The scandal of endless bail

The scandal of endless bail

Libertarian Alliance, May 2013

Writing in today’s Guardian, Neil Wallis calls for an end to the present situation whereby thousands of people have been on police bail for over six months[1]. The Birmingham Post reported that 57,000 people are currently on bail, and of these, 3,172 have been waiting for more than six months with no decision on whether they will be charged or not. One person remains on bail having been arrested over three and a half years ago.

The Law Society has called for a review and has said there should be a statutory time limit for police bail, suggesting a maximum of 28 days. This could be extended by application to a magistrate in which the police would need to explain what stage their investigation had reached and why extension was necessary. Other groups have suggested a longer maximum than this.

Police cuts are one reason why bail times are being extended. Another is suggested by Wallis, “The level of “reasonable suspicion” needed by police to make an arrest is simply far too low. I hear time and again about ordinary people being arrested and kept on endless bail so police can mount a fishing expedition into their lives.”

I have recently written about the Emma West case as an example of “trial by process” – whereby the mechanism of the law is sufficiently drawn-out to place the accused under a pressure that is in itself punitive. Here is more of the same.

A related issue is the increasing use of conditional bail by the police against activists who are arrested and then bailed on strict conditions before an event at which they would be likely to be present. This was used at the Olympics and again at the wedding of Prince William. Conditional bail allows the police to impose conditions – for example, not going within 500 yards of a given place at a given time – that would otherwise be legal; breaking those conditions then becomes a criminal offence. The charges are then, in most cases, quietly dropped once the event is over. It used to be the case that conditional bail could only be given by a magistrate; this power was extended to the police under the Police and Justice Act 2006 schedule 6, which amended section 30 of the Police and Criminal Evidence Act 1984.

[1] http://www.guardian.co.uk/commentisfree/2013/may/28/britain-police-charge-without-bail

Consent in English and European law

In May 2013, I was the author of an article for the former Libertarian Alliance blog (subsequently re-published in my book The Radical Traditionalist Today) discussing the age of consent in the historical and present context of English and European law. This article takes as its starting point a third party’s proposal to lower the age of consent in England and Wales. As will be seen, the article is academic and discursive in nature and addresses the concept of consent in the light of recent legislative developments. It does not at any point express support for the proposal to lower the age of consent.

Whither consent?

Libertarian Alliance, May 2013

Writing in spiked! recently, barrister Barbara Hewson suggests that the age of consent for sexual activity should be restored to its pre-1885 position of 13.[1]

Reducing the age of consent to 13 for all sexual acts would bring the UK in line with Spain, although Spain has a legal caveat that allows for prosecution where sexual consent is obtained by deception in the case of a person aged between 13 and 16. Until 1995, the age of consent in Spain was 12. Indeed, Britain’s age of consent is high by the standards of European countries, many of which have an age of consent for heterosexual acts of 14 or 15, although the age of consent for homosexual acts is not necessarily the same. Among other developed nations, Japan has an age of consent of 13, although this is subject to further restrictions.

An interesting note to this matter is that until 1993, English common law held that a boy under the age of 14 could not commit rape as a principal offender because he was irrebuttably presumed to be incapable of sexual intercourse. That a boy of that age is indeed so capable has been the subject of some publicity[2].

While there is some merit in arguing about the moral, physiological, emotional and cultural import of an age of consent, and the extent to which children need to be protected both from the attentions of adults and their peers, we should also consider all this in the context of what consent has come to mean in the implementation of the law. Consent is not, and never was, the same as a contract, whereby terms are mutually agreed and non-performance brings with it an entitlement to compensation. Rather, consent is a highly complex concept which is changing rapidly in its meaning.

It has been established in law that there is a point at which consent becomes ineffective. This has generally been expressed as the idea that a person cannot consent to an act that results in physical injury to him or herself where such injury amounts to a level just below actual bodily harm. Over twenty years ago, Sean Gabb wrote about this situation and pointed out that in addition to personal consent, an additional criterion of “public interest” is provided that judges the actions by “what is acceptable in a civilized society and what is not.”

Where there is widespread agreement on what constitutes civilization – and particularly where sexual morality is a matter of consensus, be that consensus the result of religious teaching or otherwise – there may be argued to be a valid argument as to what constitutes a public interest in sexual mores, even if such an argument is not in accordance with a purist libertarian worldview. If, on the other hand, the context is one of secularism, post-modernism and moral relativism, there can be no abiding public interest, because there is no commonly agreed moral basis for that public interest to rest upon.

There may be an appeal to “common sense” and reference to public opinion such as finds expression in the media and through various interest groups, but these things are shifting sands. To recognize that this landscape is changing is fundamental to understanding the way in which consent and sexual morality are being redefined in law. To apply these changed standards of today retrospectively to events that occurred thirty or forty years ago, and then to act as if these standards were somehow universal points of principle at that time, is a form of delusion that is dangerous and that would lead – indeed some would argue has already led – to a society that is unbalanced and hypocritical.

After the current purge of aged or dead media figures has run its course, the media caravan will doubtless move onwards –  perhaps in time to the rock stars of the era and their teenaged admirers, who were the subject of far greater infamy in their day than those currently under scrutiny. Again, there will be the suspicion that at least some of the accusations are motivated by a desire for financial compensation, and the defence put forward that only now, despite the effluxion of time, have the victims gained the courage to speak out against their attackers. For all those who are genuine victims with no ambiguity about that status, there are also those who come into a grey area where any victimhood is a matter of perception and a range of other subjective factors will come into play.

What is needed in such a situation is a proportionate view of all of the factors involved and a balanced judgement so that justice, and not merely a media-driven sector of public opinion that often veers close to a witchhunt, is served. It seems improbable that this can be satisfactorily achieved in the current circumstances.

What, then, does consent now mean? Consent can be given, but it has historically been considered invalid if there was fraud or deception involved, such that the person would not have consented had the facts been known. This has been applied in cases of impersonation, and also famously in R v Clarence (1888) 22 QBD 23 where the defendant knowingly infected his wife with a venereal disease. As well as the aforementioned invalidity of consent in cases of physical injury, R v Chan-Fook (1994) 1 WLR 689 established that the definition of actual bodily harm could apply to psychological injury as well as physical harm. This effectively means that consent can no longer cover anything more than trivial injury.

Consent within marriage was historically presumed, but from 1991 (R v R) the courts have removed the exemption in law for marriage and thus given rise to the offence of marital rape. Allied to this was a change in the definition of rape, in which hitherto the victim had had to prove that there was a “continued state of physical resistance.” Lord Hale, writing in the seventeenth-century, opined that “rape…is an accusation easily to be made and hard to be proved, and harder to be defended by the party accused, tho never so innocent.” Until 2003, English law on the matter was largely framed with this maxim in mind. Since that time, however, the balance of the law has shifted considerably to give weight to the plaintiff (who may often remain anonymous) and to remove protection from the defendant (who is invariably publically named, often at the cost of his reputation even if acquitted.)

Under the Sexual Offences Act 2003, the requirements for a defence of mistaken belief in consent were made more stringent in that they must now be both genuine and reasonable. There is now a set of presumptions against said reasonableness, including where violence is used or feared, the complainant is unconscious, unlawfully detained, drugged, or is by reason of disability unable to communicate a lack of consent. This has changed what was formerly a subjective test into an objective test. It also means that a man may be convicted of rape even if he believed that the victim consented, if the court were to consider the circumstances unreasonable. It remains impossible for a woman to commit rape as a principal offender, although she may commit rape as an accomplice.

