Percy Grainger - Knowledge

4058: 780:. This was his home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from delusions and nightmares, and became fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been rumours that their relationship was incestuous; in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window on the 18th floor of the Aeolian Building in New York City. The letter, which began "I am out of my mind and cannot think properly", asked Grainger if he had ever spoken to Lotta of "improper love". She signed the letter: "Your poor insane mother". 1436:

band music; Timothy Reynish, a conductor and teacher of band music in Europe and America, has described him as "the only composer of stature to consider military bands the equal, if not the superior, in expressive potential to symphony orchestras." Grainger's attempts to produce "free music" by mechanical and later electronic means, which he considered his most important work, produced no follow-up; they were quickly overtaken and nullified by new technological advances. Covell nevertheless remarks that in this endeavour, Grainger's dogged resourcefulness and ingenious use of available materials demonstrate a particularly Australian aspect of the composer's character – one of which Grainger would have been proud.

1120: 1383: 1136:, although by now his illness was affecting his concentration. On this occasion his morning recital went well, but his conducting in the afternoon was, in his own words, "a fiasco". Subsequently confined to his home, he continued to revise his music and arrange that of others; in August he informed Elsie that he was working on an adaptation of one of Cyril Scott's early songs. His last letters, written from hospital in December 1960 and January 1961, record attempts to work, despite failing eyesight and hallucinations: "I have been trying to write score for several days. But I have not succeeded yet." 1469:. Nevertheless, in his later years he frequently denigrated his career, for example writing to Scott: "I have never been a true musician or true artist". His failure to be recognised as a composer for anything beyond his popular folk-song arrangements was a source of frustration and disappointment; for years after his death the bulk of his output remained largely unperformed. From the 1990s, an increase in the number of Grainger recordings has brought a revival of interest in his works, and has enhanced his reputation as a composer. An unsigned tribute published on the 911: 240: 433:. Initially the two men were on cordial terms (Busoni offered to give Grainger lessons free of charge) and, as a result, Grainger spent part of the 1903 summer in Berlin as Busoni's pupil. However, the visit was not a success; as Bird notes, Busoni had expected "a willing slave and adoring disciple", a role Grainger was not willing to fulfil. Grainger returned to London in July 1903; almost immediately he departed with Rose on a 10-month tour of Australia, New Zealand and South Africa, as a member of a party organised by the Australian contralto 43: 1155: 180: 418:, who thereafter frequently attended his London recitals. Lowrey, 20 years Grainger's senior, traded patronage and contacts for sexual favours – he termed the relationship a "love-serve job". She was the first woman with whom he had sex; he later wrote of this initial encounter that he had experienced "an overpowering landslide" of feeling, and that "I thought I was about to die. If I remember correctly, I only experienced fear of death. I don't think that any joy entered into it". 765: 603: 293:, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he maintained considerable patriotic feelings for his native land, and was proud of his Australian heritage. 528:. Grieg was greatly impressed with Grainger's playing, and wrote: "I have written Norwegian Peasant Dances that no one in my country can play, and here comes this Australian who plays them as they ought to be played! He is a genius that we Scandinavians cannot do other than love." During 1906–07 the two maintained a mutually complimentary correspondence, which culminated in Grainger's ten-day visit in July 1907 to the composer's Norwegian home, "Troldhaugen" near 4252: 794: 631:, damaged his reputation among his patriotically minded British friends. Grainger wrote that the reason for this abrupt departure was "to give mother a change" – she had been unwell for years. However, according to Bird, Grainger often explained that his reason for leaving London was that "he wanted to emerge as Australia's first composer of worth, and to have laid himself open to the possibility of being killed would have rendered his goal unattainable". 821:. Words of Norman or Latin origin were replaced by supposedly Nordic word-forms, such as "blend-band" (orchestra), "forthspeaker" (lecturer) and "writ-piece" (article). He called this "blue-eyed" English. His convictions of Nordic superiority eventually led Grainger, in letters to friends, to express his views in crudely racial and anti-Semitic terms; the music historian David Pear describes Grainger as, "at root, a racial bigot of no small order". 540: 1087:. Next was the "Estey-reed tone-tool", a form of giant harmonica which, Grainger expectantly informed his stepdaughter Elsie in April 1951, would be ready to play free music "in a few weeks". A third machine, the "Cross-Grainger Kangaroo-pouch", was completed by 1952. Developments in transistor technology encouraged Grainger and Cross to begin work on a fourth, entirely electronic machine, which was incomplete when Grainger died. 923:

September 1933 he and Ella went to Australia to begin supervising the building work. To finance the project, Grainger embarked on a series of concerts and broadcasts, in which he subjected his audiences to a vast range of the world's music in accordance with his "universalist" view. Controversially, he argued for the superior achievements of Nordic composers over traditionally recognised masters such as Mozart and Beethoven.

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belittlement". Its vast quantities of materials have been used to investigate not only Grainger's life and works, but those of contemporaries whom Grainger had known: Grieg, Delius, Scott, and others. The Grainger home at 7 Cromwell Place, White Plains, New York, is now the Percy Grainger Library and is a further repository of memorabilia and historic performance material, open to researchers and visitors.

222:. John's claims to have "discovered" her are unfounded, although he may have offered her encouragement. John was a heavy drinker and a womaniser who, Rose learned after the marriage, had fathered a child in England before coming to Australia. His promiscuity placed deep strains upon the relationship. Rose discovered shortly after Percy's birth that she had contracted a form of 1068:. Over the next few years several friends died: Gardiner in 1950, Quilter and Karen Holten in 1953. In October 1953 Grainger was operated on for abdominal cancer; his fight against this disease would last for the rest of his life. He continued to appear at concerts, often performed in church halls and educational establishments rather than major concert venues. 1502:, while acknowledging Grainger's contribution to social and cultural aspects of music, nevertheless writes that if the continental foundation of Grainger's musical education had not been "undermined by dilettantism and the disastrous influence of his mother, I am sure that his ultimate contribution to the world of music would have been much greater". 394: 1094:. He refused to consider a "Grainger Festival", as suggested by the Australian Broadcasting Commission, because he felt that his homeland had rejected him and his music. Before leaving Melbourne, he deposited in a bank a parcel that contained an essay and photographs related to his sex life, not to be opened until 10 years after his death. 1330:

nature we hear all kinds of lovely and touching "free" (non-harmonic) combinations of tones; yet we are unable to take up these beauties… into the art of music because of our archaic notions of harmony." In a 1941 letter to Scott, Grainger acknowledged that he had failed to produce any large-scale works in the manner of a

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Frankfurt on 6 December 1900. Meanwhile, he continued his studies with Kwast, and increased his repertoire until he was confident he could support himself and his mother as a concert pianist. Having chosen London as his future base, in May 1901 Grainger abandoned his studies. With Rose, he left Frankfurt for the UK.

