Album insights
How did a brilliant graduate of the Royal Academy of Music for composition keep body and soul together in the early 1890s while trying to establish a career in music? It was a challenge faced by diverse composers like the impoverished Elgar, son of a music dealer, and Holbrooke, son of a variety artist. Elgar, largely self-taught, taught violin and relied on his wife's income until he gained musical recognition in his mid-forties. For Holbrooke, he played the piano in varied places like variety shows and Queen's Hall, occasionally skipping meals.
Granville Bantock, son of a respected surgeon and gynecologist, faced parental disapproval like many other young composers from middle-class families in the 19th century. Despite starting education for secure middle-class professions, Bantock pursued his passion for music, eventually becoming a student at the Royal Academy of Music in London and earning the Macfarren Scholarship for Composition.
As a student, Bantock composed numerous ambitious works, with his orchestral pieces being performed at student concerts and other notable venues. He managed to publish works fairly quickly, likely with financial support from his family, as his compositions were recognized by publishers like Breitkopf & Härtel in Leipzig.
Despite his wealthy background, Bantock faced challenges finding work after completing his studies. He eventually found success in conducting musical comedies and even toured as a conductor with a renowned troupe, gaining valuable experience and exposure to the music world.
Bantock’s career flourished, and he delved into creating large-scale orchestral and choral works, exploring exotic themes, such as The Witch of Atlas, Fifine at the Fair, Pierrot of the Minute, and his substantial full-length setting of Fitzgerald’s Omar Khayyám.
An early composition revived in recent reassessments of Bantock’s work is “Processional”, based on Southey's epic poem "The Curse of Kehama". The work, which captures a dramatic scene set in India, emphasizes vivid Oriental imagery without losing sight of the gruesome essence of the narrative.
Thalaba the Destroyer and other works by Bantock also highlight his fascination with Tschaikowski and his expressive musical language that allowed for storytelling in exotic settings.
Bantock’s extensive choral work, The Song of Songs, stands out in his repertoire for its passionate and sensual interpretation of verses from the Biblical Song of Solomon. The work explores themes of love and desire with lush orchestration and evocative choral sections.
Caristiona, adapted from Marjory Kennedy-Fraser's collection of Hebridean songs, displays Bantock’s appreciation for the Scottish melodies, offering a piece enriched with regional folklore and emotional depth.
Through works like these, Bantock’s compositions encompass a wealth of cultural influences, expressive storytelling, and thematic depth, solidifying his legacy as a significant figure in British music.