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Dora Estella Bright
|Dora Estella||Bright • Knatchbull|
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Opera and lyrical music
Sheet music for Dora Estella Bright
— CD — Classical
Composed by Dora Bright and Ruth Gipps (1921-1999). Classical. CD. Naxos #SOMMCD 273. Published by Naxos (NX.SOMMCD-273).
Voice and Piano — Book Only — Classical
Composed by Dora Bright. Classical. Book Only. Novello & Co Ltd. #MUSNOV263110. Published by Novello & Co Ltd. (BT.MUSNOV263110).
— CD — Classical
By Dora Deliyska. By Various. Classical. CD. Challenge Records #CC 72841. Published by Challenge Records (NX.CC-72841).
— Music Light —
Mighty Bright. Mighty Bright Lights and Accessoires. Music Light. Mighty Bright #MBR53540. Published by Mighty Bright (BT.MBR53540).
— Music Light —
Mighty Bright. Mighty Bright Lights and Accessoires. Music Light. Composed 2014. Mighty Bright #MBR53510. Published by Mighty Bright (BT.MBR53510).
Bright Sheng: A Night at the Chinese Opera — Peter Serkin;The Shanghai String Quartet; Weigang Li; Bright Sheng
— 1 listening CD — Classical
By Peter Serkin;The Shanghai String Quartet; Weigang Li; Bright Sheng. By Bright Sheng. Classical. 1 listening CD. Published by Naxos (NX.970235).
violin, piano — score and part —
Composed by Dora Pejacevic. Violin & Piano. Score and part. Forberg Edition #EBR252. Published by Forberg Edition (PE.EBR252).
violin, piano — score and part —
1917. Composed by Dora Pejacevic. Violin & Piano. Score and part. Edition Butorac #EBR251. Published by Edition Butorac (PE.EBR251).
— 2 listening CDs — Classical
By Natasa Veljkovic. By Dora Pejacevic. Classical. 2 listening CDs. Published by CPO (NX.555003-2).
The Blue Bells of Scotland — Dorothea Jordan, aka Dora Jordan, aka Mrs. Jordan, aka Miss Francis, aka Miss Bland
Piano Accompaniment,Flute,Oboe — Score,Solo Part — Romantic Period,Folk
Composed by Dorothea Jordan, aka Dora Jordan, aka Mrs. Jordan, aka Miss Francis, aka Miss Bland. Arranged by Spike Maiden M√ºller. Romantic Period, Folk. Score, Solo Part. 5 pages. Published by Spike Maiden Mueller (S0.638029).
This catalogue of works supersedes those in the sections above at the top of the web page in the pull down menus and should be regarded as the most comprehensive catalogue based on the evidence of reported works and concerts.
Dora Bright (1862 – 1951)
The preliminary catalogue of works by Dora Bright was prepared by ‘Maj-Britt Peters’(?) on the basis of the Pazdérek 1904 catalogue. This was updated by Silke Wenzel in a paper under the ‘Musik und Gender im Internet’ project undertaken by the Hochschule für Musik und Theater Hamburg, and also by Sophie Fuller in her PhD thesis on Women composers.
Further work reviewing library catalogues from across the globe, lists of works in articles and news sites, as well as contemporary websites and research, are incorporated into this listing. Items not in the previous catalogue(s), i.e. new works, and new information regarding each work is highlighted in italic. Existing copies of works have been identified and are underlined.
Revised and updated by Anthony Bilton, November 2022.
Tuong Lung's Shadow
Opera based on the novel of the same name by Charles William Doyle.
Three Act opera based on the story of life in the Chinese quarter of San Francisco. Opera written fully (libretto & music) by Dora Bright. Mentioned first in the Shepton Mallet Journal 31/10/1902 and also Dresden Neuste Nachrichten 18/10/1902.
Reported first in RAM Club News No.10 10/1903 p.9. Taken by Dora Bright to Germany and submitted to the Director of the Dresden Opera House by Dora Bright reported in the London Daily News 23/10/1902. The Sketch 29/10/1902 reports from the German paper Neuste Nachrichten the music of the opera “is so captivating, and, above all, holds on so strongly, that one exclaims in astonishment, ‘can this be the work of a woman’ “.
The Waltz King
Light Opera (Libretto: Frank Stayton), 1926 (The Times, 25/11/1925, p. 12).
First reported in the Westminster Gazette 25/11/1926 as to be performed in the New Year. Performed 20/5/1935 at Webber Douglas Theatre London as reported in The Stage 16/5/1935. Libretto and lyrics reported in The Stage 16/5/1935 as by Arthur Davenport and Rodney Bennett. The Illustrated London News 1/1/1927 reports the score is woven from Strauss’s wealth of waltzes through which a transcription of ‘The Blue Danube’ runs as a leit-motif. © D79847 26/2/1927.
Copy of libretto in the Library of Congress, Washington DC, USA, ML50 B8526 W2
Suggested third opera Referenced without name in the Radio Times 8/4/1937 p.58.
Ballets and Theatrical Works
The Dancing Girl and the Idol
Ballet, 1903. The Times, 6/2/1903, p. 7. Oriental Fantasy. Performed at Chatsworth 1903 and then 1904 as requested by King Edward IIV, Sheffield Daily Telegraph 6/3/1903. Performed in Alloa Scotland 29/1/1903 The Dundee Telegraph 30/1/1903. London Evening Standard 6/1/1904. Played at the Theatre Francais Paris 1/5/1909 reported in the Sheffield Independent 26/4/1909. First mentioned as music by Dora Bright in The Sketch 13/9/1899.
Copy edited score for piano and voice, includes scene for ‘Un Jardin Indian’, stamped CH. SCHNEKLUD Paris 1910, 13 Rue des Abbesses, Bureau de Copie de Musique (stage directions in French), at The Royal Academy of Dance.
