahmet-úlı. Múratqan Bybyrál-úlı, and Örken Qaydar-úlı. 2007. Mañgilik Sarın: Qútıby Öñiriniñ Sıbızğı Táryhi (永恒的旋律：呼图壁地区斯布孜额介绍, 'Eternal Melody: History of Sıbızğı in the Qútıby Region'). Şyncyañ Dıbıs-Beyne Baspası (新疆音像出版社).

Various Artists. 2023 (forthcoming). Ripples: Historical Recordings of Sıbızğı in Xinjiang (Толқын: Сыбызғы үнінің тарихы, 波浪：斯布孜额历史录音). Recordings compiled and liner notes written by Xiaoshi Wei.

In March 2022 a full set of digital copies of recordings of ‘Damara-Nama’ musics now archived in the British Library was returned to the Indigenous rights holders in Sesfontein, north-west Namibia. These recordings were made in 1999 by French ethnomusicologist Emmanuelle Olivier, assisted by the late Minette Mans, an ethnomusicology professor at the University of Namibia.

In 2015 they were brought from France to the UK by ethnomusicologist Angela Impey (School of Oriental and African Studies, London). They are archived at the British Library as part of the Emmanuelle Olivier Collection, which contains field recordings made between 1993 and 2001 among several hunter-gatherer and pastoralist peoples living in or near the Kalahari Desert Basin.

The collection mostly focuses on the musical repertoires of Ju|’hoansi, but also features ‘Damara-Nama’, Himba, Ovambo, Ndonga, Kwanyama, Haiǁom and Kxoe musics and songs. Catalogued under collection number C1709, the Olivier collection can be browsed in the Sound and Moving Image Catalogue, and a selection of the Ju|’hoansi and ‘Damara-Nama’ recordings can be streamed through the British Library Sounds website.

Sesfontein is a long-established settlement –now with municipality status– located close to the Hoanib River in Namibia’s Kunene Region. Historically it has been home to dynamic populations of Khoekhoegowab¹ -speaking Damara / ǂNūkhoen² , Nama and ǁUbun³ , as well as otjiHerero-speaking ovaHimba and ovaHerero. Olivier’s recordings focused on the musical repertoire of Khoekhoegowab-speakers in this community.

Above: Google map showing the locations of Sesfontein and the Hoanib River in Namibia. 

Above: Looking east over the settlement of Sesfontein in 1995. The large building in the foreground is a German fort built in the early 1900s to consolidate colonial control, following a major regional uprising involving especially (but not only) Nama members of the Sesfontein community. Renovated in the 1980s under Gaob (King) Justus ǁGaroëb’s direction as the then leader of the Damaraland Regional Authority, the fort is now a high-end tourism lodge developed in the 1990s by investors in Germany –currently under renegotiation with the Sesfontein community. The settlement has expanded greatly over the last two decades. Photo copyright © Sian Sullivan 1995.

As outlined below, the recordings made in Sesfontein represent the five key musical repertoires of this community:

1. flute music (ǂā), a Khoe / Nama musical form on the cusp of extinction;
2. Damara / ǂNūkhoe / ǁUbu praise songs (|gais);
3. Damara / ǂNūkhoe / ǁUbu healing songs (arus);
4. bow songs (!gomakhās), a Damara / ǂNūkhoe and ǁUbu musical form rarely played today;
5. Nama-stap, a contemporary Nama music played here on guitar with music composed by Sesfontein resident Jonathan |Awarab.

These musical styles and repertoires are interconnected; they share histories and rights holders and exist in close relationship with each other.

Only one rights holder is named in Olivier’s documentation, but many more are identifiable from the images accompanying the collection. Indeed, the broader community of rights holders in Sesfontein is well known since they and their families and descendants are members of the Hoanib Cultural Group, which continues to play many of the specific |gais and arus songs included in the recordings, as clarified in research over the last few years. For example, the 2020 film The Music Returns to Kai-as, made in collaboration with Sesfontein’s Hoanib Cultural Group and the Nami-Daman Traditional Authority, confirms that a number of the specific |gais and arus songs recorded by Olivier and Mans continue to be curated and played by the group today.

For more information, please see the pdf format booklet for the 2017/2019 Future Pasts exhibition 'Landscape, Memory and Music in West Namibia' and our article 'The Music Returns to Kai-as’ – a film by Future Pasts'.

