Frederick Delius (1862-1934)

Delius right from the start was never going to be what his father wanted. Young Fritz, later Frederick, had no interest whatsoever in following his father's footsteps in running a business, but instead yearned to express himself in music. Landscape and nature would prove to be especially important as a stimulus for Delius, as can be heard in so many of his works including On Hearing the First Cuckoo in Spring, and North Country Sketches.

Delius eventually managed to persuade his father to allow him to leave home, and go to Florida to manage an orange plantation there. One of the works he composed during this period of travel away from England, was Over the Mountains High. Julian Lloyd Webber discusses his arrangement of this song for cello and piano. Delius would later then move to Danville, Virginia, where he wooed the local population, especially the ladies, with his performance of the Mendelssohn Violin Concerto. Tasmin Little gives her own thoughts on the Violin Concerto by Delius.

Donald Macleod on Delius's struggle to persuade his father to let him leave home.

Delius had now left Florida, paying his own way as a teacher of music. His father was impressed that his son had been able to support himself through music, so he finally agreed to fund young Fritz in a years study in Leipzig. Delius's experiences in Florida, especially listening to the plantation workers singing, would stay with the composer for the rest of his life. This is reflected in his Florida Suite. Once in Leipzig, Delius met a number of Norwegians studying there, and would often take trips to Norway. He set many songs using Nordic texts, including Summer Eve and Longing.

Through the influence of Grieg, Delius would be allowed to continue his musical activities past one year, and ended up in Paris, associating with the likes of Faure, Ravel, Gauguin and Munch. During this period he composed a song cycle called Maud, heard now in part, in its first ever recording arranged for cello and piano. Also during the early 1890's, Delius composed a symphonic poem, which is the first work a paying public heard by Delius - Paa Vidderne.

Pa Delius eventually agrees to fund young Fritz in his musical studies.

Delius was enjoying life greatly in the 1890s. Whether visiting the odd Parisian brothel, or partaking in the odd s退ance, his music at this time displays a youth and vitality, such as the Violin Sonata in B. Tasmin Little and Julian Lloyd Webber discuss the importance of remembering what Delius was like as a young and attractive man, and also the mystery surrounding Delius's brief return to Florida to possibly seek out his illegitimate son.

The influence of Paris, the city of lights, can be heard in Delius's music, such as the orchestral work Paris. His songs set to French words by Verlaine, such as Il pleure dans mon Coeur, had even Delius's supporter Grieg complaining that it was too erotic. It was in Paris that Delius would contract syphilis, and in the song, Through Long Long Years arranged for cello and piano, Julain Lloyd Webber argues his belief that Delius knew by this stage that he'd caught the disease. Another significant event for Delius during these years, was meeting the artist Jelka Rosen, who would eventually become his wife.

Donald Macleod explores the life and work of Frederick Delius.

By 1903, Delius agreed to marry Jelka Rosen and settle down at Grez-sur-Loing, giving up his Paris flat where he met other women. The garden and landscape at Grez was reflected in many works Delius composed there, such as Summer Night on the River. Julian Lloyd Webber and Tamin Little discuss the rather complicated relationships within the household at Grez, believing that Jelka, contrary to popular belief, really did rule the roost.

About a year after his marriage, Delius began his large scale work for soloists, chorus and orchestra, based on the writings of Nietzsche - A Mass of Life. Performances of Delius's works were gradually taking place more far afield, in Norway, Germany and England, and in 1907 Delius met the conductor Thomas Beecham, who would prove to be one of his biggest advocates. But soon Europe would be plunged into the First World War, and Delius and Jelka would flee Grez for England. During this war period, Delius composed his Double Concerto for Violin and Cello, which Tasmin Little calls a 'Love Concerto'.

Donald Macleod focuses on Delius's complex relationship with his wife, Jelka.

With the First World War now over, Delius was keen to promote a number of concerts of his music in England. Many of his works were included in these concerts, including the two wordless vocal miniatures for unaccompanied choir, To be sung of a Summer Night on the Water. Delius was now becoming popular, not least of all with 281 performances of his music for the play Hassan.

Delius also turned his attention to another concerto, this time for Cello, which guest Julian Lloyd Webber has recorded using the same instrument which premiered the work. This concerto was one of the last works Delius was able to complete unaided. Guest Tasmin Little also discusses the final violin sonata, a work which was completed with the help of Eric Fenby, and chats about whether this music is true Delius or not?

Donald Macleod focuses on some of Delius's final works.