Valse – Mrs Knatchbull - Somerset Standard 11/1/1907.
A Pastoral Fantasy, Empire Theatre London. The Times, 8/9/1908, p. 9. Elkin & Co. Ltd 1909. A dance play in two tableaux first performed by Dora Bright on 1/1/1907 at a small theatrical party at Babington House reported in the Somerset Standard 11/1/1907. First performance at the Playhouse 25/3/1907 reported by the Westminster Gazette 26/3/1907. Toured with Adeline Genée in America, Australia and New Zealand** Reported in The Stage Year-Book 1908 as played at The Playhouse in 1907. © C208598 27/5/1909 for piano. Score for solo piano, Dora Bright's working hand-written copy of the manuscript, Tableau II only, includes stage directions for the dancers at The Royal Academy of Dance. Copy edited score for piano with tableau I and II stamped CH. SCHNEKLUD Paris, 13 Rue des Abbesses, Bureau de Copie de Musique. Further published copy at the British Library. Published copy available from Boosey and Hawkes.
Ballet, 1911. Premiere: 3/10/1910, Empire Theatre London. The Times, 10/10/1910, p. 12. Reported in the Stage Year-Book 1910. First played at the Empire Theatre 10/10/1910 reported in the Globe 11/10/1910.
A Dance-Play. Premiere: 24/11/1910, Prince of Wales's Theatre, London. See The Times, 25/11/1910, p. 12. First played at The Prince of Wales theatre on 23/11/1910 reported in the Daily Telegraph and Courier 17/11/1910. © E259387 31/5/1911.
Colinette. Chansonette from ‘The Portrait’ – Joseph. Williams, USA 1911.
Copy in the British Library. Copy in the Library of Congress, Washington DC, USA, M1621.B.
The Abbé's Garden
Mimodrame in 2 episodes – founded on an incident in Guy Maupassant’s ‘clair de lune’, World Premiere: 31/3/1911, Globe Theatre London. See The Times, 21/3/1911, p. 11; see. also The Times, 1/4/11, p. 10.
Poor Pretty Columbine
Wordless dance play – music by Dora Bright – reported in The Stage Year Book – 1913 – played 3/6/1912 at the Kilburn Empire as reported in The Stage, 6/6/1912.
Miniature Ballet. Premiere: 27/5/1912. The Times, 22/4/1912, p. 14. From Gavotte for orchestra, London: Elkin & Co., ca.1912. First performance The Coliseum London 20/5/1912 The Stage 25/4/1912. Performed at the New York Metropolitan Opera 3/12/1912. Toured with Adeline Genée in America, Australia and New Zealand** Snippet of music from Elkin & Co score in The Queen 28/9/1912. Set in the boudoir of Mlle Camargo the Palace of Versailles 1730. © E286498 7/6/1912.
Published printed piano solo version with Gavotte, Passepied, Sarabande and Flemish Dance at the British Library, London. Published piano solo copy available from Boosey and Hawkes. Printed solo piano version of the Gavotte in the Royal Academy of Music library.
Hand written solo piano manuscript for Camargo ballet in Royal Academy of Dance Adeline Genée archive:
1 Introduction (Corelli Sarabande)
2 (Handel March)
3 (Haydn Minuet)
4 Camargo Solo (Scarlatti Sonata)
5 Pas de Trois (Corelli Gigue)
6 Bridge (Rossini Marcia Muzicale from William Tell)
7 Ell?ler Solo (Ballet Music from William Tell)
8 Pas de Quatre (Chopin Waltz op34 no. 1)
9 Polonaise (Liszt Polonaise no.2 in E)
10 (same as number 1 in short form)
The Wood Nymph
The Times, 22/4/1912, p. 14.
In Haarlem There Dwelt
Music drama based on P. van der Meer, 1912. First performed at The Three Arts Club Matinee at His Majesty’s Theatre, London on 21/5/1912 – a Dutch Idyll music drama in four pictures from a story by Pieter van de Meer – reported in RAM Club news no. 36 May 1912. Played at His Majesty’s Theatre on 21/1/1912 Westminster Gazette 2/5/1912. Playhouse London on 22/1/1913 - as reported in the Stage Year Book 1914.
Musical fancy – children ballet arranged for 2 pianos. Premiere: 28/12/1912. Court Theatre The Times, 16/12/1912, p. 10. Based on the nursery rhyme ‘Mondays child is fair of face’. Danced by the children dancers of RAM at Babington House 19/7/1938 – Somerset Standard, 22/7/1938. Hand-written working copy for two pianos at the Royal Academy of Dance.