These performers, their relatives and descendants hold the copyright to the songs and musical performances recorded in the Olivier collection. The Hoanib Cultural Group includes some present members who were recorded in 1999, as well as the descendants and relatives of musicians who have since passed on. The intangible cultural heritage of the five recorded music styles is also part of the jurisdiction of the formally recognised Nami-Daman Traditional Authority (TA), for which Fredrick ǁHawaxab is the Secretary.

Return

The return of copies of these recordings to identified rights holders, their descendants and the broader community of knowledge holders is the outcome of a lengthy process of negotiation. The main parties are the British Library, which digitised and archived the collection, and the Nami-Daman TA based in Sesfontein. The process has been assisted by the lead author of this article who has carried out research in the area since 1992.

Every step in what turned out to be a complex process was carried out in close communication with the Secretary of the Nami-Daman TA, Mr Fredrick ǁHawaxab. It has been shaped by a mixture of delight that the recordings have been tracked down and digitised, and frustration that what was understood in 1999 as an agreement that copies of the recordings would be returned had not previously been acted upon.

This context made the eventual return of the recordings in 2022 significant. The image below shows the moment of transferring the digital files to Fredrick ǁHawaxab’s laptop. It was especially fitting that the files were transferred in this way, given that Fredrick was the translator and facilitator for the original Sesfontein research by Emmanuelle Olivier and Minette Mans. It is Fredrick who has consistently pressed for return of the recordings, as per the terms of the original research agreement.

Above: Mr Fredrick ǁHawaxab, secretary of the Nami-Daman Traditional Authority and facilitator and translator for Emmanuelle Olivier’s 1999 research in Sesfontein, receives digital copies of Olivier’s Sesfontein recordings from the British Library, delivered to Sesfontein by Sian Sullivan. Photo copyright © Sian Sullivan, 15 March 2022.

Shortly after this transfer, an initial meeting was held with members of the Hoanib Cultural Group, in which the recordings were formally handed over. This meeting included individuals whose performances are part of the original recordings.

For example, Jacobus ǁHoëb, who leads the |gais and arus recordings, can be seen wearing a red jacket in the front row of seated community members in the image below. Jacobus continues to be recognised in Sesfontein as the ‘king of the |gais’ for his commitment to keeping the |gais songs alive and for his leadership of the Hoanib Cultural Group. Several other performers recorded in the |gais and arus sections of the Olivier collection were also present, as was Jonathan ‘Fritz’ |Awarab, the guitar player and lead singer in the Nama-stap recordings (pictured fourth from the right in the second row of the audience in the image below).

Above: The return of the Olivier’s Sesfontein recordings is officially celebrated with members of the Hoanib Cultural Group and their families, including a number of individual rights holders recorded by Olivier in 1999. Photo copyright © Sian Sullivan, 17 March 2022.

Several days later we held a second meeting with the Hoanib Cultural Group in which we explored the possibility of a selection of the recordings being made publicly available on the British Library Sounds website. As an outcome of this discussion –which included several key performers in the original recordings– the group selected one track from each of the five recorded musical repertoires, and permission was given for these tracks to be made available for listening online on the website (links to these recordings will be shared in a future blog post). The Traditional Authority headman attended as well, which was important in terms of confirming agreements made at the meeting.

Above: Meeting with members of the Hoanib Cultural Group and the head of the Nami-Daman Traditional Authority in Sesfontein (seated second from the left) to discuss the possibility of a selection of tracks being made publicly accessible via the British Library. Co-author Welhemina Suro Ganuses is seated on the left of the image. Photo copyright © Sian Sullivan, 21 March 2022. 

This return of the recordings to the rights holders brings to completion a long and complex process of negotiation so as to arrive at mutual and respectful understanding across very different contexts. This process will be documented more fully in a forthcoming Future Pasts working paper. It remains to be seen how the rights holders to the recordings may draw on this body of work to support and revitalise their musical heritage into the future.

