THE DRAPER FAMILY A Musical Legacy · 2019-11-12 · 1 CC0074 THE DRAPER FAMILY A Musical Legacy IN...

1

CC0074

THE DRAPER FAMILYA Musical LegacyIN MUSIC, WORDS AND PICTURES

by

Malcolm

McMillan

2

TRACKLIST

1 MOHR 2nd Air Varie 2:51 Charles Draper & band John Bull Record B63b (1-64072-6302-t)

2 VERDI/BASSI Air from Rigoletto 3:08 Charles Draper & band Homophon Co. 1008 (60253-241011A)

3 MOHR Air Varie 4:10 Charles Draper & band Zonophone Record Z-046000)

4 BARTHE Passacaille 2:54 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 3476 (06671A)

5 BEETHOVEN Septet Op.20 mvt.1 Adagio, Allegro con brio 8:44 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX109 (WAX5432/3)

6 BEETHOVEN Septet Op.20 mvt.2 Adagio Cantabile 8:51 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX110 (WAX5434/5)

7 BEETHOVEN Septet Op.20 mvt.3 Tempo di Minuetto 3:13 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX111 (WAX5436)

8 BEETHOVEN Septet Op.20 mvt.4 Tema con Variazioni 7:38 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX111/2 (WAX5437/8)

9 BEETHOVEN Septet Op.20 mvt.5 Scherzo, Allegro molto, Trio 3:01 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX112 (WAX5439)

10 BEETHOVEN Septet Op.20 mvt.6 Andante con moto alla marcia, Presto 6:36 Charles Draper, E.Hinchcliff, A.Brain, J.Lener, S.Roth, I.Hartmann, C.Hobday Columbia LX113 (WAX5440/1)

11 BIZET Carmen 3:56 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 517 (X1149D)

12 BRAHMS Quintet Op.115 mvt.1 Allegro 9:23 Charles Draper, J.Lener, S.Roth, I.Hartmann Columbia L2228/9 (WAX4258/60)

13 BRAHMS Quintet Op.115 mvt.2 Adagio 9:50 Charles Draper, J.Lener, S.Roth, I.Hartmann Columbia L2229/30 (WAX4289/91)

14 BRAHMS Quintet Op.115 mvt.3 Andantino, Presto non assai 4:56 Charles Draper, J.Lener, S.Roth, I.Hartmann Columbia L2231 (WAX4292/3)

15 BRAHMS Quintet Op.115 mvt.4 Con moto 8:09 Charles Draper, J.Lener, S.Roth, I.Hartmann Columbia L2232 (WAX4294/5)

16 BRAHMS Quintet Op.115 Allegro, Adagio piu lento 7:58 Charles Draper, J.Levy, T.Petre, H.Waldo Warner, C.Warwick-Evans Columbia L1219 (75876/7)

17 BRAHMS Trio Op.114 mvt.1 Allegro 7:39 Haydn Draper, W.H.Squire, Hamilton Harty Columbia L1609 (AX692/3)

18 BRAHMS Trio Op.114 mvt.2 Adagio 7:35 Haydn Draper, W.H.Squire, Hamilton Harty Columbia L1610 (AX694/5)

19 BRAHMS Trio Op.114 mvt.3 Scherzo 4:23 Haydn Draper, W.H.Squire, Hamilton Harty Columbia L1611 (AX696)

20 BRAHMS Trio Op.114 mvt.4 Allegro 4:01 Haydn Draper, W.H.Squire, Hamilton Harty Columbia L1611 (AX697)

21 ANON. Carnival of Venice 2:57 Charles Draper & band Homophon Co. 752 (667A)

22 CASELLA Tarantella from Serenata 3:17 Reginald Kell, Paul Draper, George Eskdale, Jean Pougnet, Antony Pini Columbia DB1788 (CA16221-1)

23 TRAD./CLARKE Comin’ Thro’ the Rye with variations 2:25 Haydn Draper Pathé 79188 (69207-RA)

24 TRAD./CLARKE Comin’ Thro’ the Rye 4:30 Charles Draper & pf Marathon 231 (401 ICL)

25 ANON. Espanol 2:41 Charles Draper & band Homophon Company 750 (A291026

26 LAZARUS Fantasia Scotch Melodies 2:58 Charles Draper & band John Bull Record B63a (1-64071-6301-t)

27 HAYDN Presto 3:11 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 1093 (8226A)

28 BISHOP Home Sweet Home 2:51 Charles Draper & band Odeon A42863 (Lxo1942)

29 BISHOP Home, Sweet Home 2:59 Charles Draper & band Homophon Company 1089 (60267-251011A)

30 SELECTION Instruments of the Orchestra 0:58 Charles Draper HMV C1311 (Cc9532-1)

3

31 TRAD. Kemp’s Jigg 3:06 Gordon Walker, Charles Draper, Avril de Jersey, Alfred Hobday, Cecil Sharp Columbia RO51 (CA12547)

32 GOUNOD Kermesse 4:04 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 519 (X1150D)

33 KROEPSCH In Cellar Cool with variations 2:19 Haydn Draper Pathé 79187 (69206-RA)

34 LEFEBVRE Finale to Suite 3:11 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Winner 3476 (06671A)

35 LAZARUS Ma Normandie 2:47 Charles Draper & band Jumbo-Record 935 (Lxo1940)

36 MOZART Concerto K.622 Slow Movement 6:28 Haydn Draper, orch, Clarence Raybould Columbia DB834 (CA12482/3)

37 MOZART Concerto K.622 mvt.1 Allegro 10:32 Haydn Draper, orch, C.Powell Brunswick 20076 (BA126/7)

38 MOZART Concerto K.622 mvt.2 Adagio 6:31 Haydn Draper, orch, C.Powell Brunswick 20077 (BA128/9)

39 MOZART Concerto K.622 mvt.3 Rondo 8:50 Haydn Draper, orch, C.Powell Brunswick 20078 (BA130/1)

40 MOZART O dolce contento 3:07 Robert Murchie, Haydn Draper & pf Columbia 3240 (73203)

41 MOZART Quintet K.581 mvt.1 Allegro 6:45 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann Columbia L2252 (WAX4228/9)

42 MOZART Quintet K.581 mvt.2 Larghetto 6:20 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann Columbia L2253 (WAX4230/1)

43 MOZART Quin tet K.581 mvt.3 Menuetto 6:51 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann Columbia L2254 (WAX4232/3)

44 MOZART Quintet K.581 mvt.4 Allegretto 7:58 Charles Draper, J.Lener, Smilovitz, S.Roth, I.Hartmann Columbia L2255 (WAX4234/5)

45 MOZART Quintet K.581 mvt.1 Allegro 6:27 Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker National Gramophone Society XX (NGS20/1)

46 MOZART Quintet K.581 mvt.2 Larghetto 5:23 Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker National Gramophone Society YY (NGS22/3)

47 MOZART Quintet K.581 mvt.3 Menuetto 5:03 Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker National Gramophone Society ZZ (NGS23/4)

48 MOZART Quintet K.581 mvt.4 Allegretto 7:25 Charles Draper, Spencer Dyke, Edwin Quaife, Ernest Tomlinson, B.Patterson Parker National Gramophone Society ZZ/AAA (NGS25/6)

49 ONSLOW Scherzo 2:54 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 1093 (8225A)

50 PIERNÉ Pastorale 4:01 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 515 (X1147G)

51 PFYFFER Serenade Op.4 3:05 Robert Murchie, Haydn Draper, pf Columbia 3288 (73206)

52 RAVEL Intro. & Allegro 9:09 Robert Murchie, Charles Draper, John Cockerill, Marjorie Hayward, Edwin Virgo, Raymond Jeremy, Cedric Sharpe HMV C1662/3 (Cc15828/30)

