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Donald Macleod delves into Stanford’s relationship with colleagues and students, and we see a number of explosive exchanges.

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 death of Queen Victoria in 1901, and the accession of the new king, Edward VII, signalled a sea-change in the fortunes of Stanford as a composer. Donald Macleod, in conversation with Professor Jeremy Dibble, discuss how Stanford now began to be regarded as somewhat old-fashioned. Even one of Stanford's best works, his Symphony No 6, garnered far less attention than it deserved, compared to his ever popular Irish symphony. Stanford continued to be very active as a teacher and was still the 'go-to' compositional teacher in Britain, at the time. One of his students was Rebecca Clarke, his only female student, and she recalled developing a good relationship with her tutor. However, Stanford's notable temper caused him to fall out with his RCM colleague, Sir Hubert Parry, and also with the conductor, Hans Richter, who subsequently stopped programming Stanford’s music in his concerts.

Songs of the Sea, Op 91 No 3 (Devon, O Devon, in wind and rain)
Gerald Finley, baritone
´óÏó´«Ã½ National Chorus of Wales
´óÏó´«Ã½ National Orchestra of Wales
Richard Hickox, conductor

Magnificat in G, Op 81
Alastair Hussain, boy soprano
Choir of King’s College Cambridge
James Vivian, organ
Stephen Cleobury, director

String Quartet No 4 in G minor, Op 99 (Allegro molto vivace)
Dante Quartet

Stabat Mater, Op 96 (Virgo virginum praeclara)
Ingrid Attrot, soprano
Pamela Helen Stephen, mezzo-soprano
Nigel Robson, tenor
Stephen Varcoe, baritone
Leeds Philharmonic Chorus
´óÏó´«Ã½ Philharmonic
Darius Battiwalla, organ
Richard Hickox, conductor

String Quintet No 2 in C minor, Op 86 (Andante)
Krysia Osostowicz, violin
Ralph de Souza, violin
Garfield Jackson, viola
Yuko Inoue, viola
Richard Jenkinson, cello

A Song of Hope, Op 113 No 3
Morgan Pearse, baritone
James Orford, organist
´óÏó´«Ã½ Concert Orchestra
John Andrews, conductor

The Blue Bird, Op 119 No 3
The Sixteen
Harry Christophers, director

Produced by Luke Whitlock