ROY HENDERSON Vaughan Williams ORPHEUS WITH HIS LUTE / Momus Eric Gritton DECCA

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Artist:CLICK RIGHT ARROW > FOR CONDITION,ROY HENDERSON
Format:Record
Material:Shellac
Genre:Classical,Opera
Record Label:Decca
Record Size:10″
Style:A Capella,Aria,Ars Nova,Ballad,Barcarolle,Canon,Cantata,Canzona,Chorale,Duet,Eastern European Music,Elegy,Film Score/Soundtrack,France & Belgium,French Music & Chansons,German music,Germany & Austria,Italian Music,Lied,Lullaby,Madrigal,Mass,Motet,Musical/Original Cast,Oratorio,Requiem,Russian Music,Spanish Music,Traditional & Vocal,Vocal
Speed:78 RPM
Release Title:Vaughan Williams ORPHEUS WITH HIS LUTE/ Boyce THE SONG OF MOMUS T
Language:English,French,German,Italian
Catalog Number:M.583,M-583,M 583,M583

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Great British Baritone Roy Henderson, the teacher of Kathleen Ferrier, in two Shakespeare songsVaughan Williams; Shakespeare: ORPHEUS WITH HIS LUTEWilliam Boyce THE SONG OF MOMUS TO MARSDecca M.583 ROY HENDERSON; Eric Gritton piano Orig Issue UK Decca 10″ 78 rpm. CONDITION: EXCELLENT close to PRISTINE light scuffs, plays E very quiet lightest hiss A GREAT COPYRoy Galbraith Henderson CBE (4 July 1899 – 16 March 2000) was a leading English baritone in the 1920s, 1930s and 1940s. He later became a teacher of singing, his most notable student being Kathleen Ferrier.Early life and influencesBorn in Edinburgh, (Scotland),[1] Henderson moved to Nottingham, (England), at an early age when his Scottish father, a prominent Congregational minister, was appointed to a church there and later became Principal of Paton Congregational College in the city. He was educated at Nottingham High School, where he became captain of cricket. He sang in his father’s church choir (his first solo was as First Malefactor in Stainer’s The Crucifixion), and in school concerts, but was mainly active in sports. Henderson served in the First World War in the Artists Rifles. In the regimental concert party were other well-known baritones, including Charles James Mott, Percy Heming and Clay Thomas.[2] Henderson was deeply impressed by Mott, who was later killed in the war.[3]Musical studies and early careerHenderson began study at the Royal Academy of Music in 1920, on the advice of the bass Robert Radford. He studied hard under Thomas Meux (singing) and John Blackwood McEwen (composition). He sang in Messiah once, in 1923, and vowed never to do so again. He made his first broadcast for the BBC (the first of very many) in 1924. In 1925, while he was still studying, he had the wonderful opportunity to sing in Delius’s A Mass of Life at the Queen’s Hall for the Royal Philharmonic Society, and was able to prepare the work and sing it from memory with the greatest success, within three weeks. The performance, on 2 April, was with Miriam Licette, Astra Desmond and Walter Widdop, conducted by Paul von Klenau. He was awarded the Worshipful Company of Musicians’ medal as most distinguished student of the year, and so his name as a professional singer was immediately made. He was married in 1926.Distinction in opera and British musicHenderson’s 1929 record of Sea Drift.He then began to obtain many engagements both in opera and in oratorio. He had seasons at Covent Garden, including Wagner roles, in 1928 and 1929. In 1929 at the Delius Festival under Sir Thomas Beecham, Henderson distinguished himself and was acclaimed by Delius as the unequalled interpreter of Zarathustra in A Mass of Life.[4][5] His performances of Delius’s Sea Drift (a part created by Frederic Austin) were also considered masterly. Beecham had recorded this work with the baritone Dennis Noble in 1928, but this was not issued owing to unsatisfactory acoustics. In 1929 the Decca record company was established by (Sir) Edward Lewis, and in May 1929 Henderson was recruited to record the work as one of Decca’s first issues.[6] There is also a recording of Songs of Sunset from the 1934 Leeds Festival under Beecham.He also became very distinguished in works by Ralph Vaughan Williams, including A Sea Symphony, Dona Nobis Pacem, Sancta Civitas and Five Tudor Portraits; in those of Edward Elgar, especially The Dream of Gerontius, The Kingdom, and The Apostles; in Bach’s St Matthew Passion and St John Passion; and in Mendelssohn’s Elijah. He took part in first performances of many British works, including composers Vaughan Williams, Dyson, Cyril Scott, E. J. Moeran, Arthur Bliss and Patrick Hadley. He gave the first performance of Bliss’ Serenade for Orchestra and Voice, under Malcolm Sargent, at the Queen’s Hall during the first Courtauld-Sargent series, 1929–1930.