British Violin Concertosfrom BBC radio broadcasts of the 1950s

⓵ introductory announcement [00:28]

Douglas Coates: Violin Concerto in D (1934) [25:07]⓶ first movement [15:38]

⓷ second movement [04:57]

⓸ third movement * [04:32]

Colin Sauer, violin, with the BBC Northern Orchestraconducted by Sir Charles GrovesLive performance recorded off-air from a broadcast in 1951* total track length 4.43, including 10 seconds silence

E. J. Moeran: Violin Concerto (1937-41) [33:58]⓹ Allegro moderato [13:29]

⓺ Rondo: Vivace - Alla valse burlesca [09:33]

⓻ Lento [10:56]

Alfredo Campoli, violin, with the BBC Symphony Orchestraconducted by Sir Adrian BoultLive performance recorded off-air from a broadcast in 1954

Total CD duration: [59:46]

Neither of these recordings has previously been commercially published

Douglas Coates, The Violin Concerto &The BBC

From the early 1930s the BBC employed ananonymous panel of expert readers, who wereoften leading British composers of the day,whose job was to read the many unsolicitedmusic manuscripts that were sent in seeking abroadcast, and to recommend which should bedone and which not. The reading reports havebeen preserved in the BBC Written Archivesbut for many years they remainedconfidential.

However, since they became available forresearch, they have provided us with afascinating window not only on the workssubmitted, many by now forgotten composers,but also on the stylistic and artisticassumptions of the assessors. While theyoften got it right, and occasionally were veryperceptive in agreeing to broadcast what tothem must have been very strange idioms(notably Boulez in the early 1950s!) they alsorejected many worthwhile works which didnot accord with the un-romantic assumptionsof the 1930s, 40s and 50s. Soon afterwardsthe promotion of serial music became a majorpreoccupation.

In this climate it was unlikely thatromantically conceived works, unless by awell-established name, would be favourablyconsidered, and music by now familiarcomposers such as George Lloyd, John

Foulds and even Frank Bridge did not findfavour. Douglas Coates came on theborderline of this group. His Violin Concertoin D was accepted in 1945 and eventuallyreceived the broadcast performance recordedhere, but it did not really find favour, and wasdefinitely against the prevailing aesthetic ofthe time.

Reading reports survive on his ViolinConcerto, written by the composers HerbertHowells and Gordon Jacob, and the criticMosco Carner. Howells was critical of theorchestration, while although Gordon Jacobthought it had a ‘good deal of merit’ findingthe ‘solo part is well conceived throughout’,he also criticised ‘some dubious passagesfrom the orchestral point of view’. MoscoCarner recommended it for what it eventuallyreceived, a regional broadcast, and althoughhe highlighted ‘a number of good things, suchas the opening of the first movement and thelyrical idea of the second’, he found it tended‘to become rhapsodic’ (then a term of abuse).Later there were reports on Coates’ CelloConcerto, submitted after the performance ofthe Violin Concerto, which was rejected outof hand in July 1952, and a short Sonata forViolin and Piano submitted in the 1930swhich was thought ‘mediocre’ by AylmerBuesst.

Coates had written his Violin Concerto in1934, long before the Moeran Concerto whichthe soaring nostalgic opening violin part

momentarily seems to emulate. We have nodocumentary evidence how, although read in1945, it eventually came up for performancein 1951. But, in the context of the new musicin 1951, Coates’s concerto must then haveseemed somewhat old fashioned, even naïve,yet surely music with wide audience appeal.Part of the problem was the relative scale ofthe movements, for while the first movement[2] is a substantial sonata form structureending with an extended cadenza, the slowmovement [3] is a charming but slightinterlude, while the dancing scherzandofinale [4] does not really balance the firstmovement, and is formally compromised,ending without a proper restatement of theopening theme. Yet, in performance, one hasto say it works.

The way BBC music staff could freeze outsomeone who did not fit in was still acommon experience even in the 1970s.Reading between the lines, at DouglasCoates’ great musical moment – his first andonly orchestral performance by the BBC –after the conductor Charles Groves tookagainst the piece, particularly picking on therelative sizes of the movements, MauriceJohnstone, the BBC’s Head of Music inManchester reported that the composer had‘said that it was a failure and he woulddestroy it after the broadcast’.

