Percy Grainger

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PercyGraingerAustraliancomposer

PercyGraingerin1922,attheheightofhispopularityaspianistandcomposer

Born 8July1882Melbourne,Victoria

Died 20February1961WhitePlains,NewYork

Signature

PercyGraingerFromWikipedia,thefreeencyclopedia

PercyAldridgeGrainger(8July188220February1961)wasanAustralianborncomposer,arrangerandpianist.InthecourseofalongandinnovativecareerheplayedaprominentroleintherevivalofinterestinBritishfolkmusicintheearlyyearsofthe20thcentury.Healsomademanyadaptationsofothercomposers'works.Althoughmuchofhisworkwasexperimentalandunusual,thepiecewithwhichheismostgenerallyassociatedishispianoarrangementofthefolkdancetune"CountryGardens".

GraingerleftAustraliaattheageof13toattendtheHochConservatoryinFrankfurt.Between1901and1914hewasbasedinLondon,whereheestablishedhimselffirstasasocietypianistandlaterasaconcertperformer,composerandcollectoroforiginalfolkmelodies.AshisreputationgrewhemetmanyofthesignificantfiguresinEuropeanmusic,formingimportantfriendshipswithFrederickDeliusandEdvardGrieg.HebecameachampionofNordicmusicandculture,hisenthusiasmforwhichheoftenexpressedinprivateletters.

In1914,GraingermovedtotheUnitedStates,wherehelivedfortherestofhislife,thoughhetravelledwidelyinEuropeandinAustralia.HeservedbrieflyasabandsmanintheUnitedStatesArmyduring191718,andtookAmericancitizenshipin1918.Afterhismother'ssuicidein1922hebecameincreasinglyinvolvedineducationalwork.Healsoexperimentedwithmusicmachinesthathehopedwouldsupersedehumaninterpretation.Inthe1930shesetuptheGraingerMuseuminMelbourne,hisbirthplace,asamonumenttohislifeandworksandasafutureresearcharchive.Ashegrewolderhecontinuedtogiveconcertsandtoreviseandrearrangehisowncompositions,whilewritinglittlenewmusic.AftertheSecondWorldWar,illhealthreducedhislevelsofactivity,andheconsideredhiscareerafailure.Hegavehislastconcertin1960,lessthanayearbeforehisdeath.

Contents

1Earlylife1.1Familybackground1.2Childhood1.3Frankfurt

2Londonyears2.1Concertpianist

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PrincesBridge,Melbourne,designedbyJohnGrainger

2.2Emergentcomposer3Careermaturity

3.1DepartureforAmerica3.2Careerzenith3.3Interwaryears

3.3.1Traveller3.3.2Educator3.3.3Innovator

4Latercareer4.1SecondWorldWar4.2Postwardecline4.3Lastyears

5Music6Legacy7Assessment8Recordings9Notesandreferences10Sources11Externallinks

Earlylife

Familybackground

PercyGrainger'sfather,JohnGrainger(18541917),[n1]wasanEnglishbornarchitectwhoemigratedtoAustraliain1877.HewonprofessionalrecognitionforhisdesignofthePrincesBridgeacrosstheYarraRiverinMelbourne.[2]InOctober1880hemarriedRoseAnnieAldridge,daughterofAdelaidehotelierGeorgeAldridgethecouplesettledinNewSt,Brighton,asuburbofMelbourne,wheretheironlysonwasbornon8July1882.[3]HisnamewasregisteredasGeorgePercyGrainger,butfromhisearliestdayshisfamilycalledhimPercy.TheGraingerhouseat305NewSt,Brightonhasrecentlybeenredeveloped,withtheoriginalstructureintact.

JohnGraingerwasanaccomplishedartist,withbroadculturalinterestsandawidecircleoffriends.[4]TheseincludedDavidMitchell,whosedaughterHelenlatergainedworldwidefameasanoperaticsopranounderthenameNellieMelba.John'sclaimstohave"discovered"herareunfounded,althoughhemayhaveofferedherencouragement.[5]Johnwasaheavydrinkerandawomaniserwho,Roselearnedafterthemarriage,hadfatheredachildinEnglandbeforecomingtoAustralia.Hispromiscuouslifestyleplacedheavystrainsupontherelationship,particularly

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An1880lithographoftheRoyalExhibitionBuilding,Melbourne,venueforPercyGrainger'searlyconcerts,October1894

whenRosediscoveredshortlyafterPercy'sbirththatshehadcontractedaformofsyphilisfromherhusband.[3][4]Despitethis,theGraingersstayedtogetheruntil1890,whenJohnwenttoEnglandformedicaltreatment.AfterhisreturntoAustraliatheylivedaparttheburdenofraisingPercyfelltoRose,[6]whileJohnpursuedhiscareeraschiefarchitecttotheWesternAustralianDepartmentofPublicWorks.HealsodesignedNellieMelba'shome,CoombeCottage,atColdstream.[2]

Childhood

Exceptforthreemonths'formalschoolingasa12yearold,duringwhichhewasbulliedandridiculedbyhisclassmates,Percywaseducatedathome.[4]Rose,anautodidactwithadominatingpresence,supervisedhismusicandliteraturestudiesandengagedothertutorsforlanguages,artanddrama.FromhisearliestlessonsPercydevelopedalifelongfascinationwithNordicculturewritinglateinlifehemaintainedthattheIcelandic"SagaofGrettirtheStrong"was"thestrongestsingleartisticinfluenceonmylife".[7][8][9]Aswellasshowingprecociousmusicaltalents,hedisplayedconsiderableearlygiftsasanartist,totheextentthathistutorsthoughthisfuturemightlieinartratherthanmusic.[10]Attheageof10hebeganstudyingpianounderLouisPabst,aGermanemigrthenconsideredtobeMelbourne'sleadingpianoteacher.Grainger'sfirstknowncomposition,"ABirthdayGifttoMother",isdated1893.[2]PabstarrangedGrainger'sfirstpublicconcertappearances,atMelbourne'sMasonicHallinJulyandSeptember1894.TheboyplayedworksbyBach,Beethoven,SchumannandScarlatti,andwaswarmlycomplimentedintheMelbournepress.[11]

AfterPabstreturnedtoEuropeintheautumnof1894,Grainger'snewpianotutor,AdelaideBurkitt,arrangedforhisappearancesataseriesofconcertsinOctober1894,atMelbourne'sRoyalExhibitionBuilding.Thesizeofthisenormousvenuehorrifiedtheyoungpianistnevertheless,hisperformancedelightedtheMelbournecriticswhodubbedhim"theflaxenhairedphenomenonwhoplayslikeamaster".[12]ThispublicacclaimhelpedRosetodecidethathersonshouldcontinuehisstudiesattheHochConservatoryinFrankfurt,GermanyshehadbeenrecommendedtothisinstitutionbyWilliamLaver,headofpianostudiesatMelbourne'sConservatoriumofmusic.FinancialassistancewassecuredthroughafundraisingbenefitconcertinMelbourneandafinalrecitalinAdelaide,afterwhichmotherandsonleftAustraliaforEuropeon29May1895.[13]AlthoughheneverreturnedpermanentlytoAustralia,Graingermaintainedconsiderablepatrioticfeelingsforhisnativeland,[14]andwasproudofhisAustralianheritage.[2]

Frankfurt

InFrankfurt,RoseestablishedherselfasateacherofEnglishherearningsweresupplementedbycontributionsfromJohnGrainger,whohadsettledinPerth.TheHochConservatory'sreputationforpianoteachinghadbeenenhancedbythetenure,until1892,ofClaraSchumannasheadofpianostudies.Grainger'spianotutorwasJamesKwast,whodevelopedhisyoungpupil'sskillstotheextentthat,withinayear,Graingerwasbeinglaudedasaprodigy.[15]Graingerhaddifficultrelationswithhisoriginalcompositionteacher,IwanKnorr[4]hewithdrewfromKnorr'sclassestostudycompositionprivatelywithanamateurcomposerandfolkmusicenthusiast,KarlKlimsch,whomhewouldlaterhonouras"myonlycompositionteacher".[2]

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Graingeraged18,towardstheendofhisFrankfurtyears

TogetherwithagroupofslightlyolderBritishstudentsRogerQuilter,BalfourGardiner,CyrilScottandNormanO'Neill,allofwhombecamehisfriendsGraingerhelpedformthe"FrankfurtGroup",whoselongtermobjectivewastorescueBritishandScandinavianmusicfromwhattheyconsideredthenegativeinfluencesofcentralEuropeanmusic.[4]EncouragedbyKlimsch,GraingerturnedawayfromcomposingclassicalpastichesreminiscentofHandel,HaydnandMozart,[16]anddevelopedapersonalcompositionalstyletheoriginalityandmaturityofwhichquicklyimpressedandastonishedhisfriends.[14]AtthistimeGraingerdiscoveredthepoetryofRudyardKiplingandbegansettingittomusicaccordingtoScott,"NopoetandcomposerhavebeensosuitablyweddedsinceHeine&Schumann".[14]