53 RAVEL Septette 9:25 Robert Murchie, Haydn Draper, G.Mason, Woodhouse, Dinsey, Tomlinson, James, Ravel (cond.) Columbia L1518/9 (AX171/4)

54 SAINT-SAENS Tarantelle 2:55 Robert Murchie, Haydn Draper, pf Columbia 3288 (73205)

55 SCARLATTI Andante & Allegro 3:51 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain - L.W.Q. Edison Bell 515 (X1148L)

56 SCHUBERT Octet Op.166 mvt.1 Adagio, Allegro 11:34 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2108/9 (WAX3416/8)

57 SCHUBERT Octet Op.166 mvt.2 Andante un poco mosso 11:05 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2109/10 (WAX3419/21)

58 SCHUBERT Octet Op.166 mvt.3 Scherzo 3:36 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2111 (WAX3422)

59 SCHUBERT Octet Op.166 mvt.4 Air & Variations 7:32 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2111/2 (WAX3423/4)

60 SCHUBERT Octet Op.166 mvt.5 Menuetto 4:32 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2112 (WAX3425)

61 SCHUBERT Octet Op.166 mvt.6 Finale 8:33 Charles Draper, E.W.Hinchcliff, Aubrey Brain, J.Lener, Smilovitz, S.Roth, I.Hartmann, C.Hobday Columbia L2113 (WAX3426/7)

62 MOHR Second Air Varie 2:32 Charles Draper & band Jumbo-Record 831 (A22246)

63 VERDI/BASSI Selection from Rigoletto 2:16 Charles Draper & band Jumbo-Record 831 (A22245-Lxo1939)

64 SCHUBERT Shepherd on the Rock 8:25 Charles Draper, Bella Baillie, G.Ison Columbia 9613 (AX4080/1)

65 TRAD. The Wedding 2:51 Gordon Walker, Charles Draper, Avril de Jersey, Alfred Hobday, Cecil Sharp Columbia RO51 (CA12548)

66 THUILLE Sextet mvt.1 4:17 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Edison Bell 612 (X1228B)

67 THUILLE Sextet mvt.2 4:23 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Edison Bell 612 (X1229G)

68 THUILLE Sextet mvt.3 3:45 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Edison Bell 613 (X1230A)

69 THUILLE Sextet mvt.4 4:13 Robert Murchie, Leon Goossens, Haydn Draper, Wilfred James, A.E.Brain, C.Woodhouse Edison Bell 613 (X1231A)

70 WEBER Concertino 3:52 Charles Draper & band Gramophone Monarch 06000 (3633f)

71 WEBER Concerto 3:02 Charles Draper & band Jumbo-Record 935 (22254-Lxo1944)

72 WEBER Grand Duo Concertante mvt.1 2:54 Haydn Draper, Lilian Bryant Pathé 79185 (70091-RA)

73 WEBER Grand Duo Concertante mvt.3 2:52 Haydn Draper, Lilian Bryant Pathé 79186 (69084-RA)

74 WILCOCKE Valse de Concert 3:12 Robert Murchie, Haydn Draper, pf” Columbia 3240 (73204)

75 LAZARUS Ye Banks & Braes 2:29 Charles Draper & band Edison cylinder 405

76 LAZARUS Ye Banks & Braes 2:23 Charles Draper & pf Homophon 1039 (60268)

77 LAZARUS Ye Banks and Braes 4:14 Charles Draper & pf Marathon 231 (400 ICL)

78 LAZARUS Ye Banks und Braes 2:53 Charles Draper & band Odeon Record A.42864 (Lxo1943)

CC0074 ADD/MCPS 24 bit Clarinet & Saxophone Classics

58 Crescent Road, London E13 0LT, UK

℗ This Compilation 2018 © Clarinet & Saxophone Classics 2019 Made in the UK

This compilation was selected and transferred by macsworks

Mastered by Classical Media

www.samekmusic.com

5

THE DRAPER FAMILYA Musical LegacyIN MUSIC, WORDS AND PICTURES

by

Malcolm

McMillan

The second half of the nineteenth century was in a very real sense a period of gestation in the musical life of Great Britain. No one living in those early years of Queen Victoria’s reign could have foreseen the tremendous revival of British music making - in respect of both composition and public performance. This activity reached its fullest development by the time of the monarch’s demise - with the advent of the gramophone, followed eventually by radio and then television. No one living at that time could have dreamt that within the next century London alone would boast five full-size symphony orchestras, and that other similar orchestras around the country would be playing to large audiences in a variety of provincial centres. Chamber music would be performed all around the land by not only skilled amateurs, but by established professional musicians in the presence of enthusiastic and appreciative audiences. Some of the more prestigious events would also be heard by millions in the privacy of their own homes – owing to the pioneering work of the Gramophone Company and the BBC. No doubt the general advance in the standard of living in the country as a whole and the improvement in musical education in schools, colleges and universities had also played a significant roll in this efflorescence of music activities.

It is therefore not surprising that parallel with this extraordinary renaissance there appeared several generations of composers and interpreters who responded to the renewed public demand for home-grown music - a situation it had not enjoyed since the days of Purcell and Handel. After a century or two of obscurity British music was being promoted and taken seriously outside of its own domain - standing comparison with the best that any country in the World could offer.

Beginning with Sullivan, Stanford and Parry the revival continued with the work of Elgar, Delius and Holst, through to Vaughan Williams, Walton, Bliss, Rawsthorne, Britten and Tippett.

6

Meanwhile an ever-increasing number of executants of all musical instruments were required to match this remarkable development and the second half of 19th Century saw the establishment of several colleges of music and a myriad of amateur music societies. Thus, following the formation of the Philharmonic Society in 1813 and the Royal Academy of Music in 1822, the Guildhall School of Music & Drama was established in 1880 and the Royal College of Music in 1883. There were also the military – Royal Marines School in Deal and Kneller Hall. Other colleges followed in London and the provinces (notably those in Manchester, Birmingham, Leeds and Glasgow) and, later on, universities incorporated their own departments or schools of music.

Before all this the two main sources contributing to the main stream of musical activity were the Royal Court and the Church. For centuries they had been the chief patrons of music making in this country and most of Europe. The Court required composers and musicians (often combined in the same person) for its masked balls and other festivities and where a church could not afford an organ it could always find a small group of instrumentalists to play the musical accompaniment for the hymns and anthems of the religious services.

Such a combination existed in the village of Odcombe (near Yeovil) where Paul Draper was born in 1854. His grandfather had been for many years previously the leader of the village church orchestra, in which Paul’s father Samuel had played the cello and flute. Paul was thus brought up in a musical environment and, more especially, in an instrumental atmosphere – where he acquired an adequate knowledge of several instruments, enabling him to join the local volunteer band at the age of 12. There he acquired considerable experience in military band work and received private tuition on bassoon his chosen instrument.

Indeed all of Samuel’s children were actively engaged in music making – all the boys played instruments whilst the girls sang in the choir at church services. When his first wife died in 1873 most of the family moved to Penarth, a small seaside town on the Welsh side of the Bristol Channel. Samuel’s seventh son Charles (born in 1869) joined the family here at an early age and was taught music and, specifically, the clarinet by his elder brother Paul. Charles was destined to become one of the greatest virtuosi of the clarinet of his generation.

