Charles Villiers Stanford
On the 30th of September 1852, Charles Villiers Stanford entered a Dublin household where music flowed as naturally as conversation. His father John James Stanford was a prominent lawyer and cellist who had sung the title role in Mendelssohn's Elijah at its Irish premiere in 1847. His mother Mary was an accomplished amateur pianist capable of playing solo concerto parts in public concerts. The young Stanford received instruction from three former pupils of Ignaz Moscheles including his godmother Elizabeth Meeke. She taught him to read music before he turned twelve years old by making him play Chopin Mazurkas daily without stopping for mistakes. By age eight he composed a march in D major that appeared in a pantomime at the Theatre Royal Dublin three years later. At seven he gave a piano recital featuring works by Beethoven Handel Mendelssohn Mozart and Bach. During summer visits to London he studied composition with Arthur O'Leary and piano with Ernst Pauer professor at the Royal Academy of Music.
Stanford arrived at Cambridge University in 1870 as an organ scholar despite failing to win a classics scholarship initially. He immersed himself in the musical life of the university while neglecting Latin and Greek studies. In November 1870 he performed as piano soloist with the Cambridge University Musical Society and quickly became assistant conductor. The society had declined since 1843 because it excluded women singers limiting its repertoire. Stanford staged what The Musical Times called a bloodless revolution by co-founding a mixed choir called the Amateur Vocal Guild in February 1872. This new group outshone the original CUMS choir leading to a merger where women gained associate membership. When Trinity College organist John Larkin Hopkins fell ill Stanford took over conducting duties in 1873. That same year he traveled to Bonn for the Schumann Festival where he met Joachim and Brahms. His growing admiration for Schumann and Brahms marked him as a classicist during an era divided between classical and modernist camps. After leaving Bonn he visited Switzerland then Paris seeing Meyerbeer's Le prophète before returning home.
In summer 1874 Stanford went to Leipzig on Sir William Sterndale Bennett's recommendation to study composition with Carl Reinecke at the conservatory. Reinecke proved so conservative that Stanford later described him as desiccated with no enthusiasm for contemporary composers. He loathed Wagner yet sneered at Brahms according to Stanford's own recollection. Despite this dry pedagogy Stanford found piano lessons from Robert Papperitz more helpful. A second spell in Leipzig yielded little progress prompting Joachim to recommend Friedrich Kiel in Berlin instead. Stanford declared Kiel a master both sympathetic and able who taught him more in three months than others had in years. During his time in Germany he composed settings of Longfellow's The Golden Legend though he abandoned the project due to its numerous disconnected characters. His earliest official catalogued works date from 1875 including a four-movement Suite for piano and a Toccata for piano. Returning to Cambridge intervals allowed him to resume conducting CUMS which presented Britain's first performance of Brahms Requiem in 1876. The society gained national attention again when it premiered Brahms First Symphony in 1877.
Stanford became founding professor of composition at the Royal College of Music in 1882 alongside violinist Henry Holmes. George Grove director of the new institution believed a capable orchestra essential for students experiencing their music firsthand. Stanford held the professorship until death while establishing an opera class producing thirty-two operas annually between 1885 and 1915 all conducted by himself. Among his most famous pupils were Samuel Coleridge-Taylor Gustav Holst Ralph Vaughan Williams John Ireland Rebecca Clarke Frank Bridge and Arthur Bliss. Herbert Howells recalled how Stanford demanded one-to-one tutorials working pupils hard against slovenliness or vulgarity. Many pupils who achieved eminence broke away from his classical Brahmsian precepts much like Stanford had rebelled against Reinecke. George Dyson noted that rebellion itself was perhaps the best fruit of Stanford's methods. In 1887 he became Professor of Music at Cambridge ending practice allowing non-undergraduates to take music degrees after six years of persuasion. Three years study at university became prerequisite for bachelor examinations thereafter.
Stanford composed seven symphonies though only three received publication during his lifetime. His Third Symphony known as Irish premiered in 1887 and remained his most popular orchestral work throughout his life. Mahler conducted it in New York in 1911 despite Stanford disliking modern composers like Ravel Debussy and Stravinsky. The symphony incorporated genuine Irish folk tunes contrasting expressions of jollity with sad beauty. He generally avoided programmatic music except Sixth Symphony composed in memoriam G.F.Watts inspired by Watts sculptures. Six Irish Rhapsodies date from twentieth century first written 1901 last completed year before death. Chamber works include String Quintet First Piano Concerto Violin Sonata Second Clarinet Sonata and Three Intermezzi for clarinet piano. Church music retained higher profile than concert works including Services A F C and Stabat Mater Vaughan Williams called latter imperishable beauty. Two sets of sea songs partsong Blue Bird still performed occasionally alongside sacred repertoire.
