Obra de William Crotch (1775-1847), músic i pintor anglès (1)
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William Crotch (Norwich, 5 de juliol de 1775 - Taunton, 29 de desembre de 1847) va ser un organista, teòric, pintor i compositor anglès, i un dels més destacats del seu temps. Veure biografia musical.
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Parlem de Música...
William Crotch (Norwich, 5 de juliol de 1775 - Taunton, 29 de desembre de 1847) va ser un organista, teòric, pintor i compositor anglès, i un dels més destacats del seu temps. Fill de Michael Crotch, un artesà de la fusta, i de la seva dona Isabella, va mostrar un interès musical a partir dels 2 anys ja va aprendre a interpretar la famosa God Save the King a l’orgue. Als 3 anys ja va formar part d’una companyia musical de Norwich motivant els seus pares per tal d’explotar el seu prematur talent musical. A tal efecte es va formar a Cambridge, Oxford i Londres. A la capital va interpretar, el 1 de gener de 1779, davant de la reialesa al Buckingham Palace. A partir d’aleshores, els seus pares van realitzar diverses gires per Anglaterra i Escòcia i el mateix 1779 van fer amistat amb la família de dos infants prodigis, Charles i Samuel Wesley, amb qui va compartir amistat. No obstant, i com anys més tard va reconèixer el mateix Crotch, aquesta infantesa el va perjudicar greument i el va condicionar la resta de la seva vida fruit de l’enorme expectativa creada a l’entorn del seu nom. Entre els anys 1786 i 1788 va treballar com ajudant del professor Randall a Cambridge, mentre paral·lelament tocava l’orgue a l’esglésies de Trinity i St Mary the Great. El setembre de 1790 va ser nomenat organista a la Christ Church d’Oxford i el 1793 músic suplent de Philip Hayes. El març de 1797 va succeir el mateix Philip Hayes com a professor de música i organista del St John’s College i de l’església St Mary the Virgin. El 1806 va renunciar als llocs d’Oxford per instal·lar-se a Londres on va començar una carrera activa com a professor i compositor. Allà va col·laborar habitualment amb Samuel Wesley i Benjamin Jacob interpretant obres de Bach. El 1812 va representar la seva obra mestra, l’oratori Palestine, el qual va ser rebut amb entusiasme arreu del país. En aquells anys va treballar com a director participant en la fundació de la Philharmonic Society de Londres i en el Birmingham Festival. Precisament a la Philharmonic Society va interpretar la seva Simfonia en Fa major el 1814. A partir del 1822 va treballar a la Royal Academy of Music tenint com alumne, entre altres, a Sterndale Bennett. El 1832 es va retirar definitivament dedicant-se els darrers anys de vida a la composició, la literatura i la pintura, ja que també en aquest camp va destacar notablement tot realitzant vistes i paisatges en un estil proper als de Turner i Constable, amb qui va coincidir a Londres. William Crotch, l’infant prodigi, va morir a Taunton el desembre de 1847.
