Stephen David Banfield (born 1951) is a musicologist, music historian and retired academic. He was Elgar Professor of Music at the University of Birmingham from 1992 to 2003, and then Stanley Hugh Badock Professor of Music at the University of Bristol from 2003 to his retirement at the end of 2012; he has since been an emeritus professor at Bristol. [1] [2]
Banfield was educated at Clare College, Cambridge, St John's College, Oxford, and Harvard University where he was a Frank Knox Fellow. [1] His DPhil was awarded by the University of Oxford in 1979 for his thesis "Solo song in England from 1900 to 1940: Critical studies of the late flowering of a romantic genre". [3]
In 1978, he was appointed to a lectureship at Keele University, where he was later promoted to senior lecturer in 1988. He remained there until his appointment at Birmingham in 1992. He was head of the school of performance at Birmingham between 1992 and 1997, and Birmingham's department of music from 1996 to 1998; he was also head of the School of Arts at Bristol in 2006 and from 2010 to 2012. [1] [2] While at Bristol he founded CHOMBEC, the Centre for the History of Music in Britain, the Empire and the Commonwealth, to encourage and provide a focal point for research into the history of music in the British Empire, in Britain, and within the West Country. [4] Some of the fruits of this activity emerged in 2018 with the publication of his Music in the West Country (2018), described as "the first regional history of music in England". [5]
Banfield's comprehensive, two volume study of early twentieth century English song, first published in 1985, is notable for its incorporation of both literary and musical scholarship alongside a performance perspective. [6] In 1997 Banfield was commissioned by the Finzi Trust to write the first full length biography of Gerald Finzi. [7] For the BBC, Banfield wrote and presented a four part broadcast series on the neglected tradition of British orchestral light music, The Light Brigade, in August 1995. [8] He organized a revival of Granville Bantock's hour-long orchestral song cycle Sappho at Birmingham in 1996. [9]
His work also includes in-depth studies of the American musical theatre composers Jerome Kern and Stephen Sondheim. While at Birmingham he orchestrated from the existing piano scores Sondheim's first (and then unperformed) musical Saturday Night, holding a study day presentation of excerpts in 1994, advising the Bridewell Theatre's world premiere in 1997, and staging a full production at the University in 1998. [9]
Jerome David Kern was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "The Song Is You", "All the Things You Are", "The Way You Look Tonight" and "Long Ago ". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and Yip Harburg.
Gerald Raphael Finzi was a British composer. Finzi is best known as a choral composer, but also wrote in other genres. Large-scale compositions by Finzi include the cantata Dies natalis for solo voice and string orchestra, and his concertos for cello and clarinet.
Ernest Bristow Farrar was an English composer, pianist and organist.
Sir Arthur Somervell was an English composer and educationalist. After Hubert Parry, he was one of the most successful and influential writers of art song in the English music renaissance of the 1890s–1900s. According to Michael Hurd, his most important work is found in the five song cycles, particularly his settings of Tennyson in Maud (1898) and Housman in A Shropshire Lad (1904).
Howard Ferguson was an Irish composer and musicologist from Belfast. He composed instrumental, chamber, orchestral and choral works. While his music is not widely known today, his Piano Sonata in F minor, Op. 8 and his Five Bagatelles, Op. 9, for piano are still performed. His works represent some of the most important 20th-century music to emerge from Northern Ireland.
The Finzi Trust was founded in 1969 and seeks to further the music, ideals and work of Gerald Finzi. It has assisted individuals and organisations in a variety of ways and has initiated many projects reflecting the Trust's policy of encouraging young artists and composers.
Reginald Owen Morris, known professionally and by his friends by his initials, as R.O. Morris, was a British composer and teacher.
Wilfred Brown was an accomplished English tenor.
Michael John Hurd was a composer, teacher and author, principally known for his dramatic cantatas for schools and for his choral music.
The cultural year was dominated by the Festival of Britain and the opening of The Royal Festival Hall, the first dedicated concert hall of its size to be built in London since 1893: located on the south bank of the Thames, this was to host concerts by major orchestras from Britain and abroad. The Festival itself was a celebration of music, art and theatre. It notably provided an opportunity for the staging of many events seen during the first Folk music Festival held in Edinburgh, organised with the help of such talents as the American Alan Lomax, the Irish traditional musician Seamus Ennis and the political theatre director Ewan MacColl, who would go on to form the Ballad and Blues Club.
Charles Wilfred Leslie Orr, generally known as C. W. Orr, was an English composer. He is particularly noted for his songs, though his output was small. He wrote only 35 songs in 82 years, 24 of them setting words by A. E. Housman.
The composition of art song in England and English-speaking countries has a long history, beginning with lute song in the late 16th century and continuing today.
Sir James Steuart Wilson was an English singer, known for tenor roles in oratorios and concerts in the first half of the 20th century. After the Second World War he was an administrator for several organisations including the Arts Council of Great Britain, the BBC and the Royal Opera House.
The Frankfurt Group, also called the Frankfurt Gang or the Frankfurt Five, was a group of English-speaking composers and friends who studied composition under Iwan Knorr at the Hoch Conservatory in Frankfurt am Main in the late 1890s. The group included H. Balfour Gardiner, Norman O'Neill, Cyril Scott and Roger Quilter, who were all English, and Percy Grainger and Frederick Septimus Kelly, who were born in Australia but established themselves as composers in England. Although they did not study in Frankfurt all at the same time they remained close friends from their student days onwards.
Reginald Redman was an English conductor and composer noted in particular for his contribution to the musical life of the West Country.
Sophie Adele Wyss was a Swiss soprano who made her career as a concert singer and broadcaster in the UK. She was noted for her performances of French works, many of them new to Britain, for giving the world premieres of Benjamin Britten's orchestral song cycles Our Hunting Fathers (1936) and Les Illuminations (1940), and for encouraging other composers to set English and French texts. Among those who wrote for her were Lennox Berkeley, Arnold Cooke, Roberto Gerhard, Elizabeth Maconchy, Peter Racine Fricker, Alan Rawsthorne and Mátyás Seiber.
On Wenlock Edge is a song cycle composed in 1909 by Ralph Vaughan Williams for tenor, piano and string quartet. The cycle comprises settings of six poems from A. E. Housman's 1896 collection A Shropshire Lad. A typical performance lasts around 22 minutes. It was premiered by Gervase Elwes, Frederick Kiddle and the Schwiller Quartet on 15 November 1909 in the Aeolian Hall, London. It was later orchestrated by the composer in a version first performed on 24 January 1924. Subsequent editions show a measure excised from the final movement (Clun): the third measure from the end. The Boosey and Hawkes 1946 score notes indicates this in a footnote on the last page. The cycle was recorded by Elwes, Kiddle and the London String Quartet in 1917.
William Busch was a British composer and musician. Busch studied music in London, Berlin and the United States. His composition teachers included John Ireland and Bernard van Dieren. He worked as a concert pianist before devoting himself more to music composition. But his pacifism during World War II resulted in decreased reception for his works during this time.
By Footpath and Stile is a song cycle for baritone and string quartet by English composer Gerald Finzi (1901-1956) set to poems by Thomas Hardy (1840-1928). Composed between 1921 and 1922, it was first performed in 1923 and published in 1925.