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a German-born graduate of the Moscow Conservatory, Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by

122:. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with 302: 1494:

in 1957, as "one of the noblest ever committed to record" – despite the suppression of the disc for many years, because of the proliferation of wrong notes and other faults. Brian Allison from the Grainger Museum, referring to Grainger's early displays of artistic skills, has speculated that had John

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in Melbourne, which was given little attention before the mid-1970s; it was initially regarded as evidence either of an over-large ego or of extreme eccentricity. Since then the University of Melbourne's commitment to the museum has, Covell asserts, "rescued permanently from academic denigration and

1374:, requires a huge orchestral ensemble alongside at least three pianos – in one performance, Grainger used nineteen pianos with thirty pianists – to be played by "exceptionally strong vigorous players". Critics were undecided as to whether the work was "magnificent", or merely "a magnificent failure". 1305:

were conscripted as performers, to whistle various parts. In "Random Round" (1912–14), inspired by the communal music-making he had heard in the Pacific Islands on his second Australasian tour, Grainger introduced an element of chance into performances; individual vocalists and instrumentalists could

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in March 1912, five of Grainger's works were performed to great public acclaim; the band of thirty guitars and mandolins for the performance of "Fathers and Daughters" created a particular impression. On 21 May 1912 Grainger presented the first concert devoted entirely to his own compositions, at the

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was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst,

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In 1905 Grainger began a close friendship with Karen Holten, a Danish music student who had been recommended to him as a piano pupil. She became an important confidante; the relationship persisted for eight years, largely through correspondence. After her marriage in 1916, she and Grainger continued

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In 1911 Grainger finally felt confident enough of his standing as a pianist to begin large-scale publishing of his compositions. At the same time, he adopted the professional name of "Percy Aldridge Grainger" for his published compositions and concert appearances. In a series of concerts arranged by

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Before leaving Frankfurt, Grainger had fallen in love with Kwast's daughter Mimi. In an autobiographical essay dated 1947, he says that he was "already sex-crazy" at this time, when he was 19. John Bird, Grainger's biographer, records that during his Frankfurt years, Grainger began to develop sexual

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Grainger's own works fall into two categories: original compositions and folk music arrangements. Besides these, he wrote many settings of other composers' works. Despite his conservatory training, he rebelled against the disciplines of the central European tradition, largely rejecting conventional

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Although now less committed to a year-round schedule of concerts, Grainger remained a very popular performer. His eccentricities, often exaggerated for publicity reasons, reportedly included running into auditoriums in gym kit and leaping over the piano to create a grand entrance. In 1924, Grainger

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from her husband. Despite this, the Graingers stayed together until 1890, when John went to England for medical treatment. After his return to Australia, they lived apart. Rose took over the work of raising Percy, while John pursued his career as chief architect to the Western Australian Department

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began to compile a complete recorded edition of Grainger's original compositions and folk settings. Of 25 anticipated volumes, 19 had been completed as of 2010; these were issued as a CD boxed set in 2011, to mark the 50th anniversary of the composer's death. A reissue of this along with two extra

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Some of Grainger's earliest published letters contain anti-Semitic comments, for example to Karen Holten in 1905. He later asserted that the Jewish race was less capable of producing good music than the Nordic races, and his letter to Quilter of 25 February 1939 is cited by Gillies and Pear as an

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arrangements into a cocked hat". In the United States, Grainger left a strong educational legacy through his involvement, over 40 years, with high school, summer school and college students. Likewise, his innovative approaches to instrumentation and scoring have left their mark on modern American

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In Britain, Grainger's main legacy is the revival of interest in folk music. His pioneering work in the recording and setting of folk songs greatly influenced the following generation of English composers; Benjamin Britten acknowledged the Australian as his master in this respect. After hearing a

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as a "Grieg-Grainger Symphony", but abandoned the project after writing 16 bars of music. By this time, Grainger acknowledged that he had not fulfilled Grieg's high expectations of him, either as a composer or as a pianist. He also reflected on whether it would have been better, from the point of

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experiments of the 1930s. Grainger wrote: "It seems to me absurd to live in an age of flying, and yet not be able to execute tonal glides and curves." The idea of tonal freedom, he said, had been in his head since as a boy of eleven or twelve he had observed the wave-movements in the sea. "Out in

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Grainger was a musical democrat; he believed that in a performance each player's role should be of equal importance. His elastic scoring technique was developed to enable groups of all sizes and combinations of instruments to give effective performances of his music. Experimentation is evident in

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In November 1926, while returning to America, he met Ella Ström, a Swedish-born artist with whom he developed a close friendship. On arrival in America the pair separated, but were reunited in England the following autumn after Grainger's final folk-song expedition to Denmark. In October 1927 the

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concerts. As a regular encore he began to play a piano setting of the tune "Country Gardens". The piece became instantly popular; sheet music sales quickly broke many publishing records. The work was to become synonymous with Grainger's name through the rest of his life, though he came in time to

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Although Bird asserts that before her marriage, Ella knew nothing of Grainger's sado-masochistic interests, in a letter dated 23 April 1928 (four months before the wedding) Grainger writes to her: "As far as my taste goes, blows are most thrilling on breasts, bottom, inner thighs, sexparts." He

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and his band, who appeared in person; Grainger admired Ellington's music, seeing harmonic similarities with Delius. On the whole, however, Grainger did not enjoy his tenure at NYU; he disliked the institutional formality, and found the university generally unreceptive to his ideas. Despite many

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After accompanying her son on an extended European tour in the summer of 1900, Rose, whose health had been poor for some time, suffered a nervous collapse and could no longer work. To replace lost income, Grainger began giving piano lessons and public performances; his first solo recital was in

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Grainger considered himself an Australian composer who, he said, wrote music "in the hopes of bringing honor and fame to my native land". However, much of Grainger's working life was spent elsewhere, and the extent to which he influenced Australian music, within his lifetime and thereafter, is

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and came to regard the Norwegian as a paragon of Nordic beauty and greatness. Grieg in turn described Grainger as a new way forward for English composition, "quite different from Elgar, very original". After a lifetime interpreting Grieg's works, in 1944 Grainger began adapting the Norwegian's

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The idea of establishing a Grainger Museum in Australia had first occurred to Grainger in 1932. He began collecting and recovering from friends letters and artefacts, even those demonstrating the most private aspects of his life, such as whips, bloodstained shirts and revealing photographs. In

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After Rose's funeral, Grainger sought solace in a return to work. In autumn 1922 he left for a year-long trip to Europe, where he collected and recorded Danish folk songs before a concert tour that took him to Norway, the Netherlands, Germany and England. In Norway he stayed with Delius at the

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After fulfilling a hectic schedule of concert engagements in Britain and continental Europe, in August 1908 Grainger accompanied Ada Crossley on a second Australasian tour, during which he added several cylinders of Maori and Polynesian music to his collection of recordings. He had resolved to

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wrote that his unique style was expressed with "amazing skill, personality and vigor". The early enthusiasm which had greeted his concert appearances became muted in later years, and reviews of his performances during the final ten years of his life were often harsh. However, Britten regarded

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Among various new ideas, Grainger introduced his so-called "free-music" theories. He believed that conformity with the traditional rules of set scales, rhythms and harmonic procedures amounted to "absurd goose-stepping", from which music should be set free. He demonstrated two experimental

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passages, but made far too much noise in the quieter bits". Grainger was receiving increasing recognition as a composer; leading musicians and orchestras were adding his works to their repertoires. His decision to leave England for America in early September 1914, after the outbreak of the

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The correspondence was conducted largely in Danish, in which Grainger was fluent. His first letter to Holten, dated 12 August 1905, begins "Dear Miss Holten"; by the end of the year she is "My dear Karen". During their long separations Grainger's letters become a diary of his activities.

480:, over the next five years he gathered and transcribed more than 300 songs from all over the country, including much material that had never been written down before. From 1906 Grainger used a phonograph, one of the first collectors to do so, and by this means he assembled more than 200 1475:

website in February 2011 to commemorate the 50th anniversary of Grainger's death opined that "though he would never be put on a pedestal to join the pantheon of immortals, he is unorthodox, original and deserves better than to be dismissed by the more snooty arbiters of musical taste".

285:. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at the 99:; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in 1445: 1082:

After 1950 Grainger virtually ceased to compose. His principal creative activity in the last decade of his life was his work with Burnett Cross, a young physics teacher, on free music machines. The first of these was a relatively simple device controlled by an adapted

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through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the

507:, with whom he achieved an immediate rapport – the two musicians had similar ideas about composition and harmony, and shared a dislike for the classical German masters. Both were inspired by folk music; Grainger gave Delius his setting of the folk song 445:

Before going to London Grainger had composed numerous Kipling settings and his first mature orchestral pieces. In London, when he found time he continued to compose; a letter to Balfour Gardiner dated 21 July 1901 indicates that he was working on his

1228:. With few exceptions, his original compositions are miniatures, lasting between two and eight minutes. Only a few of his works originated as piano pieces, though in due course almost all of them were, in his phrase, "dished up" in piano versions. 875:(NYU). In this role he delivered a series of lectures under the heading "A General Study of the Manifold Nature of Music", which introduced his students to a wide range of ancient and modern works. On 25 October 1932 his lecture was illustrated by 536:. Plans for a long-term working relationship were ended by Grieg's sudden death in September 1907; nevertheless, this relatively brief acquaintance had a considerable impact on Grainger, and he championed Grieg's music for the rest of his life. 348:. Their long-term objective was to rescue British and Scandinavian music from what they considered the negative influences of central European music. Encouraged by Klimsch, Grainger turned away from composing classical pastiches reminiscent of 802:

latter's summer home. Delius was by now almost blind; Grainger helped fulfill his friend's wish to see a Norwegian sunset by carrying him (with some assistance) to the top of a nearby mountain peak. He returned to White Plains in August 1923.

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to correspond and occasionally met until her death in 1953. Grainger was briefly engaged in 1913 to another pupil, Margot Harrison, but the relationship foundered through a mixture of Rose's over-possessiveness and Grainger's indecision.

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In London, Grainger's charm, good looks and talent (with some assistance from the local Australian community) ensured that he was quickly taken up as a pianist by wealthy patrons. He was soon performing in concerts in private homes.

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alongside two of his own compositions: "Colonial Song" and "Mock Morris". In July 1915 Grainger formally registered his intention to apply for US citizenship. Over the next two years his engagements included concerts with Melba in

162:, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the 560:

establish himself as a top-ranking pianist before promoting himself as a composer, though he continued to compose both original works and folk-song settings. Some of his most successful and most characteristic pieces, such as "

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practices, which he continued to pursue through most of his adult life. Bird surmises that Grainger's fascination with themes of punishment and pain derived from the harsh discipline to which Rose had subjected him as a child.

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The outbreak of war in Europe in September 1939 curtailed Grainger's overseas travelling. In the autumn of 1940, alarmed that the war might precipitate an invasion of the United States eastern seaboard, he and Ella moved to

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In 1945, Grainger devised an informal ratings system for composers and musical styles, based on criteria that included originality, complexity and beauty. Of 40 composers and styles, he ranked himself equal ninth – behind

1107:"Concert Hour" programme when he played "Handel in the Strand" on the piano. Back home, after further surgery he recovered sufficiently to undertake a modest winter concerts season. On his 1958 visit to England he met 1495:

Grainger's influence not been removed, "Percy Aldridge Grainger may today be remembered as one of Australia's leading painters and designers, who just happened to have a latent talent as a pianist and composer". The

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in 1959, but was prevented by illness. Sensing that death was drawing near, he made a new will, bequeathing his skeleton "for preservation and possible display in the Grainger Museum". This wish was not carried out.

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By 1957 Grainger's physical health had markedly declined, as had his powers of concentration. Nevertheless, he continued to visit Britain regularly; in May of that year he made his only television appearance, in a

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and resumed his career as a concert pianist. He was soon performing around 120 concerts a year, generally to great critical acclaim, and in April 1921 reached a wider audience by performing in a cinema, New York's

1173: 1009:, he wrote: "If I were 40 years younger, and not so crushed by defeat in every branch of music I have essayed, I am sure I would have welcomed such a chance". In January 1948 he conducted the premiere of his 870:

From the late 1920s and early 1930s Grainger became involved increasingly with educational work in schools and colleges, and in late 1931 accepted a year's appointment for 1932–33 as professor of music at

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Through the winter of 1959–60 Grainger continued to perform his own music, often covering long distances by bus or train; he would not travel by air. On 29 April 1960 he gave his last public concert, at

1247:, a Grainger scholar, writes of Grainger's style that "you know it is 'Grainger' when you have heard about one second of a piece". The music's most individual characteristic, Gillies argues, is its 251:

with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with

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While the building of the museum proceeded, the Graingers visited England for several months in 1936, during which Grainger made his first BBC broadcast. In this, he conducted "Love Verses from

325:; he withdrew from Knorr's classes to study composition privately with Karl Klimsch, an amateur composer and folk-music enthusiast, whom he would later honour as "my only composition teacher". 414:

critic reported after one such appearance that Grainger's playing "revealed rare intelligence and a good deal of artistic insight". In 1902 he was presented by the socialite Lillith Lowrey to

321:, who developed his young pupil's skills to the extent that, within a year, Grainger was being lauded as a prodigy. Grainger had difficult relations with his original composition teacher, 977:

brought the United States into the war in December 1941; the historian Robert Simon calculates that Grainger made a total of 274 charity appearances during the war years, many of them at

1362:(1913), an 18-minute orchestral piece, subtitled "Music to an Imaginary Ballet", which he dedicated to Delius. The music, which mixes elements of other Grainger works with references to 429:, the Italian-born opera singer. Patti was greatly taken by the young pianist and prophesied a glorious career for him. The following year he met the German-Italian composer and pianist 1005:

Exhausted from his wartime concerts routine, Grainger spent much of 1946 on holiday in Europe. He was suffering a sense of career failure; in 1947, when refusing the Chair of Music at

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and Delius. Away from music, Grainger's preoccupation with Nordic culture led him to develop a form of English which, he maintained, reflected the character of the language before the

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After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894 at Melbourne's

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debatable. His efforts to educate the Australian musical public in the mid-1930s were indifferently received, and did not attract disciples; writing in 2010, the academic and critic

585:; the concert was, he reported, "a sensational success". A similarly enthusiastic reception was given to Grainger's music at a second series of Gardiner concerts the following year. 1628:

There is no evidence up to this time that Grainger could play the saxophone, but in an official listing of the band's personnel as of April 1918 he is listed as a saxophone soloist.

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in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the

524:, in May 1906. As a student, Grainger had learned to appreciate the Norwegian's harmonic originality, and by 1906 had several Grieg pieces in his concert repertoire, including the 360:, and developed a personal compositional style, the originality and maturity of which quickly impressed and astonished his friends. At this time Grainger discovered the poetry of 1235:

describes Grainger as "a true original in terms of orchestration and imaginative instrumentation", whose terseness of expression is reminiscent in style both of the 20th-century

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In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the

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to Grieg's piano concerto; he did not record a complete version of this work on disc until 1945. Much of his recording work was done between 1917 and 1931, under contract with

955:, and in 1939, on his last visit to England before the Second World War, he composed "The Duke of Marlborough's Fanfare", giving it the subtitle "British War Mood Grows". 734:. Grainger commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as 1172: 745:

Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his

1143:, alongside Rose's ashes. Ella survived him by 18 years; in 1972, aged 83, she married a young archivist, Stewart Manville. She died at White Plains on 17 July 1979. 813:

While he continued to revise and re-score his compositions, he increasingly worked on arrangements of music by other composers, in particular works by Bach, Brahms,

3128: 513:, which the older composer developed into his well-known orchestral rhapsody, dedicated to Grainger. The two remained close friends until Delius's death in 1934. 708:: "I long for the time when I can blow my oboe well enough to play in the band". In his 18 months' service, Grainger made frequent appearances as a pianist at 247:

Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home. Rose, an

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Between 1908 and 1957 Grainger made numerous recordings, usually as pianist or conductor, of his own and other composers' music. His first recordings, for

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In April 1917 Grainger received news of his father's death in Perth. On 9 June 1917, after America's entry into the war, he enlisted as a bandsman in the

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In Frankfurt, Rose established herself as a teacher of English; her earnings were supplemented by contributions from John Grainger, who had settled in

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in Melbourne was rejected by the organisers of the Games. A "Percy Grainger Festival" was held in London in 1970, organised by Australian expatriates

166:, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death. 931:. He believed that ideally, free music required non-human performance, and spent much of his later life developing machines to realise this vision. 4208: 1863: 1400: 1358:

Grainger was known for his musical experimentation and did not hesitate to exploit the capabilities of the orchestra. One early ambitious work was

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Grainger was a life-long atheist and believed he would only endure in the body of work he left behind. To assist that survival he established the

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recordings of native folk singers. These activities coincided with what Bird calls "the halcyon days of the 'First English Folksong Revival'".

