(b Dublin, 30 Sept 1852; d London, 29 March 1924). British composer, teacher and conductor. A prodigiously gifted musician of great versatility, he, along with Parry and Mackenzie, did much to forge the new standards of the so-called renaissance in British music at the end of the 19th century. As a composer he brought a technical brilliance to almost all genres, though success in opera, in which he aspired to excel, generally eluded him until the end of his life. In spite of his stature as a composer (particularly in the province of church music), he is perhaps best known as a teacher of sveral generations of British composers who passed through his hands at the RCM and Cambridge University.
JEREMY DIBBLE
Stanford, Sir Charles Villiers
The only child of John James Stanford, one of Dublin's most eminent lawyers, and his second wife, Mary (nιe Henn), who also originated from a distinguished Irish legal family, Stanford grew up in a highly stimulating cultural and intellectual environment made up of his father's friends, most of whom emanated from the ecclesiastical, medical or judicial professions. His home, at 2 Herbert Street, was the meeting-place of numerous amateur and professional musicians his father, a capable singer and cellist, among them and on various occasions celebrities such as Joachim came to the house.
At Henry Tilney Bassett's school Stanford's education was firmly rooted in the classics (which later formed the basis of his degree at Cambridge), while his musical training consisted of tuition on the violin, piano and organ. In composition Stanford showed early promise and came under the influence of Dublin's most prominent musicians: Robert Stewart, Joseph Robinson and Michael Quarry (a pupil of Moscheles). In the province of church and organ music he learnt much from the example of Stewart; he admired the conducting skills of Robinson; and from Quarry he gained an invaluable insight into the music of Bach, Schumann and Brahms which supplemented his already wide knowledge of Handel and Mendelssohn. Later, in 1862, he became a composition pupil of Arthur O'Leary in London, where he also took piano lessons from Ernst Pauer.
In
1870 he gained the consent of his father (who had originally wished him to
enter the legal profession) to pursue a career in music. The same year he won
an organ scholarship at Queens' College, Cambridge, and in June 1871 gained a
classical scholarship. Even before Cambridge Stanford had begun to show a
prodigious ability in composition, producing church music, songs and partsongs,
and orchestral works including a Rondo for cello and orchestra (1869, written
for Wilhelm Elsner) and a Concert Overture (1870). At Cambridge this energy
remained unabated: he composed an incidental score for Longfellow's play A
Spanish Student (1871), a piano concerto in B
, evening services in F and E and more songs. Moreover, after
being elected assistant conductor to the Cambridge University Musical Society
(CUMS) in 1871 to assist the ailing John Larkin Hopkins, he was appointed
conductor in May 1873. Perhaps inevitably a conflict emerged between his
preoccupation for music and his degree studies, which he at times threatened to
abandon. In 1873 he moved to Trinity College, where, after Hopkins's death, he
was appointed organist in February 1874.
As part of the agreement of his appointment at Trinity, Stanford was able to spend the last six months of both 1874 and 1875 in Leipzig, where he studied the piano with Robert Papperitz and composition with Reinecke. Though he composed prolifically during this period one which included two choral works, The Resurrection and The Golden Legend, a piano trio (now lost), some fine songs to words by Heine and a violin concerto for Guido Papini the time passed with Reinecke was, according to Stanford, unprofitable. On Joachim's recommendation he went to Berlin for the last half of 1876 to work with Friedrich Kiel, an association that proved to be much happier.
By
the time he returned to Cambridge in January 1877 Stanford had already
established his name in British music with the Piano Suite op.2 and Toccata
op.3 (both published by Chappell in 1875), the First Symphony (which won second
prize in the Alexandra Palace competition in 1876) and incidental music for
Tennyson's play Queen Mary (1876). He attempted to combine this flair
for composition with his energy for organization and his abilities as a
performer and conductor. He rapidly brought the CUMS into prominence with first
English performances of Brahms's works, including the First Symphony (conducted
by Joachim), the Neue Liebeslieder waltzes and the Alto Rhapsody; he
introduced a number of his own works, such as the Second Symphony, Psalm xlvi
(op.8) and the Piano Quintet, and figured frequently as pianist in CUMS
Popular Concerts of chamber music. In addition he was highly successful in attracting
major artists to Cambridge, namely Hans Richter, Joachim, Piatti, Dannreuther,
Hermann Franke and Robert Hausmann as well as native composers, including
Parry, Cowen, Goving Thomas and Mackenzie. As organist at Trinity he was
equally active, though, as he claimed later (in a paper to the Church Congress
in 1899), more constrained by clerical authority. He undertook to continue the
regular series of organ recitals (initiated by Hopkins) and raised their
profile through the invitation of important performers such as Walter Parratt,
Basil Harwood, Frederick Bridge and C.H. Lloyd. The standard of the chapel
choir also rose markedly, a fact underlined by the production of some highly
distinctive church music such as the Service in B (op.10), the anthem The Lord is my
shepherd (1886) and the motet Justorum animae(1888).
In 1887, at the age of 35, he was appointed professor of music at Cambridge, an office he used effectively to help augment the status of the university's MusB degree by the introduction (in 1893) of residence as a condition of supplication. His relationship with Cambridge was not altogether happy. He resigned his post as organist at Trinity in 1892, though he continued as conductor of CUMS until 1893 in order to oversee the society's jubilee celebrations, an occasion which brought Tchaikovsky, Saint-Saλns, Boito and Bruch to the university to receive honorary doctorates.
In 1883 he joined the staff of the newly inaugurated RCM as professor of composition and conductor of the orchestra. In both areas he exerted considerable influence, though it is for the impressive list of pupils such as Benjamin, Frank Bridge, Butterworth, Coleridge-Taylor, Dyson, Gurney, Howells, Hurlstone, Ireland, Moeran and Vaughan Williams that he is best remembered. One other substantial contribution to life at the RCM was the instigation of the opera class, an initiative which soon led to an annual production. Stanford's enthusiasm for opera is demonstrated by his lifelong commitment to a genre in which he enjoyed varying success: several of his operas, The Veiled Prophet of Khorassan (first performed at Hanover, 1881), Savonarola (1884, Hamburg), Shamus O'Brien (1896, London) and Much Ado about Nothing (1901, London), enjoyed a modicum of national and international recognition (Shamus O'Brien was also performed at the Broadway Theatre, New York, on 5 January 1897), while his two last and arguably best operas, The Critic (1916) and The Travelling Companion (1919), had still not attracted the attention of professional opera companies by the mid-1990s. Such persistence reflected his profound belief in opera as the vital catalyst in Britain's musical renaissance. He proselytized untiringly for a national opera (especially in his essay The Case for National Opera, in Studies and Memories, 1908) and spearheaded a petition to the London County Council in 1898. Regrettably the venture failed, although he persisted until his death in fighting the cause through articles and letters to the newspapers.
Besides conducting at the RCM and CUMS, Stanford was also conductor of the Bach Choir (18861902), the Leeds Philharmonic Society (18971909) and the Leeds Triennial Festival (190110), while also appearing occasionally for the Philharmonic Society. He received many honours, including honorary degrees from Oxford (DMus 1883), Cambridge (MusD 1888), Durham (DCL 1894) and Leeds (LLD 1904). He was knighted in 1902.
