Percy Grainger | Best Composers of The 20th Century

Introduction

Percy Grainger was an Australian-born composer and pianist who is best known for his works that incorporate folk music from various cultures. He was born in Melbourne in 1882 and later moved to the United States, where he spent much of his career. Grainger was known for his innovative approach to composition, often using unconventional instruments and harmonies to create unique and memorable works.

Percy Grainger’s Popular Compositions

Here are some of Percy Grainger’s most popular compositions:

1. Country Gardens

Percy Grainger’s “Country Gardens” is perhaps his most famous composition and has become an iconic representation of English folk music. The piece was composed in 1918, while Grainger was serving in the United States Army during World War I. Despite its popularity, the origins of “Country Gardens” are somewhat unclear, and there are several different versions of the piece, including one for piano, one for orchestra, and one for solo violin.

The piece is notable for its lively and energetic melody, which is accompanied by fast-paced, syncopated rhythms. The harmonies in “Country Gardens” are fairly simple, with a focus on diatonic chords and occasional chromaticism. The piece is scored for orchestra and features a wide range of instruments, including strings, woodwinds, brass, and percussion.

One of the most distinctive features of “Country Gardens” is its use of folk dance rhythms. The piece is composed in a 6/8 time signature, which gives it a lively and energetic feel. The melody is based on a traditional English folk tune, which Grainger discovered in the town of Brigg in Lincolnshire, England. He was immediately struck by the tune’s energy and liveliness and decided to use it as the basis for his own composition.

In addition to its energetic rhythms and catchy melody, “Country Gardens” is also notable for its use of orchestration. Percy Grainger was known for his unconventional approach to instrumentation, and he frequently used instruments in unusual ways to create unique and memorable sounds. In “Country Gardens,” he employs a wide range of orchestral colors, using instruments such as the xylophone, marimba, and accordion to create a rich and varied texture.

Despite its popularity, “Country Gardens” has also been subject to some criticism over the years. Some have argued that the piece is too simplistic, both in terms of its melody and its harmony. Others have accused Grainger of appropriating traditional folk music for his own purposes, without sufficient respect for the original sources.

2. Molly on the Shore

“Molly on the Shore” is a composition by Percy Grainger for concert band, based on two Irish reels: “Molly on the Shore” and “Temple Hill”. It was composed in 1907, and revised in 1920. The piece has become a staple in the concert band repertoire and is considered one of Grainger’s most popular works.

The piece opens with a brief introduction, marked “Allegro moderato”, that sets the tone for the piece. The introduction is played by the woodwinds and features a descending melodic line that is repeated twice. The melody is then taken up by the trumpets and trombones, accompanied by a driving rhythm in the snare drum.

The first reel, “Molly on the Shore”, begins with a lively and energetic melody played by the clarinets and accompanied by a pulsating rhythm in the bass drum. The melody is then taken up by the other woodwind instruments and the brass, and is passed around between the different sections of the band. The melody is ornamented with trills and grace notes, adding to the liveliness and energy of the piece.

The second reel, “Temple Hill”, is introduced by the horns and features a more subdued and lyrical melody than the first reel. The melody is played by the woodwinds and is accompanied by a gentle pulsating rhythm in the snare drum. The melody is then taken up by the trumpets and trombones, and is passed around between the different sections of the band.

Percy Grainger’s use of orchestration in “Molly on the Shore” is particularly effective. He makes use of the full range of the concert band, showcasing the unique colors and timbres of each instrument. For example, the clarinets are featured prominently in the first reel, while the horns take center stage in the second reel. The percussion section is also used to great effect, providing a driving rhythm that propels the piece forward.

In terms of harmony, “Molly on the Shore” is fairly simple, with a focus on traditional diatonic chords. However, Grainger’s use of harmony is effective in creating a sense of momentum and energy in the piece. For example, in the first reel, the harmony is fairly static until the final measures, where Grainger introduces a sequence of chords that create a sense of tension and resolution.

