Percy Grainger

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PercyGraingerWikipedia,thefreeencyclopedia
PercyGrainger
FromWikipedia,thefreeencyclopedia
PercyAldridgeGrainger(8July188220February
1961)wasanAustralianborncomposer,arrangerand
pianist.Inthecourseofalongandinnovativecareer
heplayedaprominentroleintherevivalofinterestin
Britishfolkmusicintheearlyyearsofthe20th
century.Healsomademanyadaptationsofother
composers'works.Althoughmuchofhisworkwas
experimentalandunusual,thepiecewithwhichheis
mostgenerallyassociatedishispianoarrangementof
thefolkdancetune"CountryGardens".
GraingerleftAustraliaattheageof13toattendthe
HochConservatoryinFrankfurt.Between1901and
1914hewasbasedinLondon,whereheestablished
himselffirstasasocietypianistandlaterasaconcert
performer,composerandcollectoroforiginalfolk
melodies.Ashisreputationgrewhemetmanyofthe
significantfiguresinEuropeanmusic,forming
importantfriendshipswithFrederickDeliusand
EdvardGrieg.HebecameachampionofNordic
musicandculture,hisenthusiasmforwhichheoften
expressedinprivateletters.
PercyGrainger
Australiancomposer
PercyGraingerin1922,attheheightofhis
popularityaspianistandcomposer
Born
8July1882
Melbourne,Victoria
In1914,GraingermovedtotheUnitedStates,where
Died
20February1961
helivedfortherestofhislife,thoughhetravelled
WhitePlains,NewYork
widelyinEuropeandinAustralia.Heservedbriefly
Signature
asabandsmanintheUnitedStatesArmyduring
191718,andtookAmericancitizenshipin1918.
Afterhismother'ssuicidein1922hebecame
increasinglyinvolvedineducationalwork.Healsoexperimentedwithmusicmachinesthathehoped
wouldsupersedehumaninterpretation.Inthe1930shesetuptheGraingerMuseuminMelbourne,his
birthplace,asamonumenttohislifeandworksandasafutureresearcharchive.Ashegrewolderhe
continuedtogiveconcertsandtoreviseandrearrangehisowncompositions,whilewritinglittlenew
music.AftertheSecondWorldWar,illhealthreducedhislevelsofactivity,andheconsideredhiscareer
afailure.Hegavehislastconcertin1960,lessthanayearbeforehisdeath.
Contents
1Earlylife
1.1Familybackground
1.2Childhood
1.3Frankfurt
2Londonyears
2.1Concertpianist
http://en.wikipedia.org/wiki/Percy_Grainger
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2.2Emergentcomposer
3Careermaturity
3.1DepartureforAmerica
3.2Careerzenith
3.3Interwaryears
3.3.1Traveller
3.3.2Educator
3.3.3Innovator
4Latercareer
4.1SecondWorldWar
4.2Postwardecline
4.3Lastyears
5Music
6Legacy
7Assessment
8Recordings
9Notesandreferences
10Sources
11Externallinks
Earlylife
Familybackground
PrincesBridge,Melbourne,designed
byJohnGrainger
PercyGrainger'sfather,JohnGrainger(18541917),[n1]wasan
EnglishbornarchitectwhoemigratedtoAustraliain1877.He
wonprofessionalrecognitionforhisdesignofthePrincesBridge
acrosstheYarraRiverinMelbourne.[2]InOctober1880he
marriedRoseAnnieAldridge,daughterofAdelaidehotelier
GeorgeAldridgethecouplesettledinNewSt,Brighton,a
suburbofMelbourne,wheretheironlysonwasbornon8July
1882.[3]HisnamewasregisteredasGeorgePercyGrainger,but
fromhisearliestdayshisfamilycalledhimPercy.TheGrainger
houseat305NewSt,Brightonhasrecentlybeenredeveloped,
withtheoriginalstructureintact.
JohnGraingerwasanaccomplishedartist,withbroadcultural
interestsandawidecircleoffriends.[4]TheseincludedDavidMitchell,whosedaughterHelenlater
gainedworldwidefameasanoperaticsopranounderthenameNellieMelba.John'sclaimstohave
"discovered"herareunfounded,althoughhemayhaveofferedherencouragement.[5]Johnwasaheavy
drinkerandawomaniserwho,Roselearnedafterthemarriage,hadfatheredachildinEnglandbefore
comingtoAustralia.Hispromiscuouslifestyleplacedheavystrainsupontherelationship,particularly
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whenRosediscoveredshortlyafterPercy'sbirththatshehadcontractedaformofsyphilisfromher
husband.[3][4]Despitethis,theGraingersstayedtogetheruntil1890,whenJohnwenttoEnglandfor
medicaltreatment.AfterhisreturntoAustraliatheylivedaparttheburdenofraisingPercyfellto
Rose,[6]whileJohnpursuedhiscareeraschiefarchitecttotheWesternAustralianDepartmentofPublic
Works.HealsodesignedNellieMelba'shome,CoombeCottage,atColdstream.[2]
Childhood
Exceptforthreemonths'formalschoolingasa12yearold,
duringwhichhewasbulliedandridiculedbyhisclassmates,
Percywaseducatedathome.[4]Rose,anautodidactwitha
dominatingpresence,supervisedhismusicandliteraturestudies
andengagedothertutorsforlanguages,artanddrama.Fromhis
earliestlessonsPercydevelopedalifelongfascinationwith
Nordicculturewritinglateinlifehemaintainedthatthe
Icelandic"SagaofGrettirtheStrong"was"thestrongestsingle
artisticinfluenceonmylife".[7][8][9]Aswellasshowing
An1880lithographoftheRoyal
precociousmusicaltalents,hedisplayedconsiderableearlygifts
ExhibitionBuilding,Melbourne,
asanartist,totheextentthathistutorsthoughthisfuturemight
venueforPercyGrainger'searly
lieinartratherthanmusic.[10]Attheageof10hebeganstudying
concerts,October1894
pianounderLouisPabst,aGermanemigrthenconsideredtobe
Melbourne'sleadingpianoteacher.Grainger'sfirstknown
composition,"ABirthdayGifttoMother",isdated1893.[2]PabstarrangedGrainger'sfirstpublic
concertappearances,atMelbourne'sMasonicHallinJulyandSeptember1894.Theboyplayedworks
byBach,Beethoven,SchumannandScarlatti,andwaswarmlycomplimentedintheMelbournepress.[11]
AfterPabstreturnedtoEuropeintheautumnof1894,Grainger'snewpianotutor,AdelaideBurkitt,
arrangedforhisappearancesataseriesofconcertsinOctober1894,atMelbourne'sRoyalExhibition
Building.Thesizeofthisenormousvenuehorrifiedtheyoungpianistnevertheless,hisperformance
delightedtheMelbournecriticswhodubbedhim"theflaxenhairedphenomenonwhoplayslikea
master".[12]ThispublicacclaimhelpedRosetodecidethathersonshouldcontinuehisstudiesatthe
HochConservatoryinFrankfurt,GermanyshehadbeenrecommendedtothisinstitutionbyWilliam
Laver,headofpianostudiesatMelbourne'sConservatoriumofmusic.Financialassistancewassecured
throughafundraisingbenefitconcertinMelbourneandafinalrecitalinAdelaide,afterwhichmother
andsonleftAustraliaforEuropeon29May1895.[13]Althoughheneverreturnedpermanentlyto
Australia,Graingermaintainedconsiderablepatrioticfeelingsforhisnativeland,[14]andwasproudof
hisAustralianheritage.[2]
Frankfurt
InFrankfurt,RoseestablishedherselfasateacherofEnglishherearningsweresupplementedby
contributionsfromJohnGrainger,whohadsettledinPerth.TheHochConservatory'sreputationfor
pianoteachinghadbeenenhancedbythetenure,until1892,ofClaraSchumannasheadofpianostudies.