AfteraccompanyinghersononanextendedEuropeantourinthesummerof1900Rose,whosehealthhadbeenpoorforsometime,sufferedanervouscollapseandcouldnolongerwork.[17]ToreplacelostincomeGraingerbegangivingpianolessonsandpublicperformanceshisfirstsolorecitalwasinFrankfurton6December1900.[2]MeanwhilehecontinuedhisstudieswithKwast,andincreasedhisrepertoireuntilhewasconfidenthecouldmaintainhimselfandhismotherasaconcertpianist.HavingchosenLondonashisfuturebase,inMay1901Graingerabandonedhisstudiesand,withRose,leftFrankfurtforEngland.[17]

BeforeleavingFrankfurt,GraingerhadfalleninlovewithKwast'sdaughterMimi[17]inanautobiographicalessaydated1947headmitstobeing"alreadysexcrazy"atthistime.[18](MimiKwast,whowasthegranddaughterofFerdinandHiller,marriedanotherofherfather'spupils,HansPfitzner.)JohnBird,Grainger'sbiographer,alsorecordsthatduringhisFrankfurtyearsGraingerbegantodevelopsexualappetitesthatwere"distinctlyabnormal"bytheageof16hehadstartedtoexperimentinflagellationandothersadomasochisticpractices,whichhecontinuedtopursuethroughmostofhisadultlife.BirdsurmisesthatGrainger'sfascinationwiththemesofpunishmentandpainderivedfromtheharshdisciplinetowhichRosehadsubjectedhimasachild.[18]

Londonyears

Concertpianist

InLondon,Grainger'scharm,goodlooksandtalent(withsomeassistancefromthelocalAustraliancommunity)ensuredthathewasquicklytakenupasapianistbywealthypatrons,andwassoonperforminginconcertsinprivatehomes.TheTimescriticrecordedafteronesuchappearancethatGrainger'splaying"revealedrareintelligenceandagooddealofartisticinsight".[19]In1902hewaspresentedbythesocialiteLillithLowreytoQueenAlexandra,whothereafterfrequentlyattendedhisLondonrecitals.[20]Lowrey,20yearsGrainger'ssenior,tradedpatronageandcontactsforsexualfavourshetermedtherelationshipa"loveservejob".[8]Shewasthefirstwomanwithwhomhehadsexhelaterwroteofthisinitialencounterthathehadexperienced"anoverpoweringlandslide"offeeling,andthat"IthoughtIwasabouttodie.IfIremembercorrectly,Ionlyexperiencedfearofdeath.Idon'tthinkthatanyjoyenteredintoit".[21]

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Noticefora1907Graingerrecital,AeolianHall,London

InFebruary1902Graingermadehisfirstappearanceasapianosoloistwithanorchestra,playingTchaikovsky'sfirstpianoconcertowiththeBathPumpRoomOrchestra.InOctoberofthatyearhetouredBritaininaconcertpartywithAdelinaPatti,theItalianbornoperasinger.Pattiwasgreatlytakenbytheyoungpianistandprophesiedagloriouscareerforhim.[22]ThefollowingyearhemettheGermanItaliancomposerandpianistFerruccioBusoni.Initiallythetwomenwereoncordialterms(BusoniofferedtogiveGraingerlessonsfreeofcharge)andasaresult,Graingerspentpartofthe1903summerinBerlinasBusoni'spupil.[2]However,thevisitwasnotasuccessasBirdnotes,Busonihadexpected"awillingslaveandadoringdisciple",aroleGraingerwasnotwillingtofulfil.[23]GraingerreturnedtoLondoninJuly1903almostimmediatelyhedepartedwithRoseona10monthtourofAustralia,NewZealandandSouthAfrica,asamemberofapartyorganisedbytheAustraliancontraltoAdaCrossley.[24]

Emergentcomposer

BeforegoingtoLondonGraingerhadcomposednumerousKiplingsettings,andhisfirstmatureorchestralpieces.[25]InLondon,whenhefoundtimehecontinuedtocomposealettertoBalfourGardinerdated21July1901indicatesthathewasworkingonhisMarchingSongofDemocracy(aWaltWhitmansetting),andhadmadegoodprogresswiththeexperimentalworksTrainMusicandChargingIrishrey.[26]InhisearlyLondonyearshealsocomposedHillSongNumber1(1902),aninstrumentalpiecemuchadmiredbyBusoni.[25][27]

In1905,inspiredbyalecturegivenbythepioneerfolksonghistorianLucyBroadwood,Graingerbegantocollectoriginalfolksongs.StartingatBrigginLincolnshire,overthenextfiveyearshegatheredandtranscribedmorethan300songsfromalloverthecountry,includingmuchmaterialthathadneverbeenwrittendownbefore.From1906Graingerusedaphonograph,oneofthefirstcollectorstodoso,andbythismeansheassembledmorethan200Edisoncylinderrecordingsofnativefolksingers.[28][29]TheseactivitiescoincidedwithwhatBirdcalls"thehalcyondaysofthe'FirstEnglishFolksongRevival'".[30]

Ashisstatureinthemusicworldincreased,Graingerbecameacquaintedwithmanyofitsleadingfigures,includingVaughanWilliams,Elgar,RichardStraussandDebussy.[28]In1907hemetFrederickDelius,withwhomheachievedanimmediaterapportthetwomusicianshadsimilarideasaboutcompositionandharmony,andsharedadislikefortheclassicalGermanmasters.[31]Bothwereinspiredbyfolkmusic[32]GraingergaveDeliushissettingofthefolksongBriggFair,whichtheoldercomposerdevelopedintohisfamousorchestralrhapsody,dedicatedtoGrainger.[31]ThetworemainedclosefriendsuntilDelius'sdeathin1934.[33]

GraingerfirstmetGriegatthehomeoftheLondonfinancierSirEdgarSpeyer,inMay1906.[34]AsastudentGraingerhadlearnedtoappreciatetheNorwegian'sharmonicoriginality,andby1906hadseveralGriegpiecesinhisconcertrepertoire,includingthepianoconcerto.[35]GriegwasgreatlyimpressedwithGrainger'splaying,andwrotethattheAustralianwas"ageniusthatweScandinavianscannotdootherthanlove."[36]Through19067thetwomaintainedamutuallycomplimentarycorrespondence,whichculminatedinGrainger'stendayvisitinJuly1907tothecomposer'sNorwegianhome,"Troldhaugen"nearBergen.Herethetwospentmuchtimerevisingandrehearsingthepiano

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Grainger(centre),withEdvardGrieg(leftofpicture),NinaGriegandJuliusRntgen,at"Troldhaugen",July1907.

concertoinpreparationforthatyear'sLeedsFestival.TheirplansforalongtermworkingrelationshipwerethwartedbyGrieg'ssuddendeathinSeptember1907nevertheless,thisrelativelybriefacquaintancehadaconsiderableimpactonGrainger,andhechampionedGrieg'smusicfortherestofhislife.[35]

AfterfulfillingahecticscheduleofconcertengagementsinBritainandcontinentalEurope,inAugust1908GraingeraccompaniedAdaCrossleyonasecondAustralasiantour,duringwhichheaddedseveralcylindersofMaoriandPolynesianmusictohiscollectionofrecordings.[28]Hehadresolvedtoestablishhimselfasatoprankingpianistbeforepromotinghimselfasacomposer,[9]thoughhecontinuedtocomposebothoriginalworksandfolksongsettings.Someofhismostsuccessfulandmostcharacteristicpieces,suchas"MockMorris","HandelintheStrand","Shepherd'sHey"and"MollyontheShore"datefromthisperiod.In1908heobtainedthetuneof"CountryGardens"fromthefolkmusicspecialistCecilSharp,thoughhedidnotfashionitintoaperformablepieceforanothertenyears.[37][38]

In1911Graingerfinallyfeltconfidentenoughofhisstandingasapianisttobeginlargescalepublishingofhiscompositions.Atthesametime,headoptedtheprofessionalnameofPercyAldridgeGraingerforhispublishedcompositionsandconcertappearances.[8][39]

InaseriesofconcertsarrangedbyBalfourGardineratLondon'sQueen'sHallinMarch1912,fiveofGrainger'sworkswereperformedtogreatpublicacclaimthebandofthirtyguitarsandmandolinsfortheperformanceof"FathersandDaughters"createdaparticularimpression.[40]On21May1912Graingerpresentedthefirstconcertdevotedentirelytohisowncompositions,attheAeolianHall,London[9]theconcertwas,hereported,"asensationalsuccess".[41]AsimilarlyenthusiasticreceptionwasgiventoGrainger'smusicatasecondseriesofGardinerconcertsthefollowingyear.[42]