Anyone would feel insecure when facing aBBC orchestra for the first time with their

first extended orchestral work, still unheard.We can only imagine what they put thenervous composer through at the rehearsal tomake his moment of triumph turn to dross inthe space of three hours. Did he really destroyit? Certainly the music can no longer befound. However, whatever happened to thescore, Coates had the present recording madeoff air. As we can now hear, when we are nolonger worried that it may be an unfortunate‘legacy of the past’ as Johnstone called it, wefind it is in fact a charming lyrical score withtwo gorgeous romantic themes. Thanks to thecommitted playing of the soloist, Colin Sauer,whose achievements and career are now alsoperhaps undervalued, it is surely well worthour remembrance.

© 2006 Lewis Foreman

Moeran’s Violin Concerto

The Violin Concerto (1937-1941) is withoutdoubt one of Moeran's finest musicalachievements, a work which truly deserves aplace amongst the great works of history. Andyet, while it has not, like the Coates concerto,suffered the indignity of almost total loss, itsstory is one of sorry neglect, with the onlyknown recording prior to 1979 a privately cutset of 78's owned by Moeran's friend, LionelHill, recently made available on a CDtransfer. There is only one modern recordingin the catalogue today. One can only

speculate at the different course history mighthave taken had a commercial recording beenmade during Moeran's lifetime, with thecomposer around to promote it - surely itwould now sit beside Elgar's Concerto in therepertoire.

Moeran began work on his Violin Concertoalmost as soon as the ink was dry on hisSymphony, and it has been suggested that thework is in some way an answer to thequestions raised in that work. It is certainlymuch lighter in spirit, a deliberate evocationof Moeran's beloved west of Ireland. Manycommentators have drawn comparison withElgar's Violin Concerto, suggesting this as areference piece for the Moeran, and whilethere are parallels which one might draw indetailed analysis, they remain two quitedifferent works.

The Moeran Concerto has a joy to it,particularly in the evocation of Puck Fair inthe second movement, a delightful frolicthrough the sights and sounds of that mostfamous of traditional Irish fairs. This issurrounded by two beautiful evocations of thelandscape around Kenmare, County Kerry,with the first movement addressing KenmareBay, the last an autumnal scene alongKenmare River. In all three movements theclouds which gathered over the Symphony arelifted, and we find Moeran's personal answerto his demons. The tensions he builds up heredo find resolution, in beauty, scenic grandeur

(although not in the Elgarian sense at all) andthrilling excitement.

The first movement, Allegro Moderato, [5]creates an immediate impressionistic picture.With its soaring solo lines, the violin entersalmost immediately, and completelycommands the movement. The tone is one ofexploration, of powerful scenery, of quietpools, rushing waterfalls, high peaks andgentle valleys. Moeran's musical language isvery much his own, with only a briefincursion of a folk-like melody, and yet theevocation of that area is near perfect.

From the opening fanfare in the Rondo [6]we're immediately transported to a differentplace, and the soloist introduces us on a merryjig through the thrills and spills of the fair,with some fabulous technical fireworksthrown in, and an unmistakable Irish flavourto the melodies and rhythms. Moeran'smastery of orchestral textures and possibilitiesis brilliant, as he effortlessly leads us fromone scene to another, and one pictures thefreewheeling joy and chaos, the people, oldand young, the merry revellers, and the quietcorners, the beautiful people he loved somuch. Listen out for what Geoffrey Selfdescribed as the rather tipsy waltz whichmakes a brief appearance towards the end ofthe movement!

The feeling in the last movement, [7] markedLento, is often more of serenity, and although

clouds appear to be gathering at the start ofthe movement, small rays of sunlight breakthrough from time to time, sufficient to lightthe way, to pick out a path, holding our spiritsup for a resolution of almost heart-rendingbeauty and ultimately autumnal tranquility.Here is Moeran's answer to life's problems,found in the country landscape he visitedagain and again, and where he found theinspiration for so much of his work.

The performance on this CD was taken from alive broadcast performance given in 1954. Itis very different to all others, in the wayCampoli takes it as a means of showcasing hisvirtuosity, quite unlike the much less dynamicperformances and recordings it has receivedsince. The soloist wrings out every last dropof romanticism and transforms the entireConcerto into something very different, morepassionate and soulful, than is usually thecase. Whether the composer would haveapproved may be debated, but this uniquenessof interpretation which in our view is totallyjustified by the results, makes this recording,despite the very limited sound qualityavailable from the original source, a valuableaddition to the catalogue.