Stanford, Sir Charles Villiers
Like his contemporary Hubert Parry, Stanford produced a large range of works for chorus and orchestra for provincial festivals. His two oratorios, The Three Holy Children (1885) and Eden (1891), and perhaps his most popular large-scale choral essay, the Requiem (all written for the Birmingham Triennial Festival), are not without interest structurally or dramatically, but it is in the smaller, more concise works such as the brooding Elegiac Ode(1884), the choral overture Ave atque vale (1909) and (for Leeds) the Songs of the Sea (1904) and Songs of the Fleet (1910) that Stanford achieved real stylistic individuality.
As a composer he won notable acclaim abroad. In addition to operatic productions in Hanover, Hamburg, Leipzig and Breslau, his Irish Symphony (no.3), which received its premiθre in London in May 1887, was performed in many cities in Europe (Berlin and Hamburg early in 1888) and North America. Championed by Richter and Bόlow, the symphony was also chosen for the opening concert of the new Concertgebouw in Amsterdam (November 1888) and Mahler included it in his concerts with the New York PO in 1911. On 14 January 1889 Stanford enjoyed the rare privilege of conducting a concert in Berlin entirely of his own music, a programme which featured two new commissions: the Fourth Symphony and the Suite op.32 for violin and orchestra, written for Joachim. (Joachim played the Suite again on 28 March, in London.) Many of his works were composed for and played by the most eminent virtuosos of the day, including Enrique Arbσs (Violin Concerto no.1), Leonard Borwick (Piano Concerto no.1, Concert Variations op.71), Harold Bauer (Piano Concerto no.2), Fanny Davies, Percy Grainger, Robert Hausmann (Cello Concerto), Fritz Kreisler, Alfredo Piatti, Moriz Rosenthal and Frederick Thurston, while a number of his songs and Irish folksong arrangements were written for his compatriot and biographer, the Irish baritone Plunket Greene.
Stanford
is best known for his contribution to Anglican liturgical music and
particularly for the symphonic and cyclic dimensions he brought to the familiar
morning and evening canticles and communion texts. His Service in B was widely sung soon after
its publication in 1879, as was the orchestrally conceived Evening Service in
A, op.12, written for the 1880 Festival of the Sons of the Clergy in St Paul's
Cathedral. These, and the inventive later settings, in G and in C, proved to be
highly influential models for others such as Charles Wood, Brewer, Noble, Dyson
and Howells. Yet although Stanford undoubtedly enjoyed his success as a
composer of church music, he was equally aware of the national limits of its
appeal. As is clear from his letters and writings, he believed that
international recognition would be earned only through the more universal forms
of symphony, concerto, string quartet and opera. This he only partly and
temporarily achieved in his lifetime and, as is clear from his pugnacious article
Music and the War (Quarterly Review, 1915), he blamed the British
publishing industry for their inability to take on many of his works that did
not fall into the category of large profits and quick returns. His
instrumental music, always impressively polished, inclines towards classical
equipoise. Though he strenuously advocated Brahms as a compositional paradigm,
works such as the First Piano Concerto op.59 (1894), the Violin Concerto op.74
(1899) and the Seventh Symphony (1911), with their felicitous orchestration and
delicate lyricism, display as much of a debt to Mendelssohn. His chamber music,
admired by Bernard Shaw, is also exceptionally well crafted whether in
miniatures such as the Three Intermezzi for clarinet and piano (1879), the
charming Serenade nonet (1905), or the Clarinet Sonata (1911) with its
affecting Caoine (lament).
The diatonicism of Stanford's harmonic language, which he consciously chose to espouse in rejecting the crushingly chromatic idiom of Wagner's Tristan und Isolde (as he described it in his essay Baireuth in 1876, in Interludes, Records and Reflections, 1922) shows a considerable degree of sophistication and refinement as demonstrated in the well-known Latin motets op.38, the partsong Peace, come away (written in memory of his close friend Tennyson) and his immortal setting of Mary Coleridge's The Bluebird (op.119 no.3; 1910). This sophisticated diatonicism, combined with lyrical flair, is a predominant feature of his music, and is capable of expressing pathos, such as is found in the slow movements of the Fifth and Sixth Symphonies, in the First and Second Piano Concertos and in Homeward Bound from Songs of the Sea (op.91) and Farewell from Songs of the Fleet (op.117).
Stanford's gift for melody is often infused with the contours of Irish folk music, much of which he either edited (as in the Petrie collection, 19025) or arranged. His love of Ireland, perhaps seen nostalgically from the safe distance of London, permeated a large number of his solo songs and song cycles, many of which are based on words by lesser-known Irish poets such as John Stevenson, Winifred M. Letts and Moira O'Neill. The appeal of these settings, which often use a rather mannered colloquial, now dated, native speech, is limited. For similar reasons even more accentuated stage Irish texts the choral ballad Phaudrig Crohoore (1896) and the otherwise slick comic opera Shamus O'Brien (1896) are now rarely performed.
Stanford's most eloquent expression of his Irish identity, one that was defined by a deep-seated loyalty to the Union (an Irish Tory, he was a follower of Craig and Carson, an adherent of the Irish Unionist Alliance and a signatory to the Ulster Covenant), found voice in his six Irish rhapsodies. In these works, written in his later life, between 1901 and 1923, his skills as arranger, orchestrator and symphonist are most effectively synthesized, yielding movements of structural imagination and genuine symphonic thinking. The Irish Rhapsody no.1 (1902), written for Richter, proved immensely popular; no.2 (op.84) was commissioned by the celebrated Dutch conductor, Willem Mengelberg, who gave its first performance in Amsterdam in 1903. Mengelberg also conducted the first performance of the Rhapsody no.4 (1914), arguably Stanford's finest orchestral achievement.
As an expert teacher Stanford was widely acknowledged by his many pupils (ML, v, 1924). Harold Samuel referred to him as the last of the formalists, a description which aptly summarizes the method and aesthetic of his primer Musical Composition (1911). Nevertheless, though his kindness was remembered affectionately, his intolerance of opposing views, his prejudices (political as well as musical), cynicism and dismissal of modern music created an aversion in those he taught. Dyson claimed that in a certain sense the very rebellion [Stanford] fought was the most obvious fruit of his methods (ML, v (1924), 197). His dislike of the music of Richard Strauss was expressed not only in articles but also in his highly satirical Ode to Discord (completed 1908), a setting of A Chimerical Bombination in Four Bursts by his friend Charles Larcom Graves. Towards the end of his life his prejudices intensified as he appealed for a return to sanity in all aspects of composition (Sanity (?) in Composition, Musical Herald, 1917), believing that modern tendencies were at best ephemeral and at worst ugly.
