Ruth Gipps (1921-1999)

Ruth Gipps was born in Bexhill-on-Sea in 1921. Her Swiss-born mother was an accomplished pianist and, recognising her daughter's aptitude, taught her piano from an early age. Gipps was four years old when she gave her first public performance, at Grotrian Hall in London. It was from that moment on, she said later, that she knew without a shadow of a doubt, that playing the piano was her job and that she wanted to be a composer.

A highly gifted and versatile musician, on 25th March 1945, Gipps took part in a public concert as the soloist in Glazunov's Piano Concerto before rejoining the woodwind section of the City of Birmingham Orchestra as an oboist for the premiere of her first symphony. Four more symphonies were to follow. But a troublesome injury to her hand, which she had sustained in childhood, brought her career as a concert pianist to an end in the 1950s. By this stage she had achieved some notable successes as a composer. The recipient of several composition prizes, an early high point was the selection of her orchestral work `Knight in Armour` by Sir Henry Wood for the Last Night of the Proms broadcast in 1942.

Awarded a doctorate in music in 1947, Gipps held teaching posts at London's Trinity College of Music, the Royal College of Music and Kingston Polytechnic and did terms as Chair of both the Composers' Guild and the newly founded British Music Information Centre. There's little doubt though that Gipps faced considerable gender discrimination in several of the fields in which she excelled. On discovering her enjoyment of conducting, she overcame this by founding two orchestras, the London Repertoire Orchestra in 1955, and then the Chanticleer Orchestra.

A composition pupil of Vaughan Williams, Gipps defined her music as, `a follow-on from her teacher, Bliss and Walton, the three giants of British music since the Second World War.` While all these composers can be heard in her music, her music has its own distinctive and original qualities.

Publicly outspoken, Gipps remained firmly anti-modernist. She regarded 12-tone music, serial music, electronic music and avant-garde music as utter rubbish. From the late 1950s the musical establishment felt her music was out of step with the times, and they bypassed her work. She did have some admirers, including Sir Arthur Bliss, whom she had first met in 1942, who continued to support and admire her music but in general it fell to her own resourcefulness to get her music heard, arranging performances, which she would then conduct with her own orchestras.

Across the week Donald Macleod is joined by Victoria Rowe, the keeper of Gipps' archive and her daughter-in-law. Together they build a picture of Gipps as a child performer, a young student, an educator, a conductor and a composer. The series features specially recorded material from the BBC's performing groups, including Gipps's Second, Third and Fourth Symphonies. There's also a brand-new recording of Cringlemire Garden, for string orchestra, and two more new releases, both of which explore her chamber music. All three recordings are planned for release later this year, to mark the centenary year of her birth.

Preparing the City of Birmingham Chorus for a performance of Elgar's Dream of Gerontius made Ruth Gipps realise that if she wanted to further her ambitions as a conductor she would need to move to London in the near future.

Sonata Op 45 (4th movt)

Peter Cigleris, clarinet

Duncan Honeybourne, piano

South West German Chamber Orchestra

Douglas Bostock, conductor

Seascape for 10 wind instruments

BBC National Orchestra of Wales

Jonathan Bloxham, conductor

An Easter Carol Op 52

BBC Singers

Sofi Jeannin, conductor

Gloria in excelsis Op 62

Symphony No 3 (3rd & 4th movts)

BBC Philharmonic

Rumon Gamba, conductor

Donald Macleod considers the misery and the joy Ruth Gipps found in Birmingham.

Ruth Gipps was born in Bexhill-on-Sea in 1921. Her Swiss-born mother was an accomplished pianist and, recognising her daughter's aptitude, taught her piano from an early age. Gipps was four years old when she gave her first public performance, at Grotrian Hall in London. It was from that moment on, she said later, that she knew without a shadow of a doubt, that playing the piano was her job and that she wanted to be a composer.

A highly gifted and versatile musician, on 25th March 1945, Gipps took part in a public concert as the soloist in Glazunov's Piano Concerto before rejoining the woodwind section of the City of Birmingham Orchestra as an oboist for the premiere of her first symphony. Four more symphonies were to follow. But a troublesome injury to her hand, which she had sustained in childhood, brought her career as a concert pianist to an end in the 1950s. By this stage she had achieved some notable successes as a composer. The recipient of several composition prizes, an early high point was the selection of her orchestral work `Knight in Armour` by Sir Henry Wood for the Last Night of the Proms broadcast in 1942.