All of these things are the result of complex changes in the way that society sees the nature of consent, and of the weakening of consent as a concept and as a defence. One major factor that has prompted this has been the assertion that too few rapists are convicted; this perception continues although it would be near-impossible to establish a sound statistical basis for deciding whether someone who was in law innocent of an offence was in fact guilty of an offence. The weakening of consent has certainly resulted in an increase in rape convictions, and these are reported to be at an all-time high with a current 63% conviction rate[3]. It should not be a great surprise that if the legal definition of consent is weakened, it will become easier to obtain more rape convictions, an outcome which has been seen by a number of groups as highly desirable, and which serves both the ends of a near universally-accepted societal agenda (to see perpetrators of sexual violence punished) and a much more invidious Leftist political agenda that benefits from the demonization of men as creatures of violence and sexual aggressors. The corollary of this, however, is that some of those who are convicted would not have met the legal definition of rape that applied before the change in the law had occurred. The law is thus not merely convicting more rapists, it is creating more rapists.

It is because of this that any argument about the age of consent carries considerably less weight than it would have done in the pre-2003 era. It might, indeed, be argued that consent has largely lost the meaning that it once had. Its importance now is increasingly that of a folk memory of its former significance, where in practice such a wide range of circumstances exist that can override it or question its validity that any sensible person would be foolish to rely upon it alone as a defence. And where, as a society, does that leave us?

[1] http://www.spiked-online.com/site/article/13604/

[2] http://www.thesun.co.uk/sol/homepage/news/2233878/Dad-at-13-Boy-Alfie-Patten-13-becomes-father-of-baby-girl-Maisie-with-girlfriend-Chantelle-Steadman-15.html

[3] http://www.guardian.co.uk/society/2013/apr/23/rape-conviction-rate-high

Arthur Redfearn and political discrimination in the workplace

Libertarian Alliance, May 2013

The recent case of Arthur Redfearn has proved to be of some significance in establishing a firmer basis for freedom of association within employment law.

Mr Redfearn, a bus driver, was considered a “first class employee” and had neither attracted complaints from his employers, West Yorkshire Transport Services (a subsidiary of Serco), nor from service users, during the short period of his employment. Not long after starting work with WYTS in December 2003, Mr Redfearn won a seat on Bradford Council representing the British National Party. He was featured in an article in the local newspaper and this prompted a trade union and other employees to make representations to WYTS. WYTS’s response to this pressure was summarily to dismiss Mr Redfearn on 30 June 2004. Because he had worked for them for six months only, which was less than the statutory minimum period, he was unable to bring a case for unfair dismissal against them. Instead, he was compelled to claim racial discrimination (on the basis that the BNP was, at the time of the case, a “whites-only organization”) – an ironic position given the BNP’s longstanding opposition to racial discrimination legislation.

Mr Redfearn’s employment had been principally as a driver of buses for Asian adults and children with disabilities. WYTS claimed before the employment tribunal that their buses could come under attack from opponents of the BNP and that passengers and their carers could be caused anxiety about this. They attempted to justify Mr Redfearn’s dismissal on health and safety grounds, and the tribunal found in their favour. The suggestion that opponents of the BNP might use violence against buses of disabled children is one that should raise eyebrows.

In July 2005, Mr Redfearn won an appeal against the tribunal decision on the grounds that no consideration had been given to him being offered alternative employment, for example on non-driving duties. In May 2006, WYTS appealed this decision in turn to the Court of Appeal[1] and won[2], the tribunal deciding that the discrimination Mr Redfearn had experienced was political, not racial, in nature and thus fell outside the scope of anti-discrimination laws. It concluded that Mr Redfearn’s beliefs were incompatible with the European Convention of Human Rights, which would not uphold rights where to do so would compromise its values of “tolerance, non-discrimination and social peace”.

Having been refused leave to appeal to the House of Lords, Mr Redfearn, who appears to have displayed more than usual reserves of persistence in the face of official adversity, took his case directly to the European Court of Human Rights. In November 2012 the ECHR gave judgement for Mr Redfearn[3], ruling that his human rights had been breached by Serco[4]. It stated that it was “struck by the fact that he had been summarily dismissed following complaints about problems which had never actually occurred, without any apparent consideration being given to the possibility of transferring him to a non-customer facing role”.[5]

The ECHR said that the right to freedom of association “must apply not only to people or associations whose views are favourably received or regarded as inoffensive, but also to those whose views offend, shock or disturb”. This is significant, because the legislative imposition of the values of “tolerance, non-discrimination and social peace” itself involves considerable curbs upon freedom of association: association is by nature exclusive to a greater or lesser extent, and thus is likely to involve non-tolerance and discrimination at some level , whether in prohibited areas or not.

Mr Redfearn not only won a personal victory, but his case has also resulted in a change to UK law, in respect of an amendment to the Enterprise and Regulatory Reform Bill which is currently before the House of Lords[6]. In its judgement, the ECHR stated that the UK must “take reasonable and appropriate measures to protect employees, including those with less than one year’s service, from dismissal on grounds of political opinion or affiliation, either through the creation of a further exception to the one-year qualifying period under the 1996 Act or through a freestanding claim for unlawful discrimination on grounds of political opinion or affiliation”. The change in the law – perhaps we could dub it the Redfearn Amendment – means that the right of an employee not to be dismissed by reason of his or her political views or memberships will now start from the first day of employment.

Writing in spiked! today, Rosamund Cuckston suggests that this ruling may in fact have the perverse effect of further constraining freedom of association, making employers carry out “risk assessments” before employing individuals with controversial views[7]. Although I share her mistrust of the ECHR and its imposition of core values that have potentially troublesome implications, I do not share her pessimism. As I see it, political beliefs have now joined the list of other protected criteria in employment that may give rise to a discrimination case. It is more likely that employers will be careful not to ask questions in interview or application concerning a candidate’s political beliefs that could be seen as potentially problematic for them, and that they will recognize that they need to be careful regarding this area in respect of their existing workforce.

What will also be interesting is whether this change in the law has implications for those employment situations in which membership of the BNP is at present the subject of overt and active discrimination in the form of an outright ban. Organizations that have a ban on BNP membership among their workforce include the police, the Prison Service, and the Church of England in respect of its clergy. Other employers have considered or have been reported to be considering similar moves. There have been several situations in the past involving BNP members who may also be affected by this change.[8]

While the BNP are understandably delighted at this situation, the implications go well beyond the party and its members. A free society must preserve the right of freedom of association as a core principle. It should also ensure that people cannot be sacked from their jobs for holding political views, however distasteful they may be to some, that are not in line with those of the prevailing orthodoxy. If the arguments of the BNP are to be challenged, the correct means to do so is by confronting those arguments in the course of open political debate, not by suppressing society’s freedoms.

These days we are often told that people do not feel they can speak their minds in opposition to a culture of political correctness because to do so would threaten their employment. It would appear that those people have been thrown a legislative lifeline by the present developments. This, as they say, could turn out to be a game-changer.

[1] http://tablet.yorkshirepost.co.uk/appeal-court-probes-case-of-driver-sacked-in-bnp-row-1-2611259

[2] http://tablet.yorkshirepost.co.uk/sacked-bnp-supporter-to-take-his-case-to-the-european-court-1-2371620

[3] http://hudoc.echr.coe.int/sites/eng/pages/search.aspx?i=001-114240

[4] http://tablet.yorkshirepost.co.uk/bnp-bus-driver-wins-victory-on-human-rights-1-5098819

[5] http://www.bbc.co.uk/news/uk-england-leeds-20235101

[6] http://tablet.yorkshirepost.co.uk/bnp-bus-driver-sacked-over-bradford-asian-passengers-forces-legal-change-1-5409685

[7] http://www.spiked-online.com/site/article/13590/

[8] http://www.telegraph.co.uk/news/uknews/3484612/Rod-Lucas-dropped-by-TalkSPORT-after-BNP-links-emerge.html, http://www.dailymail.co.uk/news/article-1088392/Teacher-prestigious-prep-school-faces-probe-job-BNP-exposed.html, http://www.guardian.co.uk/uk/2010/mar/25/barrister-bnp-loses-chambers-grierson, http://www.thesun.co.uk/sol/homepage/news/article2333676.ece, http://www.bristol.indymedia.org/newswire.php?story_id=25066

Life versus art

Life versus art

Libertarian Alliance, May 2013

It has been reported that pressure groups representing the survivors of rape, sexual violence and childhood sexual abuse have called upon the BBC to remove a statue by the sculptor Eric Gill that adorns its London headquarters[1]. The statue, from 1932, is a depiction of Prospero and Ariel, the latter depicted as a naked boy. This is not a new demand[2].