Paul Draper was a versatile musician and a gifted teacher of most instruments and may be said to have pioneered military music in South Wales. Penarth in fact enjoyed considerable fame in the region for its regular concerts in the town’s Alexandra Gardens. He formed the Cardiff Borough Police Band, the Cardiff Railway Band, Spiller’s Band

Samuel Draper

7

and the Aberdere Military Band. The latter becoming an awesome outfit consisting a flute, oboe, bassoon, 2 Eb clarts, 8 Bb clarts, 5 cornets, 3 french horns, euphonium, 3 trombones, 2 Eb basses and a contrabass tuba.

Among his many activities he appeared as a bassoonist in the S.Wales area and appeared at the National Eisteddfod in Swansea and Llanelli and became a member of the Cardiff Chamber Music Society. He later became the conductor of the Second Volunteer Artillery Band and professor of wind instruments at Joseph Parry’s College in Cardiff and had a number of well-known pupils including his brother Charles, who played in Penarth until his departure in 1889.

Paul Draper’s eldest son Haydn (1889-1934) was taught the clarinet by his father and played in his father’s military band as a soloist from the age of 7. At 13 he was principal clarinet with the Savoy Opera Company and at 17 he won a scholarship to the Royal College of Music, where he became a pupil of Julian Egerton (1848-1945) and later his uncle Charles, who had only recently been appointed clarinet professor. On graduating from the RCM Haydn was immediately plunged into the London musical scene by replacing Charlesworth Fawcett as principal clarinet in the Queens Hall Orchestra under the direction of Mr Henry Wood. His composition “Fantasia on British Sea Songs” was written for the Promenade Concerts and includes an exacting clarinet cadenza specifically written for Haydn. He stayed with this orchestra for 15 years.

Other positions Haydn held at the time were in the Royal Opera House Orchestra at Covent Garden, with whom he toured to Germany in 1911, Sir Thomas Beecham’s recently re-formed Royal Philharmonic Orchestra and Oscar Hammerstein’s magnificent London Opera House orchestra. Other engagements included the Russian Opera seasons at Drury Lane and the Leeds Festival orchestra. Amidst all this activity in London Haydn accepted the position of principal clarinet in the City of Birmingham Symphony Orchestra in 1920 and commuted from London for a while – as did his colleagues Leon Goossens, Wilfred James and Aubrey Brain. His chamber music needs were fulfilled by the formation of the London Wind Quintette - with Robert Murchie (flute), Leon Goossens (oboe), Frederick Wood (bassoon) and Aubrey Brain (horn). They were contracted to record a series of chamber works for Edison Bell. On one occasion in 1926 they recorded Janacek’s Mladi Suite with the composer in the studio and Haydn’s brother Mendelssohn Draper was invited to play the bass clarinet part. On 9th October 1927 Bela Bartok joined the group to perform Mozart’s Quintet for piano and wind for an early BBC radio broadcast.

Henry Wood conducting the New Queens Hall

Orchestra in a Columbia studio on 2nd July 1919 –

H.D. peering at the camera from behind the oboes!

Leos Janacek with Aubrey Brain, Haydn &

Mendelssohn Draper, Fred Wood, Robert Murchie

and Leon Goossens in London 1926

8

Haydn’s great musical gifts were recognised by the Lener String Quartet who invited him to join them on a tour playing the quintets by Mozart and Brahms. Some of these concerts were apparently broadcast by the fledgling BBC, although the author has found no proof of this. Milestones in Haydn’s career must have been when he gave the first UK performance of Busoni’s Concertino in the Aeolian Hall on 6th May 1921 and being appointed clarinet professor at the Royal Academy of Music – a post succeeded from E.J.Augarde in 1923 and held until his death on 8th November 1934. Amongst his pupils there was the young Yorkshireman Reginald Kell – an all-time virtuoso exponent of the lyrical qualities of a newly created “alternative school of British clarinet playing”.

In 1927 the BBC formed its Wireless Military Band under the direction of Walton O’Donnel and Haydn Draper was the obvious choice to lead the clarinet section. They made fine quality recordings of both established and new military band music, primarily to be sent to all corners of the British Empire.

All his life he had suffered from chronic arthritis and it is that which probably finished his career and life at the age of forty-two. Among the many notable tributes after his sudden death were that of Sir Henry Wood, who at RCM rehearsal referred to the “loss of a great friend and great artist” and that of Sir Hamilton Harty, addressing the members of LPO, who said he “deplored the loss of HD as a personal friend, who he considered to be the greatest artist he had ever known”. His passing evoked extraordinary and widespread gestures of respect and sympathy. There were at least 60 of the most prominent members of the music profession at the funeral with magnificent floral tributes from people like Charles Woodhouse, Fred Wood, Charles Leggett, George Anderson, Frederick Thurston, Ralph Clarke, Edward Chapman, James Hughes, Ernest Hall and representatives for Boosey & Hawkes, BBC and LPO.

Haydn’s sister Marion (b.1887) was taught the violin and piano by their father and went on to be awarded a Glamorgan Scholarship to study abroad. But her father, being a stern disciplinarian, was unwilling to let her leave home so early. A report in the Penarth Times said of her “Miss Marion Draper, aged 12, played difficult accompaniments with precision and taste at a Tuesday evening concert at Andrews’ Hall. Her part in the delightful Quintet for piano and strings by Prout, being extremely well played”. It is no exaggeration to suggest that Paul Draper and his family helped to establish a strong musical tradition in South Wales.

Sidney, Richard,

Benjamin, Paul,

Samuel, Charles

and William

Marion, Mendelssohn, Paul, Haydn and Elizabeth

9

The last of his off-spring was Mendelssohn (1891-1970). He showed great talent from an early age and entered the music profession as a clarinettist and became sought-after as a specialist on the bass clarinet. He landed jobs in LSO (1919-23 & 1930-48), Queen’s Hall and Covent Garden orchestras and was clarinet professor at RAM for a while.

Paul’s brother Charles was probably the most distinguished and talented musician of the Draper family. In 1888, at the age of 19, Paul sent him to London to have lessons with the former clarinettist of the New Philharmonic and Covent Garden Orchestras Henry Lazarus (1815-95). The latter was so impressed with the young man that he recommended him to be awarded a scholarship to the Royal College of Music the next year, where he could continue lessons with him. From the statutary term of 3 years his scholarship was extended to 5 years and Lazarus complimented Paul Draper on the manner in which he had trained his brother.

On 27th November 1890 Charles performed the Mozart Clarinet Quintet with fellow students (RCM College Concert No.120), a year later Beethoven’s Septet (No.137) and in June 1892 Brahms’ Clarinet Quintet (No.150). In fact his clarinet playing was a regular feature of these College concerts – clocking up at least eight in three years and playing music as diverse as that of Spohr, Richard Strauss and Thuille. A contemporary clarinettist at RCM, who also appeared in some of these concerts was George Anderson (1867-1951), who later, in 1904, joined Manuel Gomez (1859-1922) as founder members of the LSO, staying there until 1943 and taught several first-class players, including Bernard Walton and Georgina Dobreé. Lazarus retired in 1894 and was succeeded by Julian Egerton, who instilled into Charles the importance of rhythm and articulation.

Charles soon made his mark as an orchestral musician and to a large extent created a modern school of British “clarionet” playing, possessing great technical dexterity and richness of tone. In 1895, when a pupil of Egerton, he changed from the old Simple to the Boehm system clarinet, a move inspired by Manuel Gomez. Choosing the wide-bore instruments of Martel helped to produce his characteristic broad tone - utilising his established double-lip embouchure from his earliest days. He was appointed to the desk of Principal Clarinet at the Crystal Palace and, from 1899 to 1901 was made a member of Queen Victoria’s private band. In this capacity he played at the coronation of Edward VII in 1901 and as Musician in Ordinary of the King he played at the coronation of George V in 1911. In this capacity as Court musician he taught several members of the Royal Family, including Prince Leopold.