© 2006 Andrew Rose, slightly amended byStephen Sutton

Douglas Marsden Coates was born in Wath-on-Dearne, Yorkshire in December, 1898.His father George Marsden Coates (born

Sheffield, 28 June 1860) was a musician andcomposer who died in 1935. Coates seniorheld various posts and was a well-knownfigure in the South Yorkshire area. He wasorganist and choirmaster at Wath ParishChurch from 1880 to 1932, an extraordinarylength of time. He formed Wath ChoralSociety in 1883 and conducted them for 15years, he also founded the Wath AmateurOperatic Society in 1912, and worked withthem until at least 1929, and he conductedseveral other local choral societies aroundRotherham and Barnsley.

His compositions included Elegie for organ,composed for the funeral of Lady Halifax, forwhich he also harmonised the GregorianChant Requiem Mass. He composed music forbrass bands, short light pieces for orchestra(Minuets, Gavottes etc.), and songs, but noneof his output was published. George Coatesalso gave many organ recitals, programmesfor several of which still exist. His professionwas given as “Professor of Music” but wehave not been able to obtain further details ofhis professional career.

Douglas Coates inherited a love of, and atalent for, music from his father, though henever became a professional musician. Norindeed, did he ever have a formal musiclesson. He was educated at the KilgrimolSchool for Boys, St. Annes-on-Sea,Lancashire, and privately. His first musicalpost, at the age of 18, was as Assistant

Organist to his father at Wath Parish Church(1911-1916), following which he wasappointed to the position of Organist andChoirmaster at Goldthorpe Parish Church(near Barnsley). In 1914 he took part,together with other South Yorkshire artists, ina War Fund Concert. In February 1920Coates became organist of Swinton ParishChurch, near Rotherham, and began to giveregular monthly organ recitals there. Theserecitals may well have been quite short, asone consisted of:

Bach: Fugue in DLondonderry Air (Arr. Archer)Vaughan Williams: RhosymedreBonnet: Concert Variations

He contributed in other ways to the localmusical scene, for example by playing pianoin concerts and recitals.

In 1923 or 1924 Coates moved to London.This may have been primarily because of hisprofessional career as a banker. He workedfor Midland Bank (now HSBC Bank), untilhis retirement, and between 1947 and 1950 heconducted the Midland Bank Choral Society,and also the Midland Bank Orchestra (1945-1948). His other conductorship was of theBrentford and Chiswick Musical Society withwhich he was associated from 1948 until atleast 1962. During this period he continued tohold several church posts in West London.

Douglas Coates composed in various genres.There was church music of course: at leastseven Masses, several settings of ChristmasCarols including Between the Oxen, TheSheep! So Great, so Small, The Priest’sCarol, Softly Sleeps the Baby and The CherubCarol (published 1971). Anthems for churchuse include O Perfect Love and King ofSaints.

For the organ Coates composed Idyll(published 1953), Seven Short Improvisations,(published 1968) and a number of ChoralePreludes.

In the realm of secular music, Coates’ outputincluded a number of piano and choral works,including Scherzo: Pip the Yorkshire Terrier(piano – published 1961), madrigals (TheMessage and Greet the May), marches formilitary and brass band (Windsor Pageantryand State Ceremonial) ; also Nativity Pageantfor full orchestra and music (unidentified) forthe 1953 Toc H festival. Coates was also fora time the Honorary Secretary of the Guild ofChurch Musicians. He joined the RoyalCollege of Organists in 1943, and was madean Associate (A.R.C.O.) in 1945.

Whilst a number of these relatively small-scale works were published, his known large-scale works have been completely neglected,and the scores have vanished without trace,probably destroyed by the composer infrustration. These include a Violin Sonata, a

Cello Concerto, and the Violin Concerto onthis CD. The recording on this disc is takenfrom a set of 78rpm transcription discs,believed to have been made for the composer,of a live concert broadcast by the BBC as partof “Orchestral Hour” on 15 March 1951,having been approved for broadcast as earlyas 1945. No other performance of any of hismajor works is known.

Coates married Gladys Alice Grimshaw on 12September 1925 at St. John’s Church, Putney,London. They had one daughter, Margaret(born 1928), who sadly died in 1966. She issurvived by her husband and two adoptedchildren. Subsequently, in 1964, Coatesmarried Josephine Domenica Lax, who sangwith the professional choir at St.Cuthbert’sChurch.

While his name is all but forgotten by today’slisteners and music professionals, DouglasCoates enjoyed, in his own circles, areputation as an extremely fine organist andconductor. His music, traditional andapproachable, may have been too “old-fashioned” for the modernist critics of the midtwentieth century, but can now be enjoyed forwhat it is – tuneful, skilfully constructed and,up until now, a great omission from thecorpus of English Twentieth-Century music.