In1905GraingerbeganaclosefriendshipwithKarenHolten,aDanishmusicstudentwhohadbeenrecommendedtohimasapianopupil.Shebecameanimportantconfidantetherelationshippersistedforeightyears,largelythroughcorrespondence.[43][n2]Afterhermarriagein1916sheandGraingercontinuedtocorrespondandoccasionallymeetuntilherdeathin1953.Graingerwasbrieflyengagedin1913toanotherpupil,MargotHarrison,buttherelationshipfounderedthroughamixtureofRose'soverpossessivenessandGrainger'sindecision.[45][46]

Careermaturity

DepartureforAmerica

InApril1914GraingergavehisfirstperformanceofDelius'spianoconcerto,atamusicfestivalinTorquay.ThomasBeecham,whowasoneofthefestival'sguestconductors,reportedtoDeliusthat"Percywasgoodinthefortepassages,butmadefartoomuchnoiseinthequieterbits".[47]Graingerwasreceivingincreasingrecognitionasacomposerleadingmusiciansandorchestraswereaddinghisworkstotheirrepertoires.[45]Hismother,Rose,wassicklyduringmostofhislifeandplayedamajorroleinthedecisiontoleaveforAmerica.HisdecisiontoleaveEnglandforAmericainearlySeptember1914,aftertheoutbreakoftheFirstWorldWar,damagedhisreputationamonghispatrioticallymindedBritish

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GraingerintheuniformofaUSArmybandsman,1917

RoseandPercyGrainger,c.1920

friends.[2]Graingerwrotethatthereasonforthisabruptdeparturewas"togivemotherachange".[48]However,accordingtoBird,GraingeroftenexplainedthathisreasonforleavingLondonwasthat"hewantedtoemergeasAustralia'sfirstcomposerofworth,andtohavelaidhimselfopentothepossibilityofbeingkilledwouldhaverenderedhisgoalunattainable".[49]Graingeralsowasrecordedtohavebeenhavingnervousbreakdownsduetotheconflictbreakingoutallaroundhim.TheDailyTelegraphmusiccriticRobinLeggeaccusedhimofcowardice,andtoldhimnottoexpectawelcomeinEnglandafterthewar,[8]wordsthathurtGraingerdeeply.[50]

Grainger'sfirstAmericantourbeganon11February1915witharecitalatNewYork'sAeolianHall.HeplayedworksbyBach,Brahms,HandelandChopinalongsidetwoofhisowncompositions:"ColonialSong"and"MockMorris".InJuly1915GraingerformallyregisteredhisintentiontoapplyforUScitizenship.[51]OverthenexttwoyearshisengagementsincludedconcertswithNellieMelbainBostonandPittsburghandacommandperformancebeforePresidentWoodrowWilson.Inadditiontohisconcertperformances,GraingersecuredacontractwiththeDuoArtCompanyformakingpianolarolls,andsignedarecordingcontractwithColumbiaRecords.[9]

InApril1917Graingerreceivednewsofhisfather'sdeathinPerth.[52]Withthis,Graingerknewthathewouldhavetomakeadecisionastowhethersupporthispacifistviews,orjoininthewareffortinordertoappeasehispublicimage.HewasofferedajobinCanadawithreferencetoJohnPhillipSousa,butturnedhimdown.On9June1917,afterAmerica'sentryintothewar,heenlistedasabandsmanintheCoastArtilleryCorpsoftheUSArmy.Hehadjoinedasasaxophonist,[n3]thoughherecordslearningtheoboe:"IlongforthetimewhenIcanblowmyoboewellenoughtoplayintheband".[55]Inhis18months'service,GraingermadefrequentappearancesasapianistatRedCrossandLibertybondconcerts.Asaregularencorehebegantoplayapianosettingofthetune"CountryGardens".Thepiecebecameinstantlypopularsheetmusicsalesquicklybrokemanypublishingrecords.[56]TheworkwastobecomesynonymouswithGrainger'snamethroughtherestofhislife,thoughhecameintimetodetestit.[57]On3June1918hebecameanaturalisedAmericancitizen.[58]

Careerzenith

AfterleavingthearmyinJanuary1919,GraingerrefusedanoffertobecomeconductoroftheSaintLouisSymphonyOrchestraandresumedhiscareerasaconcertpianist.[59]Hewassoonperformingaround120concertsayear,[60]generallytogreatcriticalacclaim,andinApril1921reachedawideraudiencebyperforminginacinema,NewYork'sCapitolTheatre.GraingercommentedthatthehugeaudiencesatthesecinemaconcertsoftenshowedgreaterappreciationforhisplayingthanthoseatestablishedconcertvenuessuchasCarnegieHallandtheAeolian.[61]Inthesummerof1919heledacourseinpianotechniqueatChicagoMusicalCollege,thefirstofmany

sucheducationaldutieshewouldundertakeinlateryears.[58][62]

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FrederickDelius,withwhomGraingerenjoyedalongprofessionalandpersonalrelationship

Amidhisconcertandteachingduties,Graingerfoundtimetorescoremanyofhisworks(ahabithecontinuedthroughouthislife)andalsotocomposenewpieces:hisChildren'sMarch:OvertheHillsandFarAway,andtheorchestralversionofThePowerofRomeandtheChristianHeartbothoriginatedinthisperiod.[63]HisclosefriendRalphLeopold,whomhemetwhileinthearmy,participatedinthepremieresofbothversionsoftheChildren'sMarch,andalsorecordedanumberoffourhandworkswithhimonpianorolls.Healsobegantodevelopthetechniqueofelasticscoring,aformofflexibleorchestrationwhichenabledworkstobeperformedbydifferentnumbersofplayersandinstrumenttypes,fromsmallchambergroupsuptofullorchestralstrength.[64]

InApril1921GraingermovedwithhismothertoalargehouseinWhitePlains,NewYork.Thiswashishomefortheremainderofhislife.[8]Fromthebeginningof1922Rose'shealthdeterioratedsharplyshewassufferingfromdelusionsandnightmares,andbecamefearfulthatherillnesswouldharmherson'scareer.[65]Becauseoftheclosenessofthebondbetweenthetwo,therehadlongbeenrumoursthattheirrelationshipwasincestuous[57]inApril1922RosewasdirectlychallengedoverthisissuebyherfriendLottaHough.[66]FromherlastlettertoGrainger,dated29April,itseemsthatthisconfrontationunbalancedRoseon30April,whileGraingerwastouringontheWestCoast,shejumpedtoherdeathfromanofficewindowonthe18thflooroftheAeolianBuildinginNewYorkCity.[67]Theletter,whichbegan"Iamoutofmymindandcannotthinkproperly",askedGraingerifhehadeverspokentoLottaof"improperlove".Shesignedtheletter:"Yourpoorinsanemother".[68]

Interwaryears

Traveller

AfterRose'sfuneral,Graingersoughtsolaceinareturntowork.Inautumn1922heleftforayearlongtriptoEurope,wherehecollectedandrecordedDanishfolksongsbeforeaconcerttourthattookhimtoNorway,theNetherlands,GermanyandEngland.InNorwayhestayedwithDeliusatthelatter'ssummerhome.DeliuswasbynowalmostblindGraingerhelpedfulfilhisfriend'swishtoseeaNorwegiansunsetbycarryinghim(withsomeassistance)tothetopofanearbymountainpeak.[69]HereturnedtoWhitePlainsinAugust1923.[70]

Althoughnowlesscommittedtoayearroundscheduleofconcerts,Graingerremainedaverypopularperformer.Hiseccentricities,oftenexaggeratedforpublicityreasons,reportedlyincludedrunningintoauditoriumsingymkitandleapingoverthegrandpianotocreateagrandentrance.[71]Whilehecontinuedtoreviseandrescorehiscompositions,heincreasinglyworkedonarrangementsofmusicbyothercomposers,[72]inparticularworksbyBach,Brahms,FaurandDelius.[73]Awayfrommusic,Grainger'spreoccupationwithNordiccultureledhimtodevelopaformofEnglishwhich,hemaintained,reflectedthecharacterofthelanguagebeforetheNormanconquest.WordsofNormanorLatinoriginwerereplacedbysupposedlyNordicwordforms,suchas"blendband"(orchestra),"forthspeaker"(lecturer)and"writpiece"(article).Hecalledthis"blueeyed"English.[74]HisconvictionsofNordicsuperiorityeventuallyledGrainger,inletterstofriends,toexpresshisviewsincrudelyracialandantiSemitictermsthemusichistorianDavidPeardescribesGraingeras,"atroot,aracialbigotofnosmallorder".[75][n4]

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TheGraingerMuseuminMelbourne