Grainger'spianotutorwasJamesKwast,whodevelopedhisyoungpupil'sskillstotheextentthat,within
ayear,Graingerwasbeinglaudedasaprodigy.[15]Graingerhaddifficultrelationswithhisoriginal
compositionteacher,IwanKnorr[4]hewithdrewfromKnorr'sclassestostudycompositionprivately
withanamateurcomposerandfolkmusicenthusiast,KarlKlimsch,whomhewouldlaterhonouras
"myonlycompositionteacher".[2]
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TogetherwithagroupofslightlyolderBritishstudentsRogerQuilter,BalfourGardiner,CyrilScott
andNormanO'Neill,allofwhombecamehisfriendsGraingerhelpedformthe"FrankfurtGroup",
whoselongtermobjectivewastorescueBritishandScandinavianmusicfromwhattheyconsideredthe
negativeinfluencesofcentralEuropeanmusic.[4]EncouragedbyKlimsch,Graingerturnedawayfrom
composingclassicalpastichesreminiscentofHandel,HaydnandMozart,[16]anddevelopedapersonal
compositionalstyletheoriginalityandmaturityofwhichquicklyimpressedandastonishedhis
friends.[14]AtthistimeGraingerdiscoveredthepoetryofRudyardKiplingandbegansettingittomusic
accordingtoScott,"Nopoetandcomposerhavebeensosuitablywedded
sinceHeine&Schumann".[14]
AfteraccompanyinghersononanextendedEuropeantourinthe
summerof1900Rose,whosehealthhadbeenpoorforsometime,
sufferedanervouscollapseandcouldnolongerwork.[17]Toreplacelost
incomeGraingerbegangivingpianolessonsandpublicperformances
hisfirstsolorecitalwasinFrankfurton6December1900.[2]Meanwhile
hecontinuedhisstudieswithKwast,andincreasedhisrepertoireuntilhe
wasconfidenthecouldmaintainhimselfandhismotherasaconcert
pianist.HavingchosenLondonashisfuturebase,inMay1901Grainger
abandonedhisstudiesand,withRose,leftFrankfurtforEngland.[17]
BeforeleavingFrankfurt,GraingerhadfalleninlovewithKwast's
Graingeraged18,towards
daughterMimi[17]inanautobiographicalessaydated1947headmitsto
theendofhisFrankfurt
being"alreadysexcrazy"atthistime.[18](MimiKwast,whowasthe
years
granddaughterofFerdinandHiller,marriedanotherofherfather's
pupils,HansPfitzner.)JohnBird,Grainger'sbiographer,alsorecords
thatduringhisFrankfurtyearsGraingerbegantodevelopsexualappetitesthatwere"distinctly
abnormal"bytheageof16hehadstartedtoexperimentinflagellationandothersadomasochistic
practices,whichhecontinuedtopursuethroughmostofhisadultlife.BirdsurmisesthatGrainger's
fascinationwiththemesofpunishmentandpainderivedfromtheharshdisciplinetowhichRosehad
subjectedhimasachild.[18]
Londonyears
Concertpianist
InLondon,Grainger'scharm,goodlooksandtalent(withsomeassistancefromthelocalAustralian
community)ensuredthathewasquicklytakenupasapianistbywealthypatrons,andwassoon
performinginconcertsinprivatehomes.TheTimescriticrecordedafteronesuchappearancethat
Grainger'splaying"revealedrareintelligenceandagooddealofartisticinsight".[19]In1902hewas
presentedbythesocialiteLillithLowreytoQueenAlexandra,whothereafterfrequentlyattendedhis
Londonrecitals.[20]Lowrey,20yearsGrainger'ssenior,tradedpatronageandcontactsforsexualfavours
hetermedtherelationshipa"loveservejob".[8]Shewasthefirstwomanwithwhomhehadsexhe
laterwroteofthisinitialencounterthathehadexperienced"anoverpoweringlandslide"offeeling,and
that"IthoughtIwasabouttodie.IfIremembercorrectly,Ionlyexperiencedfearofdeath.Idon'tthink
thatanyjoyenteredintoit".[21]
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InFebruary1902Graingermadehisfirstappearanceasapianosoloistwithanorchestra,playing
Tchaikovsky'sfirstpianoconcertowiththeBathPumpRoomOrchestra.InOctoberofthatyearhe
touredBritaininaconcertpartywithAdelinaPatti,theItalianbornoperasinger.Pattiwasgreatlytaken
bytheyoungpianistandprophesiedagloriouscareerforhim.[22]Thefollowingyearhemetthe
GermanItaliancomposerandpianistFerruccioBusoni.Initiallythetwomenwereoncordialterms
(BusoniofferedtogiveGraingerlessonsfreeofcharge)andasaresult,Graingerspentpartofthe1903
summerinBerlinasBusoni'spupil.[2]However,thevisitwasnotasuccessasBirdnotes,Busonihad
expected"awillingslaveandadoringdisciple",aroleGraingerwasnotwillingtofulfil.[23]Grainger
returnedtoLondoninJuly1903almostimmediatelyhedepartedwithRoseona10monthtourof
Australia,NewZealandandSouthAfrica,asamemberofapartyorganisedbytheAustraliancontralto
AdaCrossley.[24]
Emergentcomposer
BeforegoingtoLondonGraingerhadcomposednumerousKipling
settings,andhisfirstmatureorchestralpieces.[25]InLondon,whenhe
foundtimehecontinuedtocomposealettertoBalfourGardinerdated
21July1901indicatesthathewasworkingonhisMarchingSongof
Democracy(aWaltWhitmansetting),andhadmadegoodprogresswith
theexperimentalworksTrainMusicandChargingIrishrey.[26]Inhis
earlyLondonyearshealsocomposedHillSongNumber1(1902),an
instrumentalpiecemuchadmiredbyBusoni.[25][27]
Noticefora1907Grainger
recital,AeolianHall,
London
In1905,inspiredbyalecturegivenbythepioneerfolksonghistorian
LucyBroadwood,Graingerbegantocollectoriginalfolksongs.Starting
atBrigginLincolnshire,overthenextfiveyearshegatheredand
transcribedmorethan300songsfromalloverthecountry,including
muchmaterialthathadneverbeenwrittendownbefore.From1906
Graingerusedaphonograph,oneofthefirstcollectorstodoso,andby
thismeansheassembledmorethan200Edisoncylinderrecordingsof
nativefolksingers.[28][29]TheseactivitiescoincidedwithwhatBirdcalls
"thehalcyondaysofthe'FirstEnglishFolksongRevival'".[30]
Ashisstatureinthemusicworldincreased,Graingerbecameacquaintedwithmanyofitsleading
figures,includingVaughanWilliams,Elgar,RichardStraussandDebussy.[28]In1907hemetFrederick
Delius,withwhomheachievedanimmediaterapportthetwomusicianshadsimilarideasabout
