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34-484: In the opera the heroine, Princess Irmelin, sits in her castle waiting for the dream lover promised to her by voices in the air. She infuriates her father the King by rejecting all her knightly suitors. Meanwhile Nils, a prince enslaved as a swineherd by the robber chief Rolf, breaks free and finds his way to Irmelin just after her enforced betrothal to one of the suitors. The opera ends with the lovers disappearing together into

68-483: A century earlier by the renowned German musicologist Hugo Riemann . The New Grove entry on Baldini was supported by a fictional reference in the form of an article supposedly in the Archiv für Freiburger Diözesan Geschichte . Though successfully introduced into the encyclopaedia, Baldini appeared in the first printing only: soon exposed as a hoax, the entry was removed. Seven parody entries, written by contributors to

102-423: A cornerstone of Oxford University Press's larger online research tool Oxford Music Online , which remains a subscription-based service. As well as being available to individual and educational subscribers, it is available for use at many public and university libraries worldwide, through institutional subscriptions. Grove Music Online identifies itself as the eighth edition of the overall work. The New Grove

136-469: A fairy-tale plot, drawing on several existing literary sources. Beecham later maintained that the stories were "Northern and early medieval", but subsequent research suggests that the main source was "Irmelin Rose", a poem by the 19th-century writer Jens Peter Jacobsen . Delius had assimilated Wagnerian influence in his music, with the use of leitmotifs and a sense of flow through the three acts. According to

170-476: A forest swamp: Nils is in despair since he lost the Silver Stream which would lead him to his dream princess. Rolf, a robber chief, calls him to his stronghold and makes him a swineherd. There is a storm. Scene 2 – a hall in the stronghold of Rolf: We meet Rolf's followers, men and women carousing and Rolf declares that he will woo the princess. Nils refuses to sing for the assembly as he wants to quest for

204-441: A more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him. An additional Supplementary Volume prepared by Eric Blom and completed by Denis Stevens after Blom's death in 1959, was issued in 1961. The fifth edition was reprinted in 1966, 1968, 1970, 1973, and 1975, each time with numerous corrections, updates, and other small changes. The next edition

238-407: A three-volume dictionary of musical instruments (1984), a four-volume dictionary of opera (1992)., and a volume on women composers (1994). The second edition under this title (the seventh overall) was published in 2001, in 29 volumes. It was also made available by subscription on the internet in a service called Grove Music Online. It was again edited by Stanley Sadie , and the executive editor

272-469: A total of more than 50,000 articles. The current editor-in-chief of Grove Music, the name given to the complete slate of print and online resources that encompass the Grove brand, is University of Pittsburgh professor Deane Root. He assumed the editorship in 2009. The dictionary, originally published by Macmillan , was sold in 2004 to Oxford University Press . Since 2001 Grove Music Online has served as

306-621: Is $ 195. The companion four-volume series, New Grove Dictionary of Opera , is the main reference work in English on the subject of opera. Its principal competitor is the Musik in Geschichte und Gegenwart ("MGG"), currently ten volumes on musical subjects and seventeen on biographies of musicians, written in German. The 2001 edition contains: Two non-existent composers have appeared in

340-479: Is an encyclopedic dictionary of music and musicians. Along with the German-language Die Musik in Geschichte und Gegenwart , it is one of the largest reference works on the history and theory of music . Earlier editions were published under the titles A Dictionary of Music and Musicians , and Grove's Dictionary of Music and Musicians ; the work has gone through several editions since

374-424: Is often the first source that English-speaking musicologists use when beginning research or seeking information on most musical topics. Its scope and extensive bibliographies make it exceedingly valuable to any scholar with a grasp of the English language. The print edition of The New Grove costs between $ 1,100 and $ 1,500, while an annual personal subscription to Grove Music Online as of 2 August 2022

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408-464: The 19th century and is widely used. In recent years it has been made available as an electronic resource called Grove Music Online , which is now an important part of Oxford Music Online . A Dictionary of Music and Musicians was first published in London by Macmillan and Co. in four volumes (1879, 1880, 1883, 1889) edited by George Grove with an Appendix edited by J. A. Fuller Maitland in

