518 Pages
by
Routledge
518 Pages
by
Routledge
518 Pages
by
Routledge
Also available as eBook on:
The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date. Renowned in his own lifetime for the rapid rate at which he produced new works, Stanford was also an important conductor and teacher. Paul Rodmell assesses these different roles and considers what... Read more
I: Appearances; I: Moral Commitments for the Conduct of Foreign Affairs in 1941; II: Representations of Lend-Lease Aid to the Allies; III: Patrolling as Appearances; IV: The Atlantic Conference—Appearances; V: “In Case of Attack” in the Atlantic; VI: No Call for “Any Declaration of War”; VI: Appearances of Relations with Japan; VIII: The Attack—Official Explanation; II: Unveiling Realities; IX: The Beginning of Revelations; X: The Official Thesis Challenged in Congress and the Press; XI: Army and Navy Boards Undermine the Official Thesis; XII: A Congressional Committee Probes the Records and Reports; III: Realities as Described by the Pearl Harbor Documents; XIII: Engineering the Official Thesis of Guilt; XIV: Secret War Decisions and Plans; XV: Actualities of the Atlantic Conference; XVI: “Complicated. Moves” in Relations with Japan; XVII: Maneuvering the Japanese into Firing the First Shot; IV: Epilogue; XVIII: Interpretations Tested by Consequences
Biography
Paul Rodmell
’The depth of research, the understanding of the composer and his times and the scholarship are impressive...The writing style is commendable, eminently readable, and yet academic without dryness’. Church Music Quarterly '... excellent... quotes correspondence extensively, and adds valuable new emphases... intertwine the life and music well.' Church Times 'Rodmell [...] makes one feel that the music [...] is actually worth hearing.' BBC Music Magazine 'Excellent as this first part of the book is, the second is even better. Moving beyond the consideration of Stanford's works and personality, it examines, by way of an extended conclusion, his legacy as a teacher and composer. This departure from the standard life-and-works format is a masterstroke, and demonstrates the extent to which Stanford influenced developments in twentieth-century British music... Thanks to Paul Rodmell's book, we may begin to see Stanford and the renaissance in the historical and critical light they deserve.' Notes