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Grainger died in the White Plains hospital on 20 February 1961, at the age of 78. His remains were buried in the Aldridge family vault in the

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in Montreal, on the grounds that having had only three months' formal schooling, his music "must be regarded as a product of non-education".

4424: 4404: 2983: 757:, a form of flexible orchestration which enabled works to be performed by different numbers of players and instrument types, from small 4464: 4439: 1534:" and "Lincolnshire Posy" were recorded most frequently; in recordings of other composers, piano works by Bach, Brahms, Chopin, Grieg, 824:

Grainger made further trips to Europe in 1925 and 1927, collecting more Danish folk music with the aid of the octogenarian ethnologist

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Since Grainger's death, recordings of his works have been undertaken by many artists and issued under many different labels. In 1995,

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The brief "Sea Song" of 1907 was an early attempt by Grainger to write "beatless" music. This work, initially set over 14 irregular

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In 1954, after his last Carnegie Hall appearance, Grainger's long promotion of Grieg's music was recognised when he was awarded the

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In September 1955 Grainger made his final visit to Australia, where he spent nine months organising and arranging exhibits for the

3362: 4409: 4319: 4255: 1342:, but excused this failure on the grounds that all his works before the mid-1930s had been mere preparations for his free music. 4444: 4384: 4339: 4140: 2894: 1557:

via an array of precision mechanical fingers and feet; replayings of many of these rolls have subsequently been recorded on to

1205: 468:(1902), an instrumental piece much admired by Busoni. In 1905, inspired by a lecture given by the pioneer folk-song historian 4379: 3950: 3931: 3912: 3889: 3868: 3842: 3823: 3804: 3785: 3766: 3747: 3728: 3709: 3672: 3653: 3631: 3608: 3585: 3563: 3540: 3521: 3499: 3476: 3455: 3436: 3153: 1542:

figure most often. Grainger's complete 78 rpm solo piano recordings are now available on compact disc as a CD box set.

1273:

adopted this practice. In search of specific sounds Grainger employed unconventional instruments and techniques: solovoxes,

1021:

to celebrate the 70th birthday of its founder. Afterward, Grainger denigrated his own music as "commonplace" while praising

4399: 4394: 4329: 4299: 693: 641:

accused him of cowardice, and told him not to expect a welcome in England after the war, words that hurt Grainger deeply.

4364: 4344: 4369: 3466: 3322: 1399:

identifies only one significant contemporary Australian musician – the English-born horn player, pianist and conductor

885: 422: 243:

An 1880 lithograph of the Royal Exhibition Building, Melbourne, venue for Percy Grainger's early concerts, October 1894

4414: 4389: 3059: 210:

John Grainger was an accomplished artist, with broad cultural interests and a wide circle of friends. These included

3468:

A commonsense View of All Music: Reflections on Percy Grainger's Contribution to Ethnomusicology and Music Education

487:

As his stature in the music world increased, Grainger became acquainted with many of its leading figures, including

845:

in 1909. Grainger always acknowledged her as a family member, and developed a warm personal relationship with her.

533: 4359: 1164: 893: 731: 2961: 973:, in the centre of the continent. From 1940 Grainger played regularly in charity concerts, especially after the 4239: 777: 726: 4449: 4091: 4076: 2075: 1606: 1355:

view of his development as a composer, had he never met the Griegs, "sweet and dear though they were to me".

1111:, the two having previously maintained a mutually complimentary correspondence. He agreed to visit Britten's 982: 364:

and began setting it to music; according to Scott, "No poet and composer have been so suitably wedded since

4374: 4304: 4115: 568:" date from this period. In 1908 he obtained the tune of "Country Gardens" from the folk music specialist 195:, an English-born architect who had emigrated to Australia in 1877, won recognition for his design of the 4294: 532:. Here the two spent much time revising and rehearsing the piano concerto in preparation for that year's 100: 2820: 1845: 1119: 313:. The Hoch Conservatory's reputation for piano teaching had been enhanced by the tenure, until 1892, of 134:

music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely

4309: 2689:

Statement by Percy Grainger entitled "Free Music", dated 6 December 1938, in Thwaites (ed.), pp. 207–08

1857: 1040:. The "promenade" section is the standing area immediately in front of the orchestra (2005 photograph). 927:

compositions of free music, performed initially by a string quartet and later by the use of electronic

4013: 3879: 1053: 990: 425:

with the Bath Pump Room Orchestra. In October of that year he toured Britain in a concert party with

282: 4069:"Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds" 1382: 1310:

composition presaged by many decades the use of similar procedures by avant-garde composers such as

945:

In the late 1930s Grainger spent much time arranging his works in settings for wind bands. He wrote

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In February 1902 Grainger made his first appearance as a piano soloist with an orchestra, playing

4108: 1180: 1061: 842: 739: 645: 622:, who was one of the festival's guest conductors, reported to Delius that "Percy was good in the 611: 357: 2987: 1431:

broadcast of some Grainger settings, Britten declared that these " all the Vaughan Williams and

4004: 1570: 1566: 1236: 1133: 1006: 974: 773: 525: 488: 349: 82: 4186: 1471: 1315: 1184: 1140: 970: 825: 810:, although he hated vegetables; his diet comprised primarily dairy, pastry, fruit, and nuts. 725:

After leaving the army in January 1919, Grainger refused an offer to become conductor of the

263: 227:

of Public Works. He had some private work, designing Nellie Melba's home, Coombe Cottage, at

376:

appetites that were "distinctly abnormal"; by the age of 16 he had started to experiment in

4279: 4274: 3124: 1530:(1957). Of his own compositions and arrangements, "Country Gardens", "Shepherd's Hey" and " 1408: 1351: 1076: 994: 884:. His New York lectures became the basis for a series of radio talks which he gave for the 855:] understand if you cannot in any way see yr way to follow up this hot wish of mine." 653: 582: 415: 267: 228: 204: 910: 797:

Frederick Delius, with whom Grainger enjoyed a long professional and personal relationship

239: 8: 3981: 3486:

Carley, Lionel (1981). "Impulsive Friend: Grainger and Delius". In Foreman, Lewis (ed.).

2957: 1486: 1232: 872: 633: 481: 333: 192: 4053: 4047: 3663:

Josephson, David (1980). "Grainger (George) Percy (Aldridge)". In Sadie, Stanley (ed.).

880:

offers he never accepted another formal academic appointment, and refused all offers of

4162: 3901: 3857: 3698: 3682: 3620: 3597: 3552: 3488: 3366: 2168: 1581:

CDs was released in January 2021 to mark the 60th anniversary of the composer's death.

