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
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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
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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).
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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.
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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
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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
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