Stanford, Sir Charles Villiers
Stanford, Sir Charles Villiers: Works
op.
|
|
The Golden Legend (H.W. Longfellow), solo vv, chorus, orch, 18745, unperf., unpubd |
|
5 |
The Resurrection (F.G. Klopstock: Die Auferstehung, trans. C. Winkworth), T, chorus, orch, org, Cambridge, 1875, rev. 1876 |
|
8 |
God is our Hope and Strength (Ps xlvi), S, A, T, Bar, B, chorus, orch, Cambridge, 1877 |
|
17 |
Three Cavalier Songs (R. Browning), Bar, male chorus, 1880, orchd 1893 |
|
21 |
Elegiac Ode (W. Whitman), solo vv, chorus, orch, Norwich, 1884 |
|
22 |
The Three Holy Children (orat, Bible), solo vv, chorus, orch, Birmingham, 1885 |
|
24 |
The Revenge: a Ballad of the Fleet (A. Tennyson), chorus, orch, Leeds, 1886 |
|
26 |
Carmen saeculare (ode, Tennyson), S, chorus, orch, London, Buckingham Palace, 11 May 1887 |
|
27 |
O praise the Lord of Heaven (Ps cl), S, chorus, orch, Manchester, 1887 |
|
34 |
The Voyage of Maeldune (ballad, Tennyson), solo vv, chorus, orch, Leeds, 1889 |
|
40 |
Eden (orat, R. Bridges), 6 solo vv, chorus, orch, Birmingham, 1891 |
|
41 |
The Battle of the Baltic (ballad, T. Campbell), chorus, orch, Hereford, 1891 |
|
|
Installation Ode (A.W. Verrall), Cambridge, 1892 |
|
46 |
Mass, G, 4 solo vv, chorus, orch, London, Brompton Oratory, 1893 |
|
52 |
East to West (ode, A.C. Swinburne), chorus, orch, London, 1893 |
|
50 |
The Bard (ode, T. Gray), B, chorus, orch, Cardiff, 1895 |
|
62 |
Phaudrig Crohoore (ballad, J.S. Le Fanu), chorus, orch, Norwich, 1896 |
|
63 |
Requiem, solo vv, chorus, orch, Birmingham, 1897 |
|
66 |
Te
Deum, B |
|
68 |
Our enemies have fallen (Tennyson), chorus, orch [from partsong, op.68 no.8], London, Buckingham Palace, 1899 |
|
75 |
Last Post (W.E. Henley), chorus, orch, London, Buckingham Palace, 1900 |
|
83 |
The Lord of Might (R. Heber), chorus, orch, org, London, 1903 |
|
91 |
Songs of the Sea (H. Newbolt), Bar, male chorus, orch, Leeds, 1904 |
|
96 |
Stabat mater, sym. cant., solo vv, chorus, orch, Leeds, 1907 |
|
100 |
Ode to Wellington (Tennyson), S, Bar, chorus, orch, Bristol, 1908 |
|
107 |
A Welcome Song (Duke of Argyll), chorus, orch, London, 1908 |
|
|
Choric Ode (J.H. Skrine), chorus, orch, Bath, 1909, unpubd |
|
|
Ode to Discord (C.L. Graves: A Chimerical Bombination in Four Bursts), chorus, orch, London, 1909 |
|
114 |
Ave atque vale (choral ov., Apocrypha, Ecclesiasticus), chorus, orch, London, 1909 |
|
117 |
Songs of the Fleet (Newbolt), Bar, chorus, orch, Leeds, 1910 |
|
131 |
Fairy Day (3 idylls, W. Allingham), female chorus, chamber orch, 1912 |
|
172 |
Merlin and the Gleam (Tennyson), Bar, chorus, orch, 1919 |
|
173 |
Mass Via victrix 19141918, solo vv, chorus, orch, org, 1919 |
|
177 |
At the Abbey Gate (C.J. Darling), Bar/male chorus, orch, London, 1921 |
Stanford, Sir Charles Villiers: Works
|
|
How beautiful upon the mountains, anthem, 1868, unpubd |
|
|
Magnificat and Nunc dimittis, F, 4vv, org, 1872, unpubd |
|
|
Magnificat
and Nunc dimittis, E |
|
|
Pater noster, 8vv, 1874, unpubd |
|
|
In memoria aeterna erit, commemoration anthem, 8vv, org, 1874 unpubd |
|
|
In memoria aeterna erit, commemoration anthem, 8vv, 1876, unpubd |
|
10 |
Morning,
Communion and Evening Services, B |
|
12 |
Evening Service, A, 4vv, orch/org, 1880, Morning and Communion Services, A, 4vv, org, 1895 |
|
16 |
Awake my Heart (F.G. Klopstock), motet, Bar, chorus, org, 1881; also orchd, 2 versions |
|
|
If ye then be risen with Christ, Easter anthem, 4vv, org, 1883 |
|
37 |
Two anthems, 4vv, org, c1885: And I saw another angel, for All Saints' Day; If thou shalt confess with thy mouth, for St Andrew's Day |
|
|
Blessed are the dead which die in the Lord, funeral anthem, 4vv, 1886 |
|
|
I heard a voice from heaven, anthem, 4vv, 1886 [reworking of Blessed are the dead] |
|
|
The Lord is my Shepherd (Ps xxiii), anthem, 4vv, org, 1886 |
|
38 |
Three [Lat.] Motets (1905): Justorum animae, 4vv, 1888; Ceolos ascendit hodie, 8vv; Beati quorum via, 6vv, ?1890 |
|
36 |
Morning, Communion and Evening Services, F, 4vv, opt. org, 1889; addl Bs and Ag, 1909 |
|
|
Why seek ye the living among the dead?, anthem, 4vv, org, c1890 |
|
81 |
Morning, Communion and Evening Services, G, 4vv, org, 1904; Mag and Nunc orchd, 1907 |
|
|
Arise, shine, for thy light is come, Christmas anthem, 4vv, org, c1905 |
|
98 |
Magnificat and Nunc dimittis on 2nd and 3rd Gregorian tones, 4vv, org, 1907; addl TeD, Bs and Communion Service, 1921 |
|
|
For all the Saints (Bishop W. How), choral hymn, 4vv, org, 1908 |
|
|
O living Will, that shalt endure (A. Tennyson), motet, 4vv (1908) |
|
|
Sing unto God, O ye kingdoms, anthem, 4vv, org, 1908 |
|
113 |
Six Hymns (Chorales), 4vv, org (190910) |
|
115 |
Morning, Communion and Evening Services, C, 4vv, org, 1909; TeD orchd for brass, timp, org, 1910, Mag and Nunc, for [full] orch, ?1910 |
|
120 |
Come, ye thankful people, come (H. Alford), harvest anthem, 4vv, org, 1910 |
|
|
We bow our heads, anthem, chorus, org, from final chorus of Bach's St Matthew Passion (1910) |
|
123 |
Ye choirs of new Jerusalem (St Fulbert of Chartres), Easter anthem, 4vv, org, 1910 |
|
128 |
Festal
Communion Service, B |
|
|
St Patrick's Breastplate (Mrs Alexander), choral hymn, chorus, brass, perc, org, 1912 |
|
134 |
Blessed City, heav'nly Salem (Lat., 7th century), anthem, 4vv, org, 1913 |
|
135 |
Three [Eng.] Motets, 1913: Ye holy angels bright (R. Baxter), 8vv; Eternal Father (R. Bridges), 6vv; Glorious and powerful God (anon.), 4vv |