Douglas Coates died at Ashfield Hospital,Stanwell, Middlesex, on 1 February 1974.

Ernest John Moeran was born in 1894. Hewas the son of a Norfolk clergyman and waseducated at Uppingham School, where helearnt the violin and played in a quartet. Heentered the RCM in 1913, but his studies weresoon interrupted by war, after which hereturned to his old school as music master, buthe soon decided to continue his studies andworked under John Ireland until 1923.

Moeran’s music subsequently began toreceive public performances. The FirstRhapsody for orchestra was played severaltimes before it was given by the HalléOrchestra in 1924 under Harty, and a series ofhis programmes was given at the WigmoreHall in 1925. His music was dominatedmainly by the influences of Ireland and by thechromatic resonance of Delius, alsoincorporating English folksong melodies. Inhis early career Moeran concentrated onshorter works which seemed to suit his talent.These include the Three Piano Pieces, theTheme and Variations for piano, the StringQuartet in A minor, the Piano Trio and theViolin Sonata. Even his two orchestralRhapsodies are built from short episodes, andMoeran felt unable to accept a Symphonycommission in 1924.

Moeran's Delian influence was something heconsciously attempted to rid himself of at theend of the 1920's - his desire to be shot of the"mush of Delius-like chords" is first heard inthe little-known Sonata for Two Violins of

1930 and is heard in its full glory in hisoutstanding chamber work, the String Trio(1931). But while his music has beencriticised as being less than individual, andMoeran’s style had certainly been a mélangeof Delian chromaticism and VaughanWilliams’ bimodality; it is none the lesseffective for that and strongly representativeof English music of the period.

Moeran set about expanding his scale otwriting, and the first result was the Symphonyin G minor (1937). First performed in 1938under Leslie Heward, this is a trulyremarkable work, built upon folk song tunesand lyrical passages as before, but with theaddition of true thematic growth in Sibelianstyle (notably the Symphony was inspired bynature, as were Sibelius’s major works), and anoble vigour associated with all greatsymphonies.

The more extrovert quality now discovered byMoeran was best expressed in his Sinfonietta(1944), whose first and last movements aredescribed in Grove as “conceived in terms ofsparkling virtuosity with vigorouscontrapuntal writing and luminousorchestration”. But meanwhile Moeran hadcompleted a work which perhaps is hisgreatest (yet neglected) overall acheivement:the Violin Concerto. The concerto seems tobring together the meditative, naturalistic andexpressionist style of his early years, and themore fully developed romantic symphonic

style of maturity. The slightly later CelloConcerto is a work of some grandeur,including an opening movement of majesticgloom and a vigorously intricate rondo finale,rich in material. In contrast to this rathersombre composition, his final orchestralwork, the Serenade in G, includes delightfulelements of pastiche. By 1950, Moeran wasworking on a Second Symphony with bitonalelements becoming increasingly important inhis writing; sadly it was never finished as hesuffered a fatal heart attack on 1 December,1950 in his beloved Kenmare, Co. Kerry.Moeran has always been overshadowed by hiscontemporaries, but in terms of compositionaltechnique and the sheer beauty of his music,is at least their equal.

Colin Sauer was born in 1924. As awartime evacuee from his home town ofIlford, Essex, he won a scholarship to theRoyal Academy of Music. He first performedconcertos for violin there under the baton ofSir Henry Wood. He was later honoured bythe R.A.M. when he was awarded aFellowship.

Since then he has enjoyed a very long andsuccessful career in both orchestral andchamber music. His most important workwas in leading the Dartington String Quartet,founded in 1957, which quickly became wellknown in the South West of England, butbefore long acquired a national reputation due

to its regular broadcasts on both radio andtelevision, and also in Europe (mostespecially in Germany) where the Quartettoured. During his leadership of theDartington Quartet, which lasted for overtwenty two years, Colin played theKustendyke Stradivarius violin lent to him bythe Royal Academy of Music.

Subsequently, Colin played with the world-famous Academy of St. Martin-in-the-Fields,touring extensively with them in manycountries. He also led the orchestra on anumber of occasions at the Royal FestivalHall and overseas.

After his marriage to Brenda in 1953, Colinmoved to Devon to take up a post as SeniorLecturer in Violin and Chamber Music atDartington Hall. They have six children, allmusically talented, and for several years,while all the children lived at home, thefamily of eight performed together as anensemble. The group gave many recitals inSouth West England including a televisionappearance in which Kathy Sauer played bothviolin and piano at the age of five.