compositionandharmony,andsharedadislikefortheclassicalGermanmasters.[31]Bothwereinspired
byfolkmusic[32]GraingergaveDeliushissettingofthefolksongBriggFair,whichtheoldercomposer
developedintohisfamousorchestralrhapsody,dedicatedtoGrainger.[31]Thetworemainedclose
friendsuntilDelius'sdeathin1934.[33]
GraingerfirstmetGriegatthehomeoftheLondonfinancierSirEdgarSpeyer,inMay1906.[34]Asa
studentGraingerhadlearnedtoappreciatetheNorwegian'sharmonicoriginality,andby1906had
severalGriegpiecesinhisconcertrepertoire,includingthepianoconcerto.[35]Griegwasgreatly
impressedwithGrainger'splaying,andwrotethattheAustralianwas"ageniusthatweScandinavians
cannotdootherthanlove."[36]Through19067thetwomaintainedamutuallycomplimentary
correspondence,whichculminatedinGrainger'stendayvisitinJuly1907tothecomposer'sNorwegian
home,"Troldhaugen"nearBergen.Herethetwospentmuchtimerevisingandrehearsingthepiano
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concertoinpreparationforthatyear'sLeedsFestival.Theirplansforalongtermworkingrelationship
werethwartedbyGrieg'ssuddendeathinSeptember1907nevertheless,thisrelativelybrief
acquaintancehadaconsiderableimpactonGrainger,andhechampionedGrieg'smusicfortherestofhis
life.[35]
Afterfulfillingahecticscheduleofconcertengagementsin
BritainandcontinentalEurope,inAugust1908Grainger
accompaniedAdaCrossleyonasecondAustralasiantour,during
whichheaddedseveralcylindersofMaoriandPolynesianmusic
tohiscollectionofrecordings.[28]Hehadresolvedtoestablish
himselfasatoprankingpianistbeforepromotinghimselfasa
composer,[9]thoughhecontinuedtocomposebothoriginal
worksandfolksongsettings.Someofhismostsuccessfuland
mostcharacteristicpieces,suchas"MockMorris","Handelin
theStrand","Shepherd'sHey"and"MollyontheShore"date
fromthisperiod.In1908heobtainedthetuneof"Country
Gardens"fromthefolkmusicspecialistCecilSharp,thoughhe
didnotfashionitintoaperformablepieceforanotherten
years.[37][38]
Grainger(centre),withEdvardGrieg
(leftofpicture),NinaGriegand
JuliusRntgen,at"Troldhaugen",
July1907.
In1911Graingerfinallyfeltconfidentenoughofhisstandingasapianisttobeginlargescalepublishing
ofhiscompositions.Atthesametime,headoptedtheprofessionalnameofPercyAldridgeGrainger
forhispublishedcompositionsandconcertappearances.[8][39]
InaseriesofconcertsarrangedbyBalfourGardineratLondon'sQueen'sHallinMarch1912,fiveof
Grainger'sworkswereperformedtogreatpublicacclaimthebandofthirtyguitarsandmandolinsfor
theperformanceof"FathersandDaughters"createdaparticularimpression.[40]On21May1912
Graingerpresentedthefirstconcertdevotedentirelytohisowncompositions,attheAeolianHall,
London[9]theconcertwas,hereported,"asensationalsuccess".[41]Asimilarlyenthusiasticreception
wasgiventoGrainger'smusicatasecondseriesofGardinerconcertsthefollowingyear.[42]
In1905GraingerbeganaclosefriendshipwithKarenHolten,aDanishmusicstudentwhohadbeen
recommendedtohimasapianopupil.Shebecameanimportantconfidantetherelationshippersisted
foreightyears,largelythroughcorrespondence.[43][n2]Afterhermarriagein1916sheandGrainger
continuedtocorrespondandoccasionallymeetuntilherdeathin1953.Graingerwasbrieflyengagedin
1913toanotherpupil,MargotHarrison,buttherelationshipfounderedthroughamixtureofRose'sover
possessivenessandGrainger'sindecision.[45][46]
Careermaturity
DepartureforAmerica
InApril1914GraingergavehisfirstperformanceofDelius'spianoconcerto,atamusicfestivalin
Torquay.ThomasBeecham,whowasoneofthefestival'sguestconductors,reportedtoDeliusthat
"Percywasgoodinthefortepassages,butmadefartoomuchnoiseinthequieterbits".[47]Graingerwas
receivingincreasingrecognitionasacomposerleadingmusiciansandorchestraswereaddinghisworks
totheirrepertoires.[45]Hismother,Rose,wassicklyduringmostofhislifeandplayedamajorrolein
thedecisiontoleaveforAmerica.HisdecisiontoleaveEnglandforAmericainearlySeptember1914,
aftertheoutbreakoftheFirstWorldWar,damagedhisreputationamonghispatrioticallymindedBritish
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friends.[2]Graingerwrotethatthereasonforthisabruptdeparturewas"togivemotherachange".[48]
However,accordingtoBird,GraingeroftenexplainedthathisreasonforleavingLondonwasthat"he
wantedtoemergeasAustralia'sfirstcomposerofworth,andtohavelaidhimselfopentothepossibility
ofbeingkilledwouldhaverenderedhisgoalunattainable".[49]Graingeralsowasrecordedtohavebeen
havingnervousbreakdownsduetotheconflictbreakingoutallaroundhim.TheDailyTelegraphmusic
criticRobinLeggeaccusedhimofcowardice,andtoldhimnottoexpectawelcomeinEnglandafterthe
war,[8]wordsthathurtGraingerdeeply.[50]
Grainger'sfirstAmericantourbeganon11February1915witharecital
atNewYork'sAeolianHall.HeplayedworksbyBach,Brahms,Handel
andChopinalongsidetwoofhisowncompositions:"ColonialSong"and
"MockMorris".InJuly1915Graingerformallyregisteredhisintention
toapplyforUScitizenship.[51]Overthenexttwoyearshisengagements
includedconcertswithNellieMelbainBostonandPittsburghanda
commandperformancebeforePresidentWoodrowWilson.Inadditionto
hisconcertperformances,GraingersecuredacontractwiththeDuoArt
Companyformakingpianolarolls,andsignedarecordingcontractwith
ColumbiaRecords.[9]
InApril1917Graingerreceivednewsofhisfather'sdeathinPerth.[52]
Withthis,Graingerknewthathewouldhavetomakeadecisionasto
Graingerintheuniformofa
whethersupporthispacifistviews,orjoininthewareffortinorderto
USArmybandsman,1917
appeasehispublicimage.HewasofferedajobinCanadawithreference
toJohnPhillipSousa,butturnedhimdown.On9June1917,after