|
143 |
Thanksgiving
Te Deum, E |
|
145 |
For lo, I raise up, anthem, 4vv, org, 1914 |
|
|
Aviator's Hymn (A.C. Ainger), T, B, 4vv, org (1917) |
|
|
Lighten our darkness, we beseech Thee (Book of Common Prayer), anthem, 4vv, org, 1918 |
|
164 |
Magnificat,
B |
|
|
Sing unto God, anthem, 4vv, org (1918) |
|
169 |
Mass, d, 4vv, unpubd |
|
176 |
Mass, 4vv, unpubd |
|
|
Mass, 8vv, 1920, unpubd |
|
|
Veni, Creator Spiritus, S, A, T, B, 4vv, org, 1922 |
|
192 |
Three Anthems (1923): Lo! He comes with clouds descending (C. Wesley and J. Cennick), Advent anthem, 4vv, org; While shepherds watched their flocks (N. Tate), Christmas anthem, 4vv, org; Jesus Christ is risen today (Lyra Davidica, 1708), Easter anthem, 8vv, org |
|
|
How beauteous are the feet (I. Watts), anthem, 4vv, org (1923) |
|
|
Morning, Communion and Evening Services, D, unison choir, org (1923) |
|
|
When God of old came down from heav'n, Whitsuntide anthem, 4vv, org (1923) |
|
|
The earth is the Lord's, anthem, 4vv, org (1924) |
|
|
Be merciful unto me, anthem, 4vv, org, ed. (1928) |
|
|
How long wilt thou forget me?, anthem, 4vv, org, ed. (1928) |
|
|
Offertory Sentences, 4vv, org, ed. (1930) |
|
Many hymn tunes, carols and chants |
|
Stanford, Sir Charles Villiers: Works
for MSS and publication details of operas see GroveO
|
|
The Spanish Student (incid music, H.W. Longfellow), 1871, ?unperf., unpubd |
|
6 |
Queen Mary (incid music, A. Tennyson), London, Lyceum, 1876; arr. pf duet |
|
|
The Veiled Prophet of Khorassan (grand op, 3, W.B. Squire, after T. Moore: Lalla Rookh), 1879, Hanover, Hof, 6 Feb 1881; as La profeta valeto, London, CG, 26 July 1893 |
|
|
Savonarola (grand op, prol, 3, G.A. A'Beckett), in Ger., Hamburg, Stadt, 18 April 1884; in Eng., London, CG, 9 July 1884 |
|
|
The Canterbury Pilgrims (op, 3, A'Beckett), London, Drury Lane, 28 April 1884 |
|
23 |
The Eumenides (incid music, Aeschylus), Cambridge, Theatre Royal, 1 Dec 1885 |
|
29 |
Oedipus tyrannus (incid music, Sophocles), Cambridge, Theatre Royal, 22 Nov 1887 |
|
|
The Miner of Falun (op, 3, Squire and H.F. Wilson, after E.T.A. Hoffmann), 1888 (Act 1 only), unperf., unpubd |
|
48 |
Becket (incid music, Tennyson), London, Lyceum, 6 Feb 1893, unpubd |
|
55 |
Lorenza (dramma lirico, prol, 2, A. Ghislanzoni and F. Fontana), 18934, unperf., unpubd |
|
61 |
Shamus O'Brien (romantic comic op, 2, G.H. Jessop, after J.S. Le Fanu), London, Opera Comique, 2 March 1896; rev., in Ger., Breslau, 12 April 1907 |
|
69 |
Christopher Patch (The Barber of Bath) (comedy op, 2, B.C. Stephenson and Jessop), c1897, unperf., unpubd |
|
76a |
Much Ado about Nothing (The Marriage of Hero) (op, J.R. Sturgis, after W. Shakespeare), 1900, London, CG, 30 May 1901; in Ger., Leipzig, 25 April 1902 |
|
102 |
Attila the Hun (incid music, L. Binyon), London, His Majesty's, 4 Sept 1907, unpubd |
|
130 |
Drake (incid music, L.N. Parker), London, His Majesty's, 3 Sept 1912 |
|
144 |
The Critic (An Opera Rehearsed) (op, 2, L.C. James, after R.B. Sheridan), London, Shaftesbury, 14 Jan 1916 |
|
146 |
The Travelling Companion (op, 4, H. Newbolt, after H.C. Andersen), 1916, Liverpool, David Lewis Theatre, 30 April 1925 |
Stanford, Sir Charles Villiers: Works
|
|
Rondo, vc, orch, 1869, ?unperf., unpubd |
|
|
Concert Overture, a, 1870, ?unperf., unpubd |
|
|
Piano
Concerto, B |
|
|
Violin Concerto, D, 1875, ?unperf., unpubd |
|
|
Symphony
no.1, B |
|
|
Festival
Overture, B |
|
|
Symphony no.2 Elegiac, d, 1879, rev. 1882, Cambridge, 7 March 1882, unpubd |
|
|
Cello Concerto, d, 1880, Cambridge, 13 March 1884 (slow movt only), unpubd |
|
18 |
Serenade, G, 1881, Birmingham, 30 Aug 1882; also arr. pf duet |
|
28 |
Symphony no.3 Irish, f, 1887, London, 27 June 1887 |
|
31 |
Symphony no.4, F, 1888, Berlin, 14 Jan 1889 |
|
32 |
Suite, D, vn, orch, 1888, Berlin, 14 Jan 1889 |
|
33 |
Festival Overture Queen of the Seas, C, ?1888, Berlin, 14 Jan 1889, unpubd |
|
56 |
Symphony no.5 L'Allegro ed il Pensieroso, D, 1894, London, 20 March 1895 |
|
59 |
Piano Concerto no.1, G, 1894, London, 27 May 1895, unpubd |
|
58 |
Suite of Ancient Dances, 1895, London, 28 Aug 1895 [orch of 5 movts from pf work, op.58] |
|
71 |
Concert Variations upon an English Theme Down among the dead men, c, pf, orch, 18978, London, 4 May 1899 |
|
74 |
Violin Concerto no.1, D, 1899, Bournemouth, 7 March 1901 |
|
78 |
Irish Rhapsody no.1, d, 1902, Norwich, 23 Oct 1902 |
|
80 |
Clarinet Concerto, a, 1 movt, 1902, Bournemouth, 29 Jan 1903 |
|
|
Flourish of Trumpets, 1902, Delhi, Imperial Durbar, 1 Jan 1903 |
|
79 |
Irish Rhapsody no.2, F, ?19023, inc. |
|
84 |
Irish Rhapsody no.2 The Lament for the Son of Ossian, f, 1903, Amsterdam, 25 May 1903, unpubd |
|
87 |
Welcome
March, B |
|
89 |
Four Irish Dances, 1903, unpubd [orch of pf work op.89] |
|
90 |
Overture in the Style of a Tragedy, c, 1903, ?unperf., unpubd |
|
94 |
Symphony
no.6 In Memoriam G.F. Watts, E |
|
108 |
Installation
March, E |
|
109 |
Three Military Marches, military band, 1908, unpubd |
|
124 |
Symphony no.7, d, 1911, London, 22 Feb 1912 |
|
126 |
Piano Concerto no.2, c, 1911, Norfolk, CT, 3 June 1915 |
|
137 |
Irish Rhapsody no.3, D, vc, orch, 1913, Belfast, 20 Oct 1987, unpubd |
|
141 |
Irish Rhapsody no.4 The fisherman of Lough Neagh and what he saw, a, 1913, Amsterdam, 8 Feb 1914 |
|
|
An Ulster March, ?1913, unpubd |
|
|
