Australian Music Series – MDA012

Two Works For Bassoon and Pianoforte

Melbourne, 1890s

George W. L. Marshall-Hall London, 1862 – Melbourne, 1915

Edited by Richard Divall

Music Archive Monash University

Melbourne

! 2

Information about the MUSIC ARCHIVE series Australian Music

And other available works in the free digital series is available at http://artsonline.monash.edu.au/music-archive

This edition may be used free of charge from private performance and study. It may be freely transmitted and copied in electronic or printed form. All rights are preserved for performance, recording, broadcast and publication in any audio format Copyright 2014 Richard Divall Published by MUSIC ARCHIVE OF MONASH UNIVERSITY Sir Zelman Cowen School of Music Monash University, Victoria, 3800, Australia ISBN 978-0-9923857-1-1 ISMN 979-0-9009643-1-1 The edition has been produced with the generous assistance from the Marshall-Hall Trust

! 3

George William Louis Marshall-Hall G W L Marshall-Hall was born in Hyde Park, London in 1862 and died in Melbourne on 18 July 1915. Born into a medical family, Marshall-Hall studied from the age of sixteen at Kings College, London, and then in Montreux in Switzerland. Destined for the civil service, he decided on music as a career. From 1880 studied in Berlin, before returning to London in 1882 to further study at the Royal College of Music, where his teachers included Sir Hubert Parry and Frederick Bridge. The then Director of the College, Sir George Grove, recognised his talent and his wide interest in literature and in the history of music. He was a man with an ‘inquiring turn of mind,’ and ‘there is some evidence of a temper of no mean order’. He was beginning to make a mark for himself as a composer in England, but in 1887 an advertisement appeared for the position of the inaugural Ormond Professor of Music at The University of Melbourne. His application for the position was successful, and he arrived in Melbourne in January 1891 to take up the post. He quickly established a reputation for bohemianism, and as a musician who could inspire both students, and as a conductor. His programming in concerts was adventurous and demanding and his output as a composer ranged from two operas to symphonic, orchestral tone poems, chamber works and many songs.

His success was tempered by the publication of a series of provocative poems under the title of Hymns Ancient and Modern, which inflamed the Anglican establishment. Although not devoid of defenders, Marshall-Hall’s tenure as professor was not renewed in 1900. But after a long period of controversy, he was eventually re-appointed as Ormond Professor in July 1914, only one year before his untimely death one year later. His career and music are well examined in Dr Therese Radic’s excellent study G.W.L. Marshall-Hall A Biography and Catalogue.1 Another recent and outstanding study is Marshall-Hall’s Melbourne – Music, Art and Controversy 1891-1915.2

Marshall-Hall had shown support for the young Percy Grainger, and in 1938 Grainger repaid the debt by purchasing Marshall-Hall’s scores from his widow and only son. They are now housed in The Grainger Museum at The University of Melbourne. His grandson, Marshall-Hall Inman bequeathed a sum that provided the resources for the setting up of The Marshall-Hall Trust, which publishes and supports the performance and research into Australia’s earlier music.

These two movements for bassoon and piano are amongst the few works that Marshall-Hall composed in the genre of chamber music. The manuscripts are held in The Grainger Museum, The University of Melbourne, catalogued as M-H 3/6-1. Other chamber works include the two string quartets and also the two violin Fantasies originally published by Schott. The two bassoon works seem to be separate pieces, and

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1!Therese Radic, G.W.L. Marshall-Hall A Biography and Catalogue (Melbourne: The Marshall-Hall Trust 2002). 2 Marshall-Hall’s Melbourne – Music, Art and Controversy 1891-1915 Edited by Thérèse Radic and Suzanne Robinson (Melbourne: Australian Scholarly 2012).

! 4

not part of a larger work. They are written on nineteen and twelve pages respectively, on twelve-stave manuscript paper.

The first work, an Allegro con brio has the inscription on the final page ‘Begun Oct 5 finished Oct 6th’, but the year of composition is unknown. The second movement, an Adagio quasi Andante is inscribed on the first page ‘In the Orchard, Chartersville’. This would refer to the Chartersville Homestead in the Melbourne suburb of Heidelberg, used by painters and artists of the Heidelberg School, many of whom were close personal friends of the composer. In 1896 Lionel Lindsay painted a pen and ink artwork called ‘In the old Orchard, Chartersville’ which is in the National Gallery of Victoria.

Facsimile of page one of the first movement The Grainger Museum – The University of Melbourne.

! 5

This edition was prepared in 2013 with the support of The Marshall-Hall Trust. I would like to express my appreciation to my fellow Trustees, The Hon Sir James Gobbo AC, Lady Primrose Potter AC, Professor John Poynter AO OBE and Associate Professor Thérèse Radic. May I extend my deep appreciation to Allan and Maria Myers AO, and to the Rector and Provost of Newman College, The University of Melbourne, and especially to Professor Ed Byrne AC, the President and Vice-Chancellor of Monash University, Professor John Griffiths and to the Head of the Sir Zelman Cowen School of Music, Associate Professor Rob Burke for their support and assistance of this project.