On 29th January 1902 Charles premiered Stanford’s Clarinet Concerto at a Bournemouth Symphony Orchestra concert with the composer conducting. It was deemed a great success and so a second performance was given at the fifth Concert of the Philharmonic Society on 2nd June 1904 still with Stanford conducting. He had originally dedicated the work to Brahms’ favoured clarinettist Richard Muhlfeld but was more than happy to have it premiered by Charles Draper. He went on to dedicate his Clarinet Sonata Op.129 to Charles in 1911.

Julian Egerton accompanied by his young wife

Charles Draper in his Q.V.Private Band Uniform

Henry Lazarus as a young man

10

In November of that year Charles recorded Weber’s Concertino for the Gramophone Co. in a small studio on the first floor of a house in Maiden Lane (next to Rule’s Restaurant in Covent Garden). The recording was supervised by Will Gaisberg, brother of Fred the pioneer of disc gramophone recording and became a best-seller, representing a great landmark in the popularity of the clarinet as a solo instrument. Its historical importance lies in the fact that it is the first ever single-sided 12” disc of solo music issued by the Gramophone & Typewriter Company (06000 mtx 3633f) and sold for 7/6 (371/2p!). It was later issued on His Masters Voice label and remained in the catalogues until 1922 (by now a double-sided plum label number C487). Charles also recorded at the same address Mohr’s “Air Varié” (Z-046000 mtx.3552), which was issued on the cheaper Zonophone label for 3/- (15p) the same year. It is a fact that Charles made more recordings than any other clarinettist in the world during these early years of acoustic recording, clocking up dozens of titles with all the major recording companies in UK.

The following year witnessed a major move by a small group of London-based professional musicians taking the plunge and investing their own savings and future careers in a project that was regarded as audacious and risqué – Charles, together with flautist Eli Hudson and violinist John Saunders formed the New Symphony Orchestra, whose primary function was to supply a regular recording studio orchestra of a high standard. Their reputations and business acumen helped raise sponsorship and support from like-minded businessmen and they managed to put together and rehearse the orchestra until their first public performance a year later in 1906. Two years later the young Thomas Beecham was hired as their conductor-in-chief and then, in 1910, Sir Landon Ronald took over and made many pioneering recordings with them. Among their guest conductors was another young protégé Leopold Stokowski, who made his London debut with this orchestra. In 1916 they changed their name to the Royal Albert Hall Orchestra.

1907 proved to be an interesting year – Charles had acquired a copy of Mozart’s Concerto and went to Birmingham to try it out with their local orchestra the CBSO. An article in the Birmingham Daily Post on 13th November reports:

“Mr Charles Draper showed a fine command of the expressive qualities of the clarinet in a concerto for that instrument by Mozart, which, apart from the slow movement, was not of very great musical interest….. E.N.”

an example of how critics can get it so wrong!

Meanwhile Charles had not only been appointed clarinet professor at the Guildhall School of Music, Trinity College, the RCM and Kneller Hall, but had started getting involved with musical soirees at the home of the seventh Lord Howard de Walden – one of Charles’ private pupils. By 1912 these had developed into the so-called Chelsea Concerts at the Aeolian Hall.

11

It is hardly surprising that a musician of such outstanding qualities should have attracted the attention of Sir Edward Elgar. He inscribed Charles’ name in his scores wherever important clarinet passages occurred in his compositions. Charles was familiar with the great man’s work, having contributed to the first performance of “The Dream of Gerontius” under the composer’s baton in Birmingham in 1900 and, in 1913, doing the same honours with the NSO in Elgar’s symphonic poem “Falstaff”.

During his time at the RCM he met and eventually married (1895) a gifted pianist Elizabeth Carrington, whose father Sidney Carrington was a well-known violinist from Bristol. Their first home at 32 Whitely Road, Gypsy Hill was the birthplace of their first son Charles Carrington Draper (b.1897). His untimely death cut short a possibly brilliant career as a violinist. The family moved to 29 Allfarthing Lane, Wandsworth in 1910, where four more children were born, after which they moved to 40 Clarendon Road, Putney. This was the house that was nicknamed “The Music Box” by neighbours because of the 7 instrumentalists at work and play all day and night!

Their second son Paul Samuel Beaumont Draper was born on 15th November 1898 and learnt to play the bassoon. He, like most of the family, spent his early years playing in military bands, a notable one being the Reid Orchestra, where he served from 1918-21. Eventually he won a scholarship to RAM where he received lessons from Wilfred James. He took the courageous step by being one of the pioneers of the British bassoon school to adopt the newly designed German Heckel bassoon and quickly made a name for himself as a leading exponent, holding major positions for many years despite serious health issues contracted whilst being a prisoner-of-war. His London career started off in the Royal Albert Hall Orchestra, followed by engagements with RPO (1930-4), LSO – Glyndebourne (1934-9), Covent Garden (1946-51), Philharmonia (1953-5) and LSO (1955-8). He joined the London Baroque Ensemble under Karl Haas and was a founder member of the Melos Ensemble of London performing in the first of their of South Place concerts on 10th January 1952. His distinctive timbre was partly due to the Mollenhauer instrument he played on from 1926 to 1950. It had a rosewood tenor joint specially made for him by the Louis Company to Heckel proportions and fingering system. Despite his frailness he lived until 1971.

Charles’ third son, William Baden Draper, was born on 19th May 1900 and became a gifted cellist. But he chose to make engineering his profession and spent most of his life in Luton, Bedfordshire working as chief inspector at the Vauxhall car plant. It was at Bill’s home that his father spent most of his time after retiring.

Elgar conducting his “Carissima” in a Gramophone Co. studio on 20th January 1914 – C.D.sitting prominently in the background!

Paul Samuel Beaumont

Draper

12

His only daughter, Elsie, was born on 13th February 1902 and became a pianist and teacher.

The youngest son, Theodore, followed the next year on 27th December. He became a professional clarinettist for several years, occasionally deputising for his father in theatre and provincial orchestras and even played under Beecham and other leading conductors of the time. He obviously didn’t like the risky existence of being a freelance orchestral player and got himself qualified as a chartered accountant in 1928. The move proved to be a wise decision and in 1934 he landed a good job with Hendersons Ltd. hardware merchants in Jamaica, moving on to Bermuda in 1955.

In 1923 Charles formed the Louis Musical Company Ltd., with himself as director and his son “Theo” as Secretary. The business was set up at 2 Burnstall Terrace, Kings Rd, Chelsea explicitly to manufacture woodwind instruments. The Loreé model was normally used as a template for the making of oboes and the Martel model for clarinets. Tabor pipes were also manufactured on old models to supply the popular folksong movement. Charles had a rather cavalier attitude towards the business’ finances – only requiring about £200 yearly profit each for himself and Theo, but devoted quite a lot of his time to tuning the instruments – some of which are marked such. Their biggest customers were the many military units throughout the land and the company thrived for over twenty years. But Charles had to face the fact that occasionally sales of his rather highly-priced instruments waned and he responded by insisting on his pupils buying these in preference to their cheaper continental and American rivals. Unfortunately the parents of one of these pupils complained of this action and Charles was encouraged to leave his post at RCM in 1931. Later Louis & Co. was merged with the famous flute manufacturer Rudall Carte Co.Ltd., which in its turn became a subsidiary of Boosey & Hawkes.