March for Orchestra, ?1913, unpubd |
|
147 |
Irish Rhapsody no.5, g, 1917, London, 18 March 1917, unpubd |
|
151 |
Verdun: Solemn March and Heroic Epilogue, 191718, London, 20 Jan 1918 [orch of 2nd and 3rd movts of Org Sonata no.2, op.151] |
|
160 |
Ballata and Ballabile, vc, orch, 1918, arr. vc, pf, London, 3 May 1919; orig. version, Belfast, 26 Jan 1990; unpubd |
|
161 |
An Irish Concertino, d, vn, vc, orch, 1918, arr. vn, vc, pf, London, 4 Dec 1918; orig. version, Bournemouth, 22 April 1920 |
|
162 |
Violin Concerto no.2, g, 1918, ?unperf., unpubd; also arr. vn, pf |
|
168 |
A Song of Agincourt, ?1918, rev. 1919, London, RCM, 25 March 1919 |
|
171 |
Piano
Concerto no.3, E |
|
180 |
Variations, vn, orch, 1921, ?unperf., unpubd; also arr. vn, pf |
|
181 |
Concert Piece, org, brass, timp, str, 1921, Belfast, 19 June 1990, unpubd |
|
191 |
Irish Rhapsody no.6, d, vn, orch, 1922, ? London 1923; York, 30 Oct 1923; unpubd, arr. vn, pf (1923) |
Stanford, Sir Charles Villiers: Works
|
Pf
Trio, G, ?1875 (lost); Sonata no.1, D, vn, pf, op.11, ?18767; Sonata no.1,
A, vc, pf, op.9, 1877; 3 Intermezzi, cl, pf, op.13 (1879); Pf Qt no.1, F,
op.15, 1879; Pf Qnt, d, op.25, 1886; Pf Trio no.1, E |
|
Pf
Trio no.2, g, op.73, 1899; Album-Leaf, vn, pf, 1899; Str Qnt no.1, F, 2 vn, 2
va, vc, op.85, 1903; Str Qnt no.2, c, 2 vn, 2 va, vc, op.86, 1903, unpubd;
Irish Dances, op.89, 1903, arr. vn, pf (191724) [nos.1, 3, 4, of 4 Irish
Dances, pf, op.89]; 5 Characteristic Pieces, vn, pf, op.93, 1905, nos.13, 5
arr. vc, pf (1906); Serenade, F, nonet, op.95, 1905, unpubd; Str Qt no.4, g,
op.99, 1906, unpubd; Str Qt no.5, B |
|
Pf
Trio no.3, A, op.158, 1918; 2 sonatas, vn, pf, op.165, c1919, perf.
London, 7 May 1919, unpubd; Str Qt no.7, c, op.166, c191819, unpubd;
St Qt no.8, e, op.167, 1919, unpubd; 5 Bagatelles in Valse Form, vn, pf,
op.183 (1921); Fantasy [no.1], g, cl, str qt, 1921, unpubd; Fantasy [no.2],
F, cl, str qt, 1922, unpubd; Fantasy [no.3], a, hn, str qt, 1922, unpubd; [3]
Irish Airs, arr. vn, pf (1923); 6 Irish Marches, arr. vn, pf, c1923,
unpubd; An Ancient Melody, A |
Stanford, Sir Charles Villiers: Works
|
March,
D |
|
Scθnes de ballet, op.150, 1917; 6 Sketches (Children's Pieces) (1918); Preludes in all the Keys, i, nos.124, op.163, 1918; Ballade, g, op.170 (1919); Toccata, C, 1919, unpubd; 6 Song-Tunes (1920); A Toy Story (1920); Preludes in all the Keys, ii, nos.2548, op.179 (1921); 3 Nocturnes, op.184, 1921; 2 sonatinas, G, d, 1922, unpubd; [12] Irish Airs Easily Arranged, c1922; 2 Fugues, op.193: c, 1922, b, 1923 [arr. of nos.2 and 3 of 3 Preludes for Org]; 3 Waltzes, a, d, F, op.178 (1923); 3 Fancies, ?1923; Scherzo, b, unpubd |
Stanford, Sir Charles Villiers: Works
|
Prelude and Fugue, e, c1875; unpubd; Jesu dulcis memoriae, prelude, 1879, unpubd; Fantasia and Toccata, d, op.57, 1894; 6 Preludes, op.88, 1903; 6 Short Preludes and Postludes, op.101, 1907; Fantasia and Fugue, d, op.103, 1907; 6 Short Preludes and Postludes, op.105, 1908; Installation March, op.108 (1908) [from Military Band work, op.108]; TeD and Canzone, op.116, c1909; Fantasia and Idyll, op.121, 1910; Sonata no.1, F, op.149, 1917; Sonata no.2 Eroica, g, op.151, 1917, 2nd and 3rd movts also orchd |
|
Sonata no.3 Britannica, d, op.152, 1917; Sonata no.4 Celtica, c, op.153, 1918; Sonata no.5 Quasi una Fantasia, A, op.159, 1918; 6 Occasional Preludes, op.182, ed. (1930); Fantasia upon the Tune Intercessor by C.H.H. Parry, op.187, 1922; 4 Intermezzi, op.189 (1923); 3 Preludes and Fugues, op.193, 1922; Choral Prelude, in A Little Organ Book (c1924); 3 Idylls, op.194, ed. (1930) |
Stanford, Sir Charles Villiers: Works
|
How beautiful is night, 1870, unpubd; To Chloris, c1873; 6 Part-Songs, op.33, c1889, unpubd; 4 Part-Songs, op.47, 1892; 6 Elizabethan Pastorales, 3 sets: i, op.49, ii, op.53, iii, op.67, 18927; 11 Two-Part Songs, SA (18931907); A Cycle of [9] Songs (A. Tennyson: The Princess), SATB, op.68, 1897, no.8 also orchd; Out in the windy west (A.C. Benson), 1898, in Choral Songs in Honour of Queen Victoria (1899); Hush, sweet lute (T. Moore), TTBB (1898); 6 Irish Folksongs, op.78 (1901); God and the Universe, SATB (1906) [arr. of solo song, op.97 no.2]; 4 Part-Songs for [4] Male Voices, op.106, 1908; 3 Part-Songs, op.111 (1908); The Shepherd's Sirena (M. Drayton), SA (1909); 4 Part-Songs, op.110 (1910); 8 Part-Songs, op.119, 1910 |
|
8 Part-Songs, op.127, 1910; The Angler's Song (J. Chalkhill), 1911; My Land (T.O. Davis), SA, 1911; Off for the Cruise (?F.G. Watts), 1913; 6 Songs, SS, op.138 (1914); On Time (J. Milton), 8vv, op.142, 1914; 10 Part-Songs, op.156, c1917, ?unpubd; On Windy Way when morning breaks (J. Rundall), 1917; Sailing Song (E. Cook), SS (1917); Claribel (Tennyson), SA (1918); The Haymaker's Roundelay (anon.), SS (1918); The Rose upon my Balcony (W.M. Thackeray), SS (1918); A Carol of Bells (L.N. Parker), SATB (1919) [arr. of solo songs, 1916]; Acrostic Ode to Old Comrades (C.E. Stredwick), ATBB, c1920, unpubd; Allen-a-Dale (W. Scott), SSA, pf/vn (1922); Blow, winds, blow (anon.), SSA (1922); The Border Harp (W.H. Ogilvie), SSA (1922) |
|