Awarded a doctorate in music in 1947, Gipps held teaching posts at London's Trinity College of Music, the Royal College of Music and Kingston Polytechnic and did terms as Chair of both the Composers' Guild and the newly founded British Music Information Centre. There's little doubt though that Gipps faced considerable gender discrimination in several of the fields in which she excelled. On discovering her enjoyment of conducting, she overcame this by founding two orchestras, the London Repertoire Orchestra in 1955, and then the Chanticleer Orchestra.

A composition pupil of Vaughan Williams, Gipps defined her music as, `a follow-on from her teacher, Bliss and Walton, the three giants of British music since the Second World War.` While all these composers can be heard in her music, her music has its own distinctive and original qualities.

Publicly outspoken, Gipps remained firmly anti-modernist. She regarded 12-tone music, serial music, electronic music and avant-garde music as utter rubbish. From the late 1950s the musical establishment felt her music was out of step with the times, and they bypassed her work. She did have some admirers, including Sir Arthur Bliss, whom she had first met in 1942, who continued to support and admire her music but in general it fell to her own resourcefulness to get her music heard, arranging performances, which she would then conduct with her own orchestras.

Across the week Donald Macleod is joined by Victoria Rowe, the keeper of Gipps' archive and her daughter-in-law. Together they build a picture of Gipps as a child performer, a young student, an educator, a conductor and a composer. The series features specially recorded material from the BBC's performing groups, including Gipps' second, and fourth symphonies.

By the time she was ten, Ruth Gipps was a seasoned concert pianist, with six years' experience under her belt. Music includes her piano concerto, which she dedicated to her mother, and a complete performance of her quintet, written for the unusual combination of oboe, clarinet, violin, viola and cello.

Duncan Honeybourne (piano)

The Kelpie of Corrievreckan Op. 5b

Peter Cigleris, clarinet

Quintet Op. 16

Gareth Hulse, oboe

John Mills, violin

Lydia Lowndes-Northcott, viola

Bozidar Vukotic, cello

Members of the Tippett Quartet

Piano Concerto in G minor Op. 34

I. Allegro moderato

Murray MacLachlan, piano

Royal Liverpool Philharmonic Orchestra

Charles Peebles, conductor

Produced by Johannah Smith

Donald Macleod explores the life and music of the English composer Ruth Gipps.

Ruth Gipps was born in Bexhill-on-Sea in 1921. Her Swiss-born mother was an accomplished pianist and, recognising her daughter's aptitude, taught her piano from an early age. Gipps was four years old when she gave her first public performance, at Grotrian Hall in London. It was from that moment on, she said later, that she knew without a shadow of a doubt, that playing the piano was her job and that she wanted to be a composer.

A highly gifted and versatile musician, on 25th March 1945, Gipps took part in a public concert as the soloist in Glazunov's Piano Concerto before rejoining the woodwind section of the City of Birmingham Orchestra as an oboist for the premiere of her first symphony. Four more symphonies were to follow. But a troublesome injury to her hand, which she had sustained in childhood, brought her career as a concert pianist to an end in the 1950s. By this stage she had achieved some notable successes as a composer. The recipient of several composition prizes, an early high point was the selection of her orchestral work `Knight in Armour` by Sir Henry Wood for the Last Night of the Proms broadcast in 1942.

Awarded a doctorate in music in 1947, Gipps held teaching posts at London's Trinity College of Music, the Royal College of Music and Kingston Polytechnic and did terms as Chair of both the Composers' Guild and the newly founded British Music Information Centre. There's little doubt though that Gipps faced considerable gender discrimination in several of the fields in which she excelled. On discovering her enjoyment of conducting, she overcame this by founding two orchestras, the London Repertoire Orchestra in 1955, and then the Chanticleer Orchestra.