442-646: The Danish organist Henry Palsmar founded an amateur choir, the Esrum-Hellerup Choir, along with several former pupils of the Song School, St. Annae Gymnasium in Copenhagen. Guglielmo Baldini was the name of a non-existent composer who was the subject of a hoax entry in the 1980 edition. Unlike Esrum-Hellerup, Baldini was not a modern creation: his name and biography were in fact created almost

476-492: The Silver Stream. Scene 3 – in the mountains: As Nils comes to the Silver Stream, wood-nymphs entice him but he resolutely continues his way. Scene 1 – a hall in the castle: Six months later, as the deadline set by the king for her to marry approaches, Irmelin still hopes that her prince will arrive. Nils enters but when he sings of his life as a swineherd he is dismissed to the servants' hall. By night he returns to Irmelin's balcony and they declare their love. Scene 2 – outside

510-487: The castle: They wander off to the forest as the castle vanishes. Beecham's view of Irmelin was: "Taking the work as a whole I have little hesitation in claiming for it the distinction of being the best first opera written by any composer known to me". Warlock described the opera as a "fairy-tale of quite ordinary kind" and "its form dramatically rather below the level of the conventional operatic text". In Grove's Dictionary of Music and Musicians , Robert Anderson says of

544-457: The composer Peter Warlock (a disciple of Delius), although Grieg and Messager admired the score, its composer "never seriously contemplated" a production of the opera, but the musical scholar Jeremy Dibble writes that in the hope of a German production Delius travelled to Bayreuth to show the score to the Wagner conductor Hermann Levi . Levi recommended a meeting with Richard Strauss , who

578-448: The first two years of his residence in and around Paris he was obsessed with the ambition to write an opera on some grand historical subject". His musical friends included Edvard Grieg and Christian Sinding ; the latter had been encouraging him for several years to make the attempt. Irmelin , which he began in 1890, calling it a "Lyric Drama", was the result. Emulating Wagner , whom he admired, Delius wrote his own libretto. He decided on

612-656: The forest. In the early 1890s, after studying at the Leipzig Conservatory , Delius moved to Paris. He quickly became a member of an artistic circle that included well-known painters such as Paul Gauguin and Edvard Munch , but the Parisian musical scene seemed closed to him. He went to Lamoureux concerts and the Opéra , developing the love of opera he had first conceived in his Leipzig days. According to his biographer and champion Sir Thomas Beecham , "Throughout

646-456: The fourth volume. An Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In 1900, minor corrections were made to the plates and the entire series was reissued in four volumes, with the index added to volume 4. The original edition and the reprint are now freely available online. Grove limited the chronological span of his work to begin at 1450 while continuing up to his time. The second edition ( Grove II ), in five volumes,

680-411: The hardback set sold for about $ 2,300. A paperback edition was reprinted in 1995 which sold for $ 500. Some sections of The New Grove were also issued as small sets and individual books on particular topics. These typically were enhanced with expanded and updated material and included individual and grouped composer biographies, a four-volume dictionary of American music (1984; revised 2013, 8 vols.),

714-418: The omission of sections of Igor Stravinsky 's worklist and Richard Wagner 's bibliography. Publication of the second edition of The New Grove was accompanied by a Web-based version, Grove Music Online . It too, attracted some initial criticism, for example for the way in which images were not incorporated into the text but kept separate. The complete text of The New Grove is available to subscribers to

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748-513: The online service Grove Music Online . Grove Music Online includes a large number of revisions and additions of new articles. In addition to the 29 volumes of The New Grove second edition, Grove Music Online incorporates the four-volume New Grove Dictionary of Opera (ed. Stanley Sadie , 1992) and the three-volume New Grove Dictionary of Jazz , second edition (ed. Barry Kernfeld , 2002), The Grove Dictionary of American Music and The Grove Dictionary of Musical Instruments , comprising

782-620: The opera, given to him by the composer, which in 1982, was handed on to the Delius Trust. Irmelin's room in the royal castle: A voice in the air counsels the Princess Irmelin on the man she should fall in love with. The king introduces – and she refuses – three suitors: one old, but rich and devoted, another young and handsome, and the third middle-aged, rich but disagreeable (to whom she is compulsorily betrothed in Act 3). Scene 1 –

