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Donald Macleod follows Stanford’s operatic productions, which included successes in America and Australia.

Marking the centenary of his death, Composer of the Week explores the remarkable life and music of Sir Charles Villiers Stanford. Stanford was one of the leading musicians of his generation and, along with Parry and Mackenzie, he was one of the main protagonists in Britain’s musical renaissance at the end of the 19th century. Born in Dublin, Stanford rose to the very top of the British music scene, as both a conductor and composer. He also maintained strong links to Germany, following his studies in Leipzig and Berlin. Stanford’s works were popular in Europe, as well as Britain, with conductors such as Hans Richter promoting his music. Today, Stanford is largely remembered for his sacred works, however his prolific output covers most genres and he had a particular passion for opera. He was an influential teacher at the Royal College of Music and Cambridge University; many future musical luminaries passed through his classes, including Gustav Holst, Ralph Vaughan Williams, Rebecca Clarke and Samuel Coleridge-Taylor. Stanford was a tremendous force for good in British music, and in honour of his contribution to British culture, his ashes are interred in Westminster Abbey close to the remains of Henry Purcell.

The 1890s were a significant decade for Sir Charles Villiers Stanford. He continued teaching at the Royal College of Music, and was also appointed Professor of Music at Cambridge University. Students who passed through Stanford’s hands often recalled how difficult he could be during tutorials. The decade also saw a huge success for Stanford with his opera Shamus O’Brien. It had a run of around eighty performances in London, before going on tour in the UK. It was also performed on Broadway and in Chicago, in the USA, and also in Sydney in Australia. Stanford's next opera was less of a success, but his commission for a Te Deum for Leeds, with its highly dramatic five movements, demonstrates Stanford’s continued operatic aspirations.

The Clown’s Song from Twelfth Night’, Op 65 No 3
Anthony Rolfe Johnson, tenor
Graham Johnson, piano

Six Irish Fantasies, Op 54 No 3 (Jig)
Lucy Gould, violin
Benjamin Frith, piano

Symphony No 5, Op 56 ‘L’Allegro ed il Pensieroso’ (Andante molto tranquillo)
Bournemouth Symphony Orchestra
David Lloyd-Jones, conductor

Shamus O’Brien, Op 61 (Act 2 Captain Trevor’s Song)
Joseph Doody (Captain Trevor), tenor
The Orchestra of Scottish Opera
David Parry, conductor

Requiem, Op 63 (Agnus Dei et Lux aeterna)
Carolyn Sampson, soprano
Marta Fontanals-Simmons, mezzo-soprano
James Way, tenor
Ross Ramgobin, baritone
University of Birmingham Voices
City of Birmingham Symphony Orchestra
Martyn Brabbins, conductor

Te Deum, Op 66 (Judex crederis)
Rhian Lois, soprano
Samantha Price, mezzo-soprano
Alessandro Fisher, tenor
Morgan Pearse, baritone
Â鶹ԼÅÄ National Chorus of Wales
Â鶹ԼÅÄ National Orchestra of Wales
Adrian Partington conductor

Ten Dances, Old and New, Op 58 No 1 (Valse)
Christopher Howell, piano

Produced by Luke Whitlock