Arthur Herbert Jackson Born 29 October 1851 London - Died 27 September 1881 London
He was the third son* of Isaac Jackson, a piano tuner. From 1872 he studied at The Royal Academy of Music under Sterndale-Bennett, subsequently becoming a professor there from 1878
Orchestral
Intermezzo for orchestra pub. by J & W Chester
'The Bride of Abydos' overture
Piano Concerto in D minor 1879
Violin Concerto in E 1880
Piano
Andante and Allegro Giocoso 1881
Toccata 1874
March and waltz 1878
'In a boat' barcarolle 1879
'Elaine' idyll
Andante con variation pinao 4 hands 1880
Capriccio, gavotte and musette
'Song of the Stream' impromptu 1880
Humorous Sketches piano four hands
Fugue in E piano four hands
Three dances grotesques 1881
March Caprice
Song
'The Sirens's Song' for female voices, harp, violin and piano
Lullaby words by E L Pembroke
'Pretty little maid words by H S Vince
'Who Knows ?. words by H S Vince
'I meet the love, again' words by H S Vince 1879
'The Lost Boat' words by H S Vince
'Twas when seas were roaring' four part song words by John Gay
'O'Nightingale' duet
Choral
'In the Cornfields' - Autumn song for four part chorus.
'Lord Ullin's Daughter for four part chorus. words by T Campbell pub. by Stanley Lucas, Weber & Co.
Magnificat for chorus and orchestra
Two masses for male voice
'Jason and the Golden Fleece' Cantata
*
Alfred Jackson 1847
Clara Jackson 1848
Henry Jackson 1849
Arthur Jackson 1851
Frederick Jackson 1853
Horace Jackson 1855 (piano tuner)
Stanley Jackson 1857 (piano tuner)
Lleylewyer Jackson 1860
Eustace Jackson1863 (piano tuner)
Ada Jackson 1865
Percy Jackson 1867
Since the question has to be asked I'll ask it. I wonder if his nickname was "Two Sheds?"
You excel, Giles, in digging out all sorts of things that arouse interest!
I can't find references to it, but is the Overture to The Bride of Abydos a free-standing overture, or one to a full oratorio, or what? (I wondered if the information is contained in your source.)
Always surprised that Byron's Bride of Abydos hasn't received (as far as I know) any other musical treatment. It was published at the height of Romanticism in literature, was once immensely popular, and as far as music is concerned all the ingredients are there - a text easily transformed into a libretto, the Orient, passion galore, murder, masculinity, doomed lovers..... Although written in English I guess the tale would have become known throughout Europe. I can see it now amongst all those operas recorded by, for example, Opera Rara. Or slightly later composers such as Gounod. Trouble is: no-one composed such an opera!
For anyone that is interested (unlikely), the piano concerto is in D minor.
1st mvmt - Allegro agitato, ma moderato
2nd mvmt - Andante con moto
3rd mvmt - Allegro molto
Thal
Sadly, The Bride of Abydos is just a free standing overture. There are many pre 1914 British piano concertos which deserve exploration. and which are of more interest than some of the mainland European ones recorded during the last 15 years. Try Hinton or Potter.
And in reply to thalbergmad; I am always interested
Does the full score and/or parts of the PC exist - and does anyone know what it's like?
It is not at the R A M as I did ask. Been unable to find it myself.
Thal
COPAC lists copies in Cambridge and at the BL. The Cambridge copy is a 2-piano score, as far as I can make out, but the cataloguing info, for the BL copy does not say whether it is a piano score or a partitur.
Regretfully, the BL holding is for piano solo with orchestral "hints".
I wonder if the publishers (Stanley Lucas, Weber & Co) are still in business.
Thal
Hrm. Worldcat locates nothing more recent published by Stanley Lucas, Weber, Pitt & Hatzfeld than the 1920s or so, but...
QuoteRegretfully, the BL holding is for piano solo with orchestral "hints".
In that case I think the Cambridge holding will be the same.
well, one can always hope the ms is somewhere. Maybe the family??...
I have just joined this forum and was interested to note the references to Arthur Herbert Jackson. I am the librarian for the Auckland Philharmonia Orchestra in New Zealand. We have a set of orchestral parts (but no score) for "Lord Ullin's Daughter" by Arthur H. Jackson, published by Stanley, Lucas, Weber & Co. I am puzzled because all references I have found for this work state that it is a choral work and I can't find any mention of an orchestral accompaniment. I've looked at some pages from a chorus score held by the Library of Congress, and it looks as though the orchestral parts definitely match the piano accompaniment on that score. Can anyone throw any further light on this?
Welcome to UC, Robert, and thank you for picking up this.
It's an intriguing matter, and I am sure that our experts will respond.
Since my first post five days ago I've been doing a bit of research into Arthur Herbert Jackson, hoping (among other things) to find a clue as to the whereabouts of the full score of the piano concerto. At the risk of repeating information that may already be known to members of this forum, I'll run through what I've discovered.