Grainger’s use of rhythm is also noteworthy. The piece is full of syncopated rhythms and driving ostinatos that create a sense of momentum and energy. The use of hemiola, where the underlying pulse is divided into groups of three rather than two, is also a prominent feature of the piece.

One of the most striking features of “Molly on the Shore” is Percy Grainger’s use of counterpoint. The two reels are played simultaneously at the end of the piece, creating a complex and intricate texture that showcases Grainger’s skill as a composer. The effect is particularly effective in the context of the piece, adding to the sense of energy and excitement.

3. Lincolnshire Posy

Percy Grainger’s “Lincolnshire Posy” is a collection of six folk song arrangements for concert band, completed in 1937. Each movement is based on a different traditional English folk song, and Grainger uses a variety of unconventional harmonies and instruments to create a unique and memorable sound. The title “Lincolnshire Posy” is a reference to the tradition of posies, small bouquets of flowers, that were exchanged as tokens of affection in Lincolnshire.

The first movement, “Lisbon,” is based on the folk song “Lisbon Wedding.” It begins with a trumpet solo, playing a slow and melancholic melody that is soon joined by the clarinet and bassoon. The introduction of the low instruments creates a mournful, almost somber atmosphere, which sets the stage for the more lively and energetic main theme. In the final section of the movement, the melody is transformed into a fast and lively dance, with the different sections of the band interweaving their parts in a complex and intricate dance.

The second movement, “Horkstow Grange,” is based on the folk song “The Miser and His Man.” The theme is starts in the clarinets and horns at the beginning of the movement. As the piece

The third movement, “Rufford Park Poachers,” is based on the folk song “Bold William Taylor.” It begins with a playful and lighthearted melody played by the clarinet and bassoon. This melody is soon joined by the trumpet and trombone, creating a rich and lively texture. The use of syncopated rhythms and unconventional harmonies creates a sense of energy and excitement, as if the band is trying to capture the thrill of the hunt.

The fourth movement, “The Brisk Young Sailor”, begins with a playful and lighthearted melody played by the clarinet and bassoon, which is soon joined by the flute and oboe. The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style. It is meant to evoke the image of a strapping young lad striding up the road to meet his sweetheart. The movement, also in strophic form.

The fifth movement, “Lord Melbourne”, It opens in free time, which means the conductor gives gestures for every beat with each one adding their own unique interpretation.

The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style.

The sixth and final movement, “The Lost Lady Found,” is based on the folk song of the same name. The melody is passed around between the different sections of the band, with each one adding their own unique interpretation. The use of unconventional harmonies and instrumental combinations creates a sense of unpredictability and drama, as if the band is searching for the lost lady.

4. Mock Morris

Percy Grainger’s “Mock Morris” is a whimsical and playful composition. It is based on a traditional English Morris dance, which is a type of folk dance that involves groups of dancers performing intricate steps and patterns while accompanied by music. In “Mock Morris,” Grainger takes the basic structure and melody of a Morris dance and transforms it into something new and unexpected.

The piece begins with a bright and lively melody played by the woodwinds and brass. The main theme is a simple and catchy tune that is easy to follow, but Grainger adds his own unique touches to it through his use of harmonies and instrumental combinations. The melody is first played by the flutes and clarinets, with the trumpets and trombones adding a layer of harmony underneath. The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style.

As the main theme repeats, Grainger introduces new instrumental colors and textures to keep the music interesting and engaging. The second statement of the melody is played by the clarinet and bassoon, with the horn and euphonium adding a layer of harmony underneath. The use of the lower woodwinds and brass instruments gives this section a warm and mellow sound that contrasts with the bright and lively opening statement.

The third statement of the melody is played by the oboe and bassoon, with the horn and euphonium adding a layer of harmony underneath. The use of the oboe gives this section a unique and distinctive sound that stands out from the rest of the piece. Grainger also adds a layer of chromaticism to the harmonies, which creates a sense of tension and drama.

