I Call You from the Shadows                                                         Back to list of works index

 

This song was first published in 1912; a later edition has a few changes, but the first edition is used by Morgan Kingston.

 

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Song with orchestra

Morgan Kingston (t), orch

Columbia 369

6294               

10” 78

[Apr 13] rec.1912

BL

Re-issue

- Naxos 8.110869                

CD

2003

BL, NX, PD, TM

Song with orchestra

Hughes Macklin., orch

Edison Blue Amberol 23205

cylinder

[Dec 13]

WC

The Naxos transfer is in Ab major, which corresponds to the published version for high voice.  At the final cadence, Kingston ignores the three alternative notes for the word “back” (Bb, Eb and high Bb), and instead sings a G.  He then changes the final words from “to me” to “my love”, and the orchestra omits the final two bass notes.

  

 

I Dream of All the Worlds

 

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Song with piano

Peter Dempsey (t), Guy Rowland

Dempsey AWK 1

CD

2009

BL, TM

This recording can be heard at http://www.albertketelbey.org.uk/anniversary.html

 

 

Idylle champêtre

 

This piece for clarinet and piano was deposited in the British Museum in January 1897.

 

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Synthesizer

Stephen Berry

private recording

 

mp3

2016

 

TM

 

 

In a Camp of the Ancient Britons: (Worlebury Camp, - Weston-super-Mare. A.D.47 and Present-day): tone picture

 

The following account of the origin of the work is given the composer in the article In a Monastery Garden, in Music Masterpieces part 12 (18th March 1926) page 183:

My tone-picture In a Camp of the Ancient Britons was inspired by a visit to Weston-super-Mare.  When I saw the gay promenade and in the background the old ramparts (Worlebury) carrying the mind back to the time of the Roman legions and the Druids, I felt the vividness of the contrast, and I wrote music that, I hope, conveys the atmosphere of the old drama, gradually merging into present-day brightness and gaiety.

In 1933 the music was used as background to a documentary film Castles and Fisher Folk (1933), commissioned by Cadbury’s.

 

Composer’s synopsis

This tone-picture represents the Reverie of a visitor to a seaside resort adjacent to the site of an ancient British Camp.  The piece begins with - The Sacred Grove of the Druids, followed by, The Invocation before the Battle, the March of the Ancient Britons, the Advance of the Roman Legions, the Battle and defeat of the Britons and their Retreat.  These themes portray a picture passing through the mind of the visitor.  Imperceptibly the Invocation theme now merges into a Waltz, as if being played by a band on the front which brings the listener to the spirit of the present-day.  With an exuberant climax typifying the holiday-mood the piece is brought to a lively conclusion.

(It may be interesting to note that the Druids' music and the Ancient Britons' march are founded on the authentic Hypodorian Mode).

 

Medium

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Locations

Orchestra

orchestra, Ketèlbey               

Columbia 9055

AX 1064, 1065

12” 78

rec.July 25, not issued

Orchestra

Concert O, Ketèlbey

Columbia 9866

WAX 4582, 4583

12” 78, 2 sides

[Jan 30] rec.Jan 29

PD, (TM CAS)

Re-issue

- Pearl GEMM CD 9968

CD

1992

BL, PD, TM

Re-issue

- Naxos 8.110869                

CD

2003

BL, NX, PD, TM

For some reason, the 1925 recording was unsatisfactory and never issued, but the 1929 one is excellent.  There is just one small cut of 8 bars from the Invocation, and in the Retreat of the Britons the composer opts for a repeated drum beat on Timpani rather than Side Drum.

 

 

In a Fairy Realm: suite

 

The suite was first performed at Harrogate on 23rd September 1927.  One of the melodies from the Queen-Fairy’s Dance had previously been part of a flute solo called Scherzo de Concert.  The second section of The Gnomes' March recalls the rhythm of a choral piece with the title The Elves' Dance, where it sets the anonymous words

            By the moon we sport and play

            With the night begins our day

            As we frisk the dew doth fall

            Trip it, little urchins all.

 

Composer’s synopsis

1. The Moonlit Glade.  One has to imagine a darkened secluded woodland scene with just a ray of moonlight.  The fairies begin to assemble very quietly, the rustle of the trees swayed by the wind precedes the entrance of the King-Fairy; he holds forth to his assembled subjects in an oration of gradually rising import; on its completion the music dies away to suggest that the fairies are duly obedient to his wishes.

 

2. The Queen-Fairy Dances.  The Horn and Flute announce the entrance of the Queen-Fairy; she dances to the strains of a pipe, then her attendants join in when the music becomes louder; this is followed by another dance for the Queen alone, a delicate movement at first, but becoming louder again when all the fairies join in; a soft Horn call leads back to the original theme, the Queen-Fairy finally tripping lightly off the scene.

 

3. The Gnomes’ March.  The fairies all execute a quaint little march in whimsically stiff manner at first, but becoming later a little more frolicsome.  The ugly gnomes have an episode to themselves represented by muted Brass played heavily, after which the first part is resumed in the same manner as before, with the addition of a little chromatic run in the celeste, suggesting that one of the fairies is a little late getting into position.  After working up to a forte climax it gradually dies away and one loud chord from the full orchestra brings the Suite to a conclusion.

