Percy+Grainger+lord+melb

‘Lord Melbourne”
Interpretation 1 Eastman Wind Ensemble/Frederick Fennell media type="file" key="05 - Lincolnshire Posy, folk song suite for wind band (BFMS 34)- Lord Melbourne.mp3" width="240" height="20"

Interpretation 2 Royal Northern College Of music wind Orchestra media type="file" key="16 Lincolnshire Posy, suite for band (or 2 pianos, 4 hands)- No 5, Lord Melbourne.wma" width="300" height="45" Grainger was thought of as a musical genius for the way that he took the language of English folk songs and turned them into “musical gems.” Lincolnshire Posy is a “musical bunch of flowers” based on folksongs that he collected on Lincolnshire, England, and each movement is a musical portrait of the singer who sang it’s melody. The fifth movement, “Lord Melbourne (War Song),” is a fanfare written for the nobility of the 1st Duke of Marlborough, John Churchill. He was a soldier, a statesman, and an ancestor of Winton Churchill. He was known for his excellent planning skills, and consideration for the well being of his soldiers. His caring and compassionate personality made him extremely popular for balladry. In a 1926 // Success Magazine // article, Grainger wrote: //...in the folk-song there is to be found the complete history of a people, recorded by the race itself, through the heartoutbursts of its healthiest output. It is a history compiled with deeper feeling and more understanding than can be found among the dates and data of the greatest historian...// Grainger’s main focus was to express the elegance of these old songs, which he referred to as the “lasting testament to the spirit of mankind.” As an example of these "heartoutbursts," as Grainger called them, we have the lyrics to “Lord Melbourne.” // I am an Englishman to my birth, Lord Melbourne is my name; //// In Devonshire I first drew breath, that place of noble fame. //// I was beloved by all my men, by kings and princes likewise. ////I never failed in anything, but won great victories.// // Then good Queen Anne sent us on board, to Flanders we did go, //// We left the banks of Newfoundland to face our daring foe. //// We climbed those lofty hills straightway, with broken guns, shields likewise, ////And all those famous towns we took, to all the world’s surprise.// // King Charles the Second we did reserve, to face our foemen French, //// And to the battle of Ramillies we boldly did advance. //// The sun was down, the earth did shake, and I so loud did cry, ////Fight on, my lads, for old England1s sake, we1ll gain the field, or die.// // And now this glorious victory1s won, so boldly keep the field, //// When prisoners in great numbers took, which forced our foe to yield. //// That very day my horse was shot all by a cannonball, ////As soon as I got up again, my aide-de-camp, he did fall.// // Now on a bed of sickness lie, I am resigned to die, //// You generals all and champions bold, stand true as well as I. //// Stand to your men, take them on board, and fight with courage bold, ////I've led my men through smoke and fire, but now to death must yield.//

<span style="color: black; font-family: 'Times New Roman','serif';">Percy Grainger wrote the movements of // Lincolnshire Posy // after hearing each folk song sung by various people. "Lord Melbourne" is actually a variant of the tune, "The Duke of Marlborough." THis piece is marked "free time" to allow each conductor the chance to portray his/her own interpretation of the piece, as a folk song would generally be interpreted many different ways by the various people who sing it.
 * // __ Rhythmic Analysis __ //**
 * The piece is marked "free time" at the beginning, letter B, letter C, and letter D. This is a challenge for the conductor as well as the ensemble, as there is no strict way to conduct the music at these points. There are two different ways to conduct it marked in the score, but the ultimate decision is certainly up to the conductor’s discretion. This "free time" could cause a problem for students, as they must be very attentive and know exactly how to play the rhythms as conducted.

note = about 100. Then we see All of these style and tempo changes could also cause confusion within the ensemble.
 * The first bar of the piece that has an actual meter written is in 1/8 time. Almost every bar after this changes meter. 1/4, 2/4, 3/8, 5/4, 4/4, 4/8, and 3/4 meters are all used. The rhythms are not difficult, but the constantly changing meters make this piece challenging.
 * The piece also changes tempo several times. The beginning is marked "heavy, fierce" at quarter note = 96-120. Next comes "lively" at quarter
 * "strict time" with quarter note = about 100,
 * "lively, playful" with quarter note = about 92,
 * a ritard
 * "in time" at quarter note = bout 92,
 * "lingeringly" at quarter note = about 69,
 * "free time" with quarter note = 96-120,
 * "slightly faster,"
 * "strict time" with quarter note = 80,
 * "free time" with quarter note = about 96-120, and ending with
 * "strict time" at quarter note = 72.

**__ MELODIC ANALYSIS __**

This piece consists of four different verses. Each verse consists of the same basic melody with slight modifications made to the style, rhythm, instrumentation, articulation, and length. All four of the verses alternate a slow free style with a more strict section. The opening free section contains the melodic basis for the rest of the verses. These sections suggest a triumphant and majestic style and should be played very accented and rhythmically precise. The section is marked free time and although the composer has written a quarter note equals between 96 and 120, the length between notes is left to the discretion of the conductor.

Verse 1 contains the first major variation of the theme. The variation is contained in a trumpet solo at measure 2. It is marked lively with a quarter note equaling about 100. The line is very smooth and lyrical and should be played connected and legato.

Verse 2 contains fragments of the theme passed between different instruments. This verse is also marked lively, but with a quarter note now equaling about 92.

After this fragmenting is finished, the melody passes through the lower voice at box 24 as a baritone solo. The marking for the solo is easy going and should be played as such.

Verse 3 starts with the melody played as a duet by solo piccolo and solo oboe.

At measure 44, the clarinets take over the main melody. The tempo slows down to a quarter note equals 69 and the stylistic marking reads lingeringly.

Verse Four contains a more marcato version of the opening theme and the piece ends with the free time section.

= **__ Harmonic and Formal Analysis __** =

“Lord Melbourne” is constructed of a very simple form and a fairly simple harmonic structure. The form of this movement is through composed entirely and made up of four verses which have been mentioned earlier. There is no discernable form that can be thought of in this movement. The movement between free time and strict time sections is meant to portray this “gleeful inebriation” of Lord Melbourne’s folk singer. The main sections break down as suck: <span style="margin: 0cm 0cm 0pt 72pt; mso-list: l2 level1 lfo5; tab-stops: list 72.0pt; text-indent: -18pt;"> · Verse I, mm. 1-13, Free time · Verse II, mm. 14-34, baritone solo. · Verse III, mm. 36-48, piccolo and oboe duet. · Verse IV, mm. 49-59, Free time, // Tutti. // This movement maintains D minor as its key through the entire movement, however ending on the dominant. This use of D minor in a triumphant piece is to also portray the inebriation of the folksinger.