Up to 1940 Charles was fully occupied with teaching and playing in and around London, but at the age of 71 and World War II well under way, he wanted a change of environment. His wife had just died and so he decided to cancel all engagements and go to live with Theo’s family in Kingston, Jamaica! There he enjoyed the warmer climate and a much more relaxed atmosphere, playing, teaching and organising musical events in his newly claimed locality. He stayed 7 years before returning to UK but didn’t stop very long. Paradise beckoned! He returned for a short while before finally settling down at his daughter Elsie’s home in Surbiton, Surrey; where he could also be close to his other son Bill, who lived in Bedford. He passed away the following year (21 October 1952) and now rests in Putney Vale Cemetery, Wimbledon Common. Charles relaxing in Jamaica

13

As teachers Charles and Haydn were each responsible for the two main “schools” of clarinet playing in the UK during the 1920s and 1930s. Among Charles’ pupils were the distinguished clarinettists Frederick “Jack” Thurston (1901-53), Sidney Fell (1920-94), Stephen Waters (1914-1991) and Ralph Clarke (1901-85), while Haydn’s prize pupil was Reginald Kell (1906-81). George Draper (b.1911), no relation, was taught by both uncle and nephew! Other pupils of Charles include Wilfred Kealey (1908-84), Richard Temple-Savage (1909-96), Pauline Juler (1914-2003), Walter Lear (1894-1981), Alfred Pratt and Reginald Shipway.

Unquestionably no one has done more for British clarinettistry than Charles Draper, forming a strong and cohesive link between the old and the new schools of playing – regarding style, tone and technique. Even while still a scholar at RCM he changed the fingering of the instrument and, inspired by Lazarus, he developed a fine well-nourished tone and combined it with a more fluent technique. In 1843 Lazarus had already recommended the Boehm system instrument, although he didn’t make use of it himself! The tradition of using this system had to wait until the engagement of Spaniard Manuel Gomez as LSO’s first Principal Clarinet in 1904. Later, about 1930, England’s foremost player Frederick Thurston adopted a newly designed version made by Boosey & Hawkes - with a larger bore than the original French, utilising a wider mouthpiece. The result was a warm but firm, clear sound with improved resonance at the traditionally weak parts of its range.

Meanwhile, Haydn Draper encouraged his pupils to develop more individual styles of playing, still embracing all the technical advances in the instrument’s design, but adopting a more flexible musical approach – possibly to blend in better with the latest advances in flute and oboe playing, which was becoming more “vocal” in quality.

Fortunately we are now in a position to appreciate the excellence of both “schools”, Charles Draper’s and Haydn Draper’s, through their chamber music recordings made during the formative years of studio recording. In their new reconditioned state these recordings, and those of their pupils Frederick Thurston and Reginald Kell are a delightfully fitting memorial to a very great period of British wind playing.

The strong musical tradition of the Draper family was further exemplified by the activities of Samuel’s other children:

William (24 Dec.1852-1903) played the cornet. Paul (14 Nov.1854-1922) was mainly a violinist but could also play bassoon – he taught both instruments.

Charles Draper in later life complete with wig!

14

Benjamin (12 Apr.1856-1915) played the euphonium. Benjamin’s son Arthur made his name as a pianist, organist and teacher and had also received bassoon lessons from his uncle Paul during his army service in WW1. His son, Arnold (b.1940) is an accomplished pianist and lecturer in the music department of University College, Cardiff.

Richard (22 Oct.1857 – 3 Jan.1938) specialised on bassoon and became a member of the Queens Hall Orchestra under Henry Wood. His summer seasons were spent playing in a salon orchestra in Douglas from 1902 to 1914 and other engagements included Paul’s band in Penarth, the Gamorgan Imperial Yeomanry Band, the Royal Artillery and the Cardiff Post Office bands. For many years he played at the Prince of Wales and New Theatres in Cardiff and toured the country with the D’Oyle Carte and Carl Rosa Opera companies. Touring seemed to appeal and he joined the Cardiff Orchestral Society to regularly visit his favourite haunts – like Bath’s Pump Room and Torquay’s Municipal Theatre

Sidney (19 Jan.1858-1943) was a clarinettist. Samuel (b.13 Jan.1863) played oboe and cello, his son Horace became a clarinettist.

There were five daughters some of whose children carried on the family tradition in London.

It seems to have been a common scenario at the time – many musicians came from families of instrumentalists. Examples are those of Brain, Egerton, Fawcett, Goossens, James, Kell, Whittaker and Wood.

The Draper Family Tree

15

OTHER MUSICIANS ASSOCIATED WITH THE DRAPER FAMILY

Malcolm McMillanThe author wishes to thank Alun Cooper and Christopher Steward for their endless research endeavours and Martin Robertson and Arnold Draper for supplying family anecdotes and photographs.

Frank Almgill (colleague of C.D.)

E.W.Hinchcliff (colleague of C.D.)

Aubrey Brain in 1936 (colleague of H.D)

Edward “Eddie” Walker (colleague of P.D.)

Alfred Brain (colleague of H.D.)

Reginald Kell in 1940 (pupil of H.D.)

Walter Lear (pupil of C.D.)

Stephen Waters (pupil of C.D.)

Richard Temple-Savage (pupil of C.D.)

Wilfred Kealey (pupil of C.D.)

Frederick “Jack” Thurston & Ralph Clarke (pupils of C.D.) (1st & 2nd from right)

16

DATE PIECES / PERFORMERS PERFORMERS STATION

18/05/1925 Bishop: Lo, Here the Gentle Lark; Weber: Concertino E.Penville (fl), C.Draper London

22/05/1925 Le Thiere: Les Alsaciennes C.Draper London

02/06/1925 Brahms:Quintet C.Draper, London Stg.4tet London

11/06/1925 Mozart:Concerto C.Draper, The Wireless Orch, Featherstone(cond.) Bournemouth

30/10/1925 Lefevre:Quintet (Canon, Andantino, Presto); Scarlatti:Suite (Pastorale, Burlesque) R.Murchie, L.Goossens, H.Draper, W.James, F.Salkeld - London Wind 5tet. London

01/11/1925 Brahms:Trio; cl.solo; Mozart:Concerto H.Draper, Doris Lear(vc), E.L.Bainton(pf), Station Orch, E.Clark(cond.) Newcastle

13/01/1926 Brahms:Sonata; Weber:Concertino C.Draper, Wireless Aug.Orch, Featherstone(cond.) Bournemouth

17/11/1926 Coleridge Taylor:Quintet in F#m (1st b/cst) C.Draper, S.Kutcher, G.Whittaker, J.Lockyer, A.Gauntlett 2LO

09/05/1927 Lefèvre:Quintet; Beethoven:Quintet; S-S:Tarantella; Roussel:DivertissementR.Murchie, L.Goossens, H.Draper, F.Wood, Al.Brain - LWQ

w.V.Hely-HutchinsonLondon

12/06/1927 Mozart:concerto C.Draper, Wireless Orch., John Ansell London

09/10/1927 Mozart:Quintet; Janacek:Mladi; Onslow:Movements from 5tet.H.Draper, M.Draper, R.Murchie, L.Goossens, F.Wood, Al.Brain -

LWQ & Bela Bartok (pf)5GB exp

06/02/1928 Chamber Music:- Foerster:Quintet op.95; Selection R.Murchie, Halstead, H.Draper, F.Wood, Al.Brain, Kathleen Long (pf) 2LO + 5XX

11/03/1928 Chamber Music:- Howells:Rhapsodic Quintet; Mozart:Quintet in AH.Draper, Charles Woodhouse String Quartet

(C.H, H.Kinsey, E.Yonge, C.Crabbe) 5GB

10/04/1928 A Short Programme - music specially written and arranged by Kenneth A.WrightThe Wireless Harp Quintet - F.Almgill, C.Draper, David Wise, A.Gauntlett,