Flittermice (Rundall), SS (1922); 6 Irish Airs (Moore), arr. SATB (1922); My gentle harp (Moore), arr. SATB (1922); Oh for the swords (Moore), arr. SATB (1922); 2 Old Irish Melodies (A.P. Graves), SATB (1922) [arr. of songs, The Foggy Dew, My love's an arbutus]; Shadow Dancers (Ogilvie), SSA, pf/vn (1922); The Valley (P. MacGill), 1922; The Morris Dance (anon.), 1923; The Peaceful Western Wind (T. Campion), SSA (1923); Virtue (G. Herbert), SA (1923); Lady May (H. Chappell), SSA, pf/2 vn (1924); 4 songs (A.P. Graves), ATBB: Battle Hymn, One Sunday after Mass, The Royal Hunt, St Mary's Bells, ed. (1928) [orig. for 1v, pf, pubd in Songs of Old Ireland (1882)] |
Stanford, Sir Charles Villiers: Works
|
|
also arranged with orchestral accompaniment |
|
We bear her home (B. Cornwall), c1864; The Minstrel's Song (T. Chatterton), 1868, unpubd; My boat is ready (C. Stephenson), c1870; To the Evening Star (T. Campbell), 1870, unpubd; O Domine Jesu (Mary Queen of Scots), S, vc, c1870; 6 Songs (H. Heine), op.4, 1874; Irish Eyes (A.P. Graves), c1876; 2 Songs from Queen Mary (Tennyson) (1876); A Valentine of the Year (anon.), c1876; La Belle Dame sans merci (J. Keats), 1877; 3 Ditties of the Olden Time (J. Suckling), 1877; 6 Songs (Heine), op.7 (?1877); 8 Songs from The Spanish Gypsy (G. Eliot), op.1 (18778); 6 Songs, op.14, 188081; 6 Songs, op.19, 1882; Prospice (R. Browning), 1884; The Tomb (T. Stanley), c1885; Carmen Familiare: Sanctae Trinitatis Collegii (A.W. Verrall), 1888; For ever mine (H.E. Boulton), 1889, in 12 New Songs by British Composers (1891) |
|
Crossing the Bar (Tennyson), 1890; 3 Songs (R. Bridges), op.43, 1891; A Child's Garland of Songs (R.L. Stevenson), op.30 (1892); A Corsican Dirge (trans. A. Strettall), 1892; The Old Navy (F. Marryat) (1892); A Carol (A.T. Quiller-Couch) (1893); The Flag of Union (A. Austin) (1893); Prince Madoc's Farewell (F.D. Hemans), 1893; Summer's Rain and Winter's Snow (R.W. Gilder), unison (1893); Tom Leminn (Quiller-Couch), 1893, unpubd; Worship (J.G. Whittier), unison (1893); A Message to Phillis (T. Heywood), c1893; The Calico Dress (G.H. Jessop), 1896; The Clown's Songs from Twelfth Night (W. Shakespeare), op.65, 1896; Parted (Jessop), 1896; The Rose of Killarney (A.P. Graves) (1896); The Battle of Pelusium (F. Beaumont), 1897 |
|
Is it the wind of dawn? (from Tennyson: Becket), duet, S, Bar, pf (1898); Die Wallfahrt nach Kevlaar (Heine), op.72, 1898; Jack Tar (Tennyson) (1900); Sea Wrack (M. O'Neill), c1900; An Irish Idyll in 6 Miniatures (O'Neill), op.77 (1901); The Linnet (Bridges), in The Vocalist (1902); 5 Sonnets from The Triumph of Love (E. Holmes), op.82 (1903) 2; When the lamp is shattered (P.B. Shelley), duet, 1904, unpubd; Dainty Davie (R. Burns), 1905; Mopsa (T. Moore), 1905; [6] Songs of Faith (Tennyson, W. Whitman), op.97, 1906 2, no.2 God and the Universe also arr. SATB; 4 Songs (Tennyson), op.112, 1908; Britons, guard your own (Tennyson), c1908; [6] Bible Songs, 1v, org, with 6 Hymns, 4vv, ad lib, op.113 (1909) |
|
The British Tars (J. Hogg), unison (1909); Cushendall (J. Stevenson), cycle of 7 songs, op.118, 1910; 4 Songs, op.125, 1911; A Fire of Turf (W.M. Letts), cycle of 7 songs, op.139, 1913; The Invitation (A. Macy), unison (1913); Lullaby (F.D. Sherman), 2 S, pf (1913); A Sheaf of Songs from Leinster (Letts), op.140, 1913; Ulster (W. Wallace), 1913; A Berserker's Song (M. Sykes), 1914; Dirge of Ancient Britons (Sykes), 1914; The King's Highway (H. Newbolt), 1914; 3 Songs for Kookoorookoo and Other Songs (C. Rossetti), unison (1916); A Carol of Bells (L.N. Parker), 1916, also arr. SATB; Devon Men (P. Haselden), 1916; St George of England (C.F. Smith), 1917; The Fair Hills of Ireland (Smith), 1918; A Japanese Lullaby (E. Field), 1918 |
|
St Andrew's Land (Smith), 1918; Songs of a Roving Celt (M. Maclean), op.157, 1918; Wales for Ever (Smith), 1918; There is no land like England (Tennyson) (1919); 6 Songs from The Glens of Antrim (O'Neill), op.174, 1920; 6 Songs, op.175 (192021); Elegia maccheronica (C.L. Graves), 1921, pubd in ML, v (1924), 20812; The Sea King (Cornwall), unison (1922); Answer to a Child's Question (S.T. Coleridge), unison (1923); Fairy Lures (R. Fyleman) (1923); Fineen the Rover (R.D. Joyce), unison (1923); The Hoofs of the Horses (W.H. Ogilvie), 1923; Queen and Huntress (B. Jonson), 1923; A Runnable Stag (J. Davidson), unison (1923) |
|
Satyr's Song (J. Fletcher), unison (1923); Song Written at Sea (C. Sackville), 1923; The Winter Storms (W. Davenant), unison (1923); Wishes (W. Allingham), unison (1923); Songs from the Elfin Pedlar (H.D. Adam) (1925); Coo-ee (A Song of Australia) (Ogilvie), ed. (1927); The Merry Month of May (T. Dekker), ed. (1927); The Sower's Song (T. Carlyle), ed. (1927); Witches' Charms (Jonson), ed. (1928); Ode to the Skylark (Hogg), unison, ed. (1930); Nonsense Rhymes (E. Lear), ed. (1960) |
Stanford, Sir Charles Villiers: Works
all printed works published in London
|
G.F. Handel: Semele, addl accs., 1878, unpubd |
|
L. Leo: Dixit Dominus, C (1879) |
|
E. Tennyson: Hands all round (A. Tennyson) (1882) |
|
[50] Songs of Old Ireland (A.P. Graves), 1v, pf (1882) |
|
Song-Book for Schools (1884, rev., 1908, as Patriotic Songs for Schools) |
|
Blarney Ballads (C.L. Graves), 1v, pf (1889) |
|
S. Taylor: Alt Heidelberg, du feine (1891) |
|
Irish Songs and Ballads (A.P. Graves), 1v, pf (1893) |
|
A.G. Thomas: The Swan and the Skylark, cant., orchd, 1893, unpubd |
|
The Irish Melodies of Thomas Moore: the Original Airs Restored and Arranged, op.60, 1v, pf (1895) |
|
H. Purcell: Ten Sonatas in Four Parts, in The Collected Works of Henry Purcell, vii (1896) |
|