His recollections of the Coates recording arevague: he recalls that the BBC commissionfollowed a broadcast performance, also withthe BBC Northern Orchestra and CharlesGroves, of the concerto by Ronald Smith.Subsequently, Colin played a number of

classical concertos with the various BBCorchestras.

At a time when we are re-discovering copiousnumbers of excellent but totally neglectedscores by British 20th-century composers, wecan only be grateful that Colin Sauer andothers like him were prepared to championscores by lesser-known composers. Therediscovery of works such as the Coatesconcerto can only enrich the overall musicalscene.

Alfredo Campoli was born in Rome in 1906,both his parents being professional musicians.In 1911 the family moved to London, whereCampoli was taught by his father, and by thetime of his Wigmore Hall début in 1923, hewas already secure in 11 major concertos.Although he subsequently toured with Melbaand Clara Butt, Campoli turned his attentionto light music, and during the 1930s became ahousehold name for his many recordings andbroadcasts, especially with his SalonOrchestra.

Usually billed only under his surname, healso maintained a concert career, and playedPaganini's Concerto in D (arranged byKreisler) at a Promenade Concert in 1937.After the Second World War he returned tothe “serious” classics, and soon established aninternational reputation. He made hisAmerican début at Carnegie Hall in 1953 and

visited Russia twice in 1956, on the secondoccasion with the LPO.

Campoli's large repertoire, and included themajor Classical and Romantic works as wellas works by Moeran, Ireland, Bax andWalton; in 1955 he gave the first performanceof Bliss's Violin Concerto, which was writtenfor him. His extraordinary beauty of tone andphrasing, often likened to bel canto singing,was combined with an impeccable techniqueand an eloquently expressive approach tointerpretation. A larger-than-life figure, keenon tennis and bridge and usually sporting alarge cigar, Campoli recorded for Decca forover 40 years. He died in 1991 at his home inBerkshire, England.

Sir Adrian Boult (1889-1983) is one of thegreatest figures in 20th century music. Hestudied at the Leipzig Conservatory, then in1914 he joined the music staff at CoventGarden. In 1918 Holst asked him to conductthe first performance of The Planets, at aprivately organized concert in Queen's Hall,London. In 1919 he joined the teaching staffof the RCM (where he remained until 1930).He worked with the Ballet Russe, BritishNational Opera Company, Royal OperaHouse and regional opera companies. From1928 to 1931 he was musical director of theBach Choir, and was also appointed asconductor of the Birmingham Festival ChoralSociety, and subsequently as musical director

of the City of Birmingham Orchestra wherehe remained until 1930.

In 1930 Boult was appointed music directorfor the BBC and asked to form a neworchestra. He secured the best players and forthe next decade largely met his goal of settingthe standard for English orchestras. He wasassociate conductor of the Proms from 1942to 1950. He immediately joined the LPO asmusic director toured both West Germany andthe Soviet Union.

In 1957 Sir Adrian “retired”, but continued tomake many appearances. He went back to theCBSO in 1959–60 and returned to the RCMto teach from 1962 to 1966. Boultchampioned British music, giving premièreand repeat performances, and celebratedrecordings, of works by Elgar, VaughanWilliams, Bax, Walton, Holst, Delius, Tippettand others. In his BBC days he had alsointroduced much new music to London, withconcert performances of Berg's Wozzeck(1934) and Busoni's Doktor Faust (1937), andworks by Bartók, Stravinsky, Schoenberg,Webern and American composers. AdrianBoult was knighted for his services to musicin 1937 and received many other honours. Hewas almost 90 when he made his final publicappearance and his final recording (of musicby Parry) in 1978.

Sir Charles Groves (1915-1992) studiedpiano and organ at the RCM. In 1937, whilestill a student, he accompanied choralrehearsals of Brahms's German Requiemunder Toscanini; the following year he joinedthe BBC as a chorus master. In 1944 hebecame conductor of the BBC NorthernOrchestra, a post he held until 1951, when hehe left to become musical director of theBournemouth Municipal Orchestra(Bournemouth SO from 1954). In 1961 hebecame musical director of the WelshNational Opera, then in 1963 was appointedmusical director of the Royal Liverpool PO.From 1967 he combined that position withassociate conductorship of the RPO, whom heled on a tour of the USA. From 1978 heworked as a guest conductor with manyorchestras in venues around the world.