The Colour of Life
The Times, 31/1/1914, p. 11. played at the Coliseum by Mme Karina 2-28 Feb 1914 – reported in ‘The Art of Ballet’ by Mark E. Perugini and The Era, 4/2/1914
Dora Bright full orchestral score ‘Danses des Couleurs’ written for the The Colour of Life ballet (orchestrated by Henri Lucas), held at The Royal Academy of Dance, (includes copy of flyer from the Coliseum Theatre with Mme Karina on front):
Introduction – Tempo di Gavotte
5 Theme and three variations
7 Yellow and Black
Ballet Music compiled and arranged by Dora Bright. (‘An Authentic Record by Adeline Genée of Dancing and Dancers between the Years 1710 and 1845’)**, 1914. The Musical Times, 4/4/1914, p.6. The Globe 6/4/1914. Performed at the New York Metropolitan Opera 17/12/1912. Toured with Adeline Genée in America, Australia and New Zealand** Includes works by Lully, Boccherini and Gluck with Gavotte Minuet and Chaconne – The Era 1/1/1913. The Era 8/4/1914 and Pall Mall Gazette 8/6/1914 reports the work as 7 tableau and Metropolitan Opera House outlines the ballet and music:
Prelude – old pavanne and passacaille (J.F.Rebel)
Tableau 1 - Passe-pied Lully dances – Triomphe de l’amour (passepied), Le menage de Mohere (Chaconne)
Rameau’s Rigaudon (Dora Bright)
Tableau 2 – Gavotte in F (Padre Martini), Rigaudon (J.P. Rameau), Corelli Chaconne with variations (Dora Bright)
Tableau 3 – Jean Baptiste Lully – Tambourin and Musette (J. P. Raneau), Colinette (Gretry) Old Breton air for strings, Don Giovanni: Serenade (Mozart)
Tableau 4 – Les Petite Riens: Pas de Trois (Mozart), Minuet in A (Bocherrini), Paris and Helen: Gavotte in G (Gluck)
Tableau 5 – La Valse – Fantasié on Waltz Themes (Strauss), Promotionen Waltz (Strauss), Who is Sylvia (Strauss), Das Fischermädchen (Meyerbeer), Du Bist Wie Eine Blume (Schumann), Lieder ohne Worte(Mendelssohn)
Tableau 6 – Dances – Mazurka (Chopin), Valse (Chopin)
Tableau 7 – Pas de Quatre - Coppélia: Ballade (Delibes)
Adapted as a suite and played by Dora Bright at the Bournemouth Winter Gardens as reported in the Nottingham Evening Post 12/4/1928, relayed on the radio Hull Daily Mail 19/4/1928.
Debut de Valse
Music by Johann Strauss and Dora Bright at the Torquay Pavillion reported in the Pall Mall Gazette 8/6/1914.
The Princess and the Pea
Ballet pantomime after Hans Christian Andersen, 1915. The Times June 28/6/1915, p. 3. Played at the Haymarket 2/7/1915 (matinee) as reported in The Stage Year-Book 1916 and The People 20/6/1915.
Based on the fairy tale ‘The Shoes That Were Danced to Pieces’. Premiere in Bradford: 4/11/1915. The Musical Times, 1/1/1916, p. 48. Shipley Times & Express 26/11/1915. ‘Suite de Ballet’ reported in the Newcastle Journal 30/7/1915.
The Dancer's adventure
Ballet. 1915. The Times, October 12, 1915, p. 11. Played at the Coliseum on 11/10/1915 with Adeline Genée reported in the Globe 29/9/1915.
My Official Wife
Play 1916. Incidental music written for the play which appears to have never appeared. Reported in Clifton Society journal 27/1/1916 with 4 Russian dances being premiered at 70 Ennismore Gardens, London. House concert in aid of the funds for ‘British Prisoners of War and Interned Civilians in Germany’.
The Magic Pipe
One act pantomime by Jules Delacre. The Times, 7/6/1917, p. 3. Performed at the Royalty Theatre 26/6/1917 reported in the Stage 7/6/1917. Sunday Mirror 10/6/1917 reports the work has the atmosphere of carnival time in the Latin quarter, Paris 1838.
The Love Song
Ballet, 1932. The Times, 30/1/1933, p. 8; 3/2/1933, p. 8.
This includes: Pavane - Minuet de la Cour - Passe Piéd - Galliard - Rigaudon. Premiere at the Drury Lane Theatre 7/6/1932, gala charity matinee, by Adeline Genée in aid of the Hertford Hospital in Paris. Danced by Adeline Genée at the Colisuem reported in The Stage 2/2/1933. Televised on the London National Programme 11.00-11.30 15/3/1933 – The Scotsman. American premiere in aid of British War Relief Benefit at the Civic Opera House Chicago 3/11/1940 danced by Nina Stroganova.
Untitled, composed for the Guildhall School of Music. The Musical Times, 1/41934, p. 357. Specially written ballet music performed by the Guildhall School of Music 6/3/1934 – written in conjunction with Ben Frankell and Sydney Harrison, as reported in The Musical Times April 1934 p357.
My Lady’s Minuet
Played at Babington House by the RAM dancers – Western Daily Press 26/7/1939.
Sung at Babington by Glynn Eastman and danced by Moira Tucker and Audrey Godfrey reported in the Western Daily Press 26/7/1939 as part of a concert to raise funds for the roof of Babington Church.
Silas Ruthyn (Previously referred to as Uncle Silas)
(Seymour Hicks and Laurence Irving after S. LeFanu), 1893. Written specially for a performance of Silas Ruthyn played on 14/1/1895 at the Pleasure Garden Theatre in Folkstone reported in the Folkestone, Hythe, Sandygate and Cheriton Herald 12/1/1895. Played at the New Theatre Royal Lincoln, 15/3/1895.
The Dream of Scrooge
(JC Buckstone after C. Dickens), 1901. Reported in RAM Club news no. 1 1901 p.10 to be played at the Vaudeville Theatre. London Daily News 9/9/1901. Played on BBC radio Manchester 24/12/1928 21.35 by the Northern Wireless Orchestra – p811 of Radio Times 21/12/28. Music played on the radio by the Northern Radio Orchestra advertised in the Halifax Evening Courier 24/12/1928.
The Hampton Club
(Seymour Hicks based on the French stage adaptation ‘Suicide Club’ by MM. Louzy-Eon and ‘Armont’ by Robert Louis Stevenson), 1909. Cf. The Times, 1/11/1909. p. 8
Adaptation of the old story and the old play by Max Pemberton – incidental music by Dora Bright -played at the Coliseum 14/7/1913 as reported in the Stage Year-Book 1914.
Text by HW Longfellow, 1882. The Musical World 1882. First published in 1882 by Shepherd and Kilner, 7 Grocers Hall Court, Poultry, London, E. C. Referred to in The Life and Works of Sir Edward German as ‘I Heard a Brooklet Gushing’, 2/1882.