[7] He gave the premiere of Delius’s Idyll: Once I walked through a populous city[8] at the Queen’s Hall Promenade Concerts in October 1933 with Dora Labette, under Sir Henry Wood. For the Royal Philharmonic Society he performed Moeran’s Nocturne (for baritone, chorus and orchestra) under Adrian Boult in 1936,[9] and Dona Nobis Pacem and the Sea Symphony (with Isobel Baillie) under Ralph Vaughan Williams at the composer’s 70th birthday concert in November 1942.[10]From 1930 to 1937, he was chorus master of the Nottingham Harmonic Society under Sir Hamilton Harty, from whom he learned many lasting lessons. He also conducted the Huddersfield Glee and Madrigal Society, the Bournemouth Municipal Choir and the Nottingham Oriana Choir, one of the very few which sang only from memory. Over these years, he was also attempting to fulfil very many singing engagements at major concerts and festivals, and teaching in both London and Nottingham, and in the flush of his early success, he became over-extended in his work. He was made a Fellow of the Royal Academy of Music in around 1932.In 1934, he took part with Kate Winter, Linda Seymour and Parry Jones in the recording of Stravinsky’s Les noces, under the composer’s direction[11]In 1936 he was the baritone soloist in the premiere performance (and the first of very few in the composer’s lifetime) of Constant Lambert’s Summer’s Last Will and Testament, under Lambert’s direction.[12]Glyndebourne and MozartHe did not return to opera until 1934, when he participated in the first ventures at Glyndebourne. He sang on the opening night and appeared in every season until 1939, also singing on the last night before the outbreak of war in 1939. He sang the role of the Count in The Marriage of Figaro, Masetto in Don Giovanni, Guglielmo in Così fan tutte, and Papageno in The Magic Flute, under the direction of Fritz Busch, who commended him highly. He also took the role of Peachum in The Beggar’s Opera. His Count is preserved in the Busch (Glyndebourne 1936) HMV recording of The Marriage of Figaro.[13] His Masetto is in the Busch (Glyndebourne, c.1937-8) Don Giovanni.[14] For these years, Glyndebourne became his artistic home.[15] Henderson was an outstanding Mozart singer.He recorded the first complete Purcell Dido and Aeneas with Nancy Evans and the Boyd Neel ensemble conducted by Clarence Raybould before 1936.[16] In 1938, Henderson was one of the original 16 soloists in Vaughan Williams’s Serenade to Music (his is the solo line to the words ‘Nor is not moved with concord of sweet sounds’). In March 1940, he was involved in the Glyndebourne Company revival of The Beggar’s Opera, directed by John Gielgud, at the Haymarket Theatre in London.In his later career, he specialized more in recitals, and delivered a fine collection of English songs at the first Edinburgh Festival in 1947.Kathleen FerrierHenderson became a Professor at the Royal Academy of Music in 1940. He first met Kathleen Ferrier when both sang in a performance of Elijah at Runcorn on 23 December 1942.[17] A few weeks later, she came to him at the Royal Academy asking for lessons. (Dr Hutchinson of Newcastle upon Tyne had previously taught her.) Their relationship as pupil and teacher lasted for seven years. He began her coaching in Bach, Handel and Brahms, and steered her away from Verdi. He prepared her for her first The Dream of Gerontius in Leeds in November 1944 (insisting that she sing it from memory), and in that year they had also studied the Four Serious Songs of Brahms. He sent her to Professor Carl Ebert (producer of the pre-war Glyndebourne Mozart), on his return to Glyndebourne after the war, and to Hans Oppenheim when she was preparing lieder recitals with Bruno Walter. Walter thoroughly introduced her to the work of Mahler. Henderson is the conductor of the recording of the Pergolesi Stabat Mater with Ferrier and Joan Taylor, the Nottingham Oriana Choir and the Boyd Neel String Orchestra (Decca AK 1517–1521). He wrote an account of his teaching of Kathleen Ferrier in the memoir edited by Neville Cardus. He was also the teacher of Hervey Alan, Jennifer Vyvyan, Norma Procter and Rae Woodland.Henderson retired from the stage in 1952, and devoted nearly all of his time to teaching and writing music.In 1991, he made a BBC Radio 4 broadcast in conversation with Richard Baker and Sir Keith Falkner. In July 1999 he celebrated his 100th birthday. An album was released for the occasion, entitled Roy Henderson: A Centenary Recital. He died eight months later, in March 2000, in Bromley, Kent. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS – VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don’t give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise. »EXCEPTIONALLY QUIET » is close to noiseless, like a vinyl pressing. »VERY QUIET » is an above average quiet record for a given pressing. »Quiet » is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don’t like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit’s eCommerce Solution

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