GraingermadefurthertripstoEuropein1925and1927,collectingmoreDanishfolkmusicwiththeaidoftheoctogenarianethnologistEvaldTangKristensenthisworkformedthebasisoftheSuiteonDanishFolksongsof192830.[9]HealsovisitedAustraliaandNewZealand,in1924andagainin1926.InNovember1926,whilereturningtoAmerica,hemetEllaStrm,aSwedishbornartistwithwhomhedevelopedaclosefriendship.OnarrivalinAmericathepairseparated,butwerereunitedinEnglandthefollowingautumnafterGrainger'sfinalfolksongexpeditiontoDenmark.InOctober1927thecoupleagreedtomarry.[79]Ellahadadaughter,Elsie,whohadbeenbornoutofwedlockin1909.Graingeralwaysacknowledgedherasafamilymember,anddevelopedawarmpersonalrelationshipwithher.[80]

AlthoughBirdassertsthatbeforehermarriage,EllaknewnothingofGrainger'ssadomasochisticinterests,[81]inaletterdated23April1928(fourmonthsbeforethewedding)Graingerwritestoher:"Asfarasmytastegoes,blows[withthewhip]aremostthrillingonbreasts,bottom,innerthighs,sexparts".Helateradds,"Ishallthorolythoroly[sic]understandifyoucannotinanywayseeyrwaytofollowupthishotwishofmine".[82]Thecoupleweremarriedon9August1928attheHollywoodBowl,attheendofaconcertwhich,inhonourofthebride,hadincludedthefirstperformanceofGrainger'sbridalsong"ToaNordicPrincess".[9]

Educator

Fromthelate1920sandearly1930sGraingerbecameinvolvedincreasinglywitheducationalworkinschoolsandcolleges,[9]andinlate1931acceptedayear'sappointmentfor193233asprofessorofmusicatNewYorkUniversity(NYU).Inthisrolehedeliveredaseriesoflecturesundertheheading"AGeneralStudyoftheManifoldNatureofMusic",whichintroducedhisstudentstoawiderangeofancientandmodernworks.[9]On25October1932hislecturewasillustratedbyDukeEllingtonandhisband,whoappearedinpersonGraingeradmiredEllington'smusic,seeingharmonicsimilaritieswithDelius.Onthewhole,however,GraingerdidnotenjoyhistenureatNYUhedislikedtheinstitutionalformality,andfoundtheuniversitygenerallyunreceptivetohisideas.Despitemanyoffersheneveracceptedanotherformalacademicappointment,andrefusedalloffersofhonorarydegrees.[83][n5]HisNewYorklecturesbecamethebasisforaseriesofradiotalkswhichhegavefortheAustralianBroadcastingCommissionin193435thesewerelatersummarisedandpublishedasMusic:ACommonsenseViewofAllTypes.[2]On3and4September1934GraingeradjudicatedattheSydneyEisteddfodonSections10(VocalEnsemble)and45(StringEnsemble)forwhichheselectedandprovidedthemusic.In1937GraingerbegananassociationwiththeInterlochenInternationalMusicCamp,andtaughtregularlyatitssummerschoolsuntil1944.[85]

Innovator

TheideaofestablishingaGraingerMuseuminAustraliahadfirstoccurredtoGraingerin1932.Hebegancollectingandrecoveringfromfriendslettersandartifacts,eventhosedemonstratingthemostprivateaspectsofhislife,[86]suchaswhips,bloodstainedshirtsandrevealingphotographs.[87]InSeptember1933heandEllawenttoAustraliatobeginsupervisingthebuildingwork.Tofinancetheproject,Graingerembarkedonaseriesofconcertsandbroadcasts,[88]inwhichhesubjectedhisaudiencestoavastrangeoftheworld'smusicin

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accordancewithhis"universalist"view.Controversially,hearguedforthesuperiorachievementsofNordiccomposersovertraditionallyrecognisedmasterssuchasMozartandBeethoven.[2]

Amongvariousnewideas,Graingerintroducedhissocalled"freemusic"theories.Hebelievedthatconformitywiththetraditionalrulesofsetscales,rhythmsandharmonicproceduresamountedto"absurdgoosestepping",fromwhichmusicshouldbesetfree.[89]Hedemonstratedtwoexperimentalcompositionsoffreemusic,performedinitiallybyastringquartetandlaterbytheuseofelectronictheremins.[8]Hebelievedthatideally,freemusicrequirednonhumanperformance,andspentmuchofhislaterlifedevelopingmachinestofulfilthisvision.[90]

Whilethebuildingofthemuseumproceeded,theGraingersvisitedEnglandforseveralmonthsin1936,duringwhichGraingermadehisfirstBBCbroadcast.Inthis,heconducted"LoveVersesfromTheSongofSolomon"inwhichthetenorsoloistwasthethenunknownPeterPears.[91]Afterspending1937inAmerica,GraingerreturnedtoMelbournein1938fortheofficialopeningoftheMuseumamongthosepresentattheceremonywashisoldpianoteacherAdelaideBurkitt.ThemuseumdidnotopentothegeneralpublicduringGrainger'slifetime,butwasavailabletoscholarsforresearch.[92][93]

Inthelate1930sGraingerspentmuchtimearranginghisworksinsettingsforwindbands.HewroteALincolnshirePosyfortheMarch1937conventionoftheAmericanBandMasters'AssociationinMilwaukee,[94]andin1939,onhislastvisittoEnglandbeforetheSecondWorldWar,hecomposed"TheDukeofMarlborough'sFanfare",givingitthesubtitle"BritishWarMoodGrows".[92]

Latercareer

SecondWorldWar

TheoutbreakofwarinEuropeinSeptember1939curtailedGrainger'soverseastravelling.Intheautumnof1940,alarmedthatthewarmightprecipitateaninvasionoftheUnitedStateseasternseaboard,heandEllamovedtoSpringfield,Missouri,inthecentreofthecontinent.[95]From1940Graingerplayedregularlyincharityconcerts,especiallyaftertheattackonPearlHarborbroughttheUnitedStatesintothewarinDecember1941thehistorianRobertSimoncalculatesthatGraingermadeatotalof274charityappearancesduringthewaryears,manyofthematArmyandAirforcecamps.[93]In1942acollectionofhisKiplingsettings,theJungleBookcycle,wasperformedineightcitiesbythechoiroftheGustavusAdolphusCollegefromSt.Peter,Minnesota.[96]

Postwardecline

Exhaustedfromhiswartimeconcertsroutine,Graingerspentmuchof1946onholidayinEurope.Hewasexperiencingasenseofcareerfailurein1947,whenrefusingtheChairofMusicatAdelaideUniversity,hewrote:"IfIwere40yearsyounger,andnotsocrushedbydefeatineverybranchofmusicIhaveessayed,IamsureIwouldhavewelcomedsuchachance".[97]InJanuary1948heconductedthepremiereofhiswindbandsettingof"ThePowerofRomeandtheChristianHeart",writtenfortheGoldmanBandtocelebratethe70thbirthdayofitsfounder.Afterwards,Graingerdenigratedhisownmusicas"commonplace"whilepraisingDariusMilhaud'sSuiteFranaise,withwhichithadsharedtheprogramme.[98]

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APromenadeconcertattheRoyalAlbertHall.The"promenade"sectionisthestandingareaimmediatelyinfrontoftheorchestra(2005photograph).

DartmouthCollege,venueforGrainger'slastconcert,April1960

On10August1948,GraingerappearedattheLondonProms,playingthepianopartinhisSuiteonDanishFolksongswiththeLondonSymphonyOrchestraunderBasilCameron.On18SeptemberheattendedtheLastNightoftheProms,standinginthepromenadesectionforDelius'sBriggFair.[99]Overthenextfewyearsseveralfriendsdied:Gardinerin1950,QuilterandKarenHoltenin1953.InOctober1953Graingerwasoperatedonforabdominalcancerhisfightagainstthisdiseasewouldlastfortherestofhislife.[100]Hecontinuedtoappearatconcerts,ofteninchurchhallsandeducationalestablishmentsratherthanmajorconcertvenues.[9]In1954,afterhislastCarnegieHallappearance,Grainger'slongpromotionofGrieg'smusicwasrecognisedwhenhewasawardedtheSt.OlavMedalbyKingHaakonofNorway.[101]However,agrowingbitternesswasbecomingevidentinhiswritingsandcorrespondenceinalettertohislifelongfriend,theDanishcomposerHermanSandby,hebemoanedthecontinuingascendencyinmusicofthe"Germanform",andassertedthat"allmycompositionallifeIhavebeenaleaderwithoutfollowers".[101]