OBRA:
Vocal Religiosa:
The Captivity of Judah (orat, A.C. Schomberg and J. Owen), 1786–9, Cambridge, 4 June 1789, GB-Lbl
Messiah, A Sacred Eclogue (cant., Pope), Lbl
Palestine (orat, R. Heber), 1805–11, London, 21 April 1812, Lbl, Ob; vs (London, 1814, 2/1839)
The Captivity of Judah, orat, 1812–28, Oxford, 10 June 1834, Lbl, NWr 11260
Others:
Ten Anthems in Score (Cambridge, 1798):
Be merciful unto me [excerpt, Comfort O Lord the soul of thy servant, 1794, Och, pubd separately];
Blessed is he whose unrighteousness is forgiven;
God is our hope (2nd version);
How dear are thy counsels, 1796, Och;
My God, my God, look upon me;
O Lord God of hosts;
Rejoice in the Lord [excerpt, Behold thy king cometh, pubd separately];
Sing we merrily, 1794, Och;
The Lord, even the most mighty God, hath spoken;
Who is like unto thee
2 anthems in An Original Collection of Sacred Music, ed. A. Pettet (London, 1825):
O Lord, from whom all good things do come;
Weep not for me
Holy, holy, holy, Lord God Almighty (R. Heber), 1827 (London, 1859);
O come hither and hearken (London, c1838);
The Lord is King, vv, orch, 1838 (London, 1843)
10 anthems, 1796–1803, GB-Ob;
God is our hope (1st version), Lbl;
I will cry unto God, 1796, Och;
Lo, cherub bands, Ob; O give thanks, vv, orch, Lbl;
The joy of our heart is ceased, vv, orch [for the funeral of the Duke of York], NWr 11270
Gloria Patri (canon 2 in 1), in Harmonicon, ix (1831);
Chants in Crotch, ed., A Collection of … Chants (London, 1842);
9 hymn tunes in C.D. Hackett, The National Psalmist (London, 1842);
Kyrie, F, in R. Fawcett, Lyra Ecclesiastica (London, 1844);
Chants, NWr 5288, 11234;
TeD, B , 1790, Lbl
Vocal secular:
Chorus to Humanity (from W. Mason: Elfrida), 1790–91, Lbl
Ode to Fancy (J. Warton), 1799, Oxford, 21 Nov 1799 (London, 1800), Ob
Ode for the installation of Lord Grenville as Chancellor of the University of Oxford, 1810, Ouf
Spirit of the golden lyre (ode, J. Conybeare), on the King’s accession, May 1820, Lbl
When these are days of old (ode, J. Keble), for the installation of the Duke of Wellington as Chancellor of the University of Oxford, Oxford, 10 June 1834, Lbl;
3 airs (Oxford, 1834)
The Bells, ode, 1836, NWr 11275
Songs:
Liberty (London, c1785);
Sycamore Vale, 1787;
The rose had been wash’d (London, c1790)
Others:
9 glees, pubd singly, incl. Methinks I hear the full celestial choir (London, 1800)
20 glees;
32 rounds;
33 canons;
6 madrigals (motets): all in Ob
Instrumental:
Orch.:
Concerto, hpd/pf, orch (London, 1784)
3 Concertos, org, orch F, A, B (London, c1805)
Ovs.: A, 1795; G, 1815; both in Lbl
Sinfonia, E , 1808, rev. 1817, Lbl;
Sinfonia, F, 1814, Lbl
March and Waltz (London, 1832); arr. pf duet (London, 1833), ed. in LPS, xix (1986)
Chbr.:
2 Sonatas, pf/hpd, vn (London, c1786)
Quartet, str, 1788, rev. 1790, Lbl
3 Sonatas, pf/hpd (London, 1793); no.3 ed. in LPS, vii (1985)
Sonata, G, pf, 1795, Lbl
Milton Oysters, with Variations, pf (London, c1795)
[3] Original airs … by John and William Crotch, pf (London, c1804–5)
Fugue on a Subject of T. Muffat’s, org/pf (London, 1806)
Prelude and Air, pf (London, 1807, 2/1812); ed. LPS, vii (1985)
Sonata, E , pf (London, 1808)
30 Rounds, pf (London, 1813)
Preludes, pf (London, 1822)
Fantasia, pf (London, before 1824)
3 Divertimentos, pf (London, c1825)
Introduction and Fugue, pf/org (London, c1825)
Fugue on a subject of 3 notes, org/pf (London, c1825)
[12] Fugues, the Subjects taken from Chants, org/pf (London, 1835–7)
Juvenilia, sketches etc., NWr