While the BBC has, entirely properly, refused this demand and pointed out that Gill, for all his sins, remains a major British artist whose work is widely regarded as of importance, this situation illustrates a phenomenon among the Left that is worth examining further.

Two insidious ideas are prevalent among the Left today. The first is that of political correctness. In this context, this means that groups that constitute a minority whose rights are privileged by the Left are granted the specious right not to be offended. This right is purely an invention of the Left to prosecute its Marxist agenda of the destruction of Western culture. It creates no-go areas of taboo and state protection that fundamentally attack the freedom of speech and force opposition to the Left out of the public arena. The second, related, idea is that a leading means of pursuing this Kulturkampf is to attack the past, whether in the form of its artefacts, in a revisionist approach to history, or indeed in the ancestor guilt that is often foisted upon the White population in the name of the remembrance of slavery, and that periodically results in the absurdity of “apologies” by the living for the actions of the dead.

This is not to suggest that the victims of abuse, along with many others, are not genuinely upset or offended by aspects of the life of Eric Gill, an enormously gifted man and devoted Catholic whose lifestyle extended beyond adultery to the practice of incest and bestiality. Gill did not try to reconcile his faith and his behaviour on an intellectual level, nor to excuse the latter. He seems to have regarded a state of permanent penance and self-reproach through a strict religious observance as the most that he could achieve in ameliorating his excesses. But as an artist, it is precisely this tension between the sacred and the secular, and between the devotional and the erotic, that renders his work important and of stature. As his biographer Fiona MacCarthy has said, “Gill is too good an artist, too ferocious and intrepid a controversialist, to be protected and glossed over. We need to see him whole.” If the process of seeing him whole takes us beyond the norm and into some of the darkest recesses of humanity, then there would be a strong argument that this is precisely the purpose of his art. If Gill can transcend his sins and present his broken morality as transfiguration through his creative ability, we are then left with some disturbing conclusions as to our own basis for judging him and the religious significance of what he has to say to us.

In the end, Gill’s profound flaws are what makes him such a fascinating and controversial figure, and that make the utter beauty of almost everything he produced so remarkable. There is a simplicity of line, a boldness and a wildness in his art that is at once balanced by the limits of his essential Englishness and his Catholic understanding. Gill always points to something beyond himself, usually spiritual, and at the same time is utterly honest in the subjectivity of his approach; everything is seen through his own eyes and in the context of his own understanding.

The question of the extent to which one can separate artist from art is a matter for perpetual discussion. In 1935, the critic Ernest Newman published his book “The Man Liszt” which was a poorly-researched attack on its subject, who was both during his lifetime and today acknowledged as one of the most significant musical figures of the nineteenth-century. Newman writes little about Liszt’s work as a concert pianist, composer or advocate of other musicians. Instead, the book is devoted to lambasting its subject’s moral failings and social climbing. As scholarship it is nugatory, but the effect it had upon the musical world of the time both actively prevented Liszt’s music from being taken seriously and relegated those who performed him to the second rank of marketability for several decades. Some years ago, a similar online controversy arose in relation to the music and lifestyle of Benjamin Britten, with one writer in particular taking exception to any appreciation of Britten’s qualities as a composer because of his alleged pederasty and other moral failings. The comments pro and contra this viewpoint in an online discussion at the Musicweb International website[3] are interesting to read. Similar debates concerning Wagner have raged for over a century, and his music still cannot be performed in Israel today, despite the fact that some prominent Jewish musicians, notably Daniel Barenboim, have performed and advocated his work.

What can be concluded is that firstly, attempts to censor art on the grounds of contemporary morality are ultimately doomed to failure in the long run, and earn their proponents both ridicule and opprobrium. Many of our greatest artists have been prone to moral failings of one kind or another. But once a work of art is created, it takes on a life of its own, independent from that of its creator. It is perhaps not too far-fetched to suggest that, in the language of the Left, an artwork has rights.

Secondly, the past and the dead are vulnerable precisely because they can be the focus of subjective, and therefore politically-charged debate. This should be perceived for precisely what it is, and not confused with the practice or study of history in any true sense. The dead require the advocacy of the living; they have no means of arguing for themselves. In preserving the good in what they stood for, we therefore preserve our traditions and our humanity.

[1] http://www.news.com.au/world-news/bbc-told-to-remove-work-by-pedophile-sculptor-eric-gill/story-fndir2ev-1226626709154

[2] http://news.bbc.co.uk/1/hi/magazine/6979731.stm

[3] http://www.musicweb-international.com/classrev/2003/Sept03/Britten_comment.htm

Honours and awards: Dukedom of Samos in the Royal House Polanie-Patrikios

I have been honoured with the title of Duke of Samos awarded by the Royal House Polanie-Patrikios. The Head of the House, the Most Revd. Prince Kermit William Poling de Polanie-Patrikios, is the direct descendant of at least eleven of the Byzantine emperors. He is a member of clergy of the Order of Antioch and was honoured with membership in the San Luigi Orders by the late Prince-Abbot Edmond II. Today he holds the office of Vice-Chancellor Emeritus of the San Luigi Orders.

Duke of Samos

Quarterly Review – Apocalypse Discs

Reblogged from http://www.quarterly-review.org/?p=1507

Apocalypse Discs – John Kersey

JOHN KERSEY

Historian, musician and educationalist

www.johnkersey.org

As a musician, I face the prospect of having to save a limited number of works from certain apocalypse with a certain degree of trepidation. The difficulty is always that any selection is by nature impermanent, since music is perhaps the most responsive of the arts to one’s emotional state, and thus any change in personal equilibrium is likely to prompt a need for fresh aural inspiration. Nevertheless, the choice I make at present is of key works that have lived with me to the extent that I feel they have become a part of my way of seeing the world, and thus they can at least form something of a personal credo as far as those values – both musical and in a wider context – I would wish to see promulgated are concerned.

The chief object of art is, to my mind, a search for the expression of truth and beauty, and this theme runs through the selection I have made. There is some emphasis upon those composers who espoused a Traditionalist vision and set themselves against prevailing fashions in music, often at great personal cost. Their work is united by this artistic honesty and integrity, and perhaps their example also presents us with a microcosm of the resistance their art made to the apocalypse that came to dominate the avant-garde of their time, which sought to divorce itself from the dialectic of tonality. Although some works will doubtless be unfamiliar, there is no search for deliberate obscurity here, but rather a conscious immersion in a particular compositional thread that is effectively that of Romanticism and its extensions, and the quest for its most distinctive exponents, some of whose music deserves wider currency than it has hitherto enjoyed. JK, 25th March 2013

Lyra Angelica, William Alwyn (1905-85)

Alwyn was a polyglot, poet, artist, composer and sometime flautist with the London Symphony Orchestra. His compositions include many film scores, five symphonies (of which the last is entitled Hydriotaphia or Urn Burial) and this extraordinary harp concerto, which in my view is undoubtedly the greatest music written for the instrument. The first half of his working life was spent in London, teaching and serving on committees and boards. The second was spent in Suffolk, overlooking the Blyth estuary and writing music, poems and painting. One of his poems, Daphne, expresses his artistic credo,

Beauty is my reason for existence,

My day, my night, my all-in-all.

