Aberfoyle Back to list of works index
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Song |
Godfrey
James, ?Ketèlbey |
Columbia
D 178 |
26385 |
10” 78 |
[June
08] |
||
|
Song
with piano |
Peter
Dempsey (t), Guy Rowland |
Dempsey
AWK 1 |
CD |
2009 |
BL, PD, TM |
||
|
Song
with piano |
Peter
Dempsey (t), Guy Rowland |
private
recording |
DVD |
rec.26.11.2009 |
PD, TM |
- Aberfoyle Waltz, by
Dan Godfrey
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Wind
band |
Casino
O, ?Ketèlbey |
Columbia
D 179 |
26267 |
10” 78 |
[June
08] |
||
|
Re-issue |
- Empire SO, ?Ketèlbey |
- Rena (Columbia) 1009 |
R
45 |
10” 78 |
[Dec 08] |
||
|
Re-issue |
-
Naxos 8.110869 |
CD |
2003 |
NX,
PD, TM |
Although
named an orchestra, there are no string instruments audible in this small band
of musicians.
The Adventurers: overture
The work was originally written in 1945 for brass
band, but was re-worked for orchestra in 1954.
Several sections were cut or re-ordered in a different sequence, and the
texture was made idiomatic for orchestra.
Composer’s synopsis for the
brass band version
This work is divided into 3 parts:
The 1st part portrays vigour and earnestness
of purpose, plus a little sentiment.
The 2nd part, in a Chorale-like
movement (interspersed with a "threatening" quaver-figure in.the Bass)
represents the serious reflections of men engaged in a hazardous enterprise
The 3rd part is a
light-hearted melody developed through changing keys (in conjunction with.the
"threatening" Bass-figure) to a climax which leads to the resumption
of part of the 1st theme and organ-like ff rendering of the Chorale,
with a Maestoso Coda bringing the work to a resounding close
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Orchestra |
Czecho-Slovak
Radio SO, Leaper |
Marco
Polo 8.223442 |
CD |
1992 |
Apr
94 p.48 |
BL, NX, PD, TM |
Algerian Scene (= Algerian Song)
Composer’s
synopsis
This piece is written to portray the
characteristics of an Eastern song, such as one would hear in the native
quarters of Algiers (hence the title "Algerian Scene") and opens with
a melody of a recitative nature accompanied by soft sustained harmonies
and tom-tom, then follows the sound of the large bell in the Mosque with slow
flowing phrases under which a persistent quaver figure is heard, from which the
principal melody (which may be called the "refrain" of the Song)
eventually emerges. This refrain is
treated in various keys, and after a reference to the opening recitative the "refrain"
is again taken up (this time tutti) and brings the piece to a sonorous
conclusion.
Algerian
Scene was
first published in 1925 under the title Algerian Song. The sheet
music has three sections, Recitative, Bell in the Mosque, and Refrain,
which are played through and then reprised in varied form and key. The Recitative
melody had previously been used as a sung interjection in the recording of In
a Persian Market on Columbia 3422, where it represents a voice from the
minaret calling to prayer.
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Military
band |
Homochord
Military Band |
HH 9032-1 |
10”
78 |
[1926]
rec.30.9.26 |
Nov
26 p.255, Mar 27 p.421 |
(TM
CD) |
|
|
Violin,
piano |
Albert
Sandler, Ketèlbey |
WAX 4643 |
12“78 |
[Oct
29] rec. Feb 29 |
Oct
29 p.208 |
BL,
(TM CAS) |
|
|
Re-issue |
-
Pearl GEMM CD 9968 |
CD |
1992 |
BL, PD, TM |
|||
|
Re-issue |
-
Naxos 8.110848 |
CD |
2002 |
BL, NX, PD, TM |
|||
|
Orchestra |
London
Concert O |
Bosworth
BC 1142 |
CP 938 |
10”
78 |
[1941] |
(TM
CD) |
|
|
Organ |
Richard Ellsasser
(John Hays Hammond Jr. Museum, Gloucester, Mass.) |
MGM E 3282 |
|
LP |
1955 |
|
WC,TM |
Dempsey says the Homochord Military Band is conducted by Bert Firman
The composer’s own
recording is for violin and piano, which may represent his original conception
of the piece. The reprise of the Bell section is cut, along with a
few other bars. No complete copy of the sheet music of this version has
been located, with just the first page seen from an advert. This page
shows that for the recording the composer improvised a new piano accompaniment.
The Homochord Band makes two large cuts, a total of 62 bars.
The London Concert
Orchestra makes numerous cuts, with all sections suffering major
truncation. The orchestra adds a harp not in Ketèlbey’s original scoring,
but other instruments such as bassoon and most percussion are missing.
With cavalier
disregard for the composer’s rhythms, Richard Ellsasser
creates an impressionist picture of great beauty, sultry and languid.
Alice in Wonderland (= Four Melodious Pieces, op.20,
“by Anton Vodorinski”)
This suite of was originally issued under the title Alice
in Wonderland, but was soon changed to the bland Four Melodious Pieces. This was presumably in response to claims
over breach of copyright.
- 1. Alice (= Moderato
grazioso)
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Piano |
Guy
Rowland |
Dempsey
AWK 1 |
CD |
2009 |
BL, PD, TM |
- 2. The March Hare
(= Saltarello)
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Piano |
Guy
Rowland |
private
recording |
CD |
2009 |
TM |
Allegro con fuoco, op.51
This study was written for a
book of advanced examination studies
published by Trinity College of Music in 1908.
As an examiner himself, Ketèlbey would have appreciated brevity in set
works.
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Piano |
Phillip Sear |
private recording |
|
web |
2012 |
|
|
This performance can be seen
at http://www.youtube.com/watch?v=4C8aF5CUkQw
Angelo d'amore
The work was first performed by Tom Jenkins and the Palm Court
Orchestra on 16th January 1949, under the title Angelo mio.
Publication followed later in the same year.
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Orchestra |
West
End Celebrity O |
Bosworth
BC 1242 |
CP 1688, CTP 17587 |
10”
78 |
[1949] |
(TM
CD) |
|
|
Piano |
Rosemary Tuck |
Marco Polo 8.223699 |
CD |
1993 |
BL, NX, PD, TM |
The West End Celebrity Orchestra cuts 18 bars. The harp plays more notes than written, and
in the reprise the melody is given to tutti cellos rather than solo violin as
in the published parts – perhaps this is a relict of the scoring used by Tom
Jenkins.
Ketèlbey wrote 48
studies “specially composed to
introduce the practice of arpeggios in all keys”. Each key has a pair of exercises with the
arpeggios mainly in left or right hand.
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Carillon |
Trevor Workman |
Bournville Carillon
BC000005 |
CD |
2003 |
TM |
This
arrangement of the original piano study is by Workman himself. The recording was made at a live performance
on Bournville Carillon, Birmingham, on 9th August 2003.
- 34. Berceuse
- 40. Polonaise
- 42. Swing Song
- 44. Chanson de la tristesse à la Chopin
- 45. Galop brillante
- 48. The Mill
|
Medium |
Artists |
Label |
Matrix |
Format |
Date |
Review |
Locations |
|
Piano |
Rosemary Tuck |
Marco Polo 8.223700 |
CD |
1993 |
BL, NX, PD, TM |
The French title Galop
brillante should grammatically be Galop brillant. Ketèlbey
was not always accurate with his French genders!