Notes

1. Khoekhoegowab spellings used here are from field research by Sullivan and Ganuses, combined with feedback from Khoekhoegowab linguist Wilfrid Haacke, unless quoting directly from the Olivier’s 1999 field notes or from the British Library catalogue. Many of the Khoekhoegowab words in this paper include the symbols ǀ, ǁ, ! and ǂ, denoting consonants that sound like clicks and which characterise the languages of Khoe and San peoples who live(d) throughout southern Africa. The sounds these symbols indicate are: ǀ = the ‘tutting’ sound made by bringing the tip of the tongue softly down from behind front teeth (dental click); ǁ = the clucking sound familiar in urging on a horse (lateral click); ! = a popping sound like mimicking the pulling of a cork from a wine bottle (alveolar click); ǂ = a sharp, explosive click made as the tongue is flattened and then pulled back from the palate (palatal click).
2. Damara Khoekhoegowab-speaking people tend to refer to themselves as ǂNūkhoen, meaning ‘black’ or ‘real’ people and thus distinguished from Nau khoen or ‘other people’. Historically, ‘Dama-ra’ was the Nama or Khoe name for Black people generally. Since Nama were those who early European travellers first encountered in the western part of southern Africa, they also used the term ‘Dama’ in this way. This gave rise to a confusing situation in the historical literature whereby the term ‘Damara’, as well as the central part of Namibia that in the 1800s was known as ‘Damaraland’, tended to refer to cattle pastoralists who called themselves Herero. The terms ‘Hill Damaras’ and ‘Plains Damaras’ were used to distinguish contemporary Damara or ǂNūkhoen (i.e. ‘Khoekhoegowab-speaking black-skinned people’) from otjiHerero-speaking peoples respectively. This differentiation signals historically-constitutive processes whereby pressure on land through expansionary Herero cattle pastoralism throughout Namibia pushed Khoekhoegowab-speaking Damara / ǂNūkhoen further into mountainous areas that became their refuge and stronghold.
3. ǁUbun are Khoekhoegowab-speaking peoples who moved between the coastal areas of the Northern Namib desert where !nara melons (Acanthosicyos horridus) could be harvested and areas to the east where alternative foods were found. They interacted especially with different Nama and ǂNūkhoe lineages (!haoti) of Namibia’s north-west.

Acknowledgements

We thank Emmanuelle Olivier for the original recordings and for her support for the return of digital copies of this material to Sesfontein; Angela Impey for retrieving the recordings from France; and Janet Topp Fargion and the World and Traditional Music section at the British Library for their support. Sian Sullivan is grateful to research funding from the UK’s Arts and Humanities Research Council through the projects Future Pasts (AH/K005871/2) and Etosha-Kunene Histories (AH/T013230/1), which has made the work shared here possible. We especially acknowledge the contributions of all Sesfontein Constituency residents who have sustained their musical heritage despite significant factors of marginalisation, and for their ongoing and generous participation in our research.

Authors

This guest blog is co-authored by Professor of Environment and Culture at Bath Spa University, Sian Sullivan ([email protected]), Senior Councillor and Secretary of the Nami-Daman Traditional Authority (TA), Fredrick ǁHawaxab, and Administrator at Save the Rhino Trust and Councillor of the Nami-Daman TA, Welhemina Suro Ganuses. Together they have worked with the British Library to facilitate the return of digital copies of ethnographic field recordings made in Sesfontein, Namibia, to the source communities who feature on them.

Above: Edmundo Ros in Amsterdam, 1957. Photo by Harry Pot.

The Unlocking Our Hidden Collections initiative is the British Library challenging itself. With over 170 million items in the Library’s collections and an average of over 8,000 new items added every day, it is impossible to keep up. Processing and cataloguing backlogs mean that there are so many treasures that are ‘hidden’ from view and unable to be searched in any of the Library’s catalogues.

Unlocking Our Hidden Collections is a concerted effort to bring some of these to light. We are targeting specific collections across the Library’s many curatorial areas for detailed cataloguing where previously there was none at all. Collections in this initiative include manuscripts from the medieval to contemporary periods, charters, censuses, photographs, correspondences and music manuscripts. They also include recordings from the British Library sound archive. The project that I work on within Unlocking Our Hidden Collections is entitled ‘Rare and Unpublished World and Traditional Music’, which catalogues and ultimately makes publically available collections of sound recordings that would otherwise remain obscure.

As a cataloguer in this process, I have the absolute pleasure of listening to wonderful recordings of some of the most interesting musical cultures in the world, researching their context and diving into the recordists’ own experiences through their documentation and other material. So far, I’ve worked with collections of recorded music from Thailand, Malaysia, India, Nepal and Kenya from the 1960s to the 2000s, but today I want to highlight one specific collection, the Sue Steward Collection, which has the reference C1984 in our catalogue.