Editions and arrangements:
Tallis’s Litany … a Collection of Old Psalm Tunes … Tallis’s ‘Come, Holy Ghost’ (London, 1803, 2/1807)
Specimens of Various Styles of Music, 3 vols. (London, c1808–c1815, 3/c1845)
Psalm Tunes Selected for the Use of Cathedrals and Parish Churches (London, 1836)
Chappell’s Collection of National English Airs (London, 1838–40) [collab. others]
A Collection of 72 Original Single and Double Chants (London, 1842)
G.F. Handel: Anthems for the Coronation of King George II, The Works of Handel [Handel Society], i (London, 1843)
Arrangements of Handel’s oratorios, and symphonies, concertos and quartets by Haydn, Mozart, and Beethoven etc., pf solo/duet (London, c1800–45)
‘Old Hundredth’ psalm tune arr. orch, MS Croydon, Royal School of Church Music
Literatura:
Only those on music:
‘Remarks on the Terms at Present Used in Music, for Regulating Time’, Monthly Magazine, viii (1799–1800), 941
Elements of Musical Composition Comprehending the Rules of Thorough Bass and the Theory of Tuning (London, 1812, rev. 3/1856 by T. Pickering)
Preface to Preludes for the Piano Forte (London, 1822), 1–24
Practical Thorough Bass (London, c1825)
Questions for the Examination of Pupils (London, 1830)
Rules for Chanting the Psalms of the Day (London, 1842)
Lectures on the History of Music (MS, NWr 11063–7, 11228–33; written 1798–1832); excerpts as Substance of Several Courses of Lectures (London, 1831); extracts ed. in P. le Huray and J. Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries (Cambridge, 1981), 427–42
Letters, 13 vols., 1801–45, NWr 11214–26; memoirs NWr 11244
OBRA:
Vocal Religiosa:
The Captivity of Judah (orat, A.C. Schomberg and J. Owen), 1786–9, Cambridge, 4 June 1789, GB-Lbl
Messiah, A Sacred Eclogue (cant., Pope), Lbl
Palestine (orat, R. Heber), 1805–11, London, 21 April 1812, Lbl, Ob; vs (London, 1814, 2/1839)
The Captivity of Judah, orat, 1812–28, Oxford, 10 June 1834, Lbl, NWr 11260
Others:
Ten Anthems in Score (Cambridge, 1798):
Be merciful unto me [excerpt, Comfort O Lord the soul of thy servant, 1794, Och, pubd separately];
Blessed is he whose unrighteousness is forgiven;
God is our hope (2nd version);
How dear are thy counsels, 1796, Och;
My God, my God, look upon me;
O Lord God of hosts;
Rejoice in the Lord [excerpt, Behold thy king cometh, pubd separately];
Sing we merrily, 1794, Och;
The Lord, even the most mighty God, hath spoken;
Who is like unto thee
2 anthems in An Original Collection of Sacred Music, ed. A. Pettet (London, 1825):
O Lord, from whom all good things do come;
Weep not for me
Holy, holy, holy, Lord God Almighty (R. Heber), 1827 (London, 1859);
O come hither and hearken (London, c1838);
The Lord is King, vv, orch, 1838 (London, 1843)
10 anthems, 1796–1803, GB-Ob;
God is our hope (1st version), Lbl;
I will cry unto God, 1796, Och;
Lo, cherub bands, Ob; O give thanks, vv, orch, Lbl;
The joy of our heart is ceased, vv, orch [for the funeral of the Duke of York], NWr 11270
Gloria Patri (canon 2 in 1), in Harmonicon, ix (1831);
Chants in Crotch, ed., A Collection of … Chants (London, 1842);
9 hymn tunes in C.D. Hackett, The National Psalmist (London, 1842);
Kyrie, F, in R. Fawcett, Lyra Ecclesiastica (London, 1844);
Chants, NWr 5288, 11234;
TeD, B , 1790, Lbl
Vocal secular:
Chorus to Humanity (from W. Mason: Elfrida), 1790–91, Lbl
Ode to Fancy (J. Warton), 1799, Oxford, 21 Nov 1799 (London, 1800), Ob
Ode for the installation of Lord Grenville as Chancellor of the University of Oxford, 1810, Ouf