816-617: The original prelude, the conclusion to Act I and themes from Act III. Beecham premiered it as an interlude in Act III of the revival of Delius's Koanga at Covent Garden in September 1935; its first concert performance was in April 1937 when Beecham conducted it at the Queen's Hall . He later arranged an orchestral suite from the music for the second act. Beecham owned the manuscript score of

850-706: The piece: There is (2024) one complete recording of Irmelin : The Irmelin Prelude (from 1931) has been recorded by, among others: Leipzig Conservatory Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 256851444 Upstream caches: cp1108 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 11:06:24 GMT Grove%27s Dictionary of Music and Musicians The New Grove Dictionary of Music and Musicians

884-404: The text, "The libretto’s undoubted charm is somewhat obscured by its naivety and the banality of Delius’s attempts at rhyme", but he is more complimentary about the score, with its "telling use of motifs that are memorable and apt, economy in the setting of atmosphere, and ability to fill convincingly the large span of the three acts with an admirable sense of flow". The critic Winton Dean wrote of

918-432: The work: Dag Henrik Esrum-Hellerup was the subject of a hoax entry in the 1980 New Grove . Esrum-Hellerup's surname derives from a Danish village and a suburb of Copenhagen. The writer of the entry was Robert Layton . Though successfully introduced into the encyclopaedia, Esrum-Hellerup appeared in the first printing only: soon exposed as a hoax, the entry was removed and the space filled with an illustration. In 1983,

952-480: Was Dennis Arundell 's production. Florent Schmitt arranged the piano scores of Delius's first two operas, Irmelin and The Magic Fountain , but the first full Irmelin score was a vocal score compiled by Dennis Arundell in 1953. Delius returned to the score in his last years. In late 1931, with the aid of his amanuensis , Eric Fenby , he created a new Irmelin prelude, described by Dibble as "a miniature ternary structure … in F sharp major", using material from

986-550: Was John Tyrrell . It was originally to be released on CD-ROM as well, but this plan was dropped. As Sadie writes in the preface, "The biggest single expansion in the present edition has been in the coverage of 20th-century composers". This edition was subjected to negative criticism (e.g. in Private Eye ) owing to the significant number of typographical and factual errors that it contained. Two volumes were re-issued in corrected versions after production errors originally caused

1020-425: Was an extensive revision of the 2nd edition; it was edited by H. C. Colles and published in 1927. The 3rd edition was reprinted several times. An American Supplement was published in the U.S. in 1927, and also later reprinted separately. An extra-large Supplementary Volume also edited by Colles was published in 1940 and called the fourth edition ( Grove IV ). A reprint of the 3rd edition with some corrections,

1054-653: Was edited by Fuller Maitland and published from 1904 to 1910, this time as Grove's Dictionary of Music and Musicians . The individual volumes of the second edition were reprinted many times. An American Supplement edited by Waldo Selden Pratt and Charles N. Boyd was published in 1920 in Philadelphia by Theodore Presser . This edition removed the first edition's beginning date of 1450, though important earlier composers and theorists are still missing from this edition. These volumes are also now freely available online. The third edition ( Grove III ), also in five volumes,

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1088-406: Was published in 1980 under the name The New Grove Dictionary of Music and Musicians and was greatly expanded to 20 volumes with 22,500 articles and 16,500 biographies. Its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication. It was reprinted with minor corrections each subsequent year until 1995, except 1982 and 1983. In the mid-1990s,

1122-555: Was released at the same time. The five-volume 3rd edition, with the Supplementary Volume as volume 6, and the American Supplement of the 3rd edition as volume 7, were reprinted together as a set in 1945. The fifth edition ( Grove V ), in nine volumes, was edited by Eric Blom and published in 1954. This was the most thoroughgoing revision of the work since its inception, with many articles rewritten in

1156-573: Was then Kapellmeister in Munich , but no further progress was made. Beecham conducted the world premiere at the New Theatre Oxford on 4 May 1953; the costumes were by Beatrice Dawson and choreography by Pauline Grant. Beecham's advocacy of the score and the "care with which he realizes each detail, the beauty of sound he elicits from his orchestra", were praised by the Opera critic, as

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