Sue Steward was a British journalist and DJ with a passion for the music of Latin America. Her British Library collection is composed of interviews that she made throughout her career from 1980 to 2005. Her coverage of Latin American musicians spans those of the classic dance styles of son, merengue and mambo and the pan-Latin styles of salsa, jazz and pop, including interviews with huge stars such as Celia Cruz, Gloria Estefan and Tito Puente. Many of her recordings were made in the UK, but she also recorded on her travels to the USA (particularly in the Latin American hotspots of New York City and Miami), Cuba, the Dominican Republic, Puerto Rico and Colombia, and the interviews became a significant part of the research for Steward’s book Salsa: Musical Heartbeat of Latin America (1999). Her renown and the fondness in which she was held within the world of Latin American music led to her being affectionately known as ‘La Reina’ and ‘La Stewarda’.

Her music interests were wider than just Latin music, however, and her collection reflects that, with interviews with musicians from the worlds of punk, post-punk and new wave, free jazz, sound art and the avant-garde (her interview with Diamanda Galás - see Diamanda Galás catalogue entry -  is a particular highlight), African and Middle Eastern music – sprinkled with recordings of live performances and radio clips too. And it doesn’t stop there – an interesting thread of interviews with visual artists becomes apparent, with sculptors, photographers, painters, ceramicists and art dealers all represented in the collection.

Above: The tapes of the C1984 Sue Steward Collection at the British Library. Photo by Jim Hickson.

The jewel of Sue Steward’s collection, however, has to be her extended interviews of Edmundo Ros. These have the British Library reference C1984/1-30. This is an example of one of the many Edmundo Ross catalogue entries.

Ros was a Trinidadian-Venezuelan musician who became famous as a bandleader and club proprietor in London in the 1940s. Through both his dance bands and his clubs, Ros was the first to bring Latin American music to wide appeal in the UK, performing arrangements of cha-chas, sambas, rumbas, mambos and tangos tempered with big band swing and light music to suit the tastes of a British audience unused to such exotic sounds. As well as his music, Ros also became famous as a respected member of high society, a rarity for a Black man at that time.

Intending to write an exhaustive biography of Ros, Steward recorded multiple interviews with him at his home in Xàbia, Spain between 2000 and 2005, when Ros was between 89 and 94 years old. These interviews are so detailed, thorough and lengthy that they essentially represent an oral history. All told, Steward recorded over 27 hours of interview, including sections where the two of them look through old photographs, watch video tapes and listen to his old records.

What becomes clear is Ros’s abilities as a storyteller, his flair for the dramatic, and a playful enjoyment of his own self-mythology. Together, Ros and Steward discuss his musical life, including his time as a student at the Royal Academy of Music (where he was later made a fellow); performing at clubs during the height of the Blitz; the ins-and-outs of running a high-class ‘dinner and supper club’ from the 1940s to the 1960s; his fame, struggles and the eventual dissolution of his band.

They also talk about his (just as explosive) personal life such growing up in Trinidad and Venezuela, and his endeavours to become a perfect English gent, which led to many encounters within high society, including performing at the personal invitations of George IV, Elizabeth II and Rainier III of Monaco, his run-ins with Prince Philip, future Duke of Edinburgh, and his part in the first great post-war sex scandal. Clearly opinionated, Ros always seemed keen to give his strong (and perhaps, at times, controversial) thoughts on race, status, music and politics.

Although Steward’s biography of Ros was never completed before her sudden death in 2017, these interviews amount to Ros’s own autobiography, his stories told in his own words. Through the diligent work of Sue Steward, and now through the activities of the Unlocking Our Hidden Collections initiative, those stories – and those of many other musicians, artists and arts professionals – are now discoverable to the world through the British Library.

By Jim Hickson, Hidden Collections Audio Cataloguer, World and Traditional Music

Experience a new sound installation, 'Breathe in, Breathe out', in the Sir John Ritblat Treasures Gallery at the British Library. The project looks at the positive effects of sound on well-being and relaxation. It is the first in a series of new initiatives in the Treasures Gallery, exploring innovative ways of working and engaging with diverse audiences. It runs until Sunday, 26 November 2023. The gallery is free to enter.

We have installed an open-walled structure with dimmed lighting and comfy seating, which provides a cosy space for visitors to relax and unwind. A calming, dreamlike soundscape plays on an endless loop. The mix blends spoken word, music, wildlife, and environmental sounds. All the sounds are drawn from the Library's collection.