A composition pupil of Vaughan Williams, Gipps defined her music as, `a follow-on from her teacher, Bliss and Walton, the three giants of British music since the Second World War.` While all these composers can be heard in her music, her music has its own distinctive and original qualities.

Publicly outspoken, Gipps remained firmly anti-modernist. She regarded 12-tone music, serial music, electronic music and avant-garde music as utter rubbish. From the late 1950s the musical establishment felt her music was out of step with the times, and they bypassed her work. She did have some admirers, including Sir Arthur Bliss, whom she had first met in 1942, who continued to support and admire her music but in general it fell to her own resourcefulness to get her music heard, arranging performances, which she would then conduct with her own orchestras.

Across the week Donald Macleod is joined by Victoria Rowe, the keeper of Gipps' archive and her daughter-in-law. Together they build a picture of Gipps as a child performer, a young student, an educator, a conductor and a composer. The series features specially recorded material from the BBC's performing groups, including Gipps' second, and fourth symphonies.

Consistent and cheerful overwork' was how Ruth Gipps summarised the five and a half years she spent at the Royal College. Despite a few bust-ups, including an especially fiery one with the principal, Gipps won her compositional wings, and made some close friends, among them her future husband, clarinettist Robert Baker.

Clarinet Concerto in G minor Op 9

III: Vivace

Robert Plane, Clarinet

BBC Scottish Symphony Orchestra

Martyn Brabbins, conductor

BBC National Orchestra of Wales

Rumon Gamba, conductor

Jane Grey Fantasy Op 15

Scott Dickinson, viola

Teresa Riveiro B怀hm, conductor

Rhapsody in E flat Op 23

Peter Cigleris, clarinet

Tippett Quartet

Symphony No 2 (excerpt)

Donald Macleod follows Ruth Gipps' progress as a young music student in war-time London.

Ruth Gipps was born in Bexhill-on-Sea in 1921. Her Swiss-born mother was an accomplished pianist and, recognising her daughter's aptitude, taught her piano from an early age. Gipps was four years old when she gave her first public performance, at Grotrian Hall in London. It was from that moment on, she said later, that she knew without a shadow of a doubt, that playing the piano was her job and that she wanted to be a composer.

A highly gifted and versatile musician, on 25th March 1945, Gipps took part in a public concert as the soloist in Glazunov's Piano Concerto before rejoining the woodwind section of the City of Birmingham Orchestra as an oboist for the premiere of her first symphony. Four more symphonies were to follow. But a troublesome injury to her hand, which she had sustained in childhood, brought her career as a concert pianist to an end in the 1950s. By this stage she had achieved some notable successes as a composer. The recipient of several composition prizes, an early high point was the selection of her orchestral work `Knight in Armour` by Sir Henry Wood for the Last Night of the Proms broadcast in 1942.

Awarded a doctorate in music in 1947, Gipps held teaching posts at London's Trinity College of Music, the Royal College of Music and Kingston Polytechnic and did terms as Chair of both the Composers' Guild and the newly founded British Music Information Centre. There's little doubt though that Gipps faced considerable gender discrimination in several of the fields in which she excelled. On discovering her enjoyment of conducting, she overcame this by founding two orchestras, the London Repertoire Orchestra in 1955, and then the Chanticleer Orchestra.

A composition pupil of Vaughan Williams, Gipps defined her music as, `a follow-on from her teacher, Bliss and Walton, the three giants of British music since the Second World War.` While all these composers can be heard in her music, her music has its own distinctive and original qualities.

Publicly outspoken, Gipps remained firmly anti-modernist. She regarded 12-tone music, serial music, electronic music and avant-garde music as utter rubbish. From the late 1950s the musical establishment felt her music was out of step with the times, and they bypassed her work. She did have some admirers, including Sir Arthur Bliss, whom she had first met in 1942, who continued to support and admire her music but in general it fell to her own resourcefulness to get her music heard, arranging performances, which she would then conduct with her own orchestras.

Across the week Donald Macleod is joined by Victoria Rowe, the keeper of Gipps' archive and her daughter-in-law. Together they build a picture of Gipps as a child performer, a young student, an educator, a conductor and a composer. The series features specially recorded material from the BBC's performing groups, including Gipps' second, and fourth symphonies.