H. Purcell: From silent shades z370, orchd, 1896, as Mad Bess; unpubd |
|
God Save the Queen, chorus, orch (1897, rev., 1901, as God Save the King) |
|
J.S. Bach: Sleepers, Wake [Wachet auf] (1898) |
|
[4] Old French Song (trans. P. England): Les petits oiseaux (L'Abbι Cossagnes) (1898); La rose (P. de Ronsard) (1898); Le carillon du verre (1900); Ma belle, ma toute belle (Langeon) (1900) |
|
Songs of Erin, 50 Irish folksongs, op.76, 1v, pf (1901) |
|
The Complete Collection of Irish Music as noted by George Petrie, 3 vols. (19025) |
|
The Office of Holy Communion as set to plainsong by John Merbecke (1905) |
|
The National Song Book (1905) |
|
Stainer & Bell's Organ Library (London, 190717) |
|
2 songs: Full Fathom Five; Come unto these yellow sands, both attrib Purcell, orchd |
|
The Cuckoo (Der Kukkuk); old Ger. song (Eng. trans., P. England) (1908) |
|
J.S. Bach: St Matthew Passion (1910) |
|
G.F. Handel: Ode for St Cecilia's Day, addl org and hp pts, 1910, unpubd |
|
C. Wood: 16 preludes on melodies from the English and Scottish Psalters, org (1912) |
|
Other arrs. of Irish melodies for 1v, pf: The Irish Widow (G.H. Jessop) (1895); The Two Crutches (Jessop) (1895); The Wearing of the Green (A.P. Graves) (1900); Kitty of Coleraine (E. Lysaght) (1903); Molly Brannigan (anon.) (1903); The Grand Match (M. O'Neill) (1917); The Hurling Boys (Graves) (1924); The Limerick Point to Point Race (Graves) (1924); The Londonderry Air (Graves) (1924); My Brave Boy (Graves) (1924); With the Dublin Fusiliers (Graves) (1924); O'Farrell the Fiddler (Graves) (n.d.) |
|
MSS in D-Bsb, EIRE-Dn, GB-Cpl, Ctc, Cu, Lam, Lbl, Lcm, Ntu, Royal School of Church Music, Croydon |
|
Principal publishers: Novello, Boosey, Houghton, Stainer & Bell |
Stanford, Sir Charles Villiers
SM
reprinted in Studies and Memories (1908)
Sullivan's Golden Legend, National Review, viii (18867), 40007 [SM]
Mr Hubert Parry's Judith, Fortnightly Review, xliv (1888), 53745 [SM]
Defence of Richard Wagner: Reply to Rowbotham, Nineteenth Century, xxiv (1888), 72733 [SM]
Hermann Frank, Murray's Magazine, vii (1890), 2026 [SM]
Music in Elementary Schools: How to Increase their Utility (London, 1890)
Alfred Lord Tennyson, Cambridge Review, xiv (18923), 68 [SM]
Verdi's Falstaff, Fortnightly Review, liii (1893), 44553; also in Shakespeariana, x (1893), 96104 [SM]
Some Aspects of Musical Criticism in England, Fortnightly Review, lv (1894), 82631 [SM]
Joseph Robinson, Cornhill Magazine, 3rd ser., v (1898), 795801 [SM]
The Choice of Music in Church Choirs, The Official Report of the Church Congress 1899 (London, 1899), 42024 [SM]
A Few Memories of Johannes Brahms, Leisure Hour, liii (19034), 1236 [SM]
Music of the Nineteenth Century, Times Literary Supplement (22 Dec 1905) [SM]
Joachim, The Spectator (31 Aug 1907), 2889 [letter to the editor] [SM]
Studies and Memories (London, 1908/R)
Musical Composition: a Short Treatise for Students (London, 1911/R)
Brahms and his Music (London, 1912)
Principles for Young Composers, Musician, xvii (1912), 126 only
Pages from an Unwritten Diary (London, 1914)
Music and the War, Quarterly Review, ccxxiii (191415), 393408; repr. in Interludes, Records and Reflections
Some Thoughts Concerning Folk-Song and Nationality, MQ, i (1915), 23245
The Government and Music, Musical Standard, vii (1916), 32 only
William Sterndale Bennett, 18161875,MQ, ii (1916), 62857; repr. in Interludes, Records and Reflections
Sanity (?) in Composition, Musical Herald, no.828 (1917), 789
War and Music: Plea for an Art which has Enriched the World, Musical Standard, ix (1917), 313 only
A Tribute [to Sir Hubert Parry], R.C.M. Magazine, xv/1 (191819), 7 only
Some Recent Tendencies in Composition, PMA, xlvii (192021), 3953; repr. in Interludes, Records and Reflections
Interludes, Records and Reflections (London,1922)
On the Study of Music, ML, vii (1926), 22935
Stanford, Sir Charles Villiers
J.F. Porte: Sir Charles V. Stanford (London and New York, 1921/R) [catalogue of works]
F. Hudson: C.V. Stanford: nova bibliographica, MT, civ (1963), 72831; cv (1964), 7348; cviii (1967), 326 only
F. Hudson: A Catalogue of the Works of C. Villiers Stanford (18521924),MR, xxv (1964), 4457; repr., enlarged, MR, xxxvii (1976), 10629
DNB (T.F. Dunhill)
Grove1 (G. Grove)
Grove3 (J.A. Fuller Maitland)
GroveO (F. Hudson)
LoewenbergA
MGG1 (F. Hudson)
F. Klickman: C.V. Stanford, Sylvia's Journal (1893), 45860
H. Antcliffe: Sir Charles Villiers Stanford, Music Student, ix (191617), 21115
H.O. Anderton: The Irish Minstrel: Sir Charles V. Stanford, MO, xlvi (19223), 41317
Obituary, The Times (31 March 1924)
W.J. Turner: Why we have no English Music, New Statesman (19 April 1924)
A Double Bereavement, Saturday Review (5 April 1924) [obituary]
T.F. Dunhill: C.V. Stanford: some Aspects of his Life and Works, PMA, liii (19267), 4265
D. Hussey: C.V. Stanford, The Spectator (9 Aug 1935)
J.B. Ewens: C.V. Stanford, The Choir, xxviii (1937), 25051, 27880
H. Howells: An Address at the Centenary of C.V. Stanford, PRMA, lxxix (19523), 1931
G. Brown: Re-valuations: (v) Charles Stanford, Quarterly Record of the Incorporated Association of Organists, xlvii (19612), 678; 99101; xlviii (19623), 1925
Portrait and biography, Cabinet Portrait Gallery, 5th ser., i/2 (London, 1894), 257
Our University Music Professors, III: Prof. Villiers Stanford Magazine of Music, xiii (1896), 3989
Portrait, Strand Magazine, xiv (1897), 6858, esp. 688