A visitor looks at the 'Breathe in, Breathe out' tracklist—photo by Simon Leach Design. 

Relaxation starts with conscious breathing. The title 'Breathe in, Breathe out' encourages listeners to take a deep breath and focus on the present moment. Nature sounds transport us to peaceful places, offering tranquillity amidst daily distractions. Dreams and dreamscapes also feature, highlighting the importance of rest and recovery. Research shows that we activate different parts of the brain when we listen to music. The impact of sound on our bodies is significant, particularly when it comes to our emotions, memories, and movement. It influences our breathing, heart rate, and mood.

The soundscape is mixed for 8-channel playback, creating an immersive surround-sound experience. The mix juxtaposes calming sounds with hints of suspense. Key elements include 'Jetsun Mila' by Éliane Radigue, inspired by the 11th-century Tibetan yogi and poet Milarepa. There are poems by Langston Hughes, W. S. Graham, and Caroline Bergvall. The music covers a broad spectrum of gentle tones, including the delicate notes of water bowls performed by Tomoko Sauvage and the eerie sounds of 'Iká' by Skull Mask, played by Gosha Shtasel, who created the mix and is one of the British Library's sound engineers. You can explore the entire tracklist on one of the display walls.

Two women fill out feedback forms—photo by Eva del Rey.

Curating this mix has been an enjoyable experience, as sound and well-being are topics of particular interest to me. We wanted to provide a serene space for visitors to pause and recharge. We also sought to improve how sound is showcased in the Treasures Gallery, pushing the limits of our traditional displays. Surround sound offers an immersive sensory journey that has transformed the gallery space. Listening together cultivates a sense of relaxation, and connection, enhancing our general well-being. Each listener brings their unique perspective and emotions, yet we find common ground in the soothing embrace of sound.

Feedback is encouraged. Responses so far tell us that listeners feel captivated, as if they were part of a movie, with most finding it soothing and some even finding it stirring. It is an effortless and refreshing experience. The display highlights the power of sound to create a peaceful escape and a transformative experience for all who engage with it.

The British Library holds over 6.5 million recordings, ranging from spoken word to music, wildlife and environmental sounds. You can learn more about our sound collections on our Sounds subject web page and at British Library Sounds online. 

This post was written by Eva del Rey, Curator of Drama and Literature Recordings.

Publicity shot of Sun Ra, 1973. Distributed by Impulse! Records and ABC/Dunhill Records. Photographer uncredited. Public domain.
 
Throughout his long career the pianist, composer, bandleader and Afrofuturist pioneer Sun Ra (1914-1993) released over one hundred albums, many under his own record label Saturn Records. His sprawling recorded output is matched in extent only by the longevity of his band, the variously-named Arkestra, which formed in the 1950s and still performs to this day under the leadership of saxophonist Marshall Allen - surely one of the longest-running bands in existence.

This combination has served well to preserve the legacy of Sun Ra who passed away almost 30 years ago today on 30 May 1993. His death was mourned worldwide but not more so than by his devotees from within the Arkestra as captured by an all-day KPFA memorial programme which aired in the summer of 1993. This week’s highlighted recording is from this broadcast, which forms part of the Christ Trent Collection (C833). Chris Trent is a Sun Ra historian and founder of the archive-led, Ra-oriented record label Art Yard. The programme features interviews with several members of the Arkestra including saxophonist John Gilmore, trombonist Julian Priester and trumpeter Michael Ray as well as Evidence label founder Jerry Gordon and Jim Newman who produced the Afrofuturist sci-fi film Space is the Place (1974). Whilst the majority of the interviews are anecdotal and focus on Sun Ra’s history, saxophonist Ronald Wilson’s contribution stands apart in its pertinent reflections on the future of Sun Ra’s music.

Ronald Wilson interview excerpt

Download Ronald Wilson transcript

In this clip, soundtracked by the syncopated piano chords of ‘Somewhere in Space’, Wilson talks about the House of Ra in Philadelphia. The house functioned as a communal living & rehearsal space, the Arkestral headquarters and to this day is still lived in and used by the very same band. At the time of broadcast the house was overflowing with tapes which spilled out onto the kitchen sink, underneath tables and on top of cabinets and windowsills. According to Wilson, Sun Ra recorded everything that he did.