After1950Graingervirtuallyceasedtocompose.HisprincipalcreativeactivityinthelastdecadeofhislifewashisworkwithBurnettCross,ayoungphysicsteacher,onfreemusicmachines.Thefirstofthesewasarelativelysimpledevicecontrolledbyanadaptedpianola.[102]Nextwasthe"Esteyreedtonetool",aformofgiantharmonicawhich,GraingerexpectantlyinformedhisstepdaughterElsieinApril1951,wouldbereadytoplayfreemusic"inafewweeks".[103]Athirdmachine,the"CrossGraingerKangaroopouch",wascompletedby1952.DevelopmentsintransistortechnologyencouragedGraingerandCrosstobeginworkonafourth,entirelyelectronicmachine,whichwasincompletewhenGraingerdied.[8][102]

InSeptember1955GraingermadehisfinalvisittoAustralia,wherehespentninemonthsorganisingandarrangingexhibitsfortheGraingerMuseum.Herefusedtoconsidera"GraingerFestival",assuggestedbytheAustralianBroadcastingCommission,becausehefeltthathishomelandhadrejectedhimandhismusic.BeforeleavingMelbourne,hedepositedinabankaparcelthatcontainedanessayandphotographsrelatedtohissexlife,nottobeopeneduntil10yearsafterhisdeath.[104]

Lastyears

By1957Grainger'sphysicalhealthhadmarkedlydeclined,ashadhispowersofconcentration.[105]Nevertheless,hecontinuedtovisitBritainregularlyinMayofthatyearhemadehisonlytelevisionappearance,inaBBC"ConcertHour"programmewhenheplayed"HandelintheStrand"onthepiano.Backhome,afterfurthersurgeryherecoveredsufficientlytoundertakeamodestwinterconcertsseason.[106]Onhis1958visittoEnglandhemetBenjaminBritten,thetwohavingpreviouslymaintainedamutuallycomplimentarycorrespondence.[107]HeagreedtovisitBritten'sAldeburghFestivalin1959,butwaspreventedbyillness.Sensingthatdeathwasdrawingnear,hemadeanewwill,bequeathinghisskeleton"forpreservationandpossibledisplay

intheGraingerMuseum".Thiswishwasnotcarriedout.[108]

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"SeventeenComeSunday"

AUnitedStatesNavyBandSeaChantersensemblerenditionofthe1912PercyGraingerversionof"SeventeenComeSunday"

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Throughthewinterof195960Graingercontinuedtoperformhisownmusic,oftencoveringlongdistancesbybusortrainhewouldnottravelbyair.On29April1960hegavehislastpublicconcert,atDartmouthCollegeinHanover,NewHampshire,althoughbynowhisillnesswasaffectinghisconcentration.Onthisoccasionhismorningrecitalwentwell,buthisconductingintheafternoonwas,inhisownwords,"afiasco".[109][110]Subsequentlyconfinedtohishome,hecontinuedtorevisehismusicandarrangethatofothersinAugustheinformedElsiethathewasworkingonanadaptationofoneofCyrilScott'searlysongs.[111]Hislastletters,writtenfromhospitalinDecember1960andJanuary1961,recordattemptstowork,despitefailingeyesightandhallucinations:"Ihavebeentryingtowritescoreforseveraldays.ButIhavenotsucceededyet."[112]

GraingerdiedintheWhitePlainshospitalon20February1961,attheageof78.HisbodywasflowntoAdelaidewhere,on2March,hewasburiedintheAldridgefamilyvaultintheWestTerraceCemetery,alongsideRose'sashes.[8]Ellasurvivedhimby18yearsin1972,aged83,shemarriedayoungarchivist,StewartManville.ShediedatWhitePlainson17July1979.[2][113]

Music

Grainger'sownworksfallintotwocategories:originalcompositionsandfolkmusicarrangements.Besidesthese,hewrotemanysettingsofothercomposers'works.[8][9]DespitehisconservatorytrainingherebelledagainstthedisciplinesofthecentralEuropeantradition,largelyrejectingconventionalformssuchassymphony,sonata,concertoandopera.Withfewexceptionshisoriginalcompositionsareminiatures,lastingbetweentwoandeightminutes.Onlyafewofhisworksoriginatedaspianopieces,thoughinduecoursealmostallofthemwere,inhisphrase,"dishedup"inpianoversions.[9]

TheconductorJohnEliotGardinerdescribesGraingeras"atrueoriginalintermsoforchestrationandimaginativeinstrumentation",whosetersenessofexpressionisreminiscentinstylebothofthe20thcenturySecondVienneseSchoolandtheItalianmadrigalistsofthe16thand17thcenturies.[114]MalcolmGillies,aGraingerscholar,writesofGrainger'sstylethat"youknowitis'Grainger'whenyouhaveheardaboutonesecondofapiece".[115]Themusic'smostindividualcharacteristic,Gilliesargues,isitstexture"theweftofthefabric",accordingtoGrainger.[116]DifferenttexturesaredefinedbyGraingeras"smooth","grained"and"prickly".[9]

Graingerwasamusicaldemocrathebelievedthatinaperformanceeachplayer'sroleshouldbeofequalimportance.Hiselasticscoringtechniquewasdevelopedtoenablegroupsofallsizesandcombinationsofinstrumentstogiveeffectiveperformancesofhismusic.ExperimentationisevidentinGrainger'searliestworksirregularrhythmsbasedonrapidchangesoftimesignaturewereemployedinLoveVersesfrom"TheSongofSolomon"(1899),andTrainMusic(1901),longbeforeStravinskyadoptedthispractice.[4]InsearchofspecificsoundsGraingeremployedunconventionalinstrumentsandtechniques:solovoxes,theremins,marimbas,musicalglasses,harmoniums,banjos,andukuleles.[108][117]Inoneearlyconcertoffolkmusic,QuilterandScottwereconscriptedasperformers,towhistlevariousparts.[118]In"RandomRound"(191214),inspiredbythecommunalmusicmakinghehadheardinthePacificIslandsonhissecondAustralasiantour,Graingerintroducedanelementofchanceinto

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performancesindividualvocalistsandinstrumentalistscouldmakerandomchoicesfromamenuofvariations.[9]Thisexperimentin"aleatory"compositionpresagedbymanydecadestheuseofsimilarproceduresbyavantgardecomposerssuchasBerioandStockhausen.[119]

Thebrief"SeaSong"of1907wasanearlyattemptbyGraingertowrite"beatless"music.Thiswork,initiallysetover14irregularbarsandoccupyingabout15secondsofperformingtime,[120]wasaforerunnerofGrainger'sfreemusicexperimentsofthe1930s.Graingerwrote:"Itseemstomeabsurdtoliveinanageofflying,andyetnotbeabletoexecutetonalglidesandcurves".Theideaoftonalfreedom,hesaid,hadbeeninhisheadsinceasaboyofelevenortwelvehehadobservedthewavemovementsinthesea."Outinnaturewehearallkindsoflovelyandtouching"free"(nonharmonic)combinationsoftonesyetweareunabletotakeupthesebeauties...intotheartofmusicbecauseofourarchaicnotionsofharmony".[89]Ina1941lettertoScott,GraingeracknowledgedthathehadfailedtoproduceanylargescaleworksinthemannerofaBachoratorio,aWagneroperaoraBrahmssymphony,butexcusedthisfailureonthegroundsthatallhisworkspriortothemid1930shadbeenmerepreparationsforhisfreemusic.[121]

Asastudent,GraingerhadlearnedtoappreciatethemusicofGrieg,andcametoregardtheNorwegianasaparagonofNordicbeautyandgreatness.GrieginturndescribedGraingerasanewwayforwardforEnglishcomposition,"quitedifferentfromElgar,veryoriginal".AfteralifetimeinterpretingGrieg'sworks,in1944GraingerbeganadaptingtheNorwegian'sEminorPianoSonata,Op.7asa"GriegGraingerSymphony",butabandonedtheprojectafterwriting16barsofmusic.Bythistime,GraingeracknowledgedthathehadnotfulfilledGrieg'shighexpectationsofhim,eitherasacomposerorasapianist.Healsoreflectedonwhetheritwouldhavebeenbetter,fromthepointofviewofhisdevelopmentasacomposer,hadhenevermettheGriegs,"sweetanddearthoughtheyweretome".[122]

Graingerwasknownforhismusicalexperimentationanddidnothesitatetoexploitthecapabilitiesoftheorchestra.TrainMusicwasintendedfor150playersandCountryGardenshassomelushharmonicinvention.PerhapshismostambitiousworkwasTheWarriors,an18minute'imaginaryballet'offrenzied'danceablemusic',entrustedtoahugeorchestralensembleincorporatingalarge'tunefulpercussion'mixturealongsideatleastthreepianosinoneperformance,Graingerusednineteenpianoswiththirtypianiststobeplayedby"exceptionallystrongvigorousplayers".[123]

