Bantock, Sir Granville (1868-1946)

Sir Granville Bantock

born: 7 August 1868
died: 11 October 1946
country: United Kingdom

Granville Ransome Bantock was the son of a distinguished surgeon and gynaecologist, and thus came from a comfortable Victorian family background. Born in 1868, Bantock’s youthful world was one of privilege, quality, servants—but also of parental control. As with many other young composers from nineteenth-century middle-class families, Bantock was intended for one of the secure professions, and to satisfy his father he started to study for the Indian Civil Service. It did not work out and he later changed to chemical engineering, but music constantly intervened and at the age of twenty-one he became a student at London’s Royal Academy of Music, and was soon awarded the Macfarren scholarship for composition.

Bantock had huge energy and a vivid imagination and his student output was enormous and overwhelmingly ambitious. His energy and persistence resulted in student performances of his orchestral works, his overture The Fire Worshippers being played in an Academy concert in December 1890, later given by August Manns at Crystal Palace. Various other scores were heard at RAM concerts, including a Suite de ballet and Wulstan, a scena for baritone and orchestra. In July 1892 he enjoyed a concert entirely of his own music, ending with his one-act opera Caedmar.

Bantock also achieved publication from an early date, one suspects with parental financial support, as not only piano pieces and songs but extended works such as his Symphonic Overture Saul (published in 1894), The Fire Worshippers (1892), the operas Caedmar (1892) and The Pearl of Iran (1894), and the ballet suite Rameses II (1894) were published by the likes of Breitkopf & Härtel of Leipzig, whose London office had only recently opened.

For all his wealthy family, Bantock faced an uphill task on leaving the Academy, when, not being equipped to make a living as an instrumentalist or a virtuoso, he had to establish a musical career. In his case the solution lay in conducting musical comedies, culminating in the offer of a conducting appointment with one of the celebrated George Edwardes companies on a world tour. Sidney Jones’s celebrated show A Gaiety Girl was the star production. Not only did this provide paid work, for a trip Bantock himself later calculated to have lasted 431 days, but it gave him a wealth of practical music-making and experience, and it also allowed him to see the world at an impressionable age. However, all too soon reality intruded: back in England on 5 December 1895 work was still hard to find. So it was back to conducting light music and theatre shows including a provincial tour of Stanford’s Irish comic opera Shamus O’Brien.

Despairing of ever making an impact with his music, Bantock promoted an orchestral concert at Queen’s Hall on 15 December 1896, including music by five of his contemporaries at the RAM: William Wallace, Arthur Hinton, Stanley Hawley, Reginald Steggall and Erskine Allon. Of these only William Wallace and Arthur Hinton are remembered at all today. The concert included three of Bantock’s recent works and saw the first performance of The Funeral from The Curse of Kehama, the earliest score recorded here (under its later title Processional). Bantock prefaced the programme with a strongly worded manifesto, and while he was not rewarded with a good house, he stimulated a large critical coverage which went a long way towards putting him on the musical map.

Eventually Bantock obtained an appointment as Musical Director of the Tower Orchestra, New Brighton, then a fashionable resort across the Mersey from Liverpool. Like Dan Godfrey at Bournemouth, Bantock soon expanded his modest resort orchestra and its repertoire, and made New Brighton a noted centre for new music and British music in particular.

Bantock was married in 1898 to Helena von Schweizer, and the newly weds had Edward and Alice Elgar (not yet Sir and Lady) to stay in the summer of 1899, for Elgar to conduct a very early performance of the Enigma Variations on 16 July. But in the nineties perhaps Bantock’s principal musical enthusiasm was for Tchaikovsky, as can be seen from his first orchestral tone poem Thalaba the Destroyer (which, in fact, is dated the day after Elgar’s performance, so Elgar may well have been shown the score).

Bantock still did not have a regular source of income. It was as a teacher and educationalist that he was soon to make his living, when his reputation at New Brighton, coupled with Elgar’s recommendation, led to his appointment as Principal of the new Midland Institute School of Music in Birmingham in 1900. Later, in 1907, Bantock succeeded Elgar as Peyton Professor of Music at the University of Birmingham, going on to hold the appointment for twenty-seven years. Later he became associated with the Trinity College of Music in London, and in the 1930s he undertook several world examination tours, incidentally also conducting his own music along the way.

Bantock evolved his mature style at the turn of the century, and his most successful music was largely written in the first decade of the twentieth century. This included a succession of large-scale orchestral, and vocal and orchestral scores on exotic subjects, such as the song cycle Sappho, six tone poems including The Witch of Atlas, Dante and Beatrice and Fifine at the Fair, all crowned by his enormous setting of the whole of Edward Fitzgerald’s Omar Khayyám, which runs for just under three hours. Later there came other big choral works including his two-and-a-half-hour setting of The Song of Songs and orchestral music such as the Hebridean and Pagan symphonies. He wrote to the end, though latterly in an idiom then regarded by commentators as increasingly out of date. Viewed from a perspective of over fifty years this is no longer a bar to the proper appreciation of Bantock’s vivid and colourful art.