Faithless, I should cease to write.

http://www.youtube.com/watch?v=TooYPQtVUik&list=PLYAT_hEhVbG8b3cPPChfB8-nSU7wtKd-E

Concerto for solo piano, Charles-Valentin Alkan (1813-88)

Alkan was one of the greatest pianists of his stellar generation and a highly original and accomplished composer. In his early career, he was a friend of Liszt and Chopin, but in 1848 he was passed over for the position of head of piano at the Paris Conservatoire in favour of one of his pupils, and he seems never to have recovered from this blow, retreating into isolation. His concerto for solo piano, though a highly substantial work, is in fact part of one that is still larger, his twelve studies in all the minor keys, op. 39. Here it is given an outstanding performance by supervirtuoso Marc-Andre Hamelin.

http://www.youtube.com/watch?v=OQz5tWzVQiA

Spring Fire, Sir Arnold Bax (1883-1953)

Bax was the most Celtic of composers, encapsulating in his style the Ireland of myth and legend and evoking a distant past that also drew extensively upon Norse influences. As part of the Rathgar Circle that developed around the poet, artist and mystic AE (G.W. Russell) he adopted the pseudonym Dermot O’Byrne and published a number of poems and short stories that reflected an increasing involvement with Irish nationalism. Spring Fire is a relatively early work, inspired by Swinburne. Its extreme technical difficulty prevented any performance in Bax’s lifetime. For several years the only surviving score was believed to have been lost in a fire in 1964, but later another was discovered. The world it evokes is pagan and fantastic, and he wrote of it, “It is as though the whole of nature participated in the careless and restless riot of youth and sunlight.”

http://www.youtube.com/watch?v=AV5oHECmSg4

Sun God Symphony, Geirr Tveitt (1908-81)

An Odinist and Traditionalist, Tveitt was part of the circle of Hans S. Jacobsen in Oslo in the 1930s, but he remained aloof from political action and did not join the Nasjional Samling. The ballet Baldur’s Dreams is the apex of his Neo-Heathen worldview, being first performed in 1938 to great acclaim. After the war, his beliefs led to his complete ostracism from the Norwegian arts establishment, and the problems were compounded when, in 1970, his house burned to the ground, taking with it about 80% of his compositions, and leaving his last years bereft and embittered. The Sun God Symphony is therefore a posthumous reconstruction of three pictures from Baldur’s Dreams, and shows the extraordinary power and energy of Tveitt’s compositional imagination.

http://www.youtube.com/watch?v=Kws0g4Dfvco

Piano Concerto, op. 39, Ferruccio Benvenuto Busoni (1866-1924)

In its intellectual and humane distinction, subtle innovation and adherence to the Apollonian ideal, Busoni’s music is unparalleled. A master pianist, his Piano Concerto – in five movements, and with a male chorus singing a setting of Oehlenschlaeger’s Aladdin in the last – is an extraordinary achievement. This live performance by Peter Donohoe at the Proms remains one of the finest accounts of the work.

http://www.youtube.com/watch?v=FH60TO4egW0

Cello Concerto, Gerald Finzi (1901-56)

This work, the composer’s last, sums up his compositional achievement. It has become commonplace to say that Finzi’s music “sounds English” in that it evokes a particular combination of landscape and character. Certainly it is that, but its distinction is much greater, in that this is music of nobility, imagination, integrity and drama, suffused with a melancholic yet lyrical temperament.

http://www.youtube.com/watch?v=Bj_U1BntjPo

Symphony no. 1 “Gothic”, Havergal Brian (1876-1972)

A monumental work from an extraordinary man from whom music poured in torrents even when there was no-one interested in performing or listening to it. Brian did not “fit in” with the musical establishment; working-class, self-taught, and entirely dedicated to his own artistic standards. The more I come to know him and his output, the more I admire him. This work is huge, uncompromising and intellectually of the highest order. Richard Strauss described it as “magnificent”.

https://www.youtube.com/watch?v=CgUmpSWB-fc&list=PL9DF86B95A0102369

Trio in Three Movements, York Bowen (1884-1961)

Although widely respected as a pianist during his lifetime, and once described by Saint-Saens as “the finest of English composers”, Bowen’s works lay largely unpublished and unperformed until after his death. His individual style is felt at its best in this ambitious and effective piano trio.

https://www.youtube.com/watch?v=Tc3eniV0kQc

Hymnus paradisi, Herbert Howells (1892-1983)

This work was written in response to the death of the composer’s son from polio, aged nine, and requires no commentary. It is quite simply among the finest works of the English choral tradition.

http://www.youtube.com/watch?v=at-yv-BQAeA

Som Lynet er Kristi Genkomst (As Lightning Cometh Christ Again)

Rued Langgaard (1893-1952)

It is perhaps appropriate that one should close a selection of Apocalypse Discs with one of the very few depictions of the Second Coming in music. Rued Langgaard, a reactionary genius, composed in a style that ensured his treatment with utter disdain by the prevailing Danish musical establishment; his resulting isolation gave rise to a series of extraordinary compositions that is only now coming to be heard and appreciated. His music ranges from the visionary and prophetic to the bizarre and aphoristic. This short organ work develops in the manner of a ritual, fixating eventually upon its opening phrase, before rising in ecstasy amid the repeated gestures. A short pause leads to an increasing sense of expectation and the cataclysmic final chord that marks the moment of apparition.

http://www.youtube.com/watch?v=1ECKf__IJf4

Honours and awards: Noble of Memphis

The Illustrious Society of Lords and Ladies of Memphis, Descendants of the Pharaoh Ha’a’ib.Re’ (H’o’phra, Apries or Wahibre) is a lineage society established by my late adoptive father, Prince Kermit Poling de Polanie-Patrikios, in his capacity as Chief Lord of the Society and Prince of Mennof-Ra. The Pharaoh Wahibre ruled Egypt for ten years around 1670 BC.

The subject of descent from antiquity was a great interest of Prince Kermit, and was given added impetus by the work and publications of the Unit for Prosopographical Research at Linacre College, Oxford, and in particular the work of Christian Settipani on the descent from antiquity of Charlemagne.

With regard to this particular lineage society, see in particular A 4000–Year Old Descent from Antiquity: From the 12th Egyptian Dynasty to the Capetians and Beyond compiled by F.A. Doria with analysis by Chris Bennett and comments by Christian Settipani and N. Taylor (2001). Further studies of antiquity that traced this lineage back to the 13th Egyptian Dynasty established the descent from the Pharaoh Wahibre, which was set out in a publication by Prince Kermit.

New CD published – Piano Music of Sydney Smith (1839-89) volume 2

A new CD has been published by Romantic Discoveries Recordings.

Piano Music of Sydney Smith (1839-89) volume 2
John Kersey, piano
RDR CD99

Total time:

Total time: 76 minutes 47 seconds

1. Nadeshda, fantasia on the opera by Arthur Goring Thomas (1850-92), op. 211b 2. Aspiration (mélodie), op. 208 no. 1 3. Inquiétude (impromptu), op. 208 no. 2 4. Gavotte and Musette, op. 188 5. Vie orageuse (Deuxième ballade), op. 203 6. Chant de berceau, op. 156 7. Harmonies du soir (morceau élégant), op. 54 8. Menuet romantique, op. 174 9. Rayons d’or (Bagatelle), op. 176 10. Happy memories (morceau de salon), op. 77 11. Kermesse (Scène hollandaise), op. 181 12. Voix du coeur (Mélodie), op. 178 13. Zeffiretta (Morceau de salon), op. 159 14. Bacchanale, op. 170

Our thanks to the Sydney Smith Archive for supplying scores of these rare works.

Sydney Smith represents a lost generation of English composer-pianists who enjoyed both critical and commercial success in his heyday, only to be eclipsed by a rapid change in musical fashion that was compounded by his own ill-health. Born in Dorchester, in close proximity to Thomas Hardy, Smith won a place at the Leipzig Conservatoire aged seventeen and studied there for three years under Moscheles and Plaidy (piano) and Grutzmacher (cello). The Crown Prince of Prussia was apparently greatly impressed with his talent, and Smith’s move to London in 1859 marked the beginning of a career as a recitalist (notably at the Crystal Palace) and teacher. Added to this was the beginning of a prolific career as a melodic and effective composer of works for the salon and concert hall, many of which became included in popular anthologies of piano music of the day. This oeuvre made Smith one of the most famous musicians of his day, not only in England, but in Australia, America and continental Europe, and his name became a household word. Smith was particularly known for his virtuoso opera transcriptions, but as this album will show, was also gifted in a variety of short original forms, including characteristic dances and evocative mood-pieces. These works are written in a masterly way for the piano, showing a mature understanding of pianistic effect (with a good deal of influence from Chopin and Liszt) and providing a considerable technical challenge for the performer. The present recital offers probably the only opportunity at the moment to hear any of Arthur Goring Thomas’s last opera “Nadeshda” and is otherwise devoted to a varied selection of Smith’s original works, concentrating particularly on those from his later years.