America'sentryintothewar,heenlistedasabandsmanintheCoastArtilleryCorpsoftheUSArmy.He
hadjoinedasasaxophonist,[n3]thoughherecordslearningtheoboe:"IlongforthetimewhenIcan
blowmyoboewellenoughtoplayintheband".[55]Inhis18months'service,Graingermadefrequent
appearancesasapianistatRedCrossandLibertybondconcerts.Asaregularencorehebegantoplaya
pianosettingofthetune"CountryGardens".Thepiecebecameinstantlypopularsheetmusicsales
quicklybrokemanypublishingrecords.[56]TheworkwastobecomesynonymouswithGrainger'sname
throughtherestofhislife,thoughhecameintimetodetestit.[57]On3June1918hebecamea
naturalisedAmericancitizen.[58]
Careerzenith
AfterleavingthearmyinJanuary1919,Graingerrefusedan
offertobecomeconductoroftheSaintLouisSymphony
Orchestraandresumedhiscareerasaconcertpianist.[59]Hewas
soonperformingaround120concertsayear,[60]generallyto
greatcriticalacclaim,andinApril1921reachedawider
audiencebyperforminginacinema,NewYork'sCapitol
Theatre.Graingercommentedthatthehugeaudiencesatthese
cinemaconcertsoftenshowedgreaterappreciationforhis
playingthanthoseatestablishedconcertvenuessuchasCarnegie
RoseandPercyGrainger,c.1920
HallandtheAeolian.[61]Inthesummerof1919heledacourse
inpianotechniqueatChicagoMusicalCollege,thefirstofmany
sucheducationaldutieshewouldundertakeinlateryears.[58][62]
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Amidhisconcertandteachingduties,Graingerfoundtimetorescoremanyofhisworks(ahabithe
continuedthroughouthislife)andalsotocomposenewpieces:hisChildren'sMarch:OvertheHillsand
FarAway,andtheorchestralversionofThePowerofRomeandtheChristianHeartbothoriginatedin
thisperiod.[63]HisclosefriendRalphLeopold,whomhemetwhileinthearmy,participatedinthe
premieresofbothversionsoftheChildren'sMarch,andalsorecordedanumberoffourhandworks
withhimonpianorolls.Healsobegantodevelopthetechniqueofelasticscoring,aformofflexible
orchestrationwhichenabledworkstobeperformedbydifferentnumbersofplayersandinstrument
types,fromsmallchambergroupsuptofullorchestralstrength.[64]
InApril1921GraingermovedwithhismothertoalargehouseinWhitePlains,NewYork.Thiswashis
homefortheremainderofhislife.[8]Fromthebeginningof1922Rose'shealthdeterioratedsharplyshe
wassufferingfromdelusionsandnightmares,andbecamefearfulthatherillnesswouldharmherson's
career.[65]Becauseoftheclosenessofthebondbetweenthetwo,therehadlongbeenrumoursthattheir
relationshipwasincestuous[57]inApril1922Rosewasdirectlychallengedoverthisissuebyherfriend
LottaHough.[66]FromherlastlettertoGrainger,dated29April,itseemsthatthisconfrontation
unbalancedRoseon30April,whileGraingerwastouringontheWestCoast,shejumpedtoherdeath
fromanofficewindowonthe18thflooroftheAeolianBuildinginNewYorkCity.[67]Theletter,which
began"Iamoutofmymindandcannotthinkproperly",askedGraingerifhehadeverspokentoLotta
of"improperlove".Shesignedtheletter:"Yourpoorinsanemother".[68]
Interwaryears
Traveller
AfterRose'sfuneral,Graingersoughtsolaceinareturntowork.In
autumn1922heleftforayearlongtriptoEurope,wherehecollected
andrecordedDanishfolksongsbeforeaconcerttourthattookhimto
Norway,theNetherlands,GermanyandEngland.InNorwayhestayed
withDeliusatthelatter'ssummerhome.Deliuswasbynowalmost
blindGraingerhelpedfulfilhisfriend'swishtoseeaNorwegiansunset
bycarryinghim(withsomeassistance)tothetopofanearbymountain
peak.[69]HereturnedtoWhitePlainsinAugust1923.[70]
Althoughnowlesscommittedtoayearroundscheduleofconcerts,
Graingerremainedaverypopularperformer.Hiseccentricities,often
exaggeratedforpublicityreasons,reportedlyincludedrunninginto
auditoriumsingymkitandleapingoverthegrandpianotocreateagrand
entrance.[71]Whilehecontinuedtoreviseandrescorehiscompositions,
FrederickDelius,withwhom
heincreasinglyworkedonarrangementsofmusicbyother
Graingerenjoyedalong
composers,[72]inparticularworksbyBach,Brahms,Faurand
professionalandpersonal
Delius.[73]Awayfrommusic,Grainger'spreoccupationwithNordic
relationship
cultureledhimtodevelopaformofEnglishwhich,hemaintained,
reflectedthecharacterofthelanguagebeforetheNormanconquest.
WordsofNormanorLatinoriginwerereplacedbysupposedlyNordicwordforms,suchas"blend
band"(orchestra),"forthspeaker"(lecturer)and"writpiece"(article).Hecalledthis"blueeyed"
English.[74]HisconvictionsofNordicsuperiorityeventuallyledGrainger,inletterstofriends,toexpress
hisviewsincrudelyracialandantiSemitictermsthemusichistorianDavidPeardescribesGraingeras,
"atroot,aracialbigotofnosmallorder".[75][n4]
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GraingermadefurthertripstoEuropein1925and1927,collectingmoreDanishfolkmusicwiththeaid
oftheoctogenarianethnologistEvaldTangKristensenthisworkformedthebasisoftheSuiteon
DanishFolksongsof192830.[9]HealsovisitedAustraliaandNewZealand,in1924andagainin1926.
InNovember1926,whilereturningtoAmerica,hemetEllaStrm,aSwedishbornartistwithwhomhe
developedaclosefriendship.OnarrivalinAmericathepairseparated,butwerereunitedinEnglandthe
followingautumnafterGrainger'sfinalfolksongexpeditiontoDenmark.InOctober1927thecouple
agreedtomarry.[79]Ellahadadaughter,Elsie,whohadbeenbornoutofwedlockin1909.Grainger
alwaysacknowledgedherasafamilymember,anddevelopedawarmpersonalrelationshipwithher.[80]
AlthoughBirdassertsthatbeforehermarriage,EllaknewnothingofGrainger'ssadomasochistic
interests,[81]inaletterdated23April1928(fourmonthsbeforethewedding)Graingerwritestoher:"As
farasmytastegoes,blows[withthewhip]aremostthrillingonbreasts,bottom,innerthighs,sexparts".
Helateradds,"Ishallthorolythoroly[sic]understandifyoucannotinanywayseeyrwaytofollowup
thishotwishofmine".[82]Thecoupleweremarriedon9August1928attheHollywoodBowl,attheend
ofaconcertwhich,inhonourofthebride,hadincludedthefirstperformanceofGrainger'sbridalsong
"ToaNordicPrincess".[9]
Educator
Fromthelate1920sandearly1930sGraingerbecameinvolvedincreasinglywitheducationalworkin
schoolsandcolleges,[9]andinlate1931acceptedayear'sappointmentfor193233asprofessorof
musicatNewYorkUniversity(NYU).Inthisrolehedeliveredaseriesoflecturesundertheheading"A
GeneralStudyoftheManifoldNatureofMusic",whichintroducedhisstudentstoawiderangeof
ancientandmodernworks.[9]On25October1932hislecturewasillustratedbyDukeEllingtonandhis
band,whoappearedinpersonGraingeradmiredEllington'smusic,seeingharmonicsimilaritieswith
Delius.Onthewhole,however,GraingerdidnotenjoyhistenureatNYUhedislikedtheinstitutional
formality,andfoundtheuniversitygenerallyunreceptivetohisideas.Despitemanyoffershenever
acceptedanotherformalacademicappointment,andrefusedalloffersofhonorarydegrees.[83][n5]His
NewYorklecturesbecamethebasisforaseriesofradiotalkswhichhegavefortheAustralian
BroadcastingCommissionin193435thesewerelatersummarisedandpublishedasMusic:A
CommonsenseViewofAllTypes.[2]On3and4September1934GraingeradjudicatedattheSydney
EisteddfodonSections10(VocalEnsemble)and45(StringEnsemble)forwhichheselectedand
providedthemusic.In1937GraingerbegananassociationwiththeInterlochenInternationalMusic
Camp,andtaughtregularlyatitssummerschoolsuntil1944.[85]
Innovator
TheideaofestablishingaGraingerMuseuminAustraliahad
firstoccurredtoGraingerin1932.Hebegancollectingand
recoveringfromfriendslettersandartifacts,eventhose
demonstratingthemostprivateaspectsofhislife,[86]suchas
whips,bloodstainedshirtsandrevealingphotographs.[87]In
September1933heandEllawenttoAustraliatobegin
supervisingthebuildingwork.Tofinancetheproject,Grainger
embarkedonaseriesofconcertsandbroadcasts,[88]inwhichhe
subjectedhisaudiencestoavastrangeoftheworld'smusicin
TheGraingerMuseuminMelbourne
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accordancewithhis"universalist"view.Controversially,hearguedforthesuperiorachievementsof
NordiccomposersovertraditionallyrecognisedmasterssuchasMozartandBeethoven.[2]
Amongvariousnewideas,Graingerintroducedhissocalled"freemusic"theories.Hebelievedthat
conformitywiththetraditionalrulesofsetscales,rhythmsandharmonicproceduresamountedto
"absurdgoosestepping",fromwhichmusicshouldbesetfree.[89]Hedemonstratedtwoexperimental
compositionsoffreemusic,performedinitiallybyastringquartetandlaterbytheuseofelectronic
theremins.[8]Hebelievedthatideally,freemusicrequirednonhumanperformance,andspentmuchof
hislaterlifedevelopingmachinestofulfilthisvision.[90]
Whilethebuildingofthemuseumproceeded,theGraingersvisitedEnglandforseveralmonthsin1936,
duringwhichGraingermadehisfirstBBCbroadcast.Inthis,heconducted"LoveVersesfromTheSong
ofSolomon"inwhichthetenorsoloistwasthethenunknownPeterPears.[91]Afterspending1937in
America,GraingerreturnedtoMelbournein1938fortheofficialopeningoftheMuseumamongthose
presentattheceremonywashisoldpianoteacherAdelaideBurkitt.Themuseumdidnotopentothe
generalpublicduringGrainger'slifetime,butwasavailabletoscholarsforresearch.[92][93]
Inthelate1930sGraingerspentmuchtimearranginghisworksinsettingsforwindbands.HewroteA
LincolnshirePosyfortheMarch1937conventionoftheAmericanBandMasters'Associationin
Milwaukee,[94]andin1939,onhislastvisittoEnglandbeforetheSecondWorldWar,hecomposed
"TheDukeofMarlborough'sFanfare",givingitthesubtitle"BritishWarMoodGrows".[92]
Latercareer
SecondWorldWar
TheoutbreakofwarinEuropeinSeptember1939curtailedGrainger'soverseastravelling.Intheautumn
of1940,alarmedthatthewarmightprecipitateaninvasionoftheUnitedStateseasternseaboard,heand
EllamovedtoSpringfield,Missouri,inthecentreofthecontinent.[95]From1940Graingerplayed
regularlyincharityconcerts,especiallyaftertheattackonPearlHarborbroughttheUnitedStatesinto
thewarinDecember1941thehistorianRobertSimoncalculatesthatGraingermadeatotalof274
charityappearancesduringthewaryears,manyofthematArmyandAirforcecamps.[93]In1942a
collectionofhisKiplingsettings,theJungleBookcycle,wasperformedineightcitiesbythechoirofthe
GustavusAdolphusCollegefromSt.Peter,Minnesota.[96]
Postwardecline
Exhaustedfromhiswartimeconcertsroutine,Graingerspentmuchof1946onholidayinEurope.He
wasexperiencingasenseofcareerfailurein1947,whenrefusingtheChairofMusicatAdelaide
University,hewrote:"IfIwere40yearsyounger,andnotsocrushedbydefeatineverybranchofmusic
Ihaveessayed,IamsureIwouldhavewelcomedsuchachance".[97]InJanuary1948heconductedthe
premiereofhiswindbandsettingof"ThePowerofRomeandtheChristianHeart",writtenforthe
GoldmanBandtocelebratethe70thbirthdayofitsfounder.Afterwards,Graingerdenigratedhisown
musicas"commonplace"whilepraisingDariusMilhaud'sSuiteFranaise,withwhichithadsharedthe
programme.[98]
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On10August1948,GraingerappearedattheLondonProms,playingthepianopartinhisSuiteon
DanishFolksongswiththeLondonSymphonyOrchestraunderBasilCameron.On18Septemberhe
attendedtheLastNightoftheProms,standinginthepromenade
sectionforDelius'sBriggFair.[99]Overthenextfewyears
severalfriendsdied:Gardinerin1950,QuilterandKarenHolten
in1953.InOctober1953Graingerwasoperatedonfor
abdominalcancerhisfightagainstthisdiseasewouldlastforthe
restofhislife.[100]Hecontinuedtoappearatconcerts,oftenin
churchhallsandeducationalestablishmentsratherthanmajor
concertvenues.[9]In1954,afterhislastCarnegieHall
appearance,Grainger'slongpromotionofGrieg'smusicwas
recognisedwhenhewasawardedtheSt.OlavMedalbyKing
APromenadeconcertattheRoyal
[101]
AlbertHall.The"promenade"section
HaakonofNorway.
However,agrowingbitternesswas
isthestandingareaimmediatelyin
becomingevidentinhiswritingsandcorrespondenceinaletter
frontoftheorchestra(2005
tohislifelongfriend,theDanishcomposerHermanSandby,he
photograph).
bemoanedthecontinuingascendencyinmusicofthe"German
form",andassertedthat"allmycompositionallifeIhavebeena
leaderwithoutfollowers".[101]
After1950Graingervirtuallyceasedtocompose.Hisprincipalcreativeactivityinthelastdecadeofhis
lifewashisworkwithBurnettCross,ayoungphysicsteacher,onfreemusicmachines.Thefirstofthese
wasarelativelysimpledevicecontrolledbyanadaptedpianola.[102]Nextwasthe"Esteyreedtone
tool",aformofgiantharmonicawhich,GraingerexpectantlyinformedhisstepdaughterElsieinApril
1951,wouldbereadytoplayfreemusic"inafewweeks".[103]Athirdmachine,the"CrossGrainger
Kangaroopouch",wascompletedby1952.DevelopmentsintransistortechnologyencouragedGrainger
andCrosstobeginworkonafourth,entirelyelectronicmachine,whichwasincompletewhenGrainger
died.[8][102]
InSeptember1955GraingermadehisfinalvisittoAustralia,wherehespentninemonthsorganising
andarrangingexhibitsfortheGraingerMuseum.Herefusedtoconsidera"GraingerFestival",as
suggestedbytheAustralianBroadcastingCommission,becausehefeltthathishomelandhadrejected
himandhismusic.BeforeleavingMelbourne,hedepositedinabankaparcelthatcontainedanessay
andphotographsrelatedtohissexlife,nottobeopeneduntil10yearsafterhisdeath.[104]
Lastyears
By1957Grainger'sphysicalhealthhadmarkedlydeclined,as
hadhispowersofconcentration.[105]Nevertheless,hecontinued
tovisitBritainregularlyinMayofthatyearhemadehisonly
televisionappearance,inaBBC"ConcertHour"programme
whenheplayed"HandelintheStrand"onthepiano.Backhome,
afterfurthersurgeryherecoveredsufficientlytoundertakea
modestwinterconcertsseason.[106]Onhis1958visittoEngland
hemetBenjaminBritten,thetwohavingpreviouslymaintaineda
mutuallycomplimentarycorrespondence.[107]Heagreedtovisit
DartmouthCollege,venuefor
Britten'sAldeburghFestivalin1959,butwaspreventedby
Grainger'slastconcert,April1960
illness.Sensingthatdeathwasdrawingnear,hemadeanewwill,
bequeathinghisskeleton"forpreservationandpossibledisplay
intheGraingerMuseum".Thiswishwasnotcarriedout.[108]
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Throughthewinterof195960Graingercontinuedtoperformhisownmusic,oftencoveringlong
distancesbybusortrainhewouldnottravelbyair.On29April1960hegavehislastpublicconcert,at
DartmouthCollegeinHanover,NewHampshire,althoughbynowhisillnesswasaffectinghis
concentration.Onthisoccasionhismorningrecitalwentwell,buthisconductingintheafternoonwas,
inhisownwords,"afiasco".[109][110]Subsequentlyconfinedtohishome,hecontinuedtorevisehis
musicandarrangethatofothersinAugustheinformedElsiethathewasworkingonanadaptationof
oneofCyrilScott'searlysongs.[111]Hislastletters,writtenfromhospitalinDecember1960andJanuary
1961,recordattemptstowork,despitefailingeyesightandhallucinations:"Ihavebeentryingtowrite
scoreforseveraldays.ButIhavenotsucceededyet."[112]
GraingerdiedintheWhitePlainshospitalon20February1961,attheageof78.Hisbodywasflownto
Adelaidewhere,on2March,hewasburiedintheAldridgefamilyvaultintheWestTerraceCemetery,
alongsideRose'sashes.[8]Ellasurvivedhimby18yearsin1972,aged83,shemarriedayoung
archivist,StewartManville.ShediedatWhitePlainson17July1979.[2][113]
Music
Grainger'sownworksfallintotwocategories:
"SeventeenComeSunday"
originalcompositionsandfolkmusicarrangements.
MENU
0:00
Besidesthese,hewrotemanysettingsofother
AUnitedStatesNavyBandSea
composers'works.[8][9]Despitehisconservatory
Chantersensemblerenditionofthe
trainingherebelledagainstthedisciplinesofthe
1912PercyGraingerversionof
"SeventeenComeSunday"
centralEuropeantradition,largelyrejecting
conventionalformssuchassymphony,sonata,
Problemsplayingthisfile?Seemediahelp.
concertoandopera.Withfewexceptionshisoriginal
compositionsareminiatures,lastingbetweentwoand
eightminutes.Onlyafewofhisworksoriginatedaspianopieces,thoughinduecoursealmostallof
themwere,inhisphrase,"dishedup"inpianoversions.[9]
TheconductorJohnEliotGardinerdescribesGraingeras"atrueoriginalintermsoforchestrationand
imaginativeinstrumentation",whosetersenessofexpressionisreminiscentinstylebothofthe20th
centurySecondVienneseSchoolandtheItalianmadrigalistsofthe16thand17thcenturies.[114]
MalcolmGillies,aGraingerscholar,writesofGrainger'sstylethat"youknowitis'Grainger'whenyou
haveheardaboutonesecondofapiece".[115]Themusic'smostindividualcharacteristic,Gilliesargues,
isitstexture"theweftofthefabric",accordingtoGrainger.[116]Differenttexturesaredefinedby
Graingeras"smooth","grained"and"prickly".[9]
Graingerwasamusicaldemocrathebelievedthatinaperformanceeachplayer'sroleshouldbeof
equalimportance.Hiselasticscoringtechniquewasdevelopedtoenablegroupsofallsizesand
combinationsofinstrumentstogiveeffectiveperformancesofhismusic.Experimentationisevidentin
Grainger'searliestworksirregularrhythmsbasedonrapidchangesoftimesignaturewereemployedin
LoveVersesfrom"TheSongofSolomon"(1899),andTrainMusic(1901),longbeforeStravinsky
adoptedthispractice.[4]InsearchofspecificsoundsGraingeremployedunconventionalinstrumentsand
techniques:solovoxes,theremins,marimbas,musicalglasses,harmoniums,banjos,andukuleles.[108][117]
Inoneearlyconcertoffolkmusic,QuilterandScottwereconscriptedasperformers,towhistlevarious
parts.[118]In"RandomRound"(191214),inspiredbythecommunalmusicmakinghehadheardinthe
PacificIslandsonhissecondAustralasiantour,Graingerintroducedanelementofchanceinto
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performancesindividualvocalistsandinstrumentalistscouldmakerandomchoicesfromamenuof
variations.[9]Thisexperimentin"aleatory"compositionpresagedbymanydecadestheuseofsimilar
proceduresbyavantgardecomposerssuchasBerioandStockhausen.[119]
Thebrief"SeaSong"of1907wasanearlyattemptbyGraingertowrite"beatless"music.Thiswork,
initiallysetover14irregularbarsandoccupyingabout15secondsofperformingtime,[120]wasa
forerunnerofGrainger'sfreemusicexperimentsofthe1930s.Graingerwrote:"Itseemstomeabsurdto
liveinanageofflying,andyetnotbeabletoexecutetonalglidesandcurves".Theideaoftonal
freedom,hesaid,hadbeeninhisheadsinceasaboyofelevenortwelvehehadobservedthewave
movementsinthesea."Outinnaturewehearallkindsoflovelyandtouching"free"(nonharmonic)
combinationsoftonesyetweareunabletotakeupthesebeauties...intotheartofmusicbecauseofour
archaicnotionsofharmony".[89]Ina1941lettertoScott,Graingeracknowledgedthathehadfailedto
produceanylargescaleworksinthemannerofaBachoratorio,aWagneroperaoraBrahms
symphony,butexcusedthisfailureonthegroundsthatallhisworkspriortothemid1930shadbeen
merepreparationsforhisfreemusic.[121]
Asastudent,GraingerhadlearnedtoappreciatethemusicofGrieg,andcametoregardtheNorwegian
asaparagonofNordicbeautyandgreatness.GrieginturndescribedGraingerasanewwayforwardfor
Englishcomposition,"quitedifferentfromElgar,veryoriginal".AfteralifetimeinterpretingGrieg's
works,in1944GraingerbeganadaptingtheNorwegian'sEminorPianoSonata,Op.7asa"Grieg
GraingerSymphony",butabandonedtheprojectafterwriting16barsofmusic.Bythistime,Grainger
acknowledgedthathehadnotfulfilledGrieg'shighexpectationsofhim,eitherasacomposerorasa
pianist.Healsoreflectedonwhetheritwouldhavebeenbetter,fromthepointofviewofhis
developmentasacomposer,hadhenevermettheGriegs,"sweetanddearthoughtheyweretome".[122]
Graingerwasknownforhismusicalexperimentationanddidnothesitatetoexploitthecapabilitiesof
theorchestra.TrainMusicwasintendedfor150playersandCountryGardenshassomelushharmonic
invention.PerhapshismostambitiousworkwasTheWarriors,an18minute'imaginaryballet'of
frenzied'danceablemusic',entrustedtoahugeorchestralensembleincorporatingalarge'tuneful
percussion'mixturealongsideatleastthreepianosinoneperformance,Graingerusednineteenpianos
withthirtypianiststobeplayedby"exceptionallystrongvigorousplayers".[123]
Legacy
GraingerconsideredhimselfanAustraliancomposerwho,hesaid,wrotemusic"inthehopesofbringing
honorandfametomynativeland".[124]However,muchofGrainger'sworkinglifewasspentelsewhere,
andtheextenttowhichheinfluencedAustralianmusic,withinhislifetimeandthereafter,is
debatable.[125]HiseffortstoeducatetheAustralianmusicalpublicinthemid1930swereindifferently
received,anddidnotattractdisciples[126]writingin2010,theacademicandcriticRogerCovell
identifiesonlyonesignificantcontemporaryAustralianmusiciantheEnglishbornhornplayer,pianist
andconductorDavidStanhopeworkingintheGraingeridiom.[125]In1956,thesuggestionbythe
composerKeithHumblethatGraingerbeinvitedtowritemusicfortheopeningofthe1956Summer
OlympicsinMelbournehadbeenrejectedbytheorganisersoftheGames.[104]
Graingerwasalifelongatheistandbelievedhewouldonlyendureinthebodyofworkheleft
behind.[127]Hetookanunusualcourseofactiontoensurethatsurvivalbyestablishingapersonal
museumdedicatedtohisownlife.TheGraingerMuseumwasgivenlittleattentionbeforethemid
1970s[9]itwasinitiallyregardedasevidenceeitherofanoverlargeegoorofextremeeccentricity.[128]
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SincethentheUniversityofMelbourne'scommitmenttothemuseumhas,Covellasserts,"rescued[it]
permanentlyfromacademicdenigrationandbelittlement".[128]Itsvastquantitiesofmaterialshavebeen
usedtoinvestigatenotonlyGrainger'slifeandworks,butthoseofcontemporarieswhomGraingerhad
known:Grieg,Delius,Scottandothers.[129]TheGraingerhomeat7CromwellPlace,WhitePlains,is
nowthePercyGraingerLibraryandisafurtherrepositoryofmemorabiliaandhistoricperformance
material,opentoresearchersandvisitors.[9][130]
InBritain,Grainger'smainlegacyistherevivalofinterestinfolkmusic.Hispioneeringworkinthe
recordingandsettingoffolksongsgreatlyinfluencedthefollowinggenerationofEnglishcomposers
BenjaminBrittenacknowledgedtheAustralianashismasterinthisrespect.[131]Afterhearinga
broadcastofsomeGraingersettings,Brittenreportedlydeclaredthatthese"[knocked]alltheVaughan
WilliamsandR.O.Morrisarrangementsintoacockedhat".[132]IntheUnitedStates,Graingerlefta
strongeducationallegacythroughhisinvolvement,over40years,withhighschool,summerschooland
collegestudents.Likewise,hisinnovativeapproachestoinstrumentationandscoringhavelefttheirmark
onmodernAmericanbandmusic[9]TimothyReynish,aconductorandteacherofbandmusicinEurope
andAmerica,hasdescribedhimas"theonlycomposerofstaturetoconsidermilitarybandstheequal,if
notthesuperior,inexpressivepotentialtosymphonyorchestras."[133]Grainger'sattemptstoproduce
"freemusic"bymechanicalandlaterelectronicmeans,whichheconsideredhismostimportantwork,
producednofollowuptheywerequicklyovertakenandnullifiedbynewtechnologicaladvances.
Covellneverthelessremarksthatinthisendeavour,Grainger'sdoggedresourcefulnessandingenioususe
ofavailablematerialsdemonstrateaparticularlyAustralianaspectofthecomposer'scharacteroneof
whichGraingerwouldhavebeenproud.[134]
Assessment
In1945Graingerdevisedaninformalratingssystemfor
composersandmusicalstyles,basedoncriteriathatincluded
originality,complexityandbeauty.Offortycomposersand
styles,herankedhimselfequalninthbehindWagnerand
Delius,butwellaheadofGriegandTchaikovsky.[122]
Nevertheless,inhislateryearshefrequentlydenigratedhis
career,forexamplewritingtoScott:"Ihaveneverbeenatrue
musicianortrueartist".[135]Hisfailuretoberecognisedasa
composerforanythingbeyondhispopularfolksong
arrangementswasasourceoffrustrationanddisappointment[136]
foryearsafterhisdeaththebulkofhisoutputremainedlargely
PercyGrainger'stombstone"World
unperformed.[137]Fromthe1990sanincreaseinthenumberof
famouscomposerandpianist"
Graingerrecordingshasbroughtarevivalofinterestinhis
works,andhasenhancedhisreputationasacomposer.[2]An
unsignedtributepublishedontheGramophonewebsiteinFebruary2011tocommemoratethe50th
anniversaryofGrainger'sdeathopinedthat"thoughhewouldneverbeputonapedestaltojointhe
pantheonofimmortals,heisunorthodox,originalanddeservesbetterthantobedismissedbythemore
snootyarbitersofmusicaltaste".[108]
OfGraingerthepianist,TheNewYorkTimescriticHaroldSchonbergwrotethathisuniquestylewas
expressedwith"amazingskill,personalityandvigor".[138]Theearlyenthusiasmwhichhadgreetedhis
concertappearancesbecamemutedinlateryears,andreviewsofhisperformancesduringthefinalten
yearsofhislifewereoftenharsh.[139]However,BrittenregardedGrainger'slaterecordingoftheGrieg
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concerto,fromaliveperformanceatAarhusin1957,as"oneofthenoblestevercommittedtorecord"
despitethesuppressionofthediscformanyyears,becauseoftheproliferationofwrongnotesandother
faults.[140]BrianAllisonfromtheGraingerMuseum,referringtoGrainger'searlydisplaysofartistic
skills,hasspeculatedthathadJohnGrainger'sinfluencenotbeenremoved,"PercyAldridgeGrainger
maytodayberememberedasoneofAustralia'sleadingpaintersanddesigners,whojusthappenedto
havealatenttalentasapianistandcomposer".[141]TheethnomusicologistJohnBlacking,while
acknowledgingGrainger'scontributiontosocialandculturalaspectsofmusic,neverthelesswritesthatif
thecontinentalfoundationofGrainger'smusicaleducationhadnotbeen"underminedbydilettantism
andthedisastrousinfluenceofhismother,Iamsurethathisultimatecontributiontotheworldofmusic
wouldhavebeenmuchgreater".[142]
Recordings
Between1908and1957Graingermadenumerousrecordings,usuallyaspianistorconductor,ofhisown
andothercomposers'music.Hisfirstrecordings,forTheGramophoneCompanyLtd(laterHMV),
includedthecadenzatoGrieg'spianoconcertohedidnotrecordacompleteversionofthisworkondisc
until1945.Muchofhisrecordingworkwasdonebetween1917and1931,undercontractwith
Columbia.AtothertimesherecordedforDecca(194445and1957),andVanguard(1957).Ofhisown
compositionsandarrangements,"CountryGardens","Shepherd'sHey"and"MollyontheShore"and
"LincolnshirePosy"wererecordedmostfrequentlyinrecordingsofothercomposers,pianoworksby
Bach,Brahms,Chopin,Grieg,LisztandSchumannfiguremostoften.[143]Grainger'scomplete78rpm
solopianorecordingsarenowavailableoncompactdiscasaCDboxsetonAPRrecordsintransfers
madebyWardMarston.[144]DuringhisassociationwiththeDuoArtcompanybetween1915and1932,
Graingermadearound80pianorollsofhisownandothers'musicusingawoodenrobotdesignedto
playaconcertgrandpianoviaanarrayofprecisionmechanicalfingersandfeetreplayingsofmanyof
theserollshavesubsequentlybeenrecordedontocompactdisc.[145][146][147]Thisreproductionsystem
allowedGraingertomakeaposthumousappearanceintheAlbertHall,London,duringthe1988last
nightofthePromsassoloistwiththeBBCSymphonyOrchestrainGrieg'sPianoConcerto.[148]
SinceGrainger'sdeath,recordingsofhisworkshavebeenundertakenbymanyartistsandissuedunder
manydifferentlabels.In1995ChandosRecordsbegantocompileacompleterecordededitionof
Grainger'soriginalcompositionsandfolksettings,andincludedaFantasyOctetonThemesofGrainger
byKennethLeighton,commissionedforanEdinburghFestival1982GraingerCentenaryconcert.His
workasanAustralianExperimentalMusiccomposerwasacknowledgedbyinclusionintheClinton
Greencompilation"ArtefactsofAustralianExperimentalMusic19301973"[149][150]Of25anticipated
volumes,19hadbeencompletedasof2010[151]thesewereissuedasaCDboxedsetin2011,tomark
the50thanniversaryofthecomposer'sdeath.[152]
Notesandreferences
Notes
1. Althoughmostsourcesgive1855asthebirthyear,theGraingerMuseumstatesthat1854isthecorrect
year.[1]
2. ThecorrespondencewasconductedlargelyinDanish,atwhichGraingerwasfluent.HisfirstlettertoHolten,
dated12August1905,begins"DearMissHolten"bytheendoftheyearsheis"MydearKaren".During
theirlongseparationsGrainger'slettersbecomeadiaryofhisactivities.[44]
3. ThereisnoevidenceuptothistimethatGraingercouldplaythesaxophone,[53]butinanofficiallistingofthe
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3. ThereisnoevidenceuptothistimethatGraingercouldplaythesaxophone,[53]butinanofficiallistingofthe
band'spersonnelasofApril1918heislistedasasaxophonesoloist.[54]
4. SomeofGrainger'searliestpublishedletterscontainantiSemiticcomments,forexampletoKarenHoltenin
1905.[76]HelaterassertedthattheJewishracewaslesscapableofproducinggoodmusicthantheNordic
races,[77]andhislettertoQuilterof25February1939iscitedbyGilliesandPearasanexampleofhisracial
intolerance.[75][78]
5. InApril1945GraingerdeclinedanhonorarydoctoratefromMcGillUniversityinMontreal,onthegrounds
thathavinghadonlythreemonths'formalschooling,hismusic"mustberegardedasaproductofnon
education".[84]
References
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GraingerMuseum(UniversityofMelbourne).Retrieved20April2011.
2. Dreyfus,Kay(2006)."Grainger,GeorgePercy(18821961)"
(http://adbonline.anu.edu.au/biogs/A090072b.htm).AustralianDictionaryofBiographyonline.Retrieved
20April2011.
3. Bird,pp.26
4. Simon,pp.23
5. Bird,p.9
6. Bird,pp.1415
7. Bird,p.11
8. Gillies,Malcolm(2004)."Grainger,PercyAldridge"(http://www.oxforddnb.com/index/41/101041081/).
OxfordDictionaryofNationalBiographyonline.Retrieved20April2011.(subscriptionrequired)
9. Gillies,MalcolmPear,David(2007)."Grainger,(George)Percy(Aldridge)"
(http://www.oxfordmusiconline.com/subscriber/article/grove/music/11596?
q=Percy+Grainger&search=quick&pos=1&_start=1).OxfordMusicOnline.Retrieved20April2011.
(subscriptionrequired)
10. Bird,p.13
11. Bird,pp.2022
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13. Bird,pp.2425
14. Scott,pp.5154
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21. Pear("Grainger:TheFormativeYears"),p.6
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24. Bird,pp.8388
25. Thwaites(ed.)p.xx
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35. Gillies,MalcolmPear,David(Autumn2007)."GreatExpectations:GriegandGranger"
(http://www.jstor.org/pss/25434475).TheMusicalTimes148(1900):pp.79.doi:10.2307/25434475
(https://dx.doi.org/10.2307%2F25434475).(subscriptionrequired)
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68. Bird,p.175
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81. Bird.pp.20001
83. Bird,pp.20405
85. Bird,p.213
86. Bird,p.203
87. Piggott,p.42
88. Bird,pp.20607
89. StatementbyPercyGraingerentitled"FreeMusic",dated6December1938,inThwaites(ed.),pp.20708
90. Simon,p.12
91. Bird,p.210
92. Bird,pp.21415
93. Simon,p.11
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102. Davies,Hugh(2007)."CrossGraingerfreemusicmachine"
(http://www.oxfordmusiconline.com/subscriber/article/grove/music/47637).OxfordMusicOnline.Retrieved
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105. GilliesandPear,p.xvii
106. Bird,pp.24748
108. "PercyGrainger(18821961)thecomposer,50yearson"
(http://www.gramophone.co.uk/features/focus/percygrainger18821961thecomposer50yearson).
Gramophone.3February2011.
109. Bird,p.249
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113. Thwaites(ed.),p.166
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TheInternationalPercyGraingerSociety
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WikimediaCommonshas
mediarelatedtoPercy
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TheGraingerMuseumattheUniversityofMelbourne,Australia
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Gutenberg
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query=%28subject%3A%22Grainger%2C%20Percy%20Aldridge%22%20OR%20subject%3A%2
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Retrievedfrom"http://en.wikipedia.org/w/index.php?title=Percy_Grainger&oldid=651472538"
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