After the third statement of the melody, Grainger introduces a new section that is more subdued and introspective. The woodwinds and brass play a series of chords that are soft and gentle, with the percussion adding a subtle layer of rhythm underneath. This section provides a moment of rest and reflection before the music returns to the main theme.

The fourth statement of the melody is played by the trumpets and trombones, with the clarinet and bassoon adding a layer of harmony underneath. This section is played with a sense of grandeur and majesty, as if the music is building towards something monumental.

After the fourth statement of the melody, Grainger introduces a new section that is more subdued and introspective. The woodwinds and brass play a series of chords that are soft and gentle, with the percussion adding a subtle layer of rhythm underneath. This section provides a moment of rest and reflection before the music returns to the main theme.

The fifth statement of the melody is played by the entire ensemble, with each section adding their own unique interpretation. The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style. The main theme is repeated throughout the movement, each time with a different instrumental color and texture. The use of unconventional harmonies, such as the use of dissonant chords and chromaticism, creates a sense of tension and drama.

Throughout “Mock Morris,” Grainger uses a variety of unconventional harmonies and instrumental combinations to create a unique and memorable sound. He often employs dissonant chords, chromaticism, and syncopated rhythms to create a sense of tension and unpredictability. He also uses a wide range of instrumental colors and textures, from the bright and lively trumpets and trombones to the warm and mellow clarinet and bassoon. The result is a rich and complex sound that is both unique and memorable.

In addition to his use of unconventional harmonies and instrumental combinations, Grainger also employs a variety of musical forms and structures in

“Mock Morris.” The piece is structured around a series of statements of the main theme, each time with a different instrumental color and texture. This creates a sense of variation and development within the piece, as each statement builds upon the previous one and adds new layers of complexity.

Grainger also incorporates elements of traditional English folk music into “Mock Morris.” The Morris dance is a type of folk dance that has been performed in England for hundreds of years, and Grainger incorporates the basic structure and melody of the dance into his composition. However, he transforms the traditional elements of the Morris dance into something new and unexpected, adding his own unique touch to the music.

One of the most notable aspects of “Mock Morris” is its use of syncopated rhythms. Syncopation is a musical technique that involves accenting the off-beats, creating a sense of rhythmic tension and complexity. Grainger uses syncopation throughout “Mock Morris,” particularly in the woodwind and brass parts. The syncopated rhythms give the music a sense of energy and drive, and contribute to its overall playful and whimsical character.

Another notable aspect of “Mock Morris” is Grainger’s use of unconventional harmonies. He often employs dissonant chords, chromaticism, and unexpected modulations to create a sense of tension and unpredictability in the music. For example, in the third statement of the melody, he uses a chromatic descent in the harmonies that creates a sense of drama and tension.

In terms of instrumentation, “Mock Morris” is scored for a large ensemble that includes woodwinds, brass, percussion, and strings. Grainger employs a wide range of instrumental colors and textures, using different combinations of instruments to create a sense of depth and richness in the music.

For example, in the second statement of the melody, he uses the bassoon and clarinet to create a warm and mellow sound that contrasts with the bright and lively opening statement. In the fourth statement of the melody, he uses the trumpets and trombones to create a sense of grandeur and majesty.

Grainger also makes use of different instrumental techniques to add variety and interest to the music. For example, he employs flutter-tonguing in the woodwinds, which involves rapidly rolling the tongue to create a tremolo effect. He also uses mutes in the brass section, which can create a wide range of different sounds depending on the type of mute used.

Overall, “Mock Morris” is a unique and memorable composition that showcases Grainger’s skill as a composer. His use of unconventional harmonies, syncopated rhythms, and unexpected instrumental combinations creates a sense of tension and unpredictability in the music, while his incorporation of traditional English folk music adds a sense of familiarity and nostalgia. The result is a playful and whimsical composition that is both fun and challenging to listen to.

5. Shepherd’s Hey

Percy Grainger’s “Shepherd’s Hey” is a lively and exuberant composition. It’s based on a traditional English folk dance known as a Morris dance, which involves groups of dancers performing intricate steps and patterns while accompanied by music.

