Norman Demuth

Norman Demuth

Norman Demuth (born Croydon, Surrey, 15 July 1898; died Chichester, 21 April 1968) was an English composer and musicologist, remembered largely for his biographies of French composers.

Although Demuth studied for a time at the Royal College of Music (after having been a combatant in World War I), he was essentially self-taught. Greatly sympathetic to French music, he wrote a number of books on the subject; these include studies of César Franck, Paul Dukas, Albert Roussel, Vincent d'Indy, Charles Gounod, Maurice Ravel, and French opera.

Between 1929 and 1935 Demuth was conductor of the Chichester Symphony Orchestra. From 1930 he taught at the Royal Academy of Music, and latterly at the University of Durham. Among his pupils was Gordon Langford, whose surname was originally Colman (and who changed the name on Demuth's advice). Langford has expressed regret at the complete current neglect of Demuth's achievements as a composer.[1]

Contents

Selected compositions

  • Two Piano Pieces (1942)
  • Viola Concerto (1951)
  • Symphony for string orchestra (1952)
  • Concerto for alto saxophone and military band
  • Prometheus (ballet)

Selected books and articles

  • Ravel (1947)
  • Albert Roussel: A Study (1947)
  • Anthology of Musical Criticism (1947)
  • César Franck (1949)
  • Vincent d'Indy 1851-1931: Champion of Classicism—A Study (1951)
  • A Course in Musical Composition (4 volumes) (1951)
  • Musical Trends in the 20th Century (1952)
  • Musical Forms & Textures: A Reference Guide (1953)
  • French Piano Music: A Survey with Notes on its Performance (1959)
  • French Opera: Its Development to the Revolution (1963)

Press Notices

"Norman Demuth's Viola Concerto (1951) also received its first performance, with Herbert Downes as soloist. Designed in two linked sections, one slowish, the other quick, it made an impression through its capable workmanship and sense of purpose but did not offer much of imaginative distinction. A certain monotony of rhythm and texture was acutely felt, especially in the opening section, which is a rather busy meditation whose concertante viola part is inclined to fuss and fidget." (Hugh Ottaway, in 'Broadcast Music', The Musical Times, Vol. 98, No. 1368 (Feb., 1957), p. 78

References

  1. ^ Interview with Gordon Langford at musical-theatre.net, URL accessed April 2, 2008

External links


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