Copy in The British Library
The Task of the Flower
RAM Concert 7/7/1883 reported in the Illustrated Sporting and Dramatic News14/7/1883 and Lichfield Mercury 20/7/1883.
The Song of the Shirt
(Thomas Hood) - RAM Concert 1884.
O Summer Storm
RAM Concert 1885. Sung at Mechanics Hall Frome 25/1/1897 Somerset Standard 28/1/1897.
My Lady Sweet Arise
(W Shakespeare) – RAM Concert 1885.
Sign No More Ladies
(W Shakespeare) – RAM Concert 1886.
(by Robert Herrick and William Shakespeare, among others), London: Novello and Co, 1889. First published in 1896 reported in The Gloucester Journal, 29/2/1896.
1. To blossoms (RH) dedicated to A J Hipkins,
2. To daisies (RH)
3. The primrose (RH)
4. To music (RH) Sung at Mechanics Hall Frome 25/1/1897 Somerset Standard 28/1/1897
5. Song (Anon)
6. Hark! Hark! the lark. (WS) dedicated to W Macfarren First played as Hark! The lark, at Shakespeare Society’s meeting on 14/5/1886
7. Who is Sylvia? (WS)
8. It was a lover and his lass (WS)
9. The maid's garland (H Hailstone) dedicated Christine Mackenzie
10. Finland love song (Thomas Moore) dedicated to Marie James*
11. The reaper and the flowers (H Longfellow) dedicated to Mrs Whitehouse*
12. When all the world is young, lad. (Charles Kingsley) dedicated to Edward German
10 & 11 played by Dora Bright and sung by Miss Mackenzie at Christ Church Boys School as reported in the Middlesex County Times 30/11/1889
Copy in The British Library.
Song. (Words by Robert Herrick) First performed at RAM concert 22/2/1884. Song. London. Elkin & Co. 1903 St James Hall London The Globe 14/6/1904 and The Musical Times 1/7/1904 p467. Announced as new song in the Somerset Standard 21/1/1899 and sung at local Concert in Hemington, Somerset, by Mrs Paget and Piano by Dora Bright.
Copy in British Library. Copy in the Library of Congress, Washington DC, USA, M1621.B.
The Splendid Tattered Flag
Swan & Co, 1888. Written by the Duchess of Somerset and set to music specially written by Dora Bright for the benefit of and with all proceeds to the Transvaal war fund reported in the Globe 26/2/1900. Suggested as her first theatrical composition by The Sketch 11/12/1901. Prelude and incidental music reported in the Globe 4/10/1901. Performed to the King and Queen at Sandringham as reported in The Buxton Advertiser 7/12/1901.
Copy in The British Library.
There Sits a bird
Song, London: Leonard. Words by Thomas Ingoldsby. 1891 Pitz & Hatfield, London and Liepzig
Copy in the Library of Congress, Washington DC, USA, M1621.B – available to download as .pdf.
To the marriage of Mr Herbert Gladstone and Miss D Paget reported in the Somerset Standard 8/11/1901.
C’est Mon Ami
(music de la reine, Marie Antoinette) played at Babington House concert 8/1/1902 reported in Somerset Standard 10/1/1902.
Six songs from ‘The Jungle Book’
Text by Rudyard Kipling, London: Elkin, ca.1903. Night song in the jungle
1. Seal lullaby E minor
2. The mother seal's song E major
3. Tiger, tiger!
4. Road-song of the bandar-log
5. The song Toomai's mother sang to the baby.
Dedicated to Henry R Eyres. First performed by Denis O’Sullivan (Baritone) at The Steinway Hall, London 14/10/1902 as reported in The Argonaut 13/10/1902. Reviewed in The Queen 27/6/1903. Heard for the first time with orchestra at Bath Pump rooms 9/5/1936 with Dora Bright present.
Copy in the Royal College of Music library (edition 1 – high voice, edition 2 – low voice). Signed copy in the Boston City Library, USA. Published copies available from Boosey and Hawkes and Musicroom.com. Copy in the Library of Congress, Washington DC, USA, M1621.B
The Ballad of the Red Deer in Eb and F
Song. (Words by F. H) London: Elkin & Co, 1904. Reviewed in the Musical Times 1/4/1904.
No. 1 in E flat for low voice and piano
No. 2 in F for high voice and piano
Copy in British Library. Copy in Royal College of Music library. Published copy available from Boosey & Hawkes. Copy in the Library of Congress, Washington DC, USA, M1621.W. 7 page song.
Star of My Night
13/6/1904 – St James Hall London The Globe 14/6/1904 and The Musical Times 1/7/1904 p467.
("He gave us all a goodbye cheerily")
Song (Baritone solo with male voice obbligato), text by Henry Newbolt, London: Elkin, ca.1907. First reported sung at the Bechstein Hall by Mt Bispham 19/1/1907 reported in the Westminster Gazette 20/1/1907.
Copy in Royal Academy of Music library and British Library. Copy in the Library of Congress, Washington DC, USA, M1621.B. Published copy available from Boosey and Hawkes
A Child's Garden of Verses
Six songs, 1908. First heard at a recital in the Broadwood Rooms on 22/1/1908 – recorded in RAM Club News no.24 May 1908 London Daily News 23/1/1908. Songs 5 and 6 lost.
1. It is very nice to think the world is full of meat and drink
2. Every night my prayers I say
3. In winter I get up at night
4. Marching song
I know a lady sweet and kind
Song, text by Robert Herrick, 1913 © E317166 16/8/1913 Chappell & Co. Ltd. London
Mentioned in The Times Obituary to Dora Bright 23/11/1951.