Honours and awards: Commemorative medals of the Royal House of Thailand

I have been honoured to have been presented with several commemorative medals of the Royal House of Thailand. They were presented for “outstanding work for the progress of mankind through peace education” by the former Advisor of the President of the Committee for Private Education of the National Assembly.  In Thailand, it is customary for these medals to be worn by members of the civil service and the armed forces.

The medals presented were the Commemorative Medal for the 7th Cycle Birthday Anniversary of King Bhumibol Adulyadej (Rama IX), 2007; Commemorative Medal on the Occasion of the 6th Cycle Birthday Anniversary of H.M. Queen Sirikit, 2004; Commemorative Medal for the Investiture of H.R.H. Prince Vajiralongkorn as Crown Prince, 1972. Each of the medals was first issued on an earlier date, but this presentation was made in December 2012.

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Honours and awards: Knight Majus in the Byzantine Order of Leo the Armenian

I have been appointed as a Knight Majus in the Byzantine Order of Leo the Armenian. The Order is a house order of the Dynastic House Polanie-Patrikios, whose head is the Most Revd. Prince Kermit Poling de Polanie-Patrikios. Prince Kermit is the senior living member of the San Luigi Orders, having been admitted to all three Orders by Prince-Abbot Edmond II, and traces his ancestry to several of the Byzantine Emperors.

Honours and awards: Honorary Doctor of Byzantine Studies from the Constantinople Orthodox Institute

The Constantinople Orthodox Institute was established by my late adoptive father, Prince Kermit Poling de Polanie-Patrikios, in his capacity as Head of the Royal House Polanie-Patrikios, on 1 January 2006. It is a study society established to foster interest in Byzantine faith, history and culture, which was particularly encouraged through directed self-study. Various issues of The Excubitor, the journal of the Byzantine Order of Leo V, contained resources for students of the Institute.

The Institute conferred honorary degrees only, and in 2012 I was honoured to receive an honorary Doctor of Byzantine Studies.

Honours and awards: Knight of the Order of the Sacred Cup

The Order of the Sacred Cup is a fraternal fellowship of Christian men. While chivalric in its character, it is not an Order of Chivalry in the classical definition of that term. It acknowledges Jesus Christ, Son of God, as its Grand and only Master. These knights exalt the Sacred Cup and defend the symbolic meaning of the elements of the Last Supper as representing the broken body and shed blood of Jesus. The Order gives forth no code of conduct except that which is handed down through the teachings of Holy Scripture.

The Order of the Sacred Cup was founded in Grafton, West Virginia, USA, on 1 August 1970, with the main purpose to be that of helping and aiding needy children. It still pursues this goal on a selected basis. The order also functions as an honorary award given in recognition of outstanding service to the Church of Jesus Christ.

The Order is truly Ecumenical in nature. The founders and original officers were mostly drawn from Protestant churches. Its original religious charter was bestowed by Patriarch Peter II Zhurawetsky of Miensk, and the Patriarch of Jerusalem, Benedict I, conferred Apostolic Blessings on the Order. His successor Patriarch Diodoros likewise extended his Patriarchal Blessing to the Knights of the Sacred Cup. In 1988 Prince Kermit William of Miensk became Grand Knight Chancellor and held that position with distinction, building up the work and membership of the Order. He appointed me as a Knight of the Order in September 2012. On his death in 2015 he was succeeded by me as his adopted son and heir.

New CD published – Piano Music of Herrmann Scholtz (1845-1918)

A new CD has been published by Romantic Discoveries Recordings.

Piano Music of Herrmann Scholtz (1845-1918)
John Kersey, piano
RDR CD98

Total time: 74 minutes 50 seconds

1. Nocturne op 41 no 1. 2. Nocturne op 41 no 2. 3. Variationen über ein norwegisches Volklied, op 27. Traumbilder, op 22: 4. Langsam 5. Im mässigen Tempo 6. Langsam 7. Sehr rasch. 8. 14 Variationen über ein Original-Thema, op 31. Albumblätter, op 20: 9. Ziemlich langsam 10. Mässig bewegt 11. Innig bewegt 12. Ziemlich bewegt 13. Innig bewegt 14. Ziemlich langsam und äusserst zart zu spielen 15. Nicht zu langsam und etwas graziös 16. Ziemlich belebt und sehr gesangvoll zu spielen 17. Still und träumerisch 18. Ziemlich bewegt 19. Ziemlich langsam und mit innigem Ausdruck 20. Freudig bewegt.

Our thanks to Peter Cook for supplying scores of these rare works.

Herrmann Scholtz was born in Breslau and studied there with Brosig and subsequently at the Leipzig Conservatoire with Plaidy (1865-67). On the advice of Liszt, he completed his studies at Munich with von Bülow and Rheinberger. He taught at Munich for six years after graduation, before moving to Dresden where he was appointed Sächsischen Kammer-virtuose in 1880 and professor in 1910. Scholtz’s posthumous reputation rests upon his edition of the works of Chopin, but he was also a versatile composer. For piano, he composed a sonata and a piano concerto (unpublished) and a number of shorter works from which this disc presents a selection. There is also a piano trio and several orchestral Suites.

Scholtz’s American pupil Mary Y. Mann wrote in a reminiscence of him, “I wish it lay in my power to teach all here to appreciate and honor him in the same degree that all who know him do…so ever courteous, gentle and friendly, possessed of so great musical intelligence and feeling, yet so modest with all that it humbled one to think of one’s own diminutiveness…in every way Professor Scholtz is a most delightful teacher, and his music room where he always gives his lessons is enough to delight a musician’s heart so full of mementos of the old masters and music of all kinds; and to crown all two grand pianos, at one of which he always sits with a copy of the pupil’s lesson, thus sparing you the nervous feeling of having some-one “look over your shoulders,” and at times playing with you, imbuing you with his spirit and tempo.” Regarding Scholtz as a player, she tells us, “He plays rather seldom as his time is fully occupied and of late has had an affection of the hand aside from an injury to one of his fingers that has debarred him from overuse of them, but he is always a warmly-welcomed and a very sympathetic performer, and so generous to his brother-artists that one appreciates his greatness the more.”

New CD published – The Little Russians

A new CD has been published by Romantic Discoveries Recordings.

The Little Russians
John Kersey, piano
RDR CD97

Alexander Alexandrovich Kopylov (1854-1911): 1. Feuille d’album in G Gennari Ossipovich Karganov (1858-90): 2. Serenade, from “Album lyrique”, op 20 no 4 3. Menuet all’antico, op 20 no 5 4. Dans le gondole, op 20 no 6 5. Kopylov: Polka de salon on the theme B-la-F, op 16 6. Karganov: Reverie du soir, op 20 no 7 7. Scherzino, op 20 no 8 8. Berceuse, op 20 no 11 9. Kopylov: Album leaf in C minor, from “3 Album Leaves”, op 26 no 3 10. Karganov: Romance, op 20 no 9 11. Nocturne, op 18 no 1 12. Kopylov: Chanson sans paroles 13. Karganov: Valse-caprice, op 16 14. Kopylov: A drop of rain, op 13 no 4 15. Mazurka 16. Karganov: Capriccietto, op 20 no 10 17. Mazurka, op 20 no 12 18. Nocturne, op 18 no 2 19. Kopylov: Feuille d’album in C 20. Karganov: Berceuse, from “Aquarelles”, op 22 no 3 21. Polka, from “For the Youth”, op 21 no 7

Our thanks to Peter Cook for supplying scores of these rare works.