The Sun Ra Arkestra performing in Brecon, Wales in 1990. Photo by Peter Tea. Sourced from Flickr under CC BY-ND 2.0.

To me, it feels as if Ronald Wilson is not only addressing the KPFA listeners of 1993 but also those of us working in the British Library’s sound archive in 2023, as well as the musicologists and archivists of the future. Whilst it is sometimes easy to lose sight of the long-term importance of archives, Wilson’s clear-sighted appeal is a reminder of why audio preservation is needed in order to understand the lives of these artists as they unfolded and the music that came from them. Sun Ra must have shared this viewpoint himself. His explanation, as recounted by writer Robert Campbell, on how he chose which music to release on the Saturn label, says as much:

Whatever I think people are not going to listen to, I’ve always recorded it. When it’ll take them some time - maybe 20 years, 30 years - to really hear it.

Reference: Campbell, R. in  Omniverse: Sun Ra edited by Hartmut Geerken; Bernhard Hefele (Wartaweil: Waitawhile. 1994).

Today’s post was written by Gail Tasker, Metadata Support Officer.

Sergei Rachmaninoff (Bain News Service, publisher - Library of Congress)

By Jonathan Summers, Curator of Classical Music

I recently acquired for the British Library Sound Archive an important collection of discs professionally recorded from radio broadcasts during the 1930s.  The donor, Mike Sell, had known Harold Vincent Marrot in the 1950s.  Marrot had a passion for Russian music and the means to have a number of broadcasts professionally recorded onto disc for his own personal listening pleasure.  Among these are broadcasts of two important works by the great Russian composer Sergei Rachmaninoff who was born 150 years ago this year.

Rachmaninoff left Russia in 1917 and lived in Europe and the United States for the remainder of his life.  In the mid-1930s he built a house, Villa Senar, on the shores of Lake Lucerne in Switzerland, and it was here in 1935 and 1936 that he wrote his Third Symphony.  The work was first performed by Leopold Stokowski (1882-1977) and the Philadelphia Orchestra on 6^th November 1936 but Europe had to wait a year before it was heard for the first time there, in London, on 18^th November 1937 at the Queen’s Hall.  This premiere was given by Sir Thomas Beecham (1879-1961) and the London Philharmonic Orchestra and fortunately, this was one of the broadcasts recorded by Mr Marrot.  How wonderful to be able to hear this important premiere, recorded more than 85 years ago! 

Disc label of Symphony No. 3

Beecham repeated the symphony in Manchester with the Hallé Orchestra the following month, but apparently after that, he never performed the work again due to its lukewarm reception by both critics and audience.  Indeed, some critics were unnecessarily harsh in their reviews of the work – ‘S. F.’ in the Daily Herald heading his review ‘Music for Tea-Shops’ claimed that ‘its melancholy minor key….its faint aroma of incense, its tea-shop sentiment, and its mildly alarming melodrama all mark the composer as living in the past.’  The Times correspondent made a far more intelligent criticism:

The surprise at this procedure is due to the fact that Rachmaninoff’s invention has always lain in the direction of lyrical melody and picturesque orchestral colour, and not in the creation of the kind of pregnant themes that develop into the kind of symphonic texture he has here essayed.

With Rachmaninoff writing in a melodic and emotional style at odds with the then current trends in music, he was a sitting target for biased critics who saw him as out dated and old fashioned.  The notorious entry in the 1954 edition of Grove’s Dictionary of Music and Musicians states, ‘The enormous popular success some few of Rachmaninoff’s works had in his lifetime is not likely to last, and musicians never regarded it with much favour.’  How wrong critics can be, but how unfortunate that they also try to denigrate the work of an artist in this way, because as we know, 150 years after his birth, Rachmaninoff’s music is more popular than ever.  If the Third Symphony is not as familiar to many as his Second or Third Piano Concertos, or the Rhapsody on a theme of Paganini, it is because it is played less often.  The composer himself believed strongly in the worth of this composition and conducted the Philadelphia Orchestra in a commercial recording of it for Victor in 1939.  In a letter to Vladimir Wilshaw the composer wrote:

It was played in New York, Philadelphia, Chicago, etc.  At the first two performances I was present.  It was played wonderfully.  Its reception by both the public and critics was sour.  One review sticks painfully in my mind: that I didn't have a Third Symphony in me anymore.  Personally, I am firmly convinced that this is a good work.  But—sometimes composers are mistaken too! Be that as it may, I am holding to my opinion so far.