Nine operas constitute Stanford's dramatic output yet none achieved permanent status in general repertory. The Veiled Prophet premiered in Hanover 1881 but waited until 1893 for English debut at Covent Garden. Savonarola received critical savaging when staged at Covent Garden July 1884 though well-received Hamburg premiere April same year. The Theatre reviewer wrote opera proved Stanford better suited to cathedral than stage. Shamus O'Brien ran eighty-two consecutive performances proving successful comic opera with stage-Irish vocabulary later deemed old-fashioned. Much Ado About Nothing 1901 preserved Shakespearean charm according Manchester Guardian. The Critic 1916 set Sheridan comedy text mostly intact received acclaim Shaftesbury Theatre London premiere taken up Beecham Manchester London. Travelling Companion composed during war premiered amateur performers David Lewis Theatre Liverpool 1925 complete version Bristol 1928 Sadler Wells Theatre 1935. Critics found love music lacking emotion while Grove Parry commentators noted failure convey romance despite technical mastery.
Stanford conducted Bach Choir London from 1885 until 1902 succeeding founding conductor Otto Goldschmidt. He led Leeds Triennial Music Festival from 1904 to 1910 after Sullivan resigned due to age illness. His compositions festival included Songs Sea 1904 Stabat Mater 1907 Songs Fleet 1910. New works presented during his tenure included Vaughan Williams A Sea Symphony premiered 1910. Stanford maintained high standards raising profile Cambridge University Musical Society securing appearances Joachim Hans Richter Alfredo Piatti Edward Dannreuther. He also composed incidental music productions Aeschylus Eumenides Sophocles Oedipus Tyrannos Theatre Royal Cambridge 1885 1887. The Times praised former work dramatically significant beautiful itself rare quality modern composers style. Both sets made extensive use leitmotifs manner Wagner critic noted Wagnerian character prelude Oedipus.
In first decade twentieth century Stanford's music eclipsed younger composer Edward Elgar Robert Anderson wrote Elgar bowled him out. When struggling recognition 1890s Stanford supported Elgar conducting music proposing membership exclusive London club Athenaeum. However put out when Elgar success home abroad eclipsed own Richard Strauss praising Elgar progressive English composer. Elgar appointed professor music Birmingham University 1904 Stanford wrote letter recipient found odious. Elgar retaliated inaugural lecture remarks composers rhapsodies widely seen denigrating Stanford. Later counter-attacked book History Music writing Elgar lucky enter field find preliminary ploughing done cut contemporaries religion want regular academic training. Though bitter sidelined continued compose violin concerto 1901 clarinet concerto 1902 sixth seventh symphony 1906 1911 second piano concerto 1911. Penultimate opera Critic set Sheridan comedy text mostly intact librettist L.Cairns James premiered Shaftesbury Theatre London January 1916 well received taken Beecham Manchester London later year.
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Common questions
When was Charles Villiers Stanford born and where did he enter a Dublin household?
Charles Villiers Stanford entered a Dublin household on the 30th of September 1852. His father John James Stanford was a prominent lawyer and cellist who had sung the title role in Mendelssohn's Elijah at its Irish premiere in 1847.
What musical education did Charles Villiers Stanford receive before age twelve?
The young Charles Villiers Stanford received instruction from three former pupils of Ignaz Moscheles including his godmother Elizabeth Meeke. She taught him to read music before he turned twelve years old by making him play Chopin Mazurkas daily without stopping for mistakes.
How did Charles Villiers Stanford influence Cambridge University Musical Society during the 1870s?
Charles Villiers Stanford co-founded a mixed choir called the Amateur Vocal Guild in February 1872 which led to a merger where women gained associate membership. He also took over conducting duties when Trinity College organist John Larkin Hopkins fell ill in 1873 and presented Britain's first performance of Brahms Requiem in 1876.
Which composers influenced Charles Villiers Stanford during his studies in Germany between 1874 and 1875?
Charles Villiers Stanford studied composition with Carl Reinecke in Leipzig but found piano lessons from Robert Papperitz more helpful. He later declared Friedrich Kiel a master who taught him more in three months than others had in years while visiting Berlin.
What were the most significant operas composed by Charles Villiers Stanford and how were they received?
Shamus O'Brien ran eighty-two consecutive performances proving successful comic opera with stage-Irish vocabulary later deemed old-fashioned. The Veiled Prophet premiered in Hanover 1881 but waited until 1893 for English debut at Covent Garden while Savonarola received critical savaging when staged at Covent Garden July 1884.