In “Shepherd’s Hey,” Grainger takes the basic structure and melody of a Morris dance and transforms it into something new and exciting.

The piece begins with a bright and cheerful melody played by the woodwinds and brass. The main theme is a simple and catchy tune that is easy to follow, but Grainger adds his own unique touches to it through his use of harmonies and instrumental combinations. The melody is first played by the flutes and clarinets, with the trumpets and trombones adding a layer of harmony underneath.

The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style.

As the main theme repeats, Grainger introduces new instrumental colors and textures to keep the music interesting and engaging. The second statement of the melody is played by the clarinet and bassoon, with the horn and euphonium adding a layer of harmony underneath. The use of the lower woodwinds and brass instruments gives this section a warm and mellow sound that contrasts with the bright and lively opening statement.

The third statement of the melody is played by the oboe and bassoon, with the horn and euphonium adding a layer of harmony underneath. The use of the oboe gives this section a unique and distinctive sound that stands out from the rest of the piece. Grainger also adds a layer of chromaticism to the harmonies, which creates a sense of tension and drama.

After the third statement of the melody, Grainger introduces a new section that is more subdued and introspective. The woodwinds and brass play a series of chords that are soft and gentle, with the percussion adding a subtle layer of rhythm underneath. This section provides a moment of rest and reflection before the music returns to the main theme.

The fourth statement of the melody is played by the trumpets and trombones, with the clarinet and bassoon adding a layer of harmony underneath. This section is played with a sense of grandeur and majesty, as if the music is building towards something monumental.

After the fourth statement of the melody, Grainger introduces a new section that is more subdued and introspective. The woodwinds and brass play a series of chords that are soft and gentle, with the percussion adding a subtle layer of rhythm underneath. This section provides a moment of rest and reflection before the music returns to the main theme.

The fifth statement of the melody is played by the entire ensemble, with each section adding their own unique interpretation. The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style.

The main theme is repeated throughout the movement, each time with a different instrumental color and texture. The use of unconventional harmonies, such as the use of dissonant chords and chromaticism, creates a sense of tension and drama.

Throughout “Shepherd’s Hey,” Grainger uses a variety of unconventional harmonies and instrumental combinations to create a unique and memorable sound. He often employs dissonant chords, chromaticism, and syncopated rhythms to create a sense of tension and unpredictability.

He also uses a wide range of instrumental colors and textures, from the bright and lively trumpets and trombones to the warm and mellow clarinet and bassoon. The result is a rich and complex sound that is both unique and memorable.

In addition to his use of unconventional harmonies and instrumental combinations, Grainger also employs a variety of musical forms to keep the music interesting and engaging. “Shepherd’s Hey” follows a basic ABA form, with the main theme serving as the A section and the more introspective sections serving as the B sections. However, within this basic structure, Grainger incorporates a variety of musical techniques to keep the music fresh and exciting.

For example, in the fourth statement of the melody, Grainger introduces a new rhythmic element that is not present in the previous statements. The melody is played with a dotted rhythm, which adds a sense of energy and urgency to the music. This rhythmic variation is subtle, but it helps to keep the music from becoming predictable or monotonous.

Grainger also uses dynamic contrasts to create a sense of drama and excitement in the music. In the fifth statement of the melody, for example, the music builds to a crescendo before suddenly dropping down to a pianissimo. This sudden change in dynamics creates a sense of tension and release that is both thrilling and satisfying.

One of the most notable aspects of Grainger’s style is his use of folk melodies and traditional music. “Shepherd’s Hey” is based on a traditional Morris dance, and Grainger takes this basic melody and transforms it into something new and exciting. He uses the melody as a starting point, but he also incorporates his own unique harmonies, rhythms, and instrumental combinations to create a piece that is both familiar and original.