Gennari Ossipovich Karganov was born in Kvarely in Georgia in 1858 (or possibly 1852). He was of Armenian nationality but subsequently became a naturalized Russian. He was professor of piano at the conservatoire in Georgia and composed mainly for the piano, including many miniatures and some instructional works. He died at Rostov-on-Don in 1890, aged just 31.

Alexander Alexandrovich Kopylov studied privately with Rimsky-Korsakov and Liadov. Principally a singer and violinist, he taught at the Imperial Court Choir where he had formerly been a chorister. Composer of symphonies and string quartets, he also composed a number of miniatures for piano.

Honours and awards: Royal Protector and Member of Sovereign Council of the Regency of Lomar

206878_216437535034563_5632262_nSince March 2012 I have served as Royal Protector of the Regency of Lomar and as a member of its Sovereign Council. The position of Regent of Lomar, which carries with it the title of Duke of Saih Nasra in the Abbey-Principality, has been vacant following the death of the last Regent, Dom Klaus Schlapps OPR OA, in January 2013.

The Regency of Lomar is fundamentally a small sovereign, non-territorial, non-profit, transnational diplomatic and humanitarian institution, or non-government organization (NGO). ROL primarily provides humanitarian and direct aid for refugees and other abused people, and works closely with international aid, government and non-government organizations in compliance with the UNHCR Convention of the Status of Refugees and the UN Universal Declaration of Human Rights. Although some have described the ROL as a micronation, it has always rejected this term.

logolomarFounded in 1997 in Silicon Valley, California, by Lawrence A. Cleenewerk and a small group of Catholic and Orthodox Christians, Lomar was inspired by the novella The Dream-Quest of Unknown Kadath by H.P. Lovecraft, from which Cleenewerk developed the idea of a state which would provide an “utopian safe haven for refugees and displaced persons”. Initially titling the project the Republic of Lomar after the legendary polar kingdom of the same name, Cleenewerk later adopted an acronym to describe its aims, “Libre Organisation Mondiale d’Aide aux Réfugiés”. In March 1998, the Republic of Lomar Foundation (Fédération Humanitaire Republique de Lomar) was incorporated as a non-profit corporation in Delaware, USA. An office was initially established in Washington, D.C., moving to Nevada in 2004. A paper entitled “The Republic of Lomar, Sovereignty and International Law” discusses the status of Lomar at this time.

passpic1Lomar grew quickly and developed a network of volunteer diplomats, with a particular base in France and consulates in seven countries in all. By 2001, there were over 4,500 registered citizens located all over the world. Lomar issued its own passports, similar to the UN Passport or the Nansen Passport, to the collective community of underprivileged people, including exiles, stateless refugees, victims of oppressive regimes, unrepresented people (Lomar has been a supporter of the UNPO (Unrepresented Nations & Peoples Organization) from the outset) and other deserving individuals who were in need of relocation. Legal help was offered with immigration matters. Although no state formally recognized Lomar, its passports were used to enter countries including Russia and Cuba.

The Lomar flag symbolically represents the green color of Life on Earth and the blue symbol of the sky and life-giving Water. The purple star is the symbol of Hope and Royalty, representing the Polaris Star. The flag was manufactured both in full size and in miniature versions suitable for desktop use.

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In 2001 a group of criminals in Nigeria – a country where Lomar has never had any representation – used the Lomar name without authorization to sell bogus passports and “citizenships”, with tens of thousands of people suffering financial loss as a result. Lomar worked with international police authorities to combat this menace and expose it in the media, but the ensuing scandal was at a heavy cost to its resources and reputation.

In December 2003, Dom Klaus Schlapps was appointed First Counsellor and President of Lomar. He changed the name from Republic to Regency of Lomar and was elected the first Regent in 2004. Finding Lomar’s fortunes at a low ebb, he worked with others, particularly Secretary General HE Renaud Le Mailloux, to revive its humanitarian activities, now no longer concentrating on stateless persons as had previously been the case, and free from all religious or political affiliation.

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Before long, Lomar had started to develop new and productive endeavours. Through Dom Klaus’s project Art Aid a hospital was built in Peru and a daycare centre was also scheduled for construction. A programme of wind turbines in Burkina Faso generated electricity for villages there, and a consignment of ten computers, bicycles and other goods was sent in late 2005. Work in collaboration with the Navti Foundation in Cameroon led to the donation of five tons of humanitarian aid in May 2005, including old computers for the use of children there, sewing machines (with volunteer teachers from ROL to teach their use), bedding and free medicines supplied as a result of Dom Klaus’s association with German-based charity PARMED, where he served as president. Donations were made to the victims of Hurricanes Katrina and Rita. In the People’s Republic of China and Hong Kong SAR, ROL supported the care of the elderly and young children. A Mercedes jeep was donated by PARMED to help ROL work in Cameroon. Literary and music competitions were organized, and a fundraising CD “Sounds of the East” was issued.

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The patrons of the ROL included French politician Jack Lang; the Fon of Nso, HRH Fon Sehm Mbinglo I, the Fon of Mbiame, HRH Schindzev Tata II, and the Fon of Nseh, Kwinkor Fonban, from Cameroon; Princess Angela Fugger von Glott; and HIH Prince Nguyen Phuc Buu Phuc of Viet Nam. Dom Klaus received the title of Shufaiy Ngaibunri (equivalent to Duke) from the Fon of Nso in recognition of his humanitarian work.

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The associations entered into by the ROL included Akamai University, Hawai’i, USA, PARMED e v., Leinau, Germany (now defunct, archive site), the Navti Foundation, CRIG International, the Association for Protection of the Rights of the Refugees from Abkhazia (APPRA), Georgia, ANAMED, and the International Green Cross Organization. In February 2012, mutual recognition was extended between the ROL and the Abbey-Principality of San Luigi.

Before 2004 a number of Lomar stamps were issued. Two of these issues are shown below. Proceeds from the sale of the stamps in remembrance of the occupation of Tibet went to the Tibetan government-in-exile.

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In 2006 the only coin of Lomar was issued, a 1 Kurant piece in bronze that depicted the arms of Lomar, the Arctic Wolf and the Polaris Star.

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All of this meant that Lomar stood – and stands still – as one of the most successful virtual government projects in the history of the internet. In 2009, however, a major software and database failure placed its future in jeopardy. With no backups available, activities were suspended and serious consideration was given as to whether Lomar should continue. In 2012, Lomar returned with a limited internet presence and support was sought from outside agencies and individuals for it to resume its work. The sudden and unexpected death of its Regent in the following year again called a halt to its activities, and so Lomar now waits to discover the next chapter in its existence.

Lomar

Two new CDs published – Piano Music of Jakob Rosenhain (1813-94) vols. 1 and 2

Two new CDs have been published by Romantic Discoveries Recordings.

Piano Music of Jakob Rosenhain (1813-94), vol. 1
John Kersey, piano
RDR CD95

Total time: 60 minutes 47 seconds

Sonata in F minor, op 40: 1. Allegro con fuoco 2. Andantino 3. Scherzo – Allegro molto 4. Rondo – Presto 5. Slavonic Dance, op. 67 no. 1 6. Poeme, op. 24 Deux Morceaux de Salon, op. 28: 7. Nocturne 8. Rondo-valse 9. Grande valse de concert, op. 33

Piano Music of Jakob Rosenhain (1813-94), vol. 2
John Kersey, piano
RDR CD96

Total time: 61 minutes 46 seconds

1. Grand Caprice brillant, op. 23 Deux Reveries, op. 26: 2. Andantino doloroso 3. Andantino con moto Quatre Romances, op. 14: 4. Allegro non troppo 5. Andantino 6. Scene suisse au bord du lac de Genève 7. Andante espressivo 8. Etude op 17 no 6 – The Fisher’s Serenade 9. Etude op 17 no 8 – Lied 10. Etude op 17 no 11 – Con passione, tempo rubato.

Our thanks to Dr Klaus Tischendorf for supplying scores of these rare works.