Legacy

GraingerconsideredhimselfanAustraliancomposerwho,hesaid,wrotemusic"inthehopesofbringinghonorandfametomynativeland".[124]However,muchofGrainger'sworkinglifewasspentelsewhere,andtheextenttowhichheinfluencedAustralianmusic,withinhislifetimeandthereafter,isdebatable.[125]HiseffortstoeducatetheAustralianmusicalpublicinthemid1930swereindifferentlyreceived,anddidnotattractdisciples[126]writingin2010,theacademicandcriticRogerCovellidentifiesonlyonesignificantcontemporaryAustralianmusiciantheEnglishbornhornplayer,pianistandconductorDavidStanhopeworkingintheGraingeridiom.[125]In1956,thesuggestionbythecomposerKeithHumblethatGraingerbeinvitedtowritemusicfortheopeningofthe1956SummerOlympicsinMelbournehadbeenrejectedbytheorganisersoftheGames.[104]

Graingerwasalifelongatheistandbelievedhewouldonlyendureinthebodyofworkheleftbehind.[127]Hetookanunusualcourseofactiontoensurethatsurvivalbyestablishingapersonalmuseumdedicatedtohisownlife.TheGraingerMuseumwasgivenlittleattentionbeforethemid1970s[9]itwasinitiallyregardedasevidenceeitherofanoverlargeegoorofextremeeccentricity.[128]

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PercyGrainger'stombstone"Worldfamouscomposerandpianist"

SincethentheUniversityofMelbourne'scommitmenttothemuseumhas,Covellasserts,"rescued[it]permanentlyfromacademicdenigrationandbelittlement".[128]ItsvastquantitiesofmaterialshavebeenusedtoinvestigatenotonlyGrainger'slifeandworks,butthoseofcontemporarieswhomGraingerhadknown:Grieg,Delius,Scottandothers.[129]TheGraingerhomeat7CromwellPlace,WhitePlains,isnowthePercyGraingerLibraryandisafurtherrepositoryofmemorabiliaandhistoricperformancematerial,opentoresearchersandvisitors.[9][130]

InBritain,Grainger'smainlegacyistherevivalofinterestinfolkmusic.HispioneeringworkintherecordingandsettingoffolksongsgreatlyinfluencedthefollowinggenerationofEnglishcomposersBenjaminBrittenacknowledgedtheAustralianashismasterinthisrespect.[131]AfterhearingabroadcastofsomeGraingersettings,Brittenreportedlydeclaredthatthese"[knocked]alltheVaughanWilliamsandR.O.Morrisarrangementsintoacockedhat".[132]IntheUnitedStates,Graingerleftastrongeducationallegacythroughhisinvolvement,over40years,withhighschool,summerschoolandcollegestudents.Likewise,hisinnovativeapproachestoinstrumentationandscoringhavelefttheirmarkonmodernAmericanbandmusic[9]TimothyReynish,aconductorandteacherofbandmusicinEuropeandAmerica,hasdescribedhimas"theonlycomposerofstaturetoconsidermilitarybandstheequal,ifnotthesuperior,inexpressivepotentialtosymphonyorchestras."[133]Grainger'sattemptstoproduce"freemusic"bymechanicalandlaterelectronicmeans,whichheconsideredhismostimportantwork,producednofollowuptheywerequicklyovertakenandnullifiedbynewtechnologicaladvances.Covellneverthelessremarksthatinthisendeavour,Grainger'sdoggedresourcefulnessandingenioususeofavailablematerialsdemonstrateaparticularlyAustralianaspectofthecomposer'scharacteroneofwhichGraingerwouldhavebeenproud.[134]

Assessment

In1945Graingerdevisedaninformalratingssystemforcomposersandmusicalstyles,basedoncriteriathatincludedoriginality,complexityandbeauty.Offortycomposersandstyles,herankedhimselfequalninthbehindWagnerandDelius,butwellaheadofGriegandTchaikovsky.[122]Nevertheless,inhislateryearshefrequentlydenigratedhiscareer,forexamplewritingtoScott:"Ihaveneverbeenatruemusicianortrueartist".[135]Hisfailuretoberecognisedasacomposerforanythingbeyondhispopularfolksongarrangementswasasourceoffrustrationanddisappointment[136]foryearsafterhisdeaththebulkofhisoutputremainedlargelyunperformed.[137]Fromthe1990sanincreaseinthenumberofGraingerrecordingshasbroughtarevivalofinterestinhisworks,andhasenhancedhisreputationasacomposer.[2]AnunsignedtributepublishedontheGramophonewebsiteinFebruary2011tocommemoratethe50thanniversaryofGrainger'sdeathopinedthat"thoughhewouldneverbeputonapedestaltojointhepantheonofimmortals,heisunorthodox,originalanddeservesbetterthantobedismissedbythemoresnootyarbitersofmusicaltaste".[108]

OfGraingerthepianist,TheNewYorkTimescriticHaroldSchonbergwrotethathisuniquestylewasexpressedwith"amazingskill,personalityandvigor".[138]Theearlyenthusiasmwhichhadgreetedhisconcertappearancesbecamemutedinlateryears,andreviewsofhisperformancesduringthefinaltenyearsofhislifewereoftenharsh.[139]However,BrittenregardedGrainger'slaterecordingoftheGrieg

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concerto,fromaliveperformanceatAarhusin1957,as"oneofthenoblestevercommittedtorecord"despitethesuppressionofthediscformanyyears,becauseoftheproliferationofwrongnotesandotherfaults.[140]BrianAllisonfromtheGraingerMuseum,referringtoGrainger'searlydisplaysofartisticskills,hasspeculatedthathadJohnGrainger'sinfluencenotbeenremoved,"PercyAldridgeGraingermaytodayberememberedasoneofAustralia'sleadingpaintersanddesigners,whojusthappenedtohavealatenttalentasapianistandcomposer".[141]TheethnomusicologistJohnBlacking,whileacknowledgingGrainger'scontributiontosocialandculturalaspectsofmusic,neverthelesswritesthatifthecontinentalfoundationofGrainger'smusicaleducationhadnotbeen"underminedbydilettantismandthedisastrousinfluenceofhismother,Iamsurethathisultimatecontributiontotheworldofmusicwouldhavebeenmuchgreater".[142]

Recordings

Between1908and1957Graingermadenumerousrecordings,usuallyaspianistorconductor,ofhisownandothercomposers'music.Hisfirstrecordings,forTheGramophoneCompanyLtd(laterHMV),includedthecadenzatoGrieg'spianoconcertohedidnotrecordacompleteversionofthisworkondiscuntil1945.Muchofhisrecordingworkwasdonebetween1917and1931,undercontractwithColumbia.AtothertimesherecordedforDecca(194445and1957),andVanguard(1957).Ofhisowncompositionsandarrangements,"CountryGardens","Shepherd'sHey"and"MollyontheShore"and"LincolnshirePosy"wererecordedmostfrequentlyinrecordingsofothercomposers,pianoworksbyBach,Brahms,Chopin,Grieg,LisztandSchumannfiguremostoften.[143]Grainger'scomplete78rpmsolopianorecordingsarenowavailableoncompactdiscasaCDboxsetonAPRrecordsintransfersmadebyWardMarston.[144]DuringhisassociationwiththeDuoArtcompanybetween1915and1932,Graingermadearound80pianorollsofhisownandothers'musicusingawoodenrobotdesignedtoplayaconcertgrandpianoviaanarrayofprecisionmechanicalfingersandfeetreplayingsofmanyoftheserollshavesubsequentlybeenrecordedontocompactdisc.[145][146][147]ThisreproductionsystemallowedGraingertomakeaposthumousappearanceintheAlbertHall,London,duringthe1988lastnightofthePromsassoloistwiththeBBCSymphonyOrchestrainGrieg'sPianoConcerto.[148]

SinceGrainger'sdeath,recordingsofhisworkshavebeenundertakenbymanyartistsandissuedundermanydifferentlabels.In1995ChandosRecordsbegantocompileacompleterecordededitionofGrainger'soriginalcompositionsandfolksettings,andincludedaFantasyOctetonThemesofGraingerbyKennethLeighton,commissionedforanEdinburghFestival1982GraingerCentenaryconcert.HisworkasanAustralianExperimentalMusiccomposerwasacknowledgedbyinclusionintheClintonGreencompilation"ArtefactsofAustralianExperimentalMusic19301973"[149][150]Of25anticipatedvolumes,19hadbeencompletedasof2010[151]thesewereissuedasaCDboxedsetin2011,tomarkthe50thanniversaryofthecomposer'sdeath.[152]

Notesandreferences

Notes

1. Althoughmostsourcesgive1855asthebirthyear,theGraingerMuseumstatesthat1854isthecorrect

year.[1]