Copy in The British Library. Copy in the Library of Congress, Washington DC, USA, M1621.B.
The Orchard Rhymes
13 Nursery Rhymes with actions. Written with Ethel Mary Boyce, London: Novello, 1917. Advertised in The Musical Times 1/5/1917 p.233 - School Songs book 260. 2 pieces by Dora Bright, The rose is Red (no. 3) and Monday’s Child (no. 11)– see The Musical Advertiser 1/7/1917 p.333. © 1917 for both. Also ‘Girls and Boys’ and ‘Ring a Ring O Roses’ included by Dora Bright.
Copy in The British Library. Copy in the Library of Congress, Washington DC, USA, M1993.B78 O6, (piano acc.).
‘Hame Hame Hame’ and ‘The rose is red’
See ‘The Orchard Rhymes’ with Ethel Boyce, in the School Music Review (no. 308) advertised in The Musical Times, 1/2/1918 p.90.
(in collaboration with Ethel Mary Boyce), London: Novello and Co, 1922.
Copy in The British Library.
Sing a Song of Sixpence
(in collaboration with Ethel Mary Boyce), London: Novello and Co, 1922.
Copy in The British Library.
Song. Text by G. K. Chesterton. 1936. Dedicated to Harold Williams.
Copy in The British Library. Copy in the Library of Congress, Washington DC, USA, M1621.B Published copy available from Boosey and Hawkes.
Concert piece (Concertstücke)
For piano and orchestra in C sharp minor, 1885. Premiere: RAM Concert at St James Hall, 3/7/1885, Musical Times, 1/81885, p. 479.
Variations on an original Theme of Sir George Alexander Macfarren for piano and orchestra
also in a version for two pianos, Edwin Ashdown 1888. Dedicated to W Macfarren. Theme reported as written specially for Dora Bright by G A Macfarren in The Queen 24/11/1894 as the last theme he wrote.
Copy in The Royal Academy of Music library, The British Library has 4 hand version. Published and available from Hildegard Publishing edited by Sophie Fuller
Concerto for piano and orchestra No. 1 in A minor
1888 Played Crystal Palace 1891 First played at RAM concert 24/7/1888 in St James Hall reported in the London Daily News 25/7/1888. Played at Prom Concert Covent Garden 26/9/1888 reported in the London Evening Standard 27/7/1888. Played in Dresden on 8/10/1889 for the Dresden Philharmonic Society reported in The Queen 5/10/1889. Reported in the Sheffield Independent 2/4/1891. Crystal Palace programmes held in Bodleian Library Collection (Mus. 318 d.28). Well reviewed in The Times 30/3/1891 and played at the Crystal Palace were the Western Daily Press 18/1/1899 suggest “the work had been fully revised and in parts re-written by her”. Also played in Leipzig by Dora Bright and Dr Reinecke in a 4-hand version reported in the Shepton Mallet Journal 1/3/1895.
Copies of score and 2 piano version – valerielangfield.co.uk. CD version SOMMCD 273. Copy at the Royal Academy of Music
Fantasia for Piano and Orchestra in G minor
1890 Daily Telegraph & Reporter (London) 24/10/1890 reports “The new work thus first introduced to public notice, though called a Fantasia though is more of a concerto somewhat freely constructed, played in Dresden and Koln (18/10/1890) recently”. Daily Telegraph & Reporter (London) 31/10 1890 further report on Die Zeitung article relating to the Dora Bright concerts in Dresden and Koln stating “a pianoforte concerto, full of original and beautiful ideas, excellent workmanship, and very praiseworthy instrumentation, was received in the warmest manner”. The Queen 25/4/1891 reports upcoming visits to Dresden, Koln and St Petersburg – states “works include concerto in A minor, Fantasia in G minor, suite for violin and pianoforte, album of songs, several duets for two pianofortes, some pieces for flute, etc. She is engaged on an orchestral suite (three of five movements written) and a quartet for piano and strings”.
Spanish Dance Suite for Orchestra
1891 – Prelude, Liebesleid, Seguidilla, Romance, Finale – played Cologne 10/1891 (Sophie Fuller PhD Thesis).
Fantasia for piano and orchestra in No. 2 in G major
1892 – G major first movement in 4/4 sonata form with cadenza leading to a short 6/8 serenata in the tonic minor and finally a rondo in G major in 2/4 time. Sheffield Independent 3/3/1892 reports “Dora Brights Fantasia will be one of the novelties of the forthcoming season of the Philharmonic Society, is in the key of G, and is in one movement, although practically it is that of a condensed concerto. It was written on the return of Dora Bright from Germany last October, so that it is the young composers latest work.” First performance and snippets (p17) of themes in Philharmonic Society programme 5th Concert 11/5/1892 at St. James Hall London. This was mis-advertised and mis-reported as being in G Minor in many papers and the original programme, before and shortly after the concert. The Times 13/5/1892 correctly ascribes it as being in G major and the snippets published in the programme show G major for the first and last movements.
1893 suggested in The Times 26/12/1893 played at a RAM concert Also mentioned as Orchestral Entr’act in London Daily News 21/10/1893, also Western Daily Press 30/10/1893.
Love song for orchestra
London: Edwin Ashdown, 1897. Leibesleid first performed at the Henry Wood Queens Hall Promenade Concert 6/3/1896 advertised in the Morning Post 2/3/1896.
Variations for piano and orchestra in F major
Paris 1910 Played 1st time in the UK on BBC Radio 8/4/1937 6.40pm– Radio Times p705 – suggests written in Paris in 1912.
Copy in the collection of the Royal Academy of Music, London. Copies of score – valerielangfield.co.uk. CD version SOMMCD 273
Concertstück for six drums and orchestra
The Musical Times, 1/5/1915, p. 305. Premier at Harrogate concert as reported the Yorkshire Post & Leeds Intelligence 6/4/1915.