 

Medium

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Label

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Format

Date

Review

Locations

Orchestra

Concert O, Ketèlbey

Columbia 9409/10

WAX 3222, 3241, 3242

12” 78, 3 sides

[July 28]

July 28 p.61

BL, PD, (TM CAS)

Re-issue

- Naxos 8.110848

CD

2002

BL, NX, PD, TM

Orchestra

Louis Voss Grand O

Bosworth BC 1130/1

CP 933, 934, 935

10” 78, 3 sides

[1940]               

BL, WC, (TM CD)

 

Re-issue

- Guild GLCD 5203

 

CD

2013

 

 

Orchestra

Wien, Thallmeyer               

Columbia ?

(German)

?

(MMU)

Orchestra

Frieder Weissmann

Odeon O 6562

Be 8987

 

?

 

 

Ketelbey’s recording is complete, and the delicate scoring is recorded very clearly.   The third movement can also be heard at http://www.mgthomas.co.uk/Soundfiles/Orchestral/Soundfiles-Orchestral.htm

 

Louis Voss makes two short cuts in the first movement (20 bars), one lengthy one in the second (32 bars), and just an 8-bar repeat in the third.  He has a hyperactive harp.

 

Details of the Weissmann recording are incomplete, and must refer to only a single movement.

 

 

In a Lovers’ Garden: suite (on melodies from the composer's songs)

 

This suite was compiled in 1925 from a number of earlier songs.

A Song of Love uses melodies from Under the Starlight and My Heart Still Clings to You

The Golden Wedding uses melodies from The Old Ingle-Nook and At Parting

A Garden Fête is an orchestral version of Fairy Butterfly

 

Composer's synopsis

1. A Song of Love.  Two young lovers are lingering in the sun-lit garden, and amidst singing of birds they exchange ardent thoughts and caressing glances.

2. The Golden Wedding.  Two old people are sitting in the garden, where they first plighted their throth, the bells of an adjacent church remind them of their wedding day.

3. A Garden Fête.  Lovers young and old mingle in one joyous throng at the garden fête on a summer's day, laughter and gaiety reign over all.

 

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Orchestra

Palm Court Theatre O, Godwin

Chandos FBCD 2002

CD

1998

BL, PD, TM

 

     Re-issue

Chandos CHAN 6676

 

CD

 

 

NX

 The Palm Court Theatre Orchestra uses a small wind section and solo strings, and includes a prominent piano.

 

- 1. A Song of Love

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Orchestra

Palm Court Theatre O, Godwin

Chandos CHA 24135

CD

2006

BL

Re-issued from complete recording

                                                                                                               

- 2. The Golden Wedding

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Carillon

Trevor Workman

Bournville Carillon BC000005 

CD

2003

TM

 Workman uses his own arrangement, which was recorded at a live performance on Bournville Carillon, Birmingham, on 9th August 2003.

                                                                                                                               

               

In Holiday Mood: suite

 

The suite was first performed on 12th February 1938 at the Kingsway Hall, London. 

 

1. On the Promenade

2. Down the Stream

3. The Illuminated Fete

           

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Orchestra

London Palladium O, Greenwood

HMV C 3023/4

2EA 6511, 6512, 6513

12” 78, 3 sides

[Aug 38] rec.June 38

Aug 38 p.118

BL

 

Re-issue

- Victor 36371/2

 

12” 78, 3 sides

[ca.1940?]

 

PD

Re-issue

- Pearl GEMM CD 9968

CD

1992

BL. PD, TM

Re-issue

- 1 DCD 7

CD

VLM Winter 98

 

Re-issue of The Illuminated Fete

- Guild GLCD 5228

 

CD

2015

 

 

Orchestra

Louis Voss Grand O

Bosworth BC 1051

CP 493, 494

10” 78, 2 sides

[Jan 39]

Jan 39 p.342

TM

Re-issue  as Hillingdon O

- Decca F 7850

CP 493, 494

10” 78, 2 sides

[1951]

July 41 p.36

BL

Re-issue

- Naxos 8.110870

CD

2004

BL, NX, PD, TM

Orchestra

Pelly Concert O, Barnard

private recording

CD

[2005]

TM

The London Palladium Orchestra uses saxophones in the first and third movements.

 

The Louis Voss Orchestra makes massive cuts to fit the music on two ten-inch sides.  On the Promenade has cuts 106 out of 197 bars, though still retaining enough of each section to make musical sense. 

Down the Stream has 88 out of 111 bars cut, with the second melody lost almost completely.  The Illuminated Fete merely has two small cuts totalling 46 out of 284 bars.

 

 

In the Woodlands: dance-intermezzo

           

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Piano

Rosemary Tuck

Marco Polo 8.223699

CD

1993

BL, NX, PD, TM

Piano

Markus Staab

private recording

 

web

2015

 

 

Staab’s version can be seen at https://www.youtube.com/watch?v=1h6bTC3AkBE   

 

 

Italian Twilight

 

The orchestral piece was first broadcast on 21st July 1950, and is particularly subtle in its use of instrumental colour, with a folk group of 3 mandolines and a guitar appearing for just 12 bars. The piano version was published in the following year, and has several cuts.

 

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Piano

Eric Halstead

private recording

web

2003

( TM CD)

Piano

Markus Staab

private recording

 

web

2008

 

 

Synthesizer

Stephen Berry

private recording

 

mp3

2016

 

TM

The Halstead version is available at http://www.tradebit.com/filedetail.php/4904176-italian-twilight-by-ketelbey-mp3

The Staab version can be seen at http://www.youtube.com/watch?v=gl_G9xwEsFk

Berry takes the orchestral version as his master.

 

webpage updated 10th Jan 2017