Six years after Jackson's death his widow, Kate, married Randal Thomas Mowbray Berkeley, 8th Earl of Berkeley, and was thus Lennox Berkeley's aunt by marriage. Unfortunately she died five years before Lennox was born, but the Berkeley family retained a number of Jackson's scores. Sometime after Lennox's death his collection of scores, including those by other composers, was deposited with the Britten-Pears Foundation, Ref. LB / 5, "Berkeley Family papers". The description of the contents includes the following sentence: "There is also printed and manuscript music by Nelly Berkeley and Arthur Jackson". So this might be worth investigating by those searching for the full score of the piano concerto.
Regarding "Lord Ullin's Daughter", I've found two references to the existence of the orchestral version in the "Musical Yearbook of the United States, Volume 10, 1892-1893".
On Page 88 (125/297 when searching the online version at http://www.mocavo.com/The-Musical-Yearbook-of-the-United-States-Volume-10/136214/125) there is a notice of a "Novelty Concert" at the Grand Opera House in Newark, New Jersey, on March 8 1893 which appears to have concluded with "Lord Ullin's Daughter". The choir was the Schubert Vocal Society, director Mr. Louis A. Russell, accompanied by an orchestra from the New York Philharmonic Society. On Page 282/297 an advertisement by G. Schirmer, New York, announces the publication of "Important New Chorus Works" including "Lord Ullin's Daughter" by A. H. Jackson. An asterisk beside the listing indicates that the work has orchestral accompaniment. "Parts are to be had from the publishers".
I've so far been unable to locate any set of orchestral parts for this work other than the one in the Auckland Philharmonia Orchestra's library. G. Schirmer has long since deleted this work from its listings, though they may have a set of parts archived somewhere. The original British publisher – Stanley Lucas, Weber & Co. – seems to have ceased business sometime in the early twentieth or late nineteenth century. If no other set can be located, I would be happy to scan our set of parts for the archives or practical use of anyone who wishes to have them.
Hi Robert. I just wanted to thank you for the offer of scanning the parts in the library's possession. I've added the (somewhat rough looking) vocal score from the Library of Congress to IMSLP and would like to encourage you to add the orchestra parts to the Lord Ullin's Daughter's workpage (http://imslp.org/wiki/Lord_Ullin%27s_Daughter_%28Jackson,_Arthur_Herbert%29). Perhaps these will be the first steps from saving Jackson from the complete oblivion he's been consigned to for the past century.
I have contacted the Britten / Pears Foundation and they have promised to let me know what MSS of Jackson's they possess in the LB Collection. Their main librarian is currently away, and her assistant could find only a Full Score of the Andante and Allegro giocoso for piano and orchestra, among orchestral scores.
I have just obtained a book by Tony Scotland called "Lennox and Freda" which documents the relationship between Lennox Berkeley and Freda Bernstein. On page 28 it quotes from Jackson's obituary in the Musical Times: 'The death of Mr Arthur Herbert Jackson has thrown quite a gloom over the Royal Academy of Music ... Mr Jackson was more than a student of promise, for he had already given to the world some important compositions ... He had, shortly before his death, finished a cantata called "Jason and the Golden Fleece" and ... we need scarcely say how bright a future has been suddenly blighted. Mr Jackson was held in high estimation by all who knew him [who] can amply attest how modestly and unassumingly he received the many proofs of success which he had so fairly won.'
The book also confirms something I had previously found mentioned in www.thepeerage.com – that Jackson had a daughter, Sybil Dean, born in 1878. As she isn't mentioned in the article in the Oxford Dictionary of National Biography, I wondered if she had died in infancy. However, the book describes her as "Lennox Berkeley's godmother and step-cousin", and the last mention of her is at the funeral of her stepfather, Randal 8th Earl of Berkeley, in January 1942.
I haven't yet found the time to scan the orchestral parts for "Lord Ullin's Daughter" and upload them to IMSLP, but will certainly do so as soon as possible. If this should prove to be the only surviving set, we would be happy to donate it to the British Library or any other suitable institution.
I would be very interested to learn of the discovery of any other scores by Jackson, particularly the full score of the piano concerto. Of course I haven't had an opportunity to examine the two-piano reduction, but it seems likely to have been a work of quality, given the high standing of the soloist at its premiere and the fact that the two-piano reduction at least was subsequently published by Stanley Lucas, Weber & Co.
Far from dying in infancy, my friend Sybil Deane (sic) Jackson died in 1976 at the age of 98. Up to a few months before her death she was playing the piano every day and continuing to learn new repertoire. She herself had been a singer, as her step-father's DNB entry records, and she was coached at one time by Edouard de Reszke. After her stepfather's re-marriage, she returned to live in Oxford and took a part each summer in Hugh Allen's Mozart opera productions. During one of our regular two-piano duet sessions we played two or three salon pieces by her father. In the absence of recordings, these will have been the only compositions by him that she can have known.