Richard Divall April 2014

George W. L. Marshall-Hall 1862-1915. Portrait by Tom Roberts 1856-1931 The Grainger Museum, The University of Melbourne

! 6

CRITICAL NOTES Work/Bar number Movement One. Bar(s) 1-8. M-H has crossed out legato slurs covering the entire bar of the piano part. 23. There is an ossia in the bassoon part on notes 3, 4 and 5, which are notated in pencil one third lower. 27-28. Deleted legato slurs over each group of four quavers. 48. There is an ossia or an added note for note 7 of a C added to a D. 49. There is an ossia or an added note for note 7 of a C added to a D. 54. There are octave G’s in the bass line, but they are ruled out. The result is difficult to decipher. 55-66. Slurs over the piano part covering an entire bar are deleted. 69-83 Slurs over the piano part covering an entire bar are deleted. 76. There is a deleted draft bar. 90. M-H writes quavers on notes 3 and 4 in the piano part instead of crochets. 113 staccate 133. M-H adds a repeat sing back to a place unknown. 280. Note 3. Piano LH. D in Ms, not E. 298. Note 3 Piano RH. D in Ms, not E. Movement Two. Bars 46-82. These bars are erased in crayon. The Editor. Frà Professor Richard Divall AO OBE is a Vice-Chancellor’s Professorial Fellow at Monash University, an Honorary Principal Fellow in Music at The University of Melbourne, and Visiting Professor at The University of Malta. He is Chairman of the Marshall-Hall Trust and is a Knight of Malta in Solemn Religious Profession. He was awarded a D.Lett. (Hon Causa) in 1992 by Monash University, and a Doc. Univ. (Hon Causa) by the Australian Catholic University in 2004. He holds a PhD in Theology from the University of Divinity on eighteenth-century sacred music on Malta that includes an edition of the complete sacred works of Nicolò Isouard (1773-1818), and is an Honorary Research Fellow at the same university. Richard Divall has edited early Australian music since 1967.

©2013 Richard Divall

Bassoon

Piano

Allegro con brioAllegro con brioAllegro con brioAllegro con brio

p

Poco staccato

Allegro con brioAllegro con brioAllegro con brioAllegro con brio

5

10

15

G W Marshall-Hall 1862-1915MS The Percy Grainger Museum

Edited by Richard Divall

Two Pieces for Bassoon and Piano

I

20

25

marcato

sempre staccato

29

34

8

marcato

38

sempre staccato

43

48

f dim

52

f dim

9

57

p dim

62

ppp

pp

66

ppp

70

10

75

79

cresc

84

p

88

p

11

93

calandocalandocalandocalando98

calandocalandocalandocalando

ppp mf

a tempoa tempoa tempoa tempo103

p

a tempoa tempoa tempoa tempo

ppp

staccate

108

p

12

cresc

114

cresc

f

119

f

123

128

sf ff sf

13

f p

ritritritrit133

p

ritritritrit

142

pp

151

pp

159

14

ritritritrit166

ritritritrit

174

pp

p

180

185

15

190

195

200

mf f

205

ff [mf]

16

210

214

dim

219

224

17

p

229

p

[f]

Con fuocoCon fuocoCon fuocoCon fuoco234

fsf

Con fuocoCon fuocoCon fuocoCon fuoco

240

sf

sf dim

ritritritrit245

dim e rit

ritritritrit

18

250

p non legato

255

260

265

19

cresc

270

cresc

sf

275

279

284

20

288

293

298

[stacc] dim

302

dim

21

306

311

p

316

321

22

326

331

335

340

23

345

p

calandocalandocalandocalando350

p

calandocalandocalandocalando

355

stacc

361

24

366

370

[ossia]374

[ff]

379

ff

25

f p

383

p

389

sotto voce

ritritritrit398

pp

ritritritrit

404

26

dim

409

cresc

f dim

414

f dim

pp

ritritritrit418

pp p

ritritritrit

Began Oct 5, finished Oct 6th. [M-H].

27

p espressivo

Adagio quasi AndanteAdagio quasi AndanteAdagio quasi AndanteAdagio quasi Andante1

p

Adagio quasi AndanteAdagio quasi AndanteAdagio quasi AndanteAdagio quasi Andante

9

espress

17

pp

dolce dolce

25

G W Marshall-Hall

Edited by Richard Divall

'In the Orchard, Chartersville'

II

28

33

f dim dim

40

p f dim

dim p

46

dim

p molto espress

53

29

61

68

75

f

82

30

88

94

99

104

31

109

poco ritpoco ritpoco ritpoco rit113

poco ritpoco ritpoco ritpoco rit

pp

118

[pp]

dim

126

[dim]

32

133

140

p

149

f dim p

sf dim

157

f sf sf dim

33

ritritritrit164

pp

ritritritrit

171

178

185

34

f

192

f

dim pp mf

ritritritrit199

pp

ritritritrit

dim

204

208

6 6

35

dim pp

ritritritrit212

pp

ritritritrit

219

ppp

calandocalandocalandocalando225

ppp

calandocalandocalandocalando

3 3 3 3 3 3 3 3 3 3 33

3 3 3 3 3 3 3

36