Spirit of the golden lyre (ode, J. Conybeare), on the King’s accession, May 1820, Lbl
When these are days of old (ode, J. Keble), for the installation of the Duke of Wellington as Chancellor of the University of Oxford, Oxford, 10 June 1834, Lbl;
3 airs (Oxford, 1834)
The Bells, ode, 1836, NWr 11275
Songs:
Liberty (London, c1785);
Sycamore Vale, 1787;
The rose had been wash’d (London, c1790)
Others:
9 glees, pubd singly, incl. Methinks I hear the full celestial choir (London, 1800)
20 glees;
32 rounds;
33 canons;
6 madrigals (motets): all in Ob
Instrumental:
Orch.:
Concerto, hpd/pf, orch (London, 1784)
3 Concertos, org, orch F, A, B (London, c1805)
Ovs.: A, 1795; G, 1815; both in Lbl
Sinfonia, E , 1808, rev. 1817, Lbl;
Sinfonia, F, 1814, Lbl
March and Waltz (London, 1832); arr. pf duet (London, 1833), ed. in LPS, xix (1986)
Chbr.:
2 Sonatas, pf/hpd, vn (London, c1786)
Quartet, str, 1788, rev. 1790, Lbl
3 Sonatas, pf/hpd (London, 1793); no.3 ed. in LPS, vii (1985)
Sonata, G, pf, 1795, Lbl
Milton Oysters, with Variations, pf (London, c1795)
[3] Original airs … by John and William Crotch, pf (London, c1804–5)
Fugue on a Subject of T. Muffat’s, org/pf (London, 1806)
Prelude and Air, pf (London, 1807, 2/1812); ed. LPS, vii (1985)
Sonata, E , pf (London, 1808)
30 Rounds, pf (London, 1813)
Preludes, pf (London, 1822)
Fantasia, pf (London, before 1824)
3 Divertimentos, pf (London, c1825)
Introduction and Fugue, pf/org (London, c1825)
Fugue on a subject of 3 notes, org/pf (London, c1825)
[12] Fugues, the Subjects taken from Chants, org/pf (London, 1835–7)
Juvenilia, sketches etc., NWr
Editions and arrangements:
Tallis’s Litany … a Collection of Old Psalm Tunes … Tallis’s ‘Come, Holy Ghost’ (London, 1803, 2/1807)
Specimens of Various Styles of Music, 3 vols. (London, c1808–c1815, 3/c1845)
Psalm Tunes Selected for the Use of Cathedrals and Parish Churches (London, 1836)
Chappell’s Collection of National English Airs (London, 1838–40) [collab. others]
A Collection of 72 Original Single and Double Chants (London, 1842)
G.F. Handel: Anthems for the Coronation of King George II, The Works of Handel [Handel Society], i (London, 1843)
Arrangements of Handel’s oratorios, and symphonies, concertos and quartets by Haydn, Mozart, and Beethoven etc., pf solo/duet (London, c1800–45)
‘Old Hundredth’ psalm tune arr. orch, MS Croydon, Royal School of Church Music
Literatura:
Only those on music:
‘Remarks on the Terms at Present Used in Music, for Regulating Time’, Monthly Magazine, viii (1799–1800), 941
Elements of Musical Composition Comprehending the Rules of Thorough Bass and the Theory of Tuning (London, 1812, rev. 3/1856 by T. Pickering)
Preface to Preludes for the Piano Forte (London, 1822), 1–24
Practical Thorough Bass (London, c1825)
Questions for the Examination of Pupils (London, 1830)
Rules for Chanting the Psalms of the Day (London, 1842)
Lectures on the History of Music (MS, NWr 11063–7, 11228–33; written 1798–1832); excerpts as Substance of Several Courses of Lectures (London, 1831); extracts ed. in P. le Huray and J. Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries (Cambridge, 1981), 427–42
Letters, 13 vols., 1801–45, NWr 11214–26; memoirs NWr 11244
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Informació addicional...
AMAZON: CROTCH, W. - Symphonies, Organ Concerto & Overture
IMSLP: William Crotch (1775-1847)
SPOTIFY: CROTCH, W. - Symphonies, Organ Concerto & Overture
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