Why Kipling Scuppered Elgar's Sea-Songs | reviews, news & interviews
Why Kipling Scuppered Elgar's Sea-Songs
Why Kipling Scuppered Elgar's Sea-Songs
A lost work by Elgar resurfaces on a new recording
Monday, 09 November 2009
The Fringes of the Fleet: the cast of the 1917 premierePhoto by courtesy of the Elgar Museum
Elgar’s flag-waving nautical song-cycle The Fringes of the Fleet was performed to packed houses up and down the country in 1917, then sank virtually without trace for the next 90 years. As the work receives its first professional orchestral recording since Elgar's own, Tom Higgins, the conductor of the recording, explains how the work came into being, and why Rudyard Kipling had it banned.
Elgar’s flag-waving nautical song-cycle The Fringes of the Fleet was performed to packed houses up and down the country in 1917, then sank virtually without trace for the next 90 years. As the work receives its first professional orchestral recording since Elgar's own, Tom Higgins, the conductor of the recording, explains how the work came into being, and why Rudyard Kipling had it banned.
In October Kipling learnt that his only son was missing in action. He apparently took the view that he did not want his war-poetry portrayed in the music hall
Explore topics
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Classical music
First Person: conductor Robert Hollingworth on a four-choir rarity by Benevoli
I Fagiolini join with two other choirs for a spectacular in St Martin-in-the-Fields
BBC Singers, BBCSO, Jeannin, Barbican review - from stormy weather to blue skies
An uplifting centenary party for the great choral survivors
Elisabeth Leonskaja, Wigmore Hall review - a universe of sound and emotion in Schubert’s last three sonatas
Total mastery of epic adventures composed in the face of mortality
Andsnes, London Philharmonic Choir and Orchestra, Gardner, RFH review - total clarity in classic-romantic and prophetic Rachmaninov
Dazzling concerto performance and classy singing in a great choral symphony
Classical CDs: Trills, gavottes and barking dogs
Big boxes celebrating a star soprano and an unsung conductor, plus Norwegian jazz and French baroque music
Hough, Philharmonia, Rouvali, RFH review - where the wild things are
A thrilling journey through the musical North
Hallé, Wong, Bridgewater Hall, Manchester review - declaration of thrills to come
East meets west in maestro’s opening statement of Britten and Mahler
Natalie Tenenbaum, Oslo Hackney review - shimmering hailstorms of notes
American pianist's UK debut marked by a muscular brilliance and fluid style
Angela Hewitt, Wigmore Hall review - Scarlatti miniatures outshine Brahms behemoth
Two very different types of sonata, with some tasty Bach in between
Pavel Kolesnikov, Wigmore Hall review - unpredictable magic
Chopin, Schubert, and the skull beneath the skin
Lewis, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - adding the Moon to The Planets
Season opener offers impact in Holst and thoughtfulness in Beethoven
theartsdesk in Bradford - Leeds International Piano Competition 2024 finalists shine in St George's Hall
A clear winner, but all pianists worked superbly with a great conductor and orchestra
Add comment