The German-Jewish composer and pianist Jakob Rosenhain was born at Mannheim in 1813 and made his debut aged eleven. Piano studies with Jacob Schmitt in Mannheim and Schnyder von Wartensee in Frankfurt followed culminating in final studies with Kalliwoda. By 1832 he was settled in Frankfurt. He subsequently developed a concert career, appearing with the London Philharmonic Orchestra in the 1837 season and also enjoying success with his one-act opera “Der Besuch im Irrenhauses” which was first given in Frankfurt in 1834 and afterwards taken up at Weimar under Hummel. However, he was unable to repeat the success of this work with his second opera, “Liswenna” (1835) even though he reworked this as “Le Demon de la Nuit” in 1851. From at least 1839 he was a friend of Mendelssohn, and also knew Hiller and Moscheles, with whom he stayed. From the autumn of 1837 he settled in Paris, where he worked on writing a school of piano playing with the well-known pedagogue John Baptist Cramer and gave chamber music evenings that were attended by such luminaries as Berlioz, Rossini and Cherubini. Continuing to hope for another operatic success, his third opera, “Volage et Jaloux” was given at Baden in 1863, but again failed to make the desired impression, and after this time Rosenhain concentrated on instrumental music. In 1870 the Franco-Prussian War forced him to relocate to Baden, where he had a villa. He received honours from Holland, France, Spain, Portugal and Baden and was elected an honorary member of the St Cecilia Society of Rome.

Rosenhain’s output includes three symphonies, one of which the London Philharmonic Orchestra performed in 1854. The second symphony, his op. 43, was performed by Mendelssohn in Leipzig in 1846; the first had been given by the same forces in 1840. There is a piano concerto in D minor, four piano trios, Lieder,  and a quantity of solo piano music including three known sonatas, of which that recorded on RDR CD 95 is the first. Several works were reviewed by Schumann in his capacity as a critic.

The two disc set of piano works by Rosenhain comprising RDR CD 95 and 96 represents a cross-section of his output for which scores can be sourced at present. The F minor sonata is the largest-scale work here, and in the dramatic gestures and taut structure of its first movement suggests a composer of considerable accomplishment. After this, the other movements represent a significantly calmer and more optimistic outlook, with a scherzo that features bell-effects in its trio section and a rapid finale with something of a rustic character. Evidently, Rosenhain intended through this contrast to demonstrate his full range of expressive writing; at times he certainly recalls his contemporary Mendelssohn, particularly in the latter movements, but in the first movement there is a tougher quality to his gestures that suggests a more Beethovenian spirit.

The other works in extended forms are the Poeme, op. 24, the Two Reveries comprising op. 26 and the Grande Caprice brillant, op. 23. These are ambitious concert works that develop a subtle but individual voice, characterized by an able and varied approach to structure and a convincing handling of chromatic harmony. While there are demanding passages in some of Rosenhain’s music, particularly in the extrovert Grande Caprice brillant, he is not generally concerned with virtuoso display and adopts a more Chopinesque style in which the achievement of expressive effect is paramount.

Rosenhain’s Parisian world was one where the salon was central to the life of the pianist, and his shorter works, even where not explicitly designated as morceaux de salon, were likely intended for performance in these intimate, atmospheric surroundings before poets, artists and fellow musicians. The Quatre Romances are striking examples of this genre, with one of their number depicting a rustic scene at Lake Geneva, complete with alpine effects.

Rosenhain’s Etudes, op. 17, achieved recognition in his lifetime as worthy examples of the concert etude, and his Fisher’s Serenade was probably the best known of this set. Equally notable, however, is the etude op. 17 no 11, which is a passionate and effective study in octaves and chords.

New CD published – The Circle of Brahms, vol. 6

A new CD has been published by Romantic Discoveries Recordings.

The Circle of Brahms, vol. 6
John Kersey, piano
RDR CD94

Total time: 73 minutes 41 seconds

1. August Bungert (1845-1915): Aus meinem Wanderbuch: Unter Palmen (Bordighera), op. 53 no 1
2. Bungert: Variations and Fugue on an original theme, op. 13
3. Woldemar Bargiel (1828-97): Nachtstück, op. 2
Bungert: Albumblätter: Characterstücke, op. 9 book II
4. Allegro moderato, op. 9 no. 4 5. Andante, op. 9 no. 5 6. Moderato, op. 9 no. 6
7. Heinrich von Herzogenberg (1843-1900): Eight Variations, op. 3
8. Ernst Rudorff (1840-1916): Impromptu, op. 51

The quintessential German Romantic, August Bungert, a pupil of Friedrich Kiel, came to the attention of Brahms when his Piano Quartet, op. 18, was awarded the Florentine Quartet Prize in 1877, the judges being Brahms and Robert Volkmann. This success proved extremely important for Bungert, since it provided him with the means to move to Italy, where he formed significant connexions with Verdi and Friedrich Nietzsche (who was his neighbour). Here also he met the Queen of Romania, known in artistic circles by the name Carmen Sylva, who became his patron, providing him with a Bechstein grand piano, a house, and organising a group of supporters known as the Bungert-Bund. In return, Bungert set many of her poems to music (composing some 362 songs in all), and also began to work on a series of epic operas. Although seen initially as an opposing pole to Wagner, Bungert became increasingly influenced by him, and his operas treat the world of Homer in the same way as Wagner’s own operas on mythic subjects.

Earlier on, it had been Brahms who had been Bungert’s stylistic model. His major set of Variations, op. 13, can be considered a response to Brahms’ own works in that form but attempts a more contemporary symphonic style, with many striking moments and a crowning fugue that is complex both technically and musically. The neglect of this work is difficult to understand; in post-war Germany Bungert was considered the inferior of Wagner, but nowadays we can see his work for its individual qualities rather than merely in comparison with others.

Woldemar Bargiel was not a prolific composer, but his works deserve greater attention than the almost complete neglect they fell into in the years immediately following his death. Similarly, if he is known at all these days, it is as the half-brother of Clara Schumann (as a result of her mother’s second marriage to music teacher Adolf Bargiel), with the implication that not only was the success of his career due to this connexion (which was undoubtedly the case) but also that such reputation that he enjoyed was merely the result of this nepotism (which was certainly not so).

Bargiel studied under Moscheles, Hauptmann, Rietz and Gade at the Leipzig Conservatoire (being noted among the younger generation in Schumann’s Neue Bahnen in 1853) and from 1859 took up a teaching position as a theorist at the conservatoire in Köln. 1866 saw him move to Rotterdam where he concentrated on conducting and musical direction, and 1874 (at the invitation of Joachim) back to Berlin (where he had taught privately throughout the 1850s) as professor of composition at the Royal Hochschule. He attained the peak of professional recognition as a senator of the Akademie der Künste, teaching up until his death at the age of sixty-nine.

Bargiel’s well-crafted and distinctive music enjoyed wide popularity during his lifetime. As well as piano music, he wrote a number of chamber works, songs, and orchestral pieces. His Notturnos date from 1853 and show a command of the Gothic style he had inherited from Schumann, but in the first, particularly, adding a rhetorical element that creates an individual impression.

Ernst Rudorff studied piano under Woldemar Bargiel and then entered the Leipzig Conservatoire under Moscheles, Plaidy and Rietz. He undertook further study with Hauptmann and Reinecke. Appointment as professor of piano at the Cologne Conservatoire in 1865 was followed by the senior piano position at the Berlin Hochschule between 1869 and his retirement in 1910. A prolific composer, arranger and editor, Rudorff was a friend of both Brahms and Joachim.

Heinrich von Herzogenberg studied composition under Dessoff and, influenced by his studies of Bach, became an ardent admirer of Brahms. He married one of Brahms’s piano pupils, and it is suggested by some that Brahms’s resentment of this union played a part in his generally curmudgeonly attitude towards Herzogenberg. In 1872, Herzogenberg moved to Leipzig where, along with Philip Spitta, he founded the Leipzig Bach-Verein, which did much to revive Bach’s cantatas. From 1885 he was professor of composition at the Berlin Hochschule für Musik, and in his last years, although a Roman Catholic, composed extensively for the Lutheran church. Herzogenberg’s works include several important pieces for solo piano and piano four hands. His early Variations, op. 3, show an ambitious young composer with plenty to say, and suggest that he had absorbed much of the Brahmsian style.