from notes by Lewis Foreman © 2007


Bantock: Hebridean & Celtic Symphonies
Bantock: Orchestral Music
CDS44281/66CDs Boxed set (at a special price)
Bantock: Pagan Symphony
CDA66630Archive Service; also available on CDS44281/6
Bantock: Sappho & Sapphic Poem
CDA66899Archive Service; also available on CDS44281/6Download currently discounted
Bantock: Thalaba the Destroyer & other orchestral works
CDA67250Archive Service; also available on CDS44281/6
Bantock: The Cyprian Goddess & other orchestral works
CDA66810Archive Service; also available on CDS44281/6
Bantock: The Song of Songs
CDA67395Archive Service; also available on CDS44281/6Download currently discounted
All in the April Evening
CDH55243Helios (Hyperion's budget label)
Bach: Piano Transcriptions, Vol. 9 – A Bach Book for Harriet Cohen
Bird Songs at Eventide
CDH55156Helios (Hyperion's budget label) Composers of World War I
Land of Heart's Desire
CDH55204Helios (Hyperion's budget label)
Songs of the Hebrides
CDH88024Helios (Hyperion's budget label) — Archive ServiceDownload currently discounted
Stephen Hough's English Piano Album
Studio Master: CDA67267Studio Master FLAC & ALAC downloads available
A Treasury of English Song
This album is not yet available for downloadHYP30Super-budget price sampler — Deleted

Complete works available for download

A Celtic SymphonyRoyal Philharmonic Orchestra, Vernon Handley (conductor)
A Hebridean SymphonyRoyal Philharmonic Orchestra, Vernon Handley (conductor)
CaristionaRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Dante and BeatriceRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Fifine at the fairRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Overture to a Greek TragedyRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Pagan SymphonyRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Pierrot of the Minute 'A comedy overture to a dramatic phantasy of Ernest Dowson'Royal Philharmonic Orchestra, Vernon Handley (conductor)
ProcessionalRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Sapphic PoemJulian Lloyd Webber (cello), Royal Philharmonic Orchestra, Vernon Handley (conductor)
SapphoSusan Bickley (mezzo-soprano), Royal Philharmonic Orchestra, Vernon Handley (conductor)
Song to the SealsStephen Hough (piano)
Song to the SealsRobert White (tenor), Stephen Hough (piano)
Thalaba the destroyerRoyal Philharmonic Orchestra, Vernon Handley (conductor)
The Cyprian GoddessRoyal Philharmonic Orchestra, Vernon Handley (conductor)
The Sea ReiversRoyal Philharmonic Orchestra, Vernon Handley (conductor)
The Witch of AtlasRoyal Philharmonic Orchestra, Vernon Handley (conductor)
Two Heroic BalladsRoyal Philharmonic Orchestra, Vernon Handley (conductor)
O can ye sew cushions?Laudibus, Michael Brewer (conductor)
Sea-longingAlison Pearce (soprano), Susan Drake (harp)
Sea-longingLisa Milne (soprano), Sioned Williams (harp)
The Birlinn of the White ShouldersAlison Pearce (soprano), Susan Drake (harp)
The Birlinn of the White ShouldersLisa Milne (soprano), Sioned Williams (harp)
Wachet auf, ruft uns die Stimme, BWV645Jonathan Plowright (piano)

Alphabetical listing of all musical works

A Celtic Symphony (Bantock)
A Hebridean Symphony (Bantock)
A lady-witch there lived on Atlas mountain  
And every nymph of stream and spreading tree  
And old Silenus, shaking a green stick  
And then she called out of the hollow turrets  
Bridal Song  
Camel Caravan  
Caristiona (Bantock)
Christus (Bantock)
Cuchullan's Lament  
Dante and Beatrice (Bantock)
Daugher of Zeus  
Death of Oneiza: Appassionato con dolore  
Evening Song  
Evening, thou bringest all that bright morning scattered  
Evil lost for ever  
Fifine at the fair (Bantock)
For she was beautiful  
Helena Variations (Bantock)
Hymn to Aphrodite  
I loved thee once, Atthis, long ago  
In a dream, I spake  
Introduction. The powers of evil: Mesto e lugubre  
Kishmul's Galley  
Muse of the golden throne  
O can ye sew cushions? (Anon/Bantock)
O fair, O lovely, As the sweet apple  
Omar Khayyám (Bantock)
Oneiza's theme: Moderato sostenuto  
Out at sea, fair is she  
Overture to a Greek Tragedy (Bantock)
Pagan Symphony (Bantock)
Peer of gods he seems  
Pierrot of the Minute 'A comedy overture to a dramatic phantasy of Ernest Dowson' (Bantock)
Processional (Bantock)
Sapphic Poem (Bantock)
Sappho (Bantock)
Sea-longing (Anon/Kennedy-Fraser/Bantock)
Song to the Seals (Bantock)
Song to the Seals (Bantock/Hough)
Sore sea-longing in my heart  
Stand face to face, friend  
Thalaba sets out again on his mighty quest: Poco allegro  
Thalaba the destroyer (Bantock)
Thalaba wanders desolately amid the tombs: Molto lento  
Thalaba's death, and reprise of Oneiza's theme: Poco più lento  
Thalaba's fatal languor: Poco lento  
Thalaba's theme: Allegro con fuoco  
The Birlinn of the White Shoulders (Anon/Kennedy-Fraser/Bantock)
The Cyprian Goddess (Bantock)
The deep recesses of her odorous dwelling  
The last ecstasy of faith and love: Pesante e risoluto  
The moon has set  
The Sea Reivers (Bantock)
The Song of Songs (Bantock)
The wilderness and the solitary place  
The Witch of Atlas (Bantock)
'Tis said, she was first changed into a vapour  
To those she saw most beautiful  
Two Heroic Ballads (Bantock)
Wachet auf, ruft uns die Stimme, BWV645 (Bach/Bantock)
Wedding and brief happiness of love: Meno mosso  
Zeinab's theme: Molto più lento