2. ThecorrespondencewasconductedlargelyinDanish,atwhichGraingerwasfluent.HisfirstlettertoHolten,dated12August1905,begins"DearMissHolten"bytheendoftheyearsheis"MydearKaren".During

theirlongseparationsGrainger'slettersbecomeadiaryofhisactivities.[44]

3. ThereisnoevidenceuptothistimethatGraingercouldplaythesaxophone,[53]butinanofficiallistingofthe

http://en.wikipedia.org/wiki/Decca_Recordshttp://en.wikipedia.org/wiki/Kenneth_Leightonhttp://en.wikipedia.org/wiki/Robert_Schumannhttp://en.wikipedia.org/wiki/Duo-Arthttp://en.wikipedia.org/wiki/Vanguard_Recordshttp://en.wikipedia.org/wiki/Piano_Concerto_(Grieg)http://en.wikipedia.org/wiki/Piano_rollhttp://en.wikipedia.org/wiki/Compact_dischttp://en.wikipedia.org/wiki/Franz_Liszthttp://en.wikipedia.org/wiki/Clinton_Greenhttp://en.wikipedia.org/wiki/HMV_Recordshttp://en.wikipedia.org/wiki/Ethnomusicologyhttp://en.wikipedia.org/wiki/Cadenzahttp://en.wikipedia.org/wiki/Chandos_Recordshttp://en.wikipedia.org/wiki/Grand_pianohttp://en.wikipedia.org/wiki/Columbia_Recordshttp://en.wikipedia.org/wiki/Albert_Hallhttp://en.wikipedia.org/wiki/Aarhushttp://en.wikipedia.org/wiki/Appian_Publications_%26_Recordings



References

3. ThereisnoevidenceuptothistimethatGraingercouldplaythesaxophone,[53]butinanofficiallistingofthe

band'spersonnelasofApril1918heislistedasasaxophonesoloist.[54]

4. SomeofGrainger'searliestpublishedletterscontainantiSemiticcomments,forexampletoKarenHoltenin

1905.[76]HelaterassertedthattheJewishracewaslesscapableofproducinggoodmusicthantheNordic

races,[77]andhislettertoQuilterof25February1939iscitedbyGilliesandPearasanexampleofhisracial

intolerance.[75][78]

5. InApril1945GraingerdeclinedanhonorarydoctoratefromMcGillUniversityinMontreal,onthegroundsthathavinghadonlythreemonths'formalschooling,hismusic"mustberegardedasaproductofnon

education".[84]

1. "JohnGrainger:ABriefBiographicalBackground"(http://www.grainger.unimelb.edu.au/percy/john.html).GraingerMuseum(UniversityofMelbourne).Retrieved20April2011.

2. Dreyfus,Kay(2006)."Grainger,GeorgePercy(18821961)"(http://adbonline.anu.edu.au/biogs/A090072b.htm).AustralianDictionaryofBiographyonline.Retrieved20April2011.

3. Bird,pp.264. Simon,pp.235. Bird,p.96. Bird,pp.14157. Bird,p.118. Gillies,Malcolm(2004)."Grainger,PercyAldridge"(http://www.oxforddnb.com/index/41/101041081/).

OxfordDictionaryofNationalBiographyonline.Retrieved20April2011.(subscriptionrequired)9. Gillies,MalcolmPear,David(2007)."Grainger,(George)Percy(Aldridge)"

(http://www.oxfordmusiconline.com/subscriber/article/grove/music/11596?q=Percy+Grainger&search=quick&pos=1&_start=1).OxfordMusicOnline.Retrieved20April2011.(subscriptionrequired)

10. Bird,p.1311. Bird,pp.202212. Bird,p.2313. Bird,pp.242514. Scott,pp.515415. Bird,pp.262916. Bird,p.3517. Bird,pp.394118. Bird,pp.424319. Bird,pp.636520. Bird,pp.66and7321. Pear("Grainger:TheFormativeYears"),p.622. Bird,p.6923. Bird,p.8124. Bird,pp.838825. Thwaites(ed.)p.xx26. Dreyfus(ed.),p.2

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27. Bird,p.7928. Simon,pp.5629. Tall,pp.555630. Bird,p.10231. Carley,pp.333432. Palmer,pp.798233. Carley,pp.495034. Bird,p.11635. Gillies,MalcolmPear,David(Autumn2007)."GreatExpectations:GriegandGranger"

(http://www.jstor.org/pss/25434475).TheMusicalTimes148(1900):pp.79.doi:10.2307/25434475(https://dx.doi.org/10.2307%2F25434475).(subscriptionrequired)

36. Bird,p.11737. Tall,p.6338. Ould,p.2639. Thwaites(ed.),p.xxi40. Bird,p.14441. Dreyfus,pp.454,45842. Bird,p.14743. Dreyfus,p.xiv44. Dreyfus,pp.47,54,55andothers45. Bird,pp.1484946. Dreyfus,p.49247. Bird,pp.1505148. GilliesandPear(eds),p.1349. Bird,p.15250. GilliesandPear(eds),pp.353951. GilliesandPear(eds),p.3652. Bird,p.15853. Bird,p.15954. GilliesandPear(eds),pp.1323355. GilliesandPear(eds),pp.394056. Foreman("MiscellaneousWorks"),pp.1373857. Simon,p.758. GilliesandPear(eds),p.xv59. Bird,p.16260. Tan,p.1561. Bird,pp.1676862. Bird,p.16663. Bird,pp.1636464. Fairfax,pp.757765. Bird,p.17066. GilliesandPear(eds),p.5267. Bird,pp.1737468. Bird,p.17569. Fenby,pp.7475

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69. Fenby,pp.747570. Bird,p.18371. Simon,p.972. Ould,p.2573. Bird,pp.2798174. Bird,p.53.SeealsoGilliesandPear(eds),p.10775. GilliesandPear(eds),pp.4676. Dreyfus(ed.),p.5477. Pear("GraingertheSocialCommentator"),p.3678. GilliesandPear(eds),pp.1566379. Bird,pp.1949680. GilliesandPear(eds),p.xix81. Bird.pp.2000182. GilliesandPear(eds),pp.9410083. Bird,pp.2040584. GilliesandPear(eds),pp.1979885. Bird,p.21386. Bird,p.20387. Piggott,p.4288. Bird,pp.2060789. StatementbyPercyGraingerentitled"FreeMusic",dated6December1938,inThwaites(ed.),pp.2070890. Simon,p.1291. Bird,p.21092. Bird,pp.2141593. Simon,p.1194. Bird,p.21295. GilliesandPear(eds),p.17096. Bird,pp.2171897. GilliesandPear(eds),pp.21421998. Bird,pp.2242599. Bird,p.226

100. Bird,pp.238and242101. Bird,pp.24142102. Davies,Hugh(2007)."CrossGraingerfreemusicmachine"

(http://www.oxfordmusiconline.com/subscriber/article/grove/music/47637).OxfordMusicOnline.Retrieved2May2011.(subscriptionrequired)

103. GilliesandPear(eds),p.248104. Bird,pp.24345105. GilliesandPear,p.xvii106. Bird,pp.24748107. GilliesandPear(eds),pp.26667108. "PercyGrainger(18821961)thecomposer,50yearson"

(http://www.gramophone.co.uk/features/focus/percygrainger18821961thecomposer50yearson).Gramophone.3February2011.

109. Bird,p.249110. GilliesandPear(eds),p.283

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110. GilliesandPear(eds),p.283111. GilliesandPear(eds),p.285112. GilliesandPear(eds),p.287113. Thwaites(ed.),p.166114. Gardiner,JohnEliotAchenbach,Andrew(April1996)."Happytotalk"

(http://www.gramophone.net/Issue/Page/April%201996/20/805132/Happy+to+talk).Gramophone:p.20.115. Gillies,Malcolm(16October2010)."Grainger:FiftyYearsOn"

(http://www.grainger.unimelb.edu.au/exhibitions/symposium.html).GraingerMuseum(UniversityofMelbourne).Retrieved5May2011.

116. GilliesandPear(eds),p.32117. Josephson,pp.61417118. Bird,p.74119. Bird,p.146120. Fairfax,p.72121. GilliesandPear(eds),p.172122. Gillies,MalcolmPear,David(30May2007)."PercyGrainger:Grieg'sInterpreterandPropagator"

(http://www.griegsociety.org/filer/1094.pdf).InternationalGriegSocietyConference.pp.25.Retrieved5May2010.

123. Servadei,AlessandroandOuld,BarryPeter(1997)."Orchestralworks2TheWarriors"(http://www.chandos.net/pdf/CHAN%209584.pdf)(CDbookletnotes).ChandosRecords.Retrieved19September2011.

