Molly On The Shore by Percy Grainger Unit Study

Jenna Dominguez

Unit 1: Composer
Percy Grainger was born July 8, 1882 in Melbourne, Victoria, Australia. After studying piano
with Louis Pabst in Melbourne, he attended the Hoch Conservatory in Frankfurt Germany.
Grainger became well known in London around 1901 as a great concert pianist. In his time in
London, he befriended Edvard Greig, who inspired his love of English Folk music. It was during
this time that Grainger wrote the two contrasting Irish Reels “Temple Hill” and “Molly on the
Shore” as a gift to his mother, Rose Annie Alridge.
Grainger was heavily influenced by English folk music, which he arranged for keyboard
instruments, chamber ensembles, and voice. He is best remembered for his wind band work
Lincolnshire Posy and for his arrangement of Country Gardens.

Unit 2: Composition
Molly on the Shore was originally composed for string quartet or string orchestra, but has since
been arranged for wind band and full orchestra; for this study we will only be looking at his
original work. As stated in the first unit, Grainger wrote “Temple Hill” and “Molly on the Shore”
as a gift to his mother, Rose Annie Alridge after the heavy influence of English Folk music. A
quote from Grainger describes the unique qualities of the piece:

In setting Molly on the Shore I strove to imbue the accompanying parts that made up the
harmonic texture with a melodic character not too unlike that of the underlying reel tune. Melody
seems to me to provide music with an initiative, whereas rhythm appears to me to exert an
enslaving influence. For that reason I have tried to avoid rhythmic domination in my music —
always excepting irregular rhythms, such as those of Gregorian Chant, which seem to me to
make for freedom. Equally with melody I prize discordant harmony, because of the emotional
and compassionate sway it exerts. 2

Unit 3: Historical Perspective

Composed in 1907, from the city of Cork, Molly on the Shore is based on two irish reels from the
work in Charles Villiers Stanford’s Complete Petrie Collection of Ancient Irish Music. The use of
folksongs as inspiration for musical compositions has been common long before Grainger.
Composers have used the traditional melodies from folk songs to create theme and variations,
overtures, and others. The two songs found in Molly on the Shore from the “Collection of
Ancient Irish Music” are two untexted fiddle tunes called “Temple hill” and “Molly on the
Shore”; which of course is the name of Grainger’s composition. Meanwhile “Temple Hill” was
not composed, but is still related to molly on the shore and is included in the program notes on
the score. In the United Kingdom during this time were some of the precursors to the first world
war including their agreement with France, the ending of the war in (the now) South Africa, and
the Anglo-Russian Convention. This was a time of peace with some subtle shadows of what’s to
come. The folk song nature of Graingers works in this time reflect the conservative time period
before the war.

Unit 4: Technical Considerations

Molly on the Shore is a composition for advanced musicians with each part equal in difficulty.
The range goes up to 6th position for violin 1, 4th position for second violins, 3rd position for
violas, thumb position for cellos, and 5th position for basