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In many ways the history of British light music knits together the
social and economic history of the country with that of its general
musical heritage. Numerous 'serious' composers from Elgar to
Britten composed light music, and the genre adapted itself to
incorporate the changing fashions heralded by the rise and fall of
music hall, the drawing room ballad, ragtime, jazz and the revue.
From the 1950s the recording and broadcasting industries provided a
new home for light music as an accompaniment to radio programmes
and films. Geoffrey Self deftly handles a wealth of information to
illustrate the immense role that light music has played in British
culture over the last 130 years. His insightful assessments of the
best and the most shameful examples of the genre help to pinpoint
its enduring qualities; qualities which enable it to maintain a
presence in the face of today's domination by commercial popular
music.
In many ways the history of British light music knits together the
social and economic history of the country with that of its general
musical heritage. Numerous 'serious' composers from Elgar to
Britten composed light music, and the genre adapted itself to
incorporate the changing fashions heralded by the rise and fall of
music hall, the drawing room ballad, ragtime, jazz and the revue.
From the 1950s the recording and broadcasting industries provided a
new home for light music as an accompaniment to radio programmes
and films. Geoffrey Self deftly handles a wealth of information to
illustrate the immense role that light music has played in British
culture over the last 130 years. His insightful assessments of the
best and the most shameful examples of the genre help to pinpoint
its enduring qualities; qualities which enable it to maintain a
presence in the face of today's domination by commercial popular
music.
Chronological examination of Moeran's output, from his early piano
and chamber music and tone-poems to the late masterpieces of the
Cello Concerto and Cello Sonata. E.J. Moeran [1894-1950] is one of
the outstanding British composers of his generation, his music
championed by Sir Adrian Boult, Vernon Handley, Norman Del Mar and
others. His work covers a considerable variety of forms, from
thewidely acclaimed Symphony in G minor to exquisite songs and
piano miniatures. But hi life and career were far from easy. A
grievous shrapnel wound in World War I left him with a tendency
towards alcoholism, exacerbated by a riotous four-year sojourn with
Peter Warlock, which inhibited his ability to compose. Freed from
the weight of Warlock's personality, Moeran went on to complete his
Symphony, two concertos, and much else of enduring value and
importance. In this first-ever full-length study of his music,
Geoffrey Self examines Moeran's output chronologically, from his
early piano and chamber music and tone-poems to the late
masterpieces of the Cello Concerto and Cello Sonata. GEOFFREY SELF
was Head of Music at Cornwall Technical College until 1981. He
received a B.Mus. from the University of London and an M.Phil. from
Exeter.
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