S.Goossens, S.Robinson(dir)2LO + 5XX

25/04/1928Wright: Quintet “Swanee River”; Walthew: Suite in F - 1 mvt(cl & pf); Debussy: 2 Epigraphs

Antiques; arr. Wright: Killarney; Charlie is my Darling

The Wireless Harp Quintet - F.Almgill, C.Draper, David Wise, A.Gauntlett,

S.Goossens, Robinson(dir)2LO + 5XX

15/05/1928

Wright: Quintet “Swanee River”; arr. Wright:S ummer is Calling; Walthew:Suite in F - 1 mvt (cl

& pf); Debussy: 2 Epigraphs Antiques; Satie: Gymnopedie; Palmgren: The Bad Conscience;

arr. Wright: Killarney; Charlie is my Darling

F.Almgill, C.Draper, D.Wise, E.J.Robinson (vc), S.Goossens - Erin Harp 5tet. 2LO + 5XX

03/06/1928Klughardt:5tet; Beethoven:5tet; Lotter: Aubade (1st perf); Chopin:Prelude;

Raff:Rigaudon; Stainer:Scherzo (1st perf)H.Draper w. LWQ 5GB

12/08/1928Lefebvre: 5tet; Scarlatti/Greenbaum: 5tet; Janacek: Mladi; Mozart/Halton Sonata 19

(fl,cl,bn); Barthe: Aubade, Passacaille; Haydn/Hermann: PrestoH.Draper, M.Draper, LWQ, E.Lush (pf) 5GB

THE DRAPER FAMILY ON THE RADIO

17


02/09/1928 Chamber Music - Honegger:Sonatine; Brahms:Trio H.Draper, May Mukle, Leslie Heward 5GB

07/10/1928An Orchestral Concert - Mozart:Clarinet Concerto

C.Draper, The Wireless Orchestra, John Ansell 2LO, 5xx

25/03/1929Blumer:Dance Suite; Hindemith:5 Pieces op.24/2; T.Wood:Brew House at Bures;

Lefebvre:SuiteH.Draper w. LWQ LonDav

19/05/1929Klughardt:Quintet in C; Creith:Sextet; Barthe:Aubade; Pierne:Pastorale; Scarlatti/

Greenbaum:Pastorale & BurlesqueH.Draper w. LWQ, G.Creith(pf) Dav5GB

08/09/1929 Lendvai:Quintet; Rubinstein:Quintet; Pierne:Pastorale; Haydn:Presto (5tet in C) H.Draper w. LWQ, R.Paul(pf) LonDav

03/02/1930 Popoff:Septet op.2R.Murchie, H.Draper, R.Newton(bn), E.Hall(tp), Kutcher(vn), Cameron(vc)

,WatsonDav5GB

15/03/1930Fogg:Quintet; S-S:Tarantelle & Aubade; Lefebvre:quintet

H.Draper LWQ, M.Cole(pf) Regional

03/07/1930Klughardt:5tet op.79; Randerson:Andante & Allegro Assai; Blumer:op.53; Scarlatti: Scherzo,

Pastorale & Burlesque; Stainer:Scherzo

H.Draper LWQ Lon

15/11/1930Barthe:Aubade; T.Wood:the Brewhouse at Bures; Rowley: Shepherd’s Garland; Jadassohn/

Stainer:Scherzo

R.Murchie, L.Goossens, H.Draper, F.Wood, E.Chapman - LWQ, V.Hely-

HutchinsonRegional

06/04/1931 A Light Classical Concert M.Ritchie, C.Draper, K.Jacobs, J.Kadish Regional

22/05/1931Janacek:Mladi; Mussorgsky:Peep Show; C.Wood:5tet in F; Roussel:Divertissement

H.Draper, M.Draper, LWQ, V.Hely-Hutchinson(pf) Regional

09/11/1931

Blumer:Dance Suite op.53; Sobeck:Quintet in Gm op.14; Pirani:Quartet(f,o,c,b);

Pessard:Prelude & Minuet; Stainer:Scherzo H.Draper, LWQ, E.Lush(pf) Nat

26/03/1932Milhaud:Sonata (f,o,c,p); Magnard:5tet(f,o,c,b,p); Lefebvre:5tet

H.Draper, LWQ, E.Lush(pf) Regional

31/07/1932Cartan:Sonata(f,c); Ibert:Trois Pieces breves; Scarlatti/Greenbaum:3 Sonata

H.Draper, LWQ Lon

19/12/1932Mozart/Weigelt:Divertimento in Bb K.270; Fogg:Quintet; Roussel:Divertissement

H.Draper, LWQ, Helen Perkin(pf) Nat

05/07/1933Poulenc:Sextet - 1st UK perf

R.Murchie, L.Goossens, H.Draper, F.Wood, E.Chapman - LWQ, F.Poulenc(pf) Lon

03/01/1934Ravel:Intro.& Allegro

R.Murchie, C.Draper

18


22/05/1936Vinter:Suite; Bergt:Scherzo (trio); Weissenborn:Polka

Draper bassoon Trio - P.Draper, G.Alexandra, G.Vinter Regional

13/07/1936Chamber Music

C.Draper, W.Primrose, A.Morrison Nat

27/09/1936 Charles Draper and Quartet C.Draper, Quartet Nat

05/12/1936

Warlock:An Old Scotch Song(f,o,c,h,stgs); Lambert:3 Poems of Li-Po; Poulenc:Rapsodie

Negre Cardiff Ens., w.M.Jones(sop), C.Langdon(bar), Mabel Draper(pf) West

20/02/1937Falla:Harpsichord Concerto H.Evans, M.Keel, F.Clements, F.Thomas, G.Griffiths - Cardiff Ens.CO, Harding

w.M.Draper(pf!)W/W

07/10/1937Chamber Music - Frank:Suite

P.Juler, M.Draper, C.James, G.Vinter, A.Hyde, J.Mason Regional

15/02/1940Rossini:Quartet No.4; Lefebvre:Suite op.57

Murchie, Whittaker, W.J.Matthews, P.Draper, Chapman

27/03/1942Senaille:Allegro Spiritoso

P.Draper, BBC Military Band

01/09/1946Mozart:Divertimento K.270; Pierne:Pastorale; Lefebvre:Suite

R.Murchie, Newbury, Matthews, P.Draper, Del Mar - LWQ Home

27/01/1947Milhaud:Symphony 10 winds; Lutyens:Concerto 9; Berg:Chamber Conc. A.Gleghorn, A.Ackroyd, A.Whittaker, D.Bridger, R.Kell, F.Hughes, M.Draper,

J.Alexandra, V.Elliott, White, Probyn, Jackson, Thorpe, GrinkeThird

06/02/1947Music in Miniature F.Thurston, P.Juler, P.Draper, Szekely, Moskowsky, Koromzay, Palotai,

P.StaldenLight

12/02/1947Music in Miniature

F.Thurston, P.Juler, P.Draper, Z.Szekely, A.Moskowsky, D.Koromzay, V.Palotai Home

25/03/1947Music Anthology - 19 Mozart

F.Thurston, P.Juler, P.Draper, J.Moore Third

08/06/1947 Berg:Chamber ConcertoA.Gleghorn, A.Ackroyd, A.Whittaker, D.Bridger, R.Kell, F.Hughes, M.Draper,

J.Alexandra, V.Elliott, R.White, F.Probyn, H.Jackson, A.Thorpe, E.Clark (cond.)Third

07/08/1947 “Music in Miniature”Webster Booth, Louis Kentner, F.Thurston, S.Waters, P.Draper, D.Martin,