Here is the opening of the Symphony.

Rachmaninoff Symphony No. 3 1st mov extract

Although Beecham did not perform the work again,  it was taken up by Sir Henry Wood (1869-1944) who heard the London premiere and wrote to the composer:

Just a few lines to tell you we dashed from Southport to London last Thursday and arrived at Queen's Hall at 9:30 pm just in time to hear your splendid 3rd Symphony - it scored a real success - what a lovely work it is - I thought the orchestra gave a fine performance of it.  I am playing it twice after Christmas, at a Liverpool Philharmonic Concert on March 22nd and a studio concert on April 3rd.  If there is any advice you can offer me as regards your feeling or readings, of the Symphony, please do so and I shall be most grateful.....

Rachmaninoff attended the March rehearsal and performance of the Symphony by his friend.  Later Wood wrote to the composer:

It was so kind of you to come and you were so helpful and sympathetic.  I predict that if I keep on playing this symphony for a year or two (which I fully intend to do), it will find a place in the repertoire of every conductor.

Henry Wood and Rachmaninoff at the Royal Albert Hall 1938 (Associated Press)

Wood may have been optimistic about the Symphony and its promotion by other conductors, but he seems not to have broadcast it again.  However, Sir Henry was also connected with another important work by Rachmaninoff, The Bells.

Rachmaninoff wrote his choral symphony The Bells in 1913.  Konstantin Balmont published a Russian version of Edgar Allan Poe’s poem which Rachmaninoff set to music.  The four movements are Silver Sleigh bells, Mellow Wedding bells, Loud Alarm bells and Mournful Iron bells.  The work is dedicated to the great Dutch conductor Willelm Mengelberg and his Concertgebouw Orchestra and again, the US premiere was given by Leopold Stokowski and the Philadelphia Orchestra on 6^th February 1920. 

The British premiere was due take place at the 1914 Sheffield Festival but the First World War prevented this and it was not until 1921 that Sir Henry Wood and the Liverpool Philharmonic Orchestra and Chorus gave the premiere on 15^th March.  Fifteen years later, at the committee’s invitation, Rachmaninoff participated in the Sheffield Festival of October 1936 where Wood had suggested the composer conduct a performance of The Bells.  Rachmaninoff declined as he was due to play his Second Piano Concerto in the same concert; therefore Wood conducted The Bells himself on 21^st October where a new, rewritten version of the third movement was heard for the first time.  Sir Henry commented on this in the programme notes:

The voice parts of this movement were entirely rewritten for the Sheffield Festival last October, 1936, and published separately, as the composer told me he found the choral writing too complicated, that it did not make the effect he intended.  Certainly at Liverpool in 1921, I had the utmost difficulty in getting the chorus to keep up the speed and maintain any clarity, amongst the great mass of chromatic passages, and certainly vocal power was out of the question, and I feel the composer did very wisely in re-writing this section of the work.  As it now stands, the chorus writing is splendidly distinctive, full of colour, and easily ‘gets over’ the brilliant orchestral texture.

The composer expressed dissatisfaction with the acoustics of Sheffield City Hall, ‘It is the deadest hall I have ever been in,’ was his view to which Wood added that he was glad to have his opinion substantiated by such an eminent authority.

The following February Sir Henry performed the work at the Queen’s Hall and Mr Marrot had the broadcast recorded. 

Rachmaninoff The Bells 1st mov extract

Listen, hear the silver bells!

Silver bells!

Hear the sledges with the bells,

How they charm our weary senses with a sweetness that compels,

In the ringing and the singing that of deep oblivion tells.

Hear them calling, calling, calling,

Rippling sounds of laughter, falling

On the icy midnight air;

And a promise they declare,

That beyond illusions cumber,

Generations past all number,

Waits an universal slumber – deep and sweet past all compare.

Disc label of The Bells

This is a tremendous performance from the BBC Symphony Orchestra and particularly the 400 strong Philharmonic Choir coached by Charles Kennedy Scott (father of aviator and RAF heavy-weight boxing champion C. W. A. Scott).  Here is an extract from the third movement, Loud Alarm bells which gives an idea of the power and drama one must have felt at the performance, particularly when the choir sings ‘I shall soon’.  This work is in better recorded sound than the Symphony; the BBC had one microphone suspended above and to the left of the head of the conductor in the Queen’s Hall and it is amazing to hear not only what it picked up, but also the high quality and wide frequency range of the disc cutting equipment.