Groves achieved a high reputation as adevoted traditional conductor of a widerepertory, refusing to concentrate on anyparticular sub-genre. He was particularlynoted for his mastery of large-scale works,and was the first English conductor to direct acomplete cycle of Mahler symphonies. LikeBoult, he supported British composers andmade many authoritative recordings,particularly of works by Delius, VaughanWilliams, Sullivan, Jones and Mathias.Groves was twice made president of the ISM,and was president of the National Federationof Music Societies and the National YouthOrchestra. He was knighted in 1973.

The BBC Northern Orchestra, based inManchester, was formed in 1934 from HalléOrchestra players as an augmentation of theearlier Northern Studio Orchestra. It brieflybecame known as the BBC NorthernSymphony Orchestra, but since becoming theBBC Philharmonic, has joined its illustriousLondon sibling, the BBC SO, amongst the toporchestras in the UK. Its conductors over theyears have included Stanford Robinson,Charles Groves, John Hopkins, George Hurst,Bryden Thomson, Raymond Leppard, EdwardDownes and Yan Pascal Tortelier. Since the1950s the orchestra has given an increasingnumber of public concerts in addition to itsregular broadcasts; in 1973 it launched anannual series of public concerts in the FreeTrade Hall, Manchester, which gained areputation for high quality; these nowcontinue in the Bridgewater Hall.

The BBC Symphony Orchestra is one of theUK's leading orchestras. Founded by AdrianBoult in 1930 it has played a central role atthe heart of British musical life for over 70years and, as the flagship orchestra of theBBC is the backbone of the BBC Proms,making at least a dozen appearances eachyear, including the First and Last Nights.

The BBC SO has a strong commitment to20th century and contemporary music andsince its foundation has given the premieresof over 1000 works by composers such as

Bartók, Britten, Hindemith, Holst, Stravinsky,Shostakovich and Vaughan Williams.Each year it continues to give the worldpremieres of BBC commissions by many oftoday's leading composers.

The BBC Symphony Orchestra is AssociateOrchestra of the Barbican in London andperforms an annual season of up to 25concerts. Just as with the recording on thisCD, the orchestra continues to make regularstudio recordings for BBC Radio, some ofwhich are free for the public to attend. TheBBC SO also records for several commerciallabels both in the UK and abroad.

Technical note by Andrew Rose:

“Both of these recordings presented problemswhich, at first, seemed insurmountable. TheCoates concerto was taken from acetate78rpm discs which were never designed tolast for anything like as long as they have.Each side was damaged in some respect,either with multiple clicks and scratches, orwith heavy scuffing, or both. My aimthroughout has been to achieve the highestmusical quality whilst keeping surface noiseto an absolute minimum - however in areas ofsevere damage the listener may noticeoccasional sound degradation.

Similarly with the Moeran - there are sectionsof the recording which were severelydamaged. In this case the battle was against abadly degraded tape recording, taken from aradio broadcast (complete with assorted linewhistles and tones). There were a number ofextended areas of extreme tape drop-outwhich at time turned the job into one ofreconstruction as much as restoration.

Normally in cases like this one wouldimmediately look for alternative sources towork from. However, both of these recordingsare unique - to the best of our knowledge -and as such this was not an option.

Nevertheless, they are incredibly valuableadditions to the recorded catalogue, and assuch I trust you will forgive me for any minorblemishes which may remain audible.”

Remastering by:

CAMPOLI

COLIN SAUER

Biographical notes by Stephen Sutton with acknowledgments to:BBC Online <http://www.bbc.co.uk>David Tunley: “Alfredo Campoli”, Arthur Jacobs/Bernard Keeffe: “Sir Charles Groves”, RonaldCrichton/José Bowen: “Sir Adrian Boult”, Anthony Payne: “E.J.Moeran”,All from Grove Music Online ed. L. Macy (Accessed 5 January 2006),<http://www.grovemusic.com>

Thanks to Lewis Foreman, Philip Scowcroft, Andrew Rose, Julian Lloyd Webber, John Goslin,Colin Sauer, Andrew McCrae, BBC Archives and especially to Mrs Josephine Coates, in helping usbring this project to fruition.Digital restoration by Andrew Rose of Pristine AudioBooklet design by Stephen SuttonSeries producer: Stephen SuttonPhoto of Campoli supplied by Lebrecht Music & Arts: <http://www.lebrecht.co.uk>Photo of Colin Sauer courtesy of Colin SauerPhoto of E.J. Moeran courtesy of Andrew RosePhoto of D.Coates courtesy of Mrs J. Coates© Divine Art Limited 2006

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