1561:(CD). This reproduction system allowed Grainger to make a posthumous appearance in the 1531: 1481: 1112: 978: 709: 685: 565: 275: 188: 146: 2151:

Gillies, Malcolm; Pear, David (Autumn 2007). "Great Expectations: Grieg and Granger".

1335: 644:

Grainger's first American tour began on 11 February 1915 with a recital at New York's

42: 4216: 3946: 3927: 3908: 3885: 3864: 3838: 3819: 3800: 3781: 3762: 3743: 3724: 3705: 3668: 3649: 3627: 3604: 3581: 3559: 3536: 3517: 3495: 3472: 3451: 3432: 3149: 1648: 1367: 1326: 1129: 1037: 947: 341: 286: 115: 552: 4062: 2160: 1527: 1519: 1240: 1108: 832:

of 1928–30. He also visited Australia and New Zealand, in 1924 and again in 1926.

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in Melbourne; His mother Rose Annie Aldridge was the daughter of Adelaide hotelier

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and occupying about 15 seconds of performing time, was a forerunner of Grainger's

814: 4234: 4201: 3641: 1788: 1694: 1602: 1577: 1539: 1496: 1423: 1371: 1339: 1307: 1270: 1248: 1244: 1091: 915: 905: 881: 818: 754: 649: 628: 577: 496: 398: 361: 345: 271: 248: 155: 150: 108: 3992: 3738:

Ould, Barry Peter (2006). "Grainger the Music Arranger". In Pear, David (ed.).

1256: 1072: 1022: 876: 859: 742:, the first of many such educational duties he would undertake in later years. 666: 619: 572:, though he did not fashion it into a performable piece for another ten years. 500: 469: 381: 365: 314: 196: 179: 3719:

Manville, Stewart (2010). "At Home in New York". In Thwaites, Penelope (ed.).

1792: 4268: 4193: 4178: 3833:

Reynish, Timothy (2010). "Music for Wind Band". In Thwaites, Penelope (ed.).

3814:

Piggott, Michael (2006). "Grainger the Autoarchivist". In Pear, David (ed.).

3795:

Pear, David (2006). "Grainger the Social Commentator". In Pear, David (ed.).

3077: 1523: 1499: 1412: 1311: 1298: 1057: 807: 758: 738:

and the Aeolian. In the summer of 1919 he led a course in piano technique at

735: 697: 689: 426: 329: 3427:

Allison, Brian (2006). "Grainger the Visual Gourmet". In Pear, David (ed.).

3143: 1490:

Grainger's late recording of the Grieg concerto, from a live performance at

669:. In addition to his concert performances, Grainger secured a contract with 3776:

Pear, David (2006). "Grainger: The Formative Years". In Pear, David (ed.).

3509: 3125:"Percy Grainger Festival – Statement by the Prime Minister, Mr John Gorton" 1558: 1432: 1404: 1396: 1346: 1018: 951:

for the March 1937 convention of the American Band Masters' Association in

713: 544: 521: 517: 492: 477: 451: 434: 377: 353: 256: 219: 139: 127: 3696:

Lloyd, Stephen (1981). "Grainger In a Nutshell". In Foreman, Lewis (ed.).

764: 753:

both originated in this period. He also began to develop the technique of

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Foreman, Lewis (1981). "Editor's Introduction". In Foreman, Lewis (ed.).

2068:"Percy Grainger ethnographic wax cylinders – World and traditional music" 1562: 1554: 1535: 1511: 1466: 1403:– working in the Grainger idiom. In 1956, the suggestion by the composer 1322: 1302: 1265: 939: 638: 569: 561: 456: 337: 318: 301: 200: 2172: 4155: 3618:

Foreman, Lewis (1981). "Miscellaneous Works". In Foreman, Lewis (ed.).

3573: 1550: 1363: 1286: 1282: 1255:

Grainger's earliest works; irregular rhythms based on rapid changes of

1196: 1183:

Sea Chanters ensemble rendition of the 1912 Percy Grainger version of "

662: 548: 539: 509: 322: 104: 3899:

Tall, David (1981). "Grainger and Folksong". In Foreman, Lewis (ed.).

1565:, London, during the 1988 last night of the Proms as soloist with the 793: 2164: 1553:

of his own and others' music using a wooden robot designed to play a

1045: 1010: 952: 928: 701: 290: 159: 119: 63: 3922:

Tan, Eleanor (2006). "Grainger the Composer". In Pear, David (ed.).

3550:

Fairfax, Brian (1981). "Orchestral Music". In Foreman, Lewis (ed.).

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detest it. On 3 June 1918 he became a naturalised American citizen.

4028: 1274: 1221: 1213: 223: 4034: 3533:

The Farthest North of Humanness: Letters of Percy Grainger 1901–14

1306:

make random choices from a menu of variations. This experiment in

214:, whose daughter Helen later gained worldwide fame as an operatic 4100: 1546: 1515: 1444: 1294: 1278: 1084: 841:

couple agreed to marry. Ella had a daughter, Elsie, who had been

772:

In April 1921 Grainger moved with his mother to a large house in

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setting), and had made good progress with the experimental works

215: 4023: 3512:(2010). "An Australian Composer?". In Thwaites, Penelope (ed.). 1123:

Dartmouth College, venue for Grainger's last concert, April 1960

3993:

Reproductions of Selected Percy Grainger Papers, 1909-1952 <

3078:"Percy Grainger: Orchestral works 2 (in Notes to CD Chan 9584)" 1491: 1458: 1454: 1407:

that Grainger be invited to write music for the opening of the

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As a student, Grainger had learned to appreciate the music of

3646:

The All-Round Man: Selected Letters of Percy Grainger 1914–61

1462: 1290: 1225: 473: 472:, Grainger began to collect original folk songs. Starting at 310: 344:, all of whom became his friends – Grainger helped form the 3262:

Quoted by Bird, pp. 100–01, from Schonberg, Harold (1964):

2986:. Grainger Museum (University of Melbourne). Archived from 2386: 1647:

In April 1945 Grainger declined an honorary doctorate from

705: 328:

Together with a group of slightly older British students –

3855:(1981). "Grainger in Frankfurt". In Foreman, Lewis (ed.). 1601:

340 original recordings made by Grainger in Lincolnshire,

16:

Australian-born composer, arranger and pianist (1882–1961)

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Grainger's tombstone: "World famous composer and pianist"

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camps. In 1942 a collection of his Kipling settings, the

896:, and taught regularly at its summer schools until 1944. 888:

in 1934–35; these were later summarised and published as

851: 3471:. Cambridge, UK; Melbourne: Cambridge University Press. 3129:

Department of the Prime Minister and Cabinet (Australia)

2895:"Percy Grainger (1882–1961) – the composer, 50 years on" 1419:

and supported financially by the Australian government.