124. Covell,p.141125. Covell,p.147126. Covell,pp.14546127. ThomasP.Lewis(June1990).ASourceGuidetotheMusicofPercyGrainger

(http://www.percygrainger.org/biograf3.htm).ProAmMusicResources.ISBN9780912483566.128. Covell,pp.14243129. Foreman("Editor'sIntroduction"),p.11130. Manville,pp.16670131. Bird,p.114132. Lloyd,p.21133. Reynish,p.20134. Covell,p.148135. GilliesandPear(eds),p.255136. Pear("GraingertheSocialCommentator"),p.32137. Ould,p.29138. QuotedbyBird,pp.10001,fromSchonberg,Harold(1964):TheGreatPianists,London,VictorGollancz139. Bird,pp.23839140. Bird,pp.24647141. Allison,p.53142. Blacking,p.1143. Thwaites(ed.),pp.22732144. Woolf,Jonathan(2011).PercyGraingerthecomplete78rpmsolorecordings(http://www.musicweb

international.com/classrev/2011/June11/grainger_78_recs_7501.htm)(review).MusicWebInternational.Retrieved18September2011.

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graingerplaysgrainger.html)(CDbookletnotes).NimbusRecords.Retrieved17September2011.148. PianolaInstituteconcertsarchive(http://www.pianola.org/concerts/concerts_archive.cfm).Website,

www.pianola.org.Retrieved17September2011.149. http://www.realtimearts.net/feature/earbash/8751150. Thwaites(ed.).p.108151. Thwaites(ed.),pp.23847152. "TheGraingerEditionVolumes119"

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Lloyd,Stephen(1981)."GraingerInaNutshell".InForeman,Lewis(ed.).ThePercyGraingerCompanion.London:ThamesPublishing.ISBN0905210123.Manville,Stewart(2010)."AtHomeinNewYork".InThwaites,Penelope(ed.).TheNewPercyGraingerCompanion.Woodbridge,Suffolk:TheBoydellPress.ISBN9781843836018.Ould,BarryPeter(2006)."GraingertheMusicArranger".InPear,David(ed.).FacingPercyGrainger.Canberra:NationalLibraryofAustralia.ISBN9780642276391.Palmer,Christopher(1976).Delius:PortraitofaCosmopolitan.London:Duckworth.ISBN0715607731.Pear,David(2006)."Grainger:TheFormativeYears".InPear,David(ed.).FacingPercyGrainger.Canberra:NationalLibraryofAustralia.ISBN9780642276391.Pear,David(2006)."GraingertheSocialCommentator".InPear,David(ed.).FacingPercyGrainger.Canberra:NationalLibraryofAustralia.ISBN9780642276391.Piggott,Michael(2006)."GraingertheAutoarchivist".InPear,David(ed.).FacingPercyGrainger.Canberra:NationalLibraryofAustralia.ISBN9780642276391.Reynish,Timothy(2010)."MusicforWindBand".InThwaites,Penelope(ed.).TheNewPercyGraingerCompanion.Woodbridge,Suffolk:TheBoydellPress.ISBN9781843836018.Scott,Cyril(1981)."GraingerinFrankfurt".InForeman,Lewis(ed.).ThePercyGraingerCompanion.London:ThamesPublishing.ISBN0905210123.Simon,Robert(1983).PercyGrainger:ThePictorialBiography(http://books.google.co.uk/books?id=6oxc5L6zGI4C&printsec=frontcover&dq=Percy+Grainger&source=bl&ots=vkdZC4LLi&sig=CcUCxQ6rZZjZxjnqQiDgQAlUo5c&hl=en&ei=4YWPTd7MN8yxhAeH6N27Dg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDMQ6AEwATgK#v=onepage&q&f=false).Albany,NewYork:Whitston.ISBN0878752811.Tall,David(1981)."GraingerandFolksong".InForeman,Lewis(ed.).ThePercyGraingerCompanion.London:ThamesPublishing.ISBN0905210123.Tan,Eleanor(2006)."GraingertheComposer".InPear,David(ed.).FacingPercyGrainger.Canberra:NationalLibraryofAustralia.ISBN9780642276391.Thwaites,Penelope(ed.)(2010).TheNewPercyGraingerCompanion.Woodbridge,Suffolk:TheBoydellPress.ISBN9781843836018.

http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.percygrainger.org.uk/http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-1-84383-601-8http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/0-905210-12-3http://en.wikipedia.org/wiki/Special:BookSources/0-905210-12-3http://commons.wikimedia.org/wiki/Category:Percy_Graingerhttp://books.google.co.uk/books?id=6oxc5L6zGI4C&printsec=frontcover&dq=Percy+Grainger&source=bl&ots=vk-dZC4LLi&sig=CcUCxQ6rZZjZxjnqQiDgQAlUo5c&hl=en&ei=4YWPTd7MN8yxhAeH6N27Dg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDMQ6AEwATgK#v=onepage&q&f=falsehttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/0-7156-0773-1http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Cyril_Scotthttp://en.wikipedia.org/wiki/Special:BookSources/978-1-84383-601-8http://en.wikipedia.org/wiki/Special:BookSources/978-0-642-27639-1http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-642-27639-1http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/0-905210-12-3http://en.wikipedia.org/wiki/Special:BookSources/0-87875-281-1http://www.msp.unimelb.edu.au/index.php/graingerstudieshttp://en.wikipedia.org/wiki/Special:BookSources/978-0-642-27639-1http://www.lib.unimelb.edu.au/collections/grainger/http://aso.gov.au/titles/music/country-gardens/clip1/http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-642-27639-1http://en.wikipedia.org/wiki/Special:BookSources/978-1-84383-601-8http://www.percygrainger.org/http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.rainerlinz.net/NMA/articles/FreeMusic.htmlhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-642-27639-1



(http://aso.gov.au/titles/music/countrygardens/clip1/)WorksbyPercyGrainger(http://www.gutenberg.org/author/Grainger,+Percy)atProjectGutenbergWorksbyoraboutPercyGrainger(https://archive.org/search.php?query=%28subject%3A%22Grainger%2C%20Percy%20Aldridge%22%20OR%20subject%3A%22Grainger%2C%20Percy%20A%2E%22%20OR%20subject%3A%22Grainger%2C%20P%2E%20A%2E%22%20OR%20subject%3A%22Percy%20Aldridge%20Grainger%22%20OR%20subject%3A%22Percy%20A%2E%20Grainger%22%20OR%20subject%3A%22P%2E%20A%2E%20Grainger%22%20OR%20subject%3A%22Grainger%2C%20Percy%22%20OR%20subject%3A%22Percy%20Grainger%22%20OR%20creator%3A%22Percy%20Aldridge%20Grainger%22%20OR%20creator%3A%22Percy%20A%2E%20Grainger%22%20OR%20creator%3A%22P%2E%20A%2E%20Grainger%22%20OR%20creator%3A%22P%2E%20Aldridge%20Grainger%22%20OR%20creator%3A%22Grainger%2C%20Percy%20Aldridge%22%20OR%20creator%3A%22Grainger%2C%20Percy%20A%2E%22%20OR%20creator%3A%22Grainger%2C%20P%2E%20A%2E%22%20OR%20creator%3A%22Grainger%2C%20P%2E%20Aldridge%22%20OR%20creator%3A%22Percy%20Grainger%22%20OR%20creator%3A%22Grainger%2C%20Percy%22%20OR%20title%3A%22Percy%20Aldridge%20Grainger%22%20OR%20title%3A%22Percy%20A%2E%20Grainger%22%20OR%20title%3A%22P%2E%20A%2E%20Grainger%22%20OR%20title%3A%22Percy%20Grainger%22%20OR%20description%3A%22Percy%20Aldridge%20Grainger%22%20OR%20description%3A%22Percy%20A%2E%20Grainger%22%20OR%20description%3A%22P%2E%20A%2E%20Grainger%22%20OR%20description%3A%22Grainger%2C%20Percy%20Aldridge%22%20OR%20description%3A%22Grainger%2C%20Percy%20A%2E%22%20OR%20description%3A%22Percy%20Grainger%22%20OR%20description%3A%22Grainger%2C%20Percy%22%29%20OR%20%28%2218821961%22%20AND%20Grainger%29)atInternetArchive

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Categories: 1882births 1961deaths 20thcenturyclassicalcomposersAustralianpeopleofEnglishdescent ARIAAwardwinners ARIAHallofFameinducteesAustralianatheists Australianclassicalpianists PupilsofFerruccioBusoniAustralianmalecomposers AustralianemigrantstotheUnitedStatesAustralianfolksongcollectors Australianfolklorists AustralianmusicarrangersBurialsinSouthAustralia Childclassicalmusicians ComposersforpianoEnglishfolksongcollectors Ethnomusicologists HochConservatoryalumni BDSMpeopleUnitedStatesArmysoldiers

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Percy Grainger