Honours and awards: Honorary Fellowship of the Three Counties School of Music

The Three Counties School of Music has awarded me an Honorary Fellowship in recognition of my “services to music and outstanding musical achievements both at national and international level.”

The School, which is in association with the University of Gloucestershire, was founded in 2010 to provide quality, accessible and affordable music education for people of all age groups, who wish to focus on a variety of styles of music performance or composition, with less formal but equally rigorous assessments than traditional examination boards. I previously advised on the School’s initial stages and assessment structures.

New CD published – The Circle of Brahms, vol. 5

A new CD has been published by Romantic Discoveries Recordings.

The Circle of Brahms, vol. 5
John Kersey, piano
RDR CD93

Total time: 72 minutes 19 seconds

1. Friedrich Gernsheim (1839-1916): Variations in E flat major, op. 18
2. Gernsheim: Variations in C minor, op. 22
3. Gernsheim: Weihe der Nacht, op. 69
4&5. Gernsheim: Fantasie und Fuge, op. 76b
Ernst Rudorff (1840-1916): 3 Romanzen, op 48: 6. Andante con moto tranquillo  7. Allegro capriccioso 8. Larghetto – Allegro vivace
9. Rudorff: Variazioni capricciose, op 55
10. Rudorff: Capriccio appassionato, op. 49

Friedrich Gernsheim was born of a Jewish family in Worms and studied there with Louis Liebe, who had been a pupil of Spohr. Following the 1848 revolutions, his father moved the family to Frankfurt, where he studied with Edward Rosenhain. His debut in 1850 was followed by two years of touring, before he undertook advanced studies with Moscheles. Between 1855-60 he was in Paris, where he met Lalo, Rossini and Saint-Saëns. In 1861 he succeeded Hermann Levi as music director in Saarbrücken, and in 1865 Hiller appointed him to the staff of the Cologne Conservatoire, where he taught Engelbert Humperdinck among others. In 1868 he met Brahms for the first time, and his compositions, which include four symphonies (the third based on the Jewish theme of the Song of Miriam), concertos and much chamber music, show a notable Brahmsian influence. He spent the years 1874-90 as director of the Rotterdam Philharmonic Society, before joining the faculty of the Stern Conservatoire in Berlin, finally leaving to teach at the Academy of Arts in 1897, the year he was elected to the senate.

Gernsheim was a talented pianist and composer, and although it is not difficult to see elements of Brahms and Schumann in his work, there is also a personal voice that tends distinctly towards the melancholic. His sets of piano variations on original themes are inventive and ambitious, featuring intricate textural writing and some effective harmonic touches. His Fantasie und Fuge is a transcription of an organ work that begins in the traditional improvisatory style with abrupt contrasts of mood and tempo before building into a noble work that pays homage to the example of Bach. His poetic “Weihe der Nacht” is a transcription of a work originally for piano four hands.

Ernst Rudorff studied piano under Woldemar Bargiel (see previous RDR releases) and in 1859 entered the Leipzig Conservatoire where he studied under Moscheles, Plaidy and Rietz. He undertook further study with Hauptmann and Reinecke. Appointment as professor of piano at the Cologne Conservatoire in 1865 was followed by the senior piano position at the Berlin Hochschule between 1869 and his retirement in 1910. In 1867 he founded the Bach-Verein Köln and from 1880-90 was conductor of the Stern Gesangverein, succeeding Bruch.

A prolific composer, arranger and editor, Rudorff was a friend of both Brahms and Joachim. His original works include three symphonies, overtures, variations and serenades for orchestra, chamber music and vocal music both with orchestra and with piano. He was responsible for orchestrating Schubert’s four-hand Fantasy in F minor.

His compositional style owes something to Brahms but is also relatively forward-looking, at times approaching in its chromatic harmonic style such younger contemporaries as Dohnanyi. His music is characterized by a certain degree of vigour; the extended coda of his Variazioni capricciose being notable for its extroversion. Again, the Three Romances op. 48 might arouse expectations of tranquil works, but the second and third (after a slow introduction) are in fact highly active.

New CD published – The Circle of Brahms, vol. 4

A new CD has been issued by Romantic Discoveries Recordings.

The Circle of Brahms, vol. 4
John Kersey, piano
RDR CD92

Carl Georg Peter Grädener (1812-83): Piano Sonata in C minor, op. 28
1. Allegro molto e con brio 2. Grave assai lento 3. Scherzo finale molto vivace

Heinrich XXIV Prinz Reuss zu Köstritz (1855-1910)
4. Andante

Grädener: Fantastische Studien und Träumereien, op. 52, vol. 1
5. „Immer zu immer zu/Ohne Rast noch Ruh!” 6. Beschaulichkeit 7. Jüngling und Mädchen 8. Kampf, Entsagung, Kampf 9. Resignation

Gustav Nottebohm (1817-82): Six Romanesques, op. 2
10. Andantino 11. Allegro poco agitato 12. Andante cantabile 13. Allegro grazioso  14. Allegro 15. Allegro brioso

Our thanks to Dr Klaus Tischendorf and Peter Cook for supplying scores of these rare works.

Carl Grädener was born in Rostock and spent ten years as a cellist in Helsinki. He was then director of music at the Kiel Conservatoire for ten years, later teaching at the Vienna and Hamburg Conservatoires. His compositions include operas, symphonies and other large-scale works, as well as miniatures for piano and songs. His son Hermann also became a composer. His piano sonata op. 28 is a large-scale and ambitious work that has stylistic parallels with Brahms’ own early essays in the genre. Like Brahms, Grädener’s writing is tightly worked-out and highly pianistic, with a good deal of writing in double octaves and other virtuoso figurations. By contrast, the central slow movement is introverted and, while continuing the overall seriousness of the work, introduces a lyrical element that is otherwise absent. Grädener’s combination of scherzo and finale is an interesting innovation whose stormy character is fully in keeping with the Romanticism of his age without neglect of the essential backbone of Classical form.

Grädener’s first book of Fantastische Studien und Träumereien shows him to have been an effective scene-painter tending particularly towards the intense and dramatic, as in the first and fourth pieces. However, there is contrast here and the second piece, Beschaulichkeit (or Tranquillity) is full of bluff good humour of a slightly boisterous kind. The last of these studies, headed Resignation, is the most extended, with an agitated middle section leading to a long passage of repeated figuration for the left hand.

Martin Gustav Nottebohm is probably best known for his studies of Beethoven’s sketchbooks, but was also well regarded as a composer. After studies in Leipzig, where he met Mendelssohn and Schumann, he settled in Vienna in 1846. His first meeting with Brahms was in 1862 and the two men became close friends, with Brahms caring for Nottebohm in his last illness and making the arrangements for his funeral.

Nottebohm composed on a domestic scale, with most of his works for piano or chamber ensembles. His Variations on a Sarabande of J.S. Bach for piano duet was performed with Brahms as his duo partner. Brahms wrote in a letter to Heinrich von Herzogenberg (see earlier volumes of this series) that Nottebohm was among the modern practitioners of variation form.

Prince Heinrich XXIV Reuss zu Köstritz was born into the younger line of the Princely House of Reuss; his father was an amateur composer. He studied music at Dresden and then entered the Universities of Bonn and Leipzig where he studied with Wilhelm Rust. From 1881 he studied with Herzogenberg and through his good relations with Herzogenberg came to meet Brahms, who offered him some helpful advice on compositional matters. As well as six symphonies, he wrote a quantity of chamber music, influenced in style by Herzogenberg and Mendelssohn. His works were admired by Reger and other contemporaries, but he fell from favour in the post-war years.