989:

cycle, was performed in eight cities by the band of the

305:

Grainger aged 18, towards the end of his Frankfurt years

3065:. International Grieg Society Conference. pp. 2–5. 1549:

company between 1915 and 1932, Grainger made around 80

114:

Grainger left Australia at the age of 13 to attend the

278:, and was warmly complimented in the Melbourne press. 610:

In April 1914 Grainger gave his first performance of

317:

as head of piano studies. Grainger's piano tutor was

3323:"Percy Grainger; the complete 78rpm solo recordings" 3060:"Percy Grainger: Grieg's Interpreter and Propagator" 2578:

Pear ("Grainger the Social Commentator"), p. 36

2548:

Bird, p. 53. See also Gillies and Pear (eds), p. 107

183:

Princes Bridge, Melbourne, designed by John Grainger

1044:On 10 August 1948, Grainger appeared at the London 606:

Grainger in the uniform of a US Army bandsman, 1917

255:; writing late in life, he said that the Icelandic 3900: 3856: 3697: 3640: 3619: 3596: 3551: 3487: 3057: 2150: 938:" in which the tenor soloist was the then unknown 1064:, standing in the promenade section for Delius's 892:. In 1937 Grainger began an association with the 564:", "Handel in the Strand", "Shepherd's Hey" and " 4266: 858:The couple were married on 9 August 1928 at the 3244:Pear ("Grainger the Social Commentator"), p. 32 3141: 1204:For a listing of Grainger's musical works, see 849:later adds, "I shall thoroly thoroly [ 2685: 2683: 2379: 2377: 1797:Oxford Dictionary of National Biography online 4116: 3168: 3166: 3145:A Source Guide to the Music of Percy Grainger 3101: 3099: 3058:Gillies, Malcolm; Pear, David (30 May 2007). 747:Children's March: Over the Hills and Far Away 464:. In his early London years he also composed 1991:Pear ("Grainger: The Formative Years"), p. 6 1862:: CS1 maint: multiple names: authors list ( 677:rolls, and signed a recording contract with 4455:United States Army personnel of World War I 3926:. Canberra: National Library of Australia. 3818:. Canberra: National Library of Australia. 3799:. Canberra: National Library of Australia. 3780:. Canberra: National Library of Australia. 3742:. Canberra: National Library of Australia. 3665:New Grove Dictionary of Music and Musicians 3431:. Canberra: National Library of Australia. 2848: 2846: 2802: 2800: 2680: 2556: 2554: 2374: 2371:Foreman ("Miscellaneous Works"), pp. 137–38 665:and a command performance before President 4123: 4109: 3945:. Woodbridge, Suffolk: The Boydell Press. 3837:. Woodbridge, Suffolk: The Boydell Press. 3723:. Woodbridge, Suffolk: The Boydell Press. 3687:: CS1 maint: location missing publisher ( 3516:. Woodbridge, Suffolk: The Boydell Press. 3163: 3160:(unpaginated – see "To Half-Fight Nature") 3108: 3096: 3053: 3051: 3003: 2975: 2715: 2713: 2268: 2266: 1029:, with which it had shared the programme. 41: 4460:Naturalized citizens of the United States 4350:Australian emigrants to the United States 4048:The Free Music Machines of Percy Grainger 4018:International Music Score Library Project 3662: 2095: 2093: 1960: 1958: 1948: 1946: 1944: 1699:Australian Dictionary of Biography online 1015:The Power of Rome and the Christian Heart 751:The Power of Rome and the Christian Heart 4054:Performance by Grainger on pianola, 1919 3940: 3718: 3464: 3400:. Presto Classical. 2011. Archived from 3278: 3181:Foreman ("Editor's Introduction"), p. 11 3075: 2889: 2887: 2885: 2864: 2843: 2797: 2551: 1916: 1914: 1912: 1730: 1728: 1726: 1724: 1722: 1720: 1443: 1381: 1118: 1031: 909: 792: 763: 601: 597: 538: 392: 300: 238: 178: 3881:Percy Grainger: The Pictorial Biography 3832: 3813: 3617: 3594: 3549: 3530: 3426: 3365:. The Pianola Institute. Archived from 3238: 3048: 2981: 2710: 2626: 2608: 2284: 2263: 1843: 1787: 1710: 1708: 1692: 1584: 761:groups up to full orchestral strength. 191:, south-east of Melbourne. His father, 4435:20th-century Australian male musicians 4267: 3756: 3508: 3485: 3363:"Pianola Institute concerts – archive" 2818: 2814: 2812: 2727: 2725: 2146: 2144: 2107: 2105: 2090: 2026: 2024: 1955: 1941: 1923: 1882: 1844:Gillies, Malcolm; Pear, David (2007). 1839: 1837: 1835: 1833: 1831: 1829: 1783: 1781: 1779: 1777: 1775: 1773: 1771: 1769: 1767: 1688: 1686: 1297:. In one early concert of folk music, 1261:Love Verses from "The Song of Solomon" 1206:List of compositions by Percy Grainger 890:Music: A Commonsense View of All Types 4430:20th-century Australian musicologists 4104: 3877: 3851: 3695: 3572: 3320: 2882: 2461: 2356: 1909: 1846:"Grainger, (George) Percy (Aldridge)" 1827: 1825: 1823: 1821: 1819: 1817: 1815: 1813: 1811: 1809: 1717: 1684: 1682: 1680: 1678: 1676: 1674: 1672: 1670: 1668: 1666: 768:Rose and Percy Grainger, c. 1920 4315:20th-century American male musicians 4290:Australian people of English descent 4092:The Percy Granger archive collection 3898: 3794: 3775: 3737: 3535:. Melbourne: Macmillan (Australia). 3445: 2982:Gillies, Malcolm (16 October 2010). 2950: 1705: 1695:"Grainger, George Percy (1882–1961)" 828:; this work formed the basis of the 520:at the home of the London financier 440: 187:Grainger was born on 8 July 1882 in 174: 4425:20th-century American musicologists 4405:Australian male classical composers 4094:compiled by John Bird, held at the 3921: 3398:"The Grainger Edition Volumes 1–19" 2821:"Cross-Grainger free music machine" 2809: 2722: 2141: 2102: 2021: 1764: 963: 788: 13: 4130: 4037:University of Melbourne, Australia 3759:Delius: Portrait of a Cosmopolitan 2960:; Achenbach, Andrew (April 1996). 2879:Gillies and Pear (eds), pp. 266–67 2767:Gillies and Pear (eds), pp. 214–19 2641:Gillies and Pear (eds), pp. 197–98 2623:Gillies and Pear (eds), pp. 94–100 2587:Gillies and Pear (eds), pp. 156–63 2353:Gillies and Pear (eds), pp. 132–33 2260:Dreyfus, pp. 47, 54, 55 and others 1806: 1663: 1638:example of his racial intolerance. 