Grainger’s use of folk melodies and traditional music was not uncommon in his time, but he took this approach to a new level by incorporating a wide range of musical influences and styles. He was heavily influenced by the music of his native Australia, as well as by the music of other cultures, including African, Asian, and European music. This eclectic mix of influences is evident in his music, which often features unusual rhythms, harmonies, and instrumental combinations.

Another important aspect of Grainger’s style is his use of unconventional notation. In many of his works, he uses a system of “elastic scoring” that allows performers to adjust the dynamics and phrasing of the music based on their own interpretation. This approach to notation gives performers a greater degree of creative freedom and allows them to shape the music in their own unique way.

In “Shepherd’s Hey,” Grainger uses a relatively conventional system of notation, but he still incorporates a variety of unconventional techniques. For example, he uses hairpin dynamics (crescendo and diminuendo) extensively throughout the piece, giving performers a great deal of flexibility in how they shape the music. He also uses articulation markings, such as staccato and legato, to create a sense of rhythmic variety and contrast.

Overall, “Shepherd’s Hey” is a lively and exuberant piece of music that showcases Grainger’s unique style and approach to composition. Through his use of unconventional harmonies, instrumental combinations, and musical forms, he creates a rich and complex sound that is both familiar and original.

His use of folk melodies and traditional music, as well as his incorporation of a wide range of musical influences and styles, gives his music a distinctive and memorable quality that has made it enduringly popular with audiences and performers alike.

6. Irish Tune from County Derry

Percy Grainger’s “Irish Tune for Country Derry” is a beautiful and haunting piece of music that captures the essence of traditional Irish folk music. It is based on a melody that Grainger heard in County Derry, Northern Ireland, during a visit there in 1905. The melody is a traditional Irish air known as “Londonderry Air,” and it has been used in many different settings over the years, including as the tune for the song “Danny Boy.”

The piece begins with a solo presentation of the melody played by the alto saxophone. The melody is simple and lyrical, with a flowing and legato quality that is typical of Grainger’s style. As the melody unfolds, the saxophone adds subtle variations and embellishments, adding a sense of ornamentation and depth to the music.

As the melody repeats, Grainger introduces new instrumental colors and textures to keep the music interesting and engaging. The second statement of the melody is played by the horns and flutes, with the clarinets and bassoons adding a layer of harmony underneath. The use of different instrumental colors and textures creates a sense of depth and richness that is characteristic of Grainger’s style.

The third statement of the melody is played by the oboes and bassoons, with the horns and trumpets adding a layer of harmony underneath. The use of the oboe gives this section a unique and distinctive sound that stands out from the rest of the piece. Grainger also adds a layer of chromaticism to the harmonies, which creates a sense of tension and drama.

After the third statement of the melody, Grainger introduces a new section that is more subdued and introspective. The woodwinds and horns play a series of chords that are soft and gentle, with the percussion adding a subtle layer of rhythm underneath. This section provides a moment of rest and reflection before the music returns to the main theme.

The fourth statement of the melody is played by the strings, with the woodwinds and brass adding a layer of harmony underneath. This section is played with a sense of grandeur and majesty, as if the music is building towards something monumental.

After the fourth statement of the melody, Grainger introduces a new section that is more lively and upbeat. The woodwinds and strings play a series of quick and rhythmic notes, with the brass adding a layer of harmony underneath. This section provides a sense of excitement and energy that contrasts with the more introspective sections that came before.

As the piece progresses, Grainger continues to use a variety of unconventional harmonies and instrumental combinations to create a unique and memorable sound. He often employs dissonant chords, chromaticism, and syncopated rhythms to create a sense of tension and unpredictability. He also uses a wide range of instrumental colors and textures, from the warm and mellow oboe and bassoon to the bright and lively horns and trumpets.

One of the most notable aspects of “Irish Tune for Country Derry” is Grainger’s use of a free-flowing, rubato style of playing. Rubato is a musical term that refers to the practice of playing with a flexible sense of time, allowing the music to ebb and flow naturally. Grainger often incorporates rubato into his compositions, and it is particularly effective in this piece. The use of rubato gives the music a sense of spontaneity and improvisation, as if the players are responding to the music in real time.