Suite of 4 Russian Dances for orchestra
First performed in London 21/1/1916 as reported in the Clifton Society 27/1/1916, reported as written as part of a dramatised version of ‘My Official Wife’ as yet unperformed. Played by the BBC Theatre Orchestra in w/e 20/1/1939 as reported in the Somerset Standard 20/1/1939.
For flute and orchestra, 1917. The Times, 3/8/1917, p. 9 and August 25, 1917, p. 9., played at Promenade Series No.25 22/9/1917. Reported in The Globe 4/8/1917 as being part of the 1917 promenade series. Three movements reported in Freemans Journal, 24/9/1917 and Liverpool Daily Post 25/9/1917 as, 1. Lyric in minor key, 2. Chanson Varie, 3. Angelus and Dance.
Vienna for orchestra
The Times, April 23/4/1927, p. 8. Performed at 68th Halle Season Concert 18/3/1926 – see concertprogrammes.org.uk
Suite of 18th-Century Dances for piano and orchestra
Undated (1907-1918 most likely)
Hand-written working piano solo copy with single line indicating orchestral accompaniment at The Royal Academy of Dance (timings indicate work no longer the 14 minutes):
Minuet de la Lour
Rigaudon (d’apres Lulli).
Air and Variations for string quartet
1887. The Times, 10/5/1887, p. 12. Dora Bright wins the Charles Lucas medal*** for the composition – Illustrated London News 4/8/1/888. Written specifically for and played as part of the 5th season of the Westminster Orchestra Society. As reported in The Era, 7/12/1889.
1888. The Times 26/12/1893 suggests played at RAM concert in the year.
2 sketches (Trifles)
For flute with pianoforte accompaniment. Performed in Swansea on 22/8/1889 The Musical Times 1/9/1889.
Suite of 5 pieces for violin and piano
Dedicated to J T Carrodus. Edwin Ashdown Ltd., 1891
Copy in The British Library
Suite for Violin & Piano (Suite of Five Pieces)
London: Edwin Ashdown
First played at Princes Hall 30/4/1890 as reported in The Queen 3/5/1890 – consisting of Prelude, Scherzino, Scotch air and variations, Romance and Moto Perpetuo. The Times 26/12/1893 suggests played at concert in Hampstead in the year. Reported in The Musical Times 1/5/1890 p297 as an original work by Dora Bright played on 23/4/1890 in the Princes Hall together with some songs.
Romance and Sequidillia
For flute and piano Rudall Carter & Co, 1891. Played at Stanley Hall Hampstead reported in the Hampstead and Highgate Express 2/5/1891. Dedicated to the Welsh flute player, Frederic Griffiths, a student of the Royal Academy and Principal flute of the Royal Italian Opera Orchestra in London
Copy in The British Library. Published copy available from juneemersonwindmusic.com
Piano quartet in D major
1892. Musical News p.564 16/6/1894. The Times 26/12/1893 suggests played at Mr Dannreuther concert in the year. Played in Hanover Germany October 1892 as reported in Western Morning News 20/10/1892. The Graphic 24/3/1894.
Quartet for piano and strings
(viola, violin and violincello) – Allegro Maestoso in D major, air with eight variations – 1 in 2/4, 2 in 6/4, 2 in 2/4, 4 scherzino 6/8, 5 vivace 2/4, 6 in 2/4 tonic major, 7 in 4/4, 8 in 3/4 leggierissimo. Specially written for Madame Serruy’s 2nd Matinee on 10/2/1894 – reported in the Norfolk News 17/2/1894.
Sketches a la Russe
Flute, cor-anglais, harp and piano. Played at Wigmore Hall with Dora Bright at the piano. Reported in The Era, 15/10/1924.
Work for two solo instruments and piano
1924 (premier). The Times, 6/10/1924, p. 10.
(two pieces for cello (or violin) and piano), London: Elkin & Co., ca.1934.
No.1 Das Fischermädchen, a melody by Meyerbeer.
Copy held in the British Library
No. 2 Polka à la Strauss
Copyright outlined in Library of Congress Catalogue of Copyright 29/5/1934.
Copy in The Royal College of Music library. Recording by Catherine Wilmers – features on ASV recording of Women composers. Copy held in the British Library.
Sonata in G
Played from manuscript at RAM concert 1/7/1882, as reported in the Musical World 8/7/1882.
Sonata in Eb
Played from manuscript at RAM concert 11/11/1882, as reported in the Musical World 18/11/1882.
F# minor and A for piano – first performed at RAM concert on 6/10/1883. London: Webb & Co, 1884. Dedicated to W Macfarren – The Atheneum 16/8/1884 p.219.
Copy in The British Library.
For Flute with pianoforte accompaniment – The Musical Times, 1/1/1889.
Reported in Manchester Courier and Lancashire General Advertiser 13/1/1894 to be played at Gentleman’s concerts 15/1/1894. (Perhaps the Two sketches from 1883 with a new addition.)
Theme and Variations in F sharp minor for two pianos
1886. The Musical Times, 1/8/1886, p. 480. Theme and Eighteen variations in F # minor on an original theme for 2 pianos – Brighton Gazette 13/7/1886.
Suite in G minor
RAM Concert 19/11/1886 played at the Musical Artists Society, Willis Rooms, London and reported in the Queen 2/4/1887, also The Era 9/4/1887 reports of a Scherzetto and Barcarolle as part of the work. Sheffield Daily Telegraph 27/10/1887 reports work as Prelude, Romance, Scherzetto, Barcarolle, Finale-presto. The Musical Times 1/12/1886 p719, records the work played at St James Hall on 19/11/1886.