1153: 1060:. On 18 September he attended the 1000: 886:Australian Broadcasting Commission 783: 592: 423:Tchaikovsky's first piano concerto 404: 397:Grainger in 1903, photographed by 14: 4476: 4465:United States Army Band musicians 4440:20th-century Australian musicians 3961: 2362:Gillies and Pear (eds), pp. 39–40 2317:Gillies and Pear (eds), pp. 35–39 1522:. At other times he recorded for 704:, though he records learning the 4420:Burials at West Terrace Cemetery 4335:American male classical pianists 4285:20th-century classical composers 4251: 4250: 4059:Works by or about Percy Grainger 3943:The New Percy Grainger Companion 3941:Thwaites, Penelope, ed. (2010). 3835:The New Percy Grainger Companion 3721:The New Percy Grainger Companion 3514:The New Percy Grainger Companion 3390: 3381: 3355: 3346: 3337: 3314: 3305: 3296: 3287: 3269: 3256: 3247: 3229: 3220: 3211: 3202: 3193: 3184: 3175: 3135: 3117: 3087: 3069: 3039: 3030: 3021: 3012: 2994: 2941: 2932: 2923: 2914: 2905: 2873: 2855: 2834: 2788: 2779: 2770: 2761: 2752: 2743: 1545:During his association with the 1352:E minor Piano Sonata, Op. 7 1243:of the 16th and 17th centuries. 1195:Problems playing this file? See 1169: 1048:, playing the piano part in his 749:, and the orchestral version of 720: 4355:Australian folk-song collectors 4325:20th-century classical pianists 3648:. Oxford, UK: Clarendon Press. 2734: 2701: 2692: 2671: 2662: 2653: 2644: 2635: 2617: 2599: 2590: 2581: 2572: 2563: 2560:Gillies and Pear (eds), pp. 4–6 2542: 2533: 2524: 2515: 2506: 2497: 2488: 2479: 2470: 2452: 2443: 2434: 2425: 2416: 2407: 2398: 2365: 2347: 2338: 2329: 2320: 2311: 2302: 2293: 2275: 2254: 2245: 2236: 2227: 2218: 2209: 2200: 2191: 2182: 2132: 2123: 2114: 2060: 2051: 2042: 2033: 2012: 2003: 1994: 1985: 1976: 1967: 1932: 1900: 1891: 1641: 1631: 1622: 1612: 1605:and London can be heard on the 1595: 958: 894:Interlochen National Music Camp 388: 32:Australian composer and pianist 4410:Australian classical composers 4320:20th-century American pianists 4240:Percy Grainger Home and Studio 3884:. Albany, New York: Whitston. 3235:Gillies and Pear (eds), p. 255 3045:Gillies and Pear (eds), p. 172 2938:Gillies and Pear (eds), p. 287 2929:Gillies and Pear (eds), p. 285 2920:Gillies and Pear (eds), p. 283 2840:Gillies and Pear (eds), p. 248 2749:Gillies and Pear (eds), p. 170 2605:Gillies and Pear (eds), p. xix 1873: 1755: 1746: 1737: 778:Percy Grainger Home and Studio 727:Saint Louis Symphony Orchestra 555:, at "Troldhaugen", July 1907. 1: 4445:Australian military musicians 4385:Australian ethnomusicologists 4340:Australian classical pianists 4014:Free scores by Percy Grainger 3907:. London: Thames Publishing. 3863:. London: Thames Publishing. 3704:. London: Thames Publishing. 3626:. London: Thames Publishing. 3603:. London: Thames Publishing. 3558:. London: Thames Publishing. 3494:. London: Thames Publishing. 3450:. London: Faber & Faber. 3142:Thomas P. Lewis (June 1990). 3076:Servadei, Alessandro (2008). 3000:Gillies and Pear (eds), p. 32 2467:Gillies and Pear (eds), p. 52 2395:Gillies and Pear (eds), p. xv 2326:Gillies and Pear (eds), p. 36 2299:Gillies and Pear (eds), p. 13 1607:British Library Sound Archive 1505: 1439: 1097: 576:Balfour Gardiner at London's 169: 4380:English folk-song collectors 4005:How to use archival material 3903:The Percy Grainger Companion 3859:The Percy Grainger Companion 3757:Palmer, Christopher (1976). 3700:The Percy Grainger Companion 3644:; Pear, David, eds. (1994). 3622:The Percy Grainger Companion 3599:The Percy Grainger Companion 3554:The Percy Grainger Companion 3490:The Percy Grainger Companion 899: 776:in what is now known as the 296: 234: 7: 4400:United States Army soldiers 4395:New York University faculty 4330:American classical pianists 4300:ARIA Hall of Fame inductees 3580:. London: Faber and Faber. 1036:A Promenade concert at the 865: 835: 648:. He played works by Bach, 10: 4481: 4365:Australian music arrangers 4345:Pupils of Ferruccio Busoni 3531:Dreyfus, Kay, ed. (1985). 3419: 3387:Thwaites (ed.), pp. 238–47 3352:Thwaites (ed.), pp. 233–35 3311:Thwaites (ed.), pp. 227–32 3266:, London: Victor Gollancz. 3148:. Pro Am Music Resources. 2984:"Grainger: Fifty Years On" 1793:"Grainger, Percy Aldridge" 1514:(later HMV), included the 1512:The Gramophone Company Ltd 1203: 903: 448:Marching Song of Democracy 258:Saga of Grettir the Strong 130:. He became a champion of 4370:Child classical musicians 4248: 4227: 4187:I'm Seventeen Come Sunday 4147: 4138: 3987: 3977: 2861:Gillies and Pear, p. xvii 1479:Of Grainger the pianist, 1377: 1054:London Symphony Orchestra 1050:Suite on Danish Folksongs 991:Gustavus Adolphus College 830:Suite on Danish Folksongs 614:, at a music festival in 283:Royal Exhibition Building 71: 49: 40: 23: 4415:Musicians from Melbourne 4390:Hoch Conservatory alumni 4096:University of Birmingham 3325:. MusicWeb International 3321:Woolf, Jonathan (2011). 1526:(1944–45 and 1957), and 1386:Portrait of Grainger by 1146: 543:Grainger (centre), with 4043:University of Melbourne 3667:. Vol. 7. London. 3465:Blacking, John (1987). 2971:(subscription required) 2830:(subscription required) 2178:(subscription required) 1869:(subscription required) 1802:(subscription required) 1181:United States Navy Band 1165:"Seventeen Come Sunday" 1062:Last Night of the Proms 740:Chicago Musical College 612:Delius's piano concerto 93:Percy Aldridge Grainger 4360:Australian folklorists 4024:Percy Grainger Society 3878:Simon, Robert (1983). 2947:Thwaites (ed.), p. 166 2215:Thwaites (ed.), p. xxi 1571:Grieg's Piano Concerto 1567:BBC Symphony Orchestra 1449: 1391: 1237:Second Viennese School 1158: 1134:Hanover, New Hampshire 1124: 1041: 975:attack on Pearl Harbor 919: 798: 774:White Plains, New York 769: 607: 556: 401: 306: 244: 184: 83:White Plains, New York 3924:Facing Percy Grainger 3816:Facing Percy Grainger 3797:Facing Percy Grainger 3778:Facing Percy Grainger 3761:. London: Duckworth. 3740:Facing Percy Grainger 3429:Facing Percy Grainger 3009:Josephson, pp. 614–17 2819:Davies, Hugh (2007). 2794:Bird, pp. 238 and 242 2233:Dreyfus, pp. 454, 458 1693:Dreyfus, Kay (2006). 