Another notable aspect of the piece is the way in which Grainger creates a sense of space and distance in the music. This is particularly evident in the opening section, where the solo alto saxophone seems to be playing from a distance, creating a sense of nostalgia and longing. As the other instruments join in, the sense of distance is gradually dissolved, but the feeling of longing remains, creating a sense of emotional depth that is characteristic of Grainger’s style.

Throughout the piece, Percy Grainger also makes use of a variety of dynamics to create a sense of tension and release. He often begins a section softly and gradually builds to a climax, only to return to a softer dynamic once again. This creates a sense of emotional intensity that is particularly effective in the more dramatic sections of the piece.

In addition to the use of dynamics, Grainger also employs a variety of articulations and phrasing techniques to create a sense of variation and interest in the music. He often uses staccato notes, accents, and legato lines to create a sense of contrast between different sections of the piece. This is particularly evident in the more lively and upbeat sections of the music, where Grainger employs quick, staccato rhythms to create a sense of excitement and energy.

Overall, Percy Grainger’s “Irish Tune for Country Derry” is a masterpiece of musical composition that captures the essence of traditional Irish folk music while also incorporating Grainger’s own unique style and techniques. The use of unconventional harmonies, free-flowing rubato, and a wide range of instrumental colors and textures all contribute to the sense of emotional depth and richness that is characteristic of Grainger’s work.

One of the most striking aspects of the piece is its ability to evoke a sense of nostalgia and longing. The simple, lyrical melody of the traditional Irish air is beautifully presented and elaborated upon by Percy Grainger, creating a sense of emotional intensity that is both powerful and poignant.

Honorable Mention

Colonial Song

This work is a patriotic hymn that Percy Grainger composed for orchestra. It features a lush, sweeping melody that is accompanied by rich, complex harmonies. The harmonies in “Colonial Song” are often complex, with a focus on unconventional chords and dissonances.

Spoon River

This work is an arrangement of a traditional American folk song. Percy Grainger scored the piece for concert band, and it features a hauntingly beautiful melody that is accompanied by rich, lush harmonies. The harmonies in “Spoon River” are often complex, with a focus on unconventional chords and dissonances.

Ye Banks and Braes o’ Bonnie Doon

This work is an arrangement of a traditional Scottish folk song. Percy Grainger scored the piece for solo voice and piano, and it features a beautiful, lyrical melody that is accompanied by lush, rich harmonies. The harmonies in “Ye Banks and Braes o’ Bonnie Don” are fairly simple, with a focus on diatonic chords and occasional chromaticism.

Hill Song No. 2

This work is another piece by Percy Grainger. It is a beautiful and hauntingly atmospheric piece that is scored for orchestra. It features a lush and impressionistic sound, with long, sustained chords and delicate, ethereal melodies. The harmonies in “Hill Song No. 2” are often complex, with a focus on unconventional chords and dissonances.

Comparisons

Throughout his career, Percy Grainger was known for his inventive and innovative approach to composition, as well as his deep love and appreciation for folk music from around the world.

In terms of instrumentation, Percy Grainger was known for his willingness to experiment with a wide variety of instruments and sound combinations. He was particularly interested in unconventional instruments such as the theremin, the Hammond organ, and the harmonium, and he often incorporated these instruments into his compositions in unique and unexpected ways.

Harmonically, Percy Grainger was also known for his willingness to push the boundaries of traditional tonality. He frequently used unconventional chords and dissonances, and he was not afraid to experiment with atonality and other modernist techniques. At the same time, however, he also had a deep appreciation for traditional diatonic harmony and often incorporated elements of traditional tonality into his works.

Conclusion

Overall, Percy Grainger’s contributions to the world of music were both significant and far-reaching. His unique and innovative approach to composition helped to expand the boundaries of what was possible in music, and his deep love and appreciation for folk music from around the world helped to bring the music of many different cultures to a wider audience.

Additional Reading

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