Rachmaninoff The Bells 3rd mov extract

Hear them, hear the brazen bells,

Hear the loud alarum bells!

In their sobbing, in their throbbing what a tale of horror dwells!

How beseeching sounds their cry

‘Neath the naked midnight sky,

Through the darkness wildly pleading

In affright,

Now approaching, now receding

Rings their message through the night.

And so fierce is their dismay

And the terror they portray,

That the brazen domes are riven, and their tongues can only speak

In a tuneless jangling, wrangling as they shriek, and shriek, and shriek,

Till their frantic supplication

To the ruthless conflagration

Grows discordant, faint and weak.

But the fire sweeps on unheeding,

And in vein is all their pleading

With the flames!

From each window, roof and spire,

Leaping higher, higher, higher

Every lambent tongue proclaims:

I shall soon.

Leaping higher, still aspire, till I reach the crescent moon;

Else I die

Radio Times 10th February 1937

In this performance Isobel Baillie (1895-1983) is the soprano soloist, Parry Jones (1891-1963) the tenor and, as a last minute substitute, Roy Henderson (1899-2000) sang the baritone role replacing Harold Williams (who was listed in the Radio Times).  The performance is sung in an English translation by Fanny S. Copeland of Balmont’s Russian version.

The work ends with Mournful Iron bells and the chance for us to hear baritone Roy Henderson followed by the wonderful orchestral coda in the major key.

Rachmaninoff The Bells conclusion

While those iron bells, unfeeling,

Through the void repeat the doom:

There is neither rest nor respite, save the quiet of the tomb!

The programme had commenced with the Italian Symphony of Mendelssohn followed by pianist Arthur Rubinstein as soloist in the Piano Concerto by John Ireland and the Variations Symphoniques by Franck, another change from the advertised programme of Liszt’s Piano Concerto No. 2.  The Bells ended the programme and apparently was not heard again in the UK until the late 1960s.

These two performances of Rachmaninoff’s music are by people associated with the birth of these works and as such are of great historical importance, particularly from a performance perspective.  Both recordings will be issued complete on CD by Biddulph Recordings in May.

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This week’s post comes from Tom Miles, Metadata Coordinator for Europeana Sounds.

August Wilhelmj (1845-1908) was a violinist and teacher. He was born in Usingen, Germany. Referred to by Liszt as ‘the future Paganini’, he gained a reputation as a child prodigy and was at the height of his career in the second half of the 19th century. He was a friend of Wagner and led the violins at the première of Wagner's Der Ring des Nibelungen in Bayreuth, 1876. Later, in 1894, he became Professor of Violin at the Guildhall School of Music and Drama. He died in London in 1908.

Image credit: Wien Museum, via Europeana / CC0.

This week’s recording is of Wilhelmj performing Paganini’s Violin Concerto No. 1, Op. 6 (arranged for violin and piano) (British Library reference: C1210/1-4). The recording is from a series of brown wax cylinders privately made in the 1890s or early 1900s. The first cylinder is missing, but the remaining four contain most of the first movement of the work, beginning part-way through. The concerto is in D major, but there are some substantial pitch fluctuations in playback:

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 1

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 2

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 3

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 4

Although there is no mention of Wilhelmj on the cylinders themselves, all the evidence points to the violinist being him. The cylinders were in the possession of Charles Volkert, director of the London branch of Schott, which was Wilhelmj’s publisher, and Wilhelmj would have been working in London at the time. Volkert died in 1934. During an office clear-out in the 1960s, the cylinders – labelled ‘thought to be by Wilhelmj’ – were rescued and later donated to the British Library.

Europeana has more material about August Wilhelmj from other cultural heritage institutions, including this letter from Wilhelmj in 1889, stating that the addressee's wish is his command and Miss Wiborg will sing in his concert:

Image credit: Stadtgeschichtliches Museum Leipzig, via Europeana / CC BY-NC-SA.

Wilhelmj played a 1725 Stradivarius violin throughout his working life. This violin, the ‘Wilhelmj’, is now owned by the Nippon Music Foundation, on loan to the violinist Baiba Skride. You can see it and read more about it here: https://www.nmf.or.jp/english/instruments/post_287.html.