Variations on a Theme of Purcell
For 2 Piano RAM Concert 1887 The Queen 25/6/1888
Variations in Eb
(on a theme by J E German) – performed at RAM concert 15/10/1887.
Variations on an original Theme of Sir George Alexander Macfarren for two pianos in G minor
(Variations on an original theme by Sir George Alexander Macfarren for two pianos), 1888. First reported played at the St James Hall 17/2/1888 in the London Evening Standard 18/2/1888.
(new edition: Bryn Mawr, PA: Hildegard Publ. 2000, ed. V. Sophie Fuller) 1894 edition Edwin Ashdown and 1937 edition Edwin Ashdown held in The British Library.
Duet for 2 Pianos
The Musical News 1/7/1891 p.392 10/7/1891 p.384.
1891 – The Atheneum 29/4/1893 p.549.
Three Pieces for Piano
London: Edwin Ashdown, 1895. Musical Times, March 1, 1895, p. 170. Reviewed in The Queen 2/2/1895:
1. Berceuse - dedicated to Mrs Graham G minor
2. Love song: Liebeslied Duettino – dedicated to Lady Katherine Thyme Bb major
3. Tarantella G minor
Copies of Berceuse Duettino and Tarrantella in The British Library. Full copy of all three items in Cambridge University Library – non-borrowable (Mus.24.62)
Played by Ethel Leginska at the Aelioan Hall on 6/5/1909 reported in the Morning Post 7/5/1909.
Romanza for piano
Dedicated to Ethel Boyce. London: Edwin Ashdown, ca.1922. Single work published 1889.
Copy in The British Library.
Scherzetto for piano
London: Edwin Ashdown, ca.1922.
Romanza and Scherzetto
Published as the pair in 1922.
Reported in The Queen 23/2/1889 as being in Eb and Bb respectively. Organ version of Romanza played on 19/3/1922 in Runcorn as reported in the Runcorn Weekly News 24/3/1922. © E544395 and E544396 respectively 10/8/1922.
Copy in The British Library.
Arrangements and transcriptions
Strauss, Johann. New Viennese Waltz piano transcription/arrangement by Dora Bright, London: Elkin & Co., ca.1924. Recorded on HMV 12” 78rpm no G-C2505. Hull Daily Mail 7/4/1924 notes “the waltz of Johann Strauss has been freely arranged for the piano by Dora Bright and is published at 3s. It is full of bright and sparkling tunes assisted by an insistent and pleasing rhythm”. © E582327 5/2/1924.
Copy in The British Library.
Siciliano and Gigue from the Suite in D minor
Arne, Thomas A. Piano transcription by Dora Bright, London: Elkin & Co., 1948.
Copy in The Royal Academy of Music library and Library of Congress, Washington DC, USA (missing - not on shelf). Copy in The British Library © EF10238 28/7/1948
Une Soireé de Vienne
First performed at the Halle in Manchester as reported in The Sheffield Daily Telegraph7/12/1925. Specially written for the Halle series. Performed on the BBC radio 7/1/1926.
Played on the organ at the wedding of Miss Nancy Parish to John Paget at St Margaret’s Westminster as reported in the Shepton Mallet Journal 24/11/1944.
Concerto for Piano and Orchestra No. 2 in D minor
Sophie Fuller PhD footnote - Who's Who (1913/15) and International Who 's Who (1918) outlines Piano Concerto no. 2, performed in Cologne, 1892.
Who’s who incorrectly ascribe the Cologne performance as a Piano Concerto - this was most likely the Fantasia no. 2 in G major as written for the Philharmonic Society, played 11/5/1892 and subsequently performed in Cologne, and then alongside the Piano Quartet in D major in Hanover as reported in the Western Morning News, 20/10/1892. The Philharmonic 5th concert programme 11/5/1892 p.17, describes the Fantasia in the form of a ‘condensed concerto’. Both the Fantasia (G major and G minor) are described as similar to a ‘condensed concerto’. There are no references in any musical magazine or newspaper of any concert, which included a Piano Concerto in D minor. Nor is there any other mention of a second piano concerto in any other literature or research, other than in those outlines of Dora Brights work, post the (incorrect) Who’s Who entry.
Location of works
Other than those identified above, the following link also identifies known versions through the worldcat internet site:
Bright, Dora [WorldCat Identities]
* Sung at Christ Church Boys School (Ealing?) by Miss MacKenzie as reported in The Middlesex County Times 30/11/1889
** Wikipedia on Adeline Genée.
***Lucas Prize awarded and based on the best composition written on a subject provided by the examiners 2 months prior to the award. Dora Bright wins the silver medal against 9 other students.
© copyright catalogue entries from the Library of Congress copyright collection.
This new catalogue above supersedes all other previous listings.
Initial references used in the development of this catalogue are listed below. However, it should be noted that there are a number of websites which have short outlines of Dora Bright’s life and works and appear to be mainly copied from the Wikipedia site short list of works.
Composers during the British Musical Renaissance,1880-1918 – Sophie Fuller PhD Thesis 1998, Kings College London, ISNI 0000 0001 2460 2952
Dora Bright was a considerable influence in the English music scene of the 1880s to the 1930s and was one of the finest piano players of her time as the newspapers and critics reported.
Her father, Augustus, was a Sheffield cutler and her mother, Kate, was an actress related to the great Dibdin Pitt of Garrick fame. They met at a military concert in April 1861, where Augustus played the violin and Kate danced and sang. Within three months they were married, 26/6/1861, and the following year Dora was born. Two further daughters were born in 1864 and 1873. Augustus died in 1880 of heart failure and Kate having taken over the failing business returned to the stage leading a successful career writing plays and acting until her death in 1906 after a fall on stage.