F.Riddle, J.WhiteheadLight

03/12/1950 Bach:The Art of FugueJ.Francis, J.Boughton, P.Graeme, P.Draper, Parry, Parikian, Geiger, Davis, Roth,

Gauntlett, Beers, SilverThird

19


18/04/1951 Arne & Milhaud E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burden Third

27/10/1951 Arne & Milhaud E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burdon - Virtuoso Wind 5tet Third

23/12/1951 Rossini:Quartet in F; Lefebvre:Suite; Hindemith:Kleine Kammermusik E.Walker, MacDonagh, F.Thurston, P.Draper, Burden - VWQ Third

19/08/1952 Jacob:Wind Quintet E.Walker, S.Sutcliffe, F.Thurston, P.Draper, Burden - VWQ Third

02/02/1953 Stone:Suite for wind & harp - 1st b/cast Walker, MacDonagh, S.Fell, P.Draper, Burden - Virtuoso WQ, J.Chevreau(hp) Third

14/09/1953 Carwithen:5 Diversions - 1st perf. E.Walker, T.MacDonagh, F.Thurston, P.Draper, J.Burden - Virtuoso WQ Third

13/02/1955 Wellesz:Suite op.73R.Adeney, P.Graeme, G.de Peyer, P.Draper, Sanders, Goren, McMahon,

Aronowitz, Weil, Beers - Melos Ens.Third

16/04/1957 “Moment Musical” R.Adeney, P.Graeme, G.de Peyer, P.Draper, Sanders - Melos Ens. Home

02/06/1957 Tate:Songs of Sundry Natures(bar,f,c,b,h,hp) R.Adeney, G.de Peyer, P.Draper, Sanders, O.Ellis - Melos Ens, Case(bar) Home

29/04/1958 Bliss:Conversations; Tate:Songs of Sundry NaturesR.Adeney, P.Graeme, G.de Peyer, P.Draper, Hurwitz, Aronowitz, Weil, Ellis

Melos Ens, Case (bar)Third

Early cylinder recordings made by Charles Draper in 1908

20

LABEL NUMBER MATRIX COMPOSER PIECE DATE

Berliner: 7”

DRAPER C6018 4191 Lazarus Ye Banks & Braes 01/10/1901

Berliner: 7”

DRAPER C6020 4193a trad. arr.Hartmann Auld Robin Gray 01/10/1901

Berliner: 7”

DRAPER C6019 4194 Mohr Second Air Varie 01/10/1901

Brunswick: 12”

DRAPER H, Powell (cond.)20076/8 BA126/131 Mozart Concerto in A K.622 01/01/1929

Clarion: 10”

DRAPER C10006 5012 Weber Concertino, op.26 01/10/1909

Clarion: Record Cylinder (2m)

DRAPER C118; 802 trad. arr.Clarke The Ash Grove 01/03/1908

Clarion: Record Cylinder (2m) 213; 801 Lazarus Ye Banks & Braes 01/09/1908


DRAPER C257; 803 Massenet Les Alsaciennes 01/11/1908


DRAPER C361 Mohr Air Varié 01/01/1909

Columbia: 10”

MURCHIE R, DRAPER H3240 73203 Mozart O Dolce Contento (Magic Flute) 01/02/1923

Columbia: 10”

MURCHIE R, DRAPER H3240 73204 Wilcocke Valse de Concert 01/02/1923

Columbia: 10”

MURCHIE R, DRAPER H3288 73205 Saint-Saens Tarantelle, op.6 01/02/19

Columbia: 10” MURCHIE R, DRAPER H 3288 73206 Pfyffer Serenade, op.4 01/02/1923

Columbia: 10”

DRAPER H, Raybould (cond.)DB 834; DO 766 CA12482/3 Mozart Concerto in A K.622 - Adagio 01/04/1932

Columbia: 10”

WALKER G, DRAPER C, Avril, de Jersey, Hobday, SharpeRO 51 CA12547 arr.Foster Kemp’s Jigg 29/03/1932

Columbia: 10”

WALKER G, DRAPER C, Avril, de Jersey, Hobday, SharpeRO 51 CA12548 arr.Foster The Wedding 29/03/1932

Columbia: 10”

WALKER G, DRAPER C, Avril, de Jersey, Hobday, SharpeRO 52 CA12549 Greensleeves & Yellow Lace 29/03/1932

THE DRAPER FAMILY ON DISC

[click] on the highlighted items to listen to a 30 second extract

WARNING – these recordings were made around a century ago on wax cylinders and discs, so the sound quality will be poor! These items will be available to purchase – the longer pieces in separate movements.

21


Columbia: 10”

WALKER G, DRAPER C, Avril, de Jersey, Hobday, SharpeRO 52 CA12550 The Way to Norwich 29/03/1932

Columbia: 10”

KELL R, DRAPER P, ESKDALE G, J.Pougnet, A.Pini

DB 1788; DB 1304;

CHM 5CA16221-1 Casella Serenata, op.50 - Tarantella 01/02/1937

Columbia: 12”

DRAPER CBrahms Trio in a, op.114

Columbia: 12”

DRAPER C, London Stg.Quartet (J.Levy, T.Petre, H.Waldo Warner,

C.Warwick-Evans)

L 1219 75876/7-1 BrahmsQuintet in Bm, op.115 - Allegro;

Adagio piu Lento13/06/1917

Columbia: 12”

MURCHIE R, DRAPER H, G.Mason, Woodhouse, Dinsey, Tomlinson,

James, Ravel (dir.)

L 1518/9; 67091/2D AX171/4 Ravel Introduction & Allegro 19/10/1923

Columbia: 12”

DRAPER H, W.H.Squire, H.HartyL 1609/11; 67101/3D AX692/7 Brahms Trio in a, op.114 21/10/1924

Columbia: 12”

DRAPER C, HINCHCLIFF E, BRAIN AU, J.Lener, Smilovitz, S.Roth,

I.Hartman, C.Hobday

L 2108/13;

GQX 10961/6;

67457/62D

WAX3416/3427 Schubert Octet in F, op.166 23/03/1928

Columbia: 12”

DRAPER C, I.Baillie, G.Ison[not known] WAX4046 Schubert The Shepherd on the Rock, op.129 13/09/1928

Columbia: 12”

DRAPER C, I.Baillie, G.Ison9613 WAX4080-1/1-2 Schubert The Shepherd on the Rock, op.129 24/09/1928

Columbia: 12”

DRAPER C, J.Lener, Smilovits, S.Roth, I.Hartman - Lener Quartet

L 2252/5; LFX

253/6; 67664/7DWAX4228/35 Mozart Quintet in A, K.581 02/11/1928

Columbia: 12”

DRAPER C, J.Lener, Smilovits, S.Roth, I.Hartman - Lener Quartet

L 2228/32;

67613/7DWAX4258/60,4289/95 Brahms Quintet in Bm, op.115 07/11/1928

Columbia: 12”

DRAPER C, HINCHCLIFF E, BRAIN AU, J.Lener, S.Roth, I.Hartman,

C.Hobday

LX 109/13;

68096/100DWAX5432/41 Beethoven Septet in Eb, op.20 05/03/1930

Edison Bell: 10”

MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, SALKELD F -

London Wind Quintette

VF 1093 8225B Onslow Scherzo from Quintette 01/06/1924

Edison Bell: 10”

MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, SALKELD F -


VF 1093 8226A Haydn Presto from String Quartet in C 01/06/1924

Edison Bell: 12”

MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE -

London Wind Quintette, J.Batten (pf)

VF 515 x1147G Pierné Pastorale op.14 No.1

22


Edison Bell: 12”