J.D. Brown and S.S. Stratton: British Musical Biography (Birmingham, 1897)
Charles Villiers Stanford, MT, xxxix (1898), 78593
A. Moser: Joseph Joachim: ein Lebensbild (Berlin, 1898, 5/1910; Eng. trans., 1900)
H. Klein: Thirty Years of a Musical Life in London, 18701900 (London, 1903)
Johannes Joachim and A.Moser, eds.: Briefe von und an Joseph Joachim (Berlin, 191113; Eng. trans., abridged, 1913/R)
M.B. Foster: History of the Philharmonic Society: 18131912 (London, 1912)
G. Henschel: Musings and Memories of a Musician (London, 1918)
W. Lyle: A Personal Impression, Musical News and Herald (28 Oct 1922)
Charles Villiers Stanford by some of his Pupils, ML, v (1924), 193207
H.P. Greene: Stanford as I Knew him, R.C.M. Magazine, xx (19234), 7786
J.A. Fuller-Maitland: Some Memories of Stanford in the Seventies, R.C.M. Magazine, xx (19234), 1024
D. Godfrey: Memories of Music (London, 1924) [incl. foreword by Stanford]
A.P. Graves: To Return to All That (London, 1930)
H.C. Colles: The Royal College of Music: a Jubilee Record, 18331933 (London, 1933)
H.P. Greene: Charles Villiers Stanford (London, 1935)
R. Elkin: Queen's Hall, 18931941 (London, 1944)
R.R. Ottley: Six Professors, National Review, cxxiii (1944), 4289
P.A. Scholes, ed.: The Mirror of Music, 18441944 (London, 1947)
H. Ley: Two Victorian Personalities, Quarterly Record of the Incorporated Association of Organists, xxxviii (19523), 36
R. Vaughan Williams: Charles Villiers Stanford, Some Thoughts on Beethoven's Choral Symphony with Writings on other Musical Subjects (London, 1953), 159163; repr. in National Music and other Essays, ed. M. Kennedy (London, 1963, 2/1987), 1958
S. Stookes: C.V. Stanford: Man of Letters, MMR, lxxxv (1955), 3943
P.M. Young: George Grove, 18201900 (London, 1980)
Gerald Norris: Stanford, the Cambridge Jubilee, and Tchaikovsky (Newton Abbot, 1980)
A Hundred Years of the Cambridge Greek Play, 18821983, ed. Cambridge Greek Play Committee (Cambridge, 1983)
S.P. Waddington: Stanford in the Early Days, R.C.M. Magazine, lxxix (1983), 1922
M. Nosek: From a Destroyed Autobiography, II, R.C.M. Magazine, lxxx (1984), 2936
L. Foreman: From Parry to Britten: British Music in Letters 19001945 (London, 1987)
J.C. Dibble: C. Hubert H. Parry: his Life and Music (Oxford, 1992)
C. Palmer: Herbert Howells: a Centenary Celebration (London, 1992)
R. Stradling and M.Hughes: The English Musical Renaissance, 18601940: Construction and Deconstruction (London, 1993)
J.C. Dibble: Stanford and the Organ Recitals at Trinity College, Cambridge, 18721890: a Documentary Study, JBIOS, xviii (1994), 15870
C. Ehrlich: First Philharmonic: a History of the Royal Philharmonic Society (Oxford, 1995)
S. Lloyd: Sir Dan Godfrey: Champion of British Composers (London, 1995)
M. Musgrave: The Musical Life of the Crystal Palace (Cambrige, 1995)
Tennyson's Crossing the Bar Set to Music by Stanford, English Illustrated Magazine, vii (188990), 6514
Dr Stanford and his Eden, MT, xxxii (1891), 599 only
Composition of the Month: East to West, Magazine of Music, x (1893), 154
The Veiled Prophet, New Quarterly Musical Review, i (18934), 6376
Pitt: Shamus O'Brien, Magazine of Music, xiii (1896), 24950
Review of Pages from an Unwritten Diary, The Spectator (13 Oct 1914)
Reviews of The Critic, MT, lvii (1916), 95 only; Saturday Review (29 Jan 1916); The Spectator (19 Feb 1916); MO, xl (191617), 32021
H.P. Greene: Stanford's Songs, ML, ii (1921), 96106
The Autograph MS of Stanford's Revenge, British Museum Quarterly, iii (19289), 77 only
E.M. Lee: Some Stanford Songs, MO, liii (192930), 7224
J.A. Fuller Maitland: The Music of Parry and Stanford (Cambridge, 1934)
A.H. Fox Strangways: Music Observed, ed. S. Wilson (London, 1936/R), 5760
R. Aldrich: C.V. Stanford, Concert Life in New York 19021923 (New York, 1941/R), 1934
E. Fellowes: English Cathedral Music from Edward VI to Edward VII (London, 1941, 5/1969)
A.G. Viani: Towards Music (Tralee, 1945, 2/1946), 16573
G.F. Brockless: Two Irish Minstrels: Thomas Moore and C.V. Stanford, The Choir and Musical Journal, xliii (1952), 1635
A. Fleischmann: Music in Ireland: a Symposium (Cork, 1952)
A.J.E. Lello: Brief Account of Stanford's Music, MO, lxxvi (19523), 65960
H.D. Rosenthal: Two Centuries of Opera at Covent Garden (London, 1958)
C. Reid: Britain from Stanford to Vaughan Williams, c18801939, Choral Music, ed. A. Jacobs (Harmondsworth, 1963), 26685
J.P. Wearing: The London Stage: 18901899 (19001909) (19101919) (19201929) (19301939) a Calendar of Plays and Players (Metuchen, NJ, 197690)
D.H. Laurence, ed.: Shaw's Music: the Complete Musical Criticism (London, 1981)
N. Temperley, ed.: Music in Britain: the Romantic Age, 18001914 (London, 1981/R
P. Muck: Einhundert Jahre Berliner Philharmonisches Orchester: Darstellung in Dokumenten (Tutzing, 1982)
K. DeLong and D. Salter: C.V. Stanfords Incidentall Music to Henry Irvings Production of Tennysons Becket, Theatre History Studies, iii (1983), 6986
S. Banfield: Sensibility and English Song (Cambridge, 1985)
S. Banfield: The Early Renaissance Mackenzie, Smyth and Stanford, British Opera in Retrospect (n.p., 1986) [pubn of the British Music Society], 638
L. Foreman: British Opera Comes of Age, 19161961, ibid., 10315
J.C. Dibble: Stanford's Service op.10 and the Choir of Trinity College, Cambridge, Music and the Church, ed. G. Gillen and H. White (Dublin, 1993), 12948