In 1957 Ruth Gipps made her professional debut as a conductor at the Royal Festival Hall in London. As her profile developed, she became more involved in the organisation of British orchestras. Her views ruffled quite a few feathers, but Gipps stood her ground.

Cringlemire Garden - Impressions for String Orchestra

Southwest German Chamber Orchestra

Douglas Bostock, conductor

Seascape for 10 wind instruments

BBC National Orchestra of Wales

Jonathan Bloxham, conductor

Sonata for cello and piano, op 63 (excerpt)

Joseph Spooner, cello

Duncan Honeybourne, piano

Symphony no 4 op 61

I: Moderato - Allegro molto - poco meno mosso -

Tempo I (Allegro molto) - Moderato -

Rumon Gamba, conductor

Horn Concerto, op 58

David Pyatt, horn

London Philharmonic Orchestra

Nicholas Braithwaite, conductor

Donald Macleod looks at the challenges Ruth Gipps had to overcome as a conductor.

Ruth Gipps was born in Bexhill-on-Sea in 1921. Her Swiss-born mother was an accomplished pianist and, recognising her daughter's aptitude, taught her piano from an early age. Gipps was four years old when she gave her first public performance, at Grotrian Hall in London. It was from that moment on, she said later, that she knew without a shadow of a doubt, that playing the piano was her job and that she wanted to be a composer.

A highly gifted and versatile musician, on 25th March 1945, Gipps took part in a public concert as the soloist in Glazunov's Piano Concerto before rejoining the woodwind section of the City of Birmingham Orchestra as an oboist for the premiere of her first symphony. Four more symphonies were to follow. But a troublesome injury to her hand, which she had sustained in childhood, brought her career as a concert pianist to an end in the 1950s. By this stage she had achieved some notable successes as a composer. The recipient of several composition prizes, an early high point was the selection of her orchestral work `Knight in Armour` by Sir Henry Wood for the Last Night of the Proms broadcast in 1942.

Awarded a doctorate in music in 1947, Gipps held teaching posts at London's Trinity College of Music, the Royal College of Music and Kingston Polytechnic and did terms as Chair of both the Composers' Guild and the newly founded British Music Information Centre. There's little doubt though that Gipps faced considerable gender discrimination in several of the fields in which she excelled. On discovering her enjoyment of conducting, she overcame this by founding two orchestras, the London Repertoire Orchestra in 1955, and then the Chanticleer Orchestra.

A composition pupil of Vaughan Williams, Gipps defined her music as, `a follow-on from her teacher, Bliss and Walton, the three giants of British music since the Second World War.` While all these composers can be heard in her music, her music has its own distinctive and original qualities.

Publicly outspoken, Gipps remained firmly anti-modernist. She regarded 12-tone music, serial music, electronic music and avant-garde music as utter rubbish. From the late 1950s the musical establishment felt her music was out of step with the times, and they bypassed her work. She did have some admirers, including Sir Arthur Bliss, whom she had first met in 1942, who continued to support and admire her music but in general it fell to her own resourcefulness to get her music heard, arranging performances, which she would then conduct with her own orchestras.

Across the week Donald Macleod is joined by Victoria Rowe, the keeper of Gipps' archive and her daughter-in-law. Together they build a picture of Gipps as a child performer, a young student, an educator, a conductor and a composer. The series features specially recorded material from the BBC's performing groups, including Gipps' second, and fourth symphonies.

While she wanted to be regarded as a 'composer' irrespective of gender, Ruth Gipps became an influential voice in promoting women musicians, creating opportunities for them and supporting their activities within the music profession.

Octet for Wind, Op 65

2nd movt: Waltz

Members of BBC National Orchestra of Wales

Jonathan Bloxham, conductor

Opalescence, Op 72

Duncan Honeybourne, piano

Pan and Apollo, Op 78

Wind Sinfonietta, Op 73

Members of BBC Scottish Symphony Orchestra

Teresa Riveiro B怀hm, conductor

Symphony No 4, Op 61

IV: Finale

Rumon Gamba, conductor

Donald Macleod considers Ruth Gipps' broad contribution to education and British music.