Sent to a Boarding School for young ladies she would have been immersed in music and art. Dora was clearly musical from an early age and first performed with her father in Sheffield at a military concert, aged 10, where she accompanied him in a selection from Lucia by Donizetti and then performed a solo Beethoven piano sonata from memory. According to the newspapers 'she acquitted herself well with remarkable proficiency'. On the death of her father, Dora moves to London and is recommended by the publisher Stanley Lucas for a place at the Royal Academy of Music (RAM). Her studies were extremely successful: on 15 December 1884, Dora Bright received the coveted piano scholarship "Cipriani Potter Exhibition" at the Royal Academy of Music and also worked there as an assistant professor to Walter Macfarren. Another scholarship, the Lady Goldsmid Scholarship for piano, was awarded to Dora Bright in April 1886. In May 1887 she was awarded the Sterndale Bennett Prize for piano, and in July 1888 she was awarded the Charles Lucas Silver Medal for Composition for her composition "Air and Variations" for string quartet, the first woman to attain this prize.
Her first public London concert was in February 1882 being reported as 'skillful and well applauded. A regular performer at RAM concerts and playing her own works as well as accompanying others her first work was performed in February 1882 - Wither!. Many more songs followed and in 1885 she performed her first large work, a Concertstucke for piano. A Piano Suite in G minor premiered at a concert of the Musical Artist's Society in April 1884, with her Piano Concerto in A minor being debuted in July 1888. The next few years saw Dora playing at concerts across the UK and becoming ever more popular. She organised her own concerts to showcase English music and the new works of her friend and other British composers. In 1889, 1890 and 1891, she toured Germany playing her Piano Concerto and a new Fantasia in G minor in Cologne, Dresden, Leipzig and Hannover. The Sheffield Independent of 29/1/1890 reports a future engagement in St.Petersburg, but there is no other mention of this trip. The foreign tours where very popular and news reports from Germany were very positive.
In 1891 The Philharmonic Society approached her to write a new work for the 1892 season, the first Woman to have been bestowed this honour. Within 2 months she had written a Fantasia No.2 in G major which was very well received. This work was widely reported as in G minor and a recent discovery of the programme with small snippets of the work show this to be clearly in G major. In 1892 Dora took this work to Germany on a further tour. It is this work which was described as a 'condensed concerto' and it is most likely that the Who's Who entry of 1913 misreports the fantasia no.2 as the piano concerto no.2, there being no reference in any of the reports of her concerts of a second piano concerto. Both the piano concerto in A minor and the Fantasia no.2 in G, became firm concert hits and Dora played them a number of times across England.
In 1892 she marries Captain Wyndham Knatchbull a retired soldier and owner of the large country house at Babington in Somerset. After a short honeymoon Dora is again on the concert circuit and only slowly reduces her performances as she takes on the role of the Lady of the House and starts to undertake charitable work around Somerset. Music is clearly her passion and she sets up the Babington Strollers to perform Gilbert and Sullivan operetta and assists with choirs, organ funds and local music groups. Her charitable work also has clear focus on women. In 1890 her husband dies and leaves Dora £100 (approx. £100,000 at 2021 conversion) as well as the use of Babington house unless she die or marry. It is not until early 1901 that Dora returns to music with a new direction of theatrical composition and the music for The Dream of Scrooge performed at the Vaudeville Theatre in London in October. A performance of this is specifically requested by King Edward at Sandringham. 1902 sees a new Opera presented to the Dresden Opera House and performed in 1903. Also in 1903 a new ballet - the Dancing Girl and the Idol is performed at Chatsworth House. The next few years see the publication of new works and a return to performance, until in 1907 she approaches Adeline Genee, the great Danish Ballet Dancer, to take on the performance of her new ballet - The Dryad. This is a great success and seals their friendship and working relationship. Dora now writes a number of ballets for Genee, including The Faun (1910), La Camargo (1912), La Danse (1914) and the Love Song (1932). Genee took La Camargo, La Danse and The Dryad on tour to the USA, Australia and New Zealand.
Amongst a number of other works for theatre and dance, Dora was asked to perform the Moszkowski Piano Concerto in A minor (1898) with Moszkowski conducting. Dora played the work in Manchester, Liverpool and London under Moszkwski's baton and she was reported playing with charm, vivacity and clearness. A friendship must have blossomed as Dora went to Paris to improve her compositional techniques with him in 1910, during which he wrote a Piece Romantique op.80 dedicated to her and she completed a new set of Variations for Piano and Orcehstra. A score of this work marked Paris 1910 is in the RAM Archives but there are no records of it ever being performed until recently on the SOMM CD273.
Back in the UK Dora focused on ballet music for Genee and then in 1915 a peculiar Concertstucke for 6 drums performed in Harrogate in April of that year. A new Suite de Ballet was performed in Bournemouth and Bradford, with her next large work being played at the Promenade concert in September 1917 - The Suite Bretonne. There is a gradual reduction in the number of concerts although a number of new works are written, Nue Wien and Sketches a la Russe, both performed live on the radio in 1924. There are perfomances with Dora playing the piano on the radio and a greater focus on charitable works with some very large events to raise monies to repair the Church at Babington and replace the organ. Her last ballet, My Lady's Minuet is written for one such grand event when the RAM dancers entertained dignitaries and locals on the lawns at Babington house in 1939.
Her final years seem to be spent quietly socialising in London and Babington, and after falling ill in London she returns to Babington for a final time. Dora Bright dies on the 16/11/1951 and buried in the family vault in the grounds of Babington House with her husband Wyndham.
Despite being a major force in English music, her works were played little after her death and most of her music is now forgotten and lost or destroyed. Recent work by the writer of this biography has created what amounts to her full catalogue, although there may still be other works in manuscript or totally unpublished. This catalogue is published in the works attached to this entry.