VF 515 x1148L Scarlatti Andante & Allegro

Edison Bell: 12”



VF 519 x1149D Bizet Quintet (act 2 Carmen)

Edison Bell: 12”

MURCHIE R, GOOSSENS L, DRAPER H, JAMES W, BRAIN AE - London

Wind Quintette

VF 519 x1150D Gounod La Kermesse - scene (Faust)

Edison Bell: 12”


Wind Quintette, C.Woodhouse (pf)

VF 612/3 x1228/31A Thuille Sextet pts.I-IV

Edison Bell: Gold mld cylinder (2m)

DRAPER C401; 5720 Verdi arr.Bassi Rigoletto Fantaisie


DRAPER C402; 5721 Auber Le Cheval de Bronze


DRAPER C403; 5723

Bishop arr.Le

ThiereHome, Sweet Home - fantasia


DRAPER C404; 5726 Auber Fra Diavolo, selection


DRAPER C405; 861; 10060 Lazarus Ye Banks & Braes


DRAPER C406; 5730 Weber Concertino, op.26


DRAPER C407; 891; 5733 Mohr Air Varié

Edison Bell: Winner 10”


Wind Quintette

3476 06671A Barthe Passacaille

Edison Bell: Winner 10”


Wind Quintette

3476 6670F Lefebvre Suite, op.57 - Finale

Edison: cylinder gold (4m)

DRAPER C891 Mohr Air Varié 01/01/1909

Favorite: 10”

DRAPER C404a 6301-t Lazarus Fantasia on Scotch Melodies 27/11/1911

Favorite: 10”

DRAPER C404b 6302-t Mohr Second Air Varié 27/11/1911

23


G&T: 12”

DRAPER CC 487 3633f Weber Concertino, op.26 01/09/1904

HMV: 10”

BRAIN L, SUTCLIFFE S, ALEXANDRA J, DRAPER P, BRAIN D,

SANDERS N

HMS 80 Mozart Divertimento No.16 in Eb K.289

HMV: 12”

MURCHIE R, DRAPER C, J.Cockerill, Virtuoso 4tetC 1662/3 Cc15828/30 Ravel Introduction & Allegro 04/02/1929

HMV: 12”

DRAPER CC 1311 Cc9532 I Instruments of the Orchestra pt.2 01/01/1926

Homophon: 10”

DRAPER C750; 160 (anon) 16610A Espagnol

Homophon: 10”

DRAPER C752 27610A Benedict The Carnival of Venice w.Variations

Homophon: 10”

DRAPER C1008 60253 Verdi Rigoletto - air 03/10/1911

Homophon: 10”

DRAPER C1039 60267

Bishop arr.Le

ThiereHome, Sweet Home w.Variations 04/10/1911

Homophon: 10”

DRAPER C1039 60268 Lazarus Ye Banks & Braes 04/10/1911

Homophon: 10”

DRAPER C1008 60269 Mohr Air Varié 04/10/1911

Lambert: Permanent Gold Moulded Record cylinder

DRAPER C117 Lazarus Ye Banks & Braes


DRAPER C118

Bishop arr.Le

ThiereHome, Sweet Home - fantasia 01/12/1904


DRAPER C118 Verdi Rigoletto 01/10/1905


DRAPER C120 Auber Le Cheval de Bronze


DRAPER C121 Auber Fra Diavolo


DRAPER C122 Mohr Air Varié


DRAPER C123 Weber Concertino, op.26

Lyric Record: 10”

DRAPER C (W.Howard)309 Old Scotch Melody - Fantasia

24


Marathon: 10”

DRAPER C147 Weber Concertino, op.26 01/01/1912

Marathon: 10”

DRAPER C231 400 I.Cl. Lazarus arr. Clarke Ye Banks & Braes w. Vtns 01/01/1913

Marathon: 10”

DRAPER C231 401 I.Cl. trad. arr.Clarke Comin’ Thro’ the Rye - Vtns. 01/01/1913

Nat.Gram.Soc.: 12”

DRAPER C, Spencer Dyke 4tet47/50; XX/AAA 20/26 Mozart Quintet in A, K.581 01/01/1925

Odéon: 25cm

DRAPER C (Cyril Rohan)0781 Lxo1939 Verdi arr.Bassi Fantasia on Airs from Rigoletto

Odéon: 25cm

DRAPER CLxo1940 Lazarus Ma Normandie 01/12/1912

Odéon: 25cm

DRAPER C0781 Lxo1941 Mohr Second Air Varié

Odéon: 25cm

DRAPER CA 42863 Lxo1942

Bishop arr.Le


Odéon: 25cm

DRAPER CA 42864 Lxo1943 Lazarus Ye Banks und Braes (!) 01/02/1913

Odéon: 25cm

DRAPER CA 22254 Lxo1944 Weber Concerto 01/12/1912

Odéon: 30cm

DRAPER C (Cyril Rohen)14700 117000/1 Verdi arr.Bassi Fantasia on Airs from Rigoletto 01/01/1912

Parlophone: 12”

MCDONAGH/SUTCLIFFE, JAMES N, THURSTON/BRYMER , DE

PEYER/TCHAIKOV , JAMES , DRAPER/WILSON , O’LOUGHLIN/

PARRY, BRAIN, SANDERS, BEERS, Joseph, Merritt, London Baroque

R 20604/6; SW

8132/4(auto)CXE13730/5 Dvorak Serenade in d, op.44 06/12/1951

Pathé: 23cm

DRAPER H79187 69206-RA trad. arr.Kroepsch In Cellar Cool - Vtns

Pathé: 23cm

DRAPER H79188 69207-RA trad. arr.Clarke Comin’ Thro the Rye - Vtns.

Pathé: 25cm

DRAPER H8466; 40097 79189 Lazarus Ye Banks & Braes 01/01/1912

Pathé: 25cm

DRAPER H8466; 40097 79190 Lazarus Ma Normandie 01/01/1912

Pathé: 29cm

DRAPER H, L.Bryant54; 40085; 20276

70091-RA 6, 69084-

RA 8Weber

Grand Duo Concertant op.48 - mvts.1

& 301/01/1911

25


Pathé: 29cm

DRAPER H, L.Bryant5130 79185/6 Weber

Grand Duo Concertant op.48 - mvts.1

& 306/06/1923

Pathé: cylinder

DRAPER C10841 10841

Bishop arr.Le


Philharmonic: Record 10”

DRAPER C (Richard Horsfield)33 Mohr Second Air Varié

Robeyphone Grand: 10”

DRAPER C953 22206 Lazarus Ye Banks & Braes

Victor: 12”

MURCHIE R, DRAPER C, JAMES W, LEGGETT C, Weist-Hill, Royal

Victory Band

A-20 Alexander’s Ragtime Band 01/09/1912

Victor: 12”


Victory Band

A-18 Bogey Walk 01/09/1912

Victor: 12”


Victory Band

A-20 Botsford Grizzly Bear 1/09/1912

Zonophone: 10”

DRAPER C (R.Mackenzie)206 10597e Lazarus Ye Banks & Braes 31/07/1909

Zonophone: 12”

DRAPER C3852f Mohr Air Varié 28/07/1909

Zonophone: 7”

DRAPER C (R.Mackenzie)46002; 6018 4191 Lazarus Ye Banks & Braes

THE DRAPER FAMILY A Musical Legacy · 2019-11-12 · 1 CC0074 THE DRAPER FAMILY A Musical Legacy IN...

Documents

Transcript of THE DRAPER FAMILY A Musical Legacy · 2019-11-12 · 1 CC0074 THE DRAPER FAMILY A Musical Legacy IN...