1447: 1388:Jacques-Émile Blanche 1385: 1185:Seventeen Come Sunday 1157: 1141:West Terrace Cemetery 1122: 1077:King Haakon of Norway 1035: 971:Springfield, Missouri 913: 904:Further information: 826:Evald Tang Kristensen 796: 767: 700:. He had joined as a 605: 598:Departure for America 542: 396: 304: 242: 182: 97:George Percy Grainger 4450:Pupils of Iwan Knorr 4204:" (1918 arrangement) 4189:" (1912 arrangement) 4158:" (1905 arrangement) 4141:List of compositions 3578:Delius as I knew him 3369:on 16 September 2013 3190:Manville, pp. 166–70 2958:Gardiner, John Eliot 2569:Dreyfus (ed.), p. 54 2030:Thwaites (ed.) p. xx 1585:Notes and references 1461:, but well ahead of 1409:1956 Summer Olympics 1269:(1901), long before 995:St. Peter, Minnesota 694:15th Coast Artillery 583:Aeolian Hall, London 4375:Composers for piano 4305:Australian atheists 4052:"Country Gardens": 3982:Library of Congress 3446:Bird, John (1982). 2825:Oxford Music Online 2039:Dreyfus (ed.), p. 2 1982:Bird, pp. 66 and 73 1850:Oxford Music Online 1555:concert grand piano 1487:Harold C. Schonberg 1233:John Eliot Gardiner 1007:Adelaide University 936:The Song of Solomon 873:New York University 843:born out of wedlock 634:The Daily Telegraph 547:(left of picture), 516:Grainger first met 4295:ARIA Award winners 4163:Molly on the Shore 4079:on 18 October 2020 3264:The Great Pianists 3172:Covell, pp. 142–43 3114:Covell, pp. 145–46 3083:. Chandos Records. 2990:on 5 October 2014. 2901:. 3 February 2011. 2449:Fairfax, pp. 75–77 2078:on 18 October 2020 1532:Molly on the Shore 1482:The New York Times 1450: 1392: 1159: 1125: 1113:Aldeburgh Festival 1042: 1017:, written for the 920: 799: 770: 608: 566:Molly on the Shore 557: 466:Hill Song Number 1 402: 307: 245: 185: 147:United States Army 101:British folk music 4310:American atheists 4262: 4261: 4217:Lincolnshire Posy 4010: 4009: 3999: 3998: 3952:978-1-84383-601-8 3933:978-0-642-27639-1 3914:978-0-905210-12-4 3891:978-0-87875-281-2 3870:978-0-905210-12-4 3844:978-1-84383-601-8 3825:978-0-642-27639-1 3806:978-0-642-27639-1 3787:978-0-642-27639-1 3768:978-0-7156-0773-2 3749:978-0-642-27639-1 3730:978-1-84383-601-8 3711:978-0-905210-12-4 3674:978-0-333-23111-1 3655:978-0-19-816377-0 3633:978-0-905210-12-4 3610:978-0-905210-12-4 3587:978-0-571-11836-6 3565:978-0-905210-12-4 3542:978-0-333-38085-7 3523:978-1-84383-601-8 3501:978-0-905210-12-4 3478:978-0-521-26500-3 3457:978-0-571-11717-8 3438:978-0-642-27639-1 3155:978-0-912483-56-6 2153:The Musical Times 2129:Carley, pp. 49–50 2120:Palmer, pp. 79–82 2111:Carley, pp. 33–34 1858:cite encyclopedia 1649:McGill University 1497:ethnomusicologist 1368:Arnold Schoenberg 1259:were employed in 1174: 1130:Dartmouth College 1038:Royal Albert Hall 948:Lincolnshire Posy 503:. In 1907 he met 462:Charging Irishrey 441:Emergent composer 287:Hoch Conservatory 175:Family background 116:Hoch Conservatory 90: 89: 35: 4472: 4254: 4253: 4228:Related articles 4209:Children's March 4125: 4118: 4111: 4102: 4101: 4088: 4086: 4084: 4075:. Archived from 4063:Internet Archive 4041:Grainger Studies 3995: 3975: 3974: 3966: 3965: 3956: 3937: 3918: 3906: 3895: 3874: 3862: 3848: 3829: 3810: 3791: 3772: 3753: 3734: 3715: 3703: 3692: 3686: 3678: 3659: 3642:Gillies, Malcolm 3637: 3625: 3614: 3602: 3591: 3569: 3557: 3546: 3527: 3505: 3493: 3482: 3461: 3442: 3414: 3413: 3411: 3409: 3404:on 9 August 2011 3394: 3388: 3385: 3379: 3378: 3376: 3374: 3359: 3353: 3350: 3344: 3343:Bird, pp. 304–06 3341: 3335: 3334: 3332: 3330: 3318: 3312: 3309: 3303: 3300: 3294: 3291: 3285: 3284:Bird, pp. 246–47 3282: 3276: 3275:Bird, pp. 238–39 3273: 3267: 3260: 3254: 3251: 3245: 3242: 3236: 3233: 3227: 3224: 3218: 3215: 3209: 3206: 3200: 3197: 3191: 3188: 3182: 3179: 3173: 3170: 3161: 3159: 3139: 3133: 3132: 3131:. 19 March 1970. 3121: 3115: 3112: 3106: 3103: 3094: 3091: 3085: 3084: 3082: 3073: 3067: 3066: 3064: 3055: 3046: 3043: 3037: 3034: 3028: 3025: 3019: 3016: 3010: 3007: 3001: 2998: 2992: 2991: 2979: 2973: 2972: 2969: 2954: 2948: 2945: 2939: 2936: 2930: 2927: 2921: 2918: 2912: 2909: 2903: 2902: 2891: 2880: 2877: 2871: 2870:Bird, pp. 247–48 2868: 2862: 2859: 2853: 2852:Bird, pp. 243–45 2850: 2841: 2838: 2832: 2831: 2828: 2816: 2807: 2806:Bird, pp. 241–42 2804: 2795: 2792: 2786: 2783: 2777: 2776:Bird, pp. 224–25 2774: 2768: 2765: 2759: 2758:Bird, pp. 217–18 2756: 2750: 2747: 2741: 2738: 2732: 2729: 2720: 2719:Bird, pp. 214–15 2717: 2708: 2705: 2699: 2696: 2690: 2687: 2678: 2677:Bird, pp. 206–07 2675: 2669: 2666: 2660: 2657: 2651: 2648: 2642: 2639: 2633: 2632:Bird, pp. 204–05 2630: 2624: 2621: 2615: 2614:Bird. pp. 200–01 2612: 2606: 2603: 2597: 2596:Bird, pp. 194–96 2594: 2588: 2585: 2579: 2576: 2570: 2567: 2561: 2558: 2549: 2546: 2540: 2539:Bird, pp. 279–81 2537: 2531: 2528: 2522: 2519: 2513: 2510: 2504: 2501: 2495: 2494:Fenby, pp. 74–75 2492: 2486: 2483: 2477: 2476:Bird, pp. 173–74 2474: 2468: 2465: 2459: 2456: 2450: 2447: 2441: 2440:Bird, pp. 163–64 2438: 2432: 2429: 2423: 2422:Bird, pp. 167–68 2420: 2414: 2411: 2405: 2402: 2396: 2393: 2384: 2381: 2372: 2369: 2363: 2360: 2354: 2351: 2345: 2342: 2336: 2333: 2327: 2324: 2318: 2315: 2309: 2306: 2300: 2297: 2291: 2290:Bird, pp. 150–51 2288: 2282: 2279: 2273: 2272:Bird, pp. 148–49 2270: 2261: 2258: 2252: 2249: 2243: 2240: 2234: 2231: 2225: 2222: 2216: 2213: 2207: 2204: 2198: 2195: 2189: 2186: 2180: 2179: 2176: 2165:10.2307/25434475 2148: 2139: 2136: 2130: 2127: 2121: 2118: 2112: 2109: 2100: 2097: 2088: 2087: 2085: 2083: 2074:. 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595: 593:Career maturity 497:Richard Strauss 482:Edison cylinder 443: 416:Queen Alexandra 407: 405:Concert pianist 399:Adolph de Meyer 391: 368:and Schumann." 362:Rudyard Kipling 346:Frankfurt Group 299: 237: 218:under the name 205:George Aldridge 177: 172: 156:Grainger Museum 151:First World War 109:Country Gardens 86: 80: 76: 67: 61: 55: 53: 36: 31: 30: 28: 25: 17: 12: 11: 5: 4478: 4468: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4357: 4352: 4347: 4342: 4337: 4332: 4327: 4322: 4317: 4312: 4307: 4302: 4297: 4292: 4287: 4282: 4277: 4260: 4259: 4249: 4246: 4245: 4243: 4242: 4237: 4231: 4229: 4225: 4224: 4222: 4221: 4213: 4205: 4198: 4190: 4183: 4175: 4167: 4159: 4151: 4149: 4145: 4144: 4139: 4136: 4135: 4132:Percy Grainger 4128: 4127: 4120: 4113: 4105: 4099: 4098: 4089: 4065: 4056: 4050: 4044: 4038: 4032: 4031:Bardic Edition 4029:Percy Grainger 4026: 4021: 4008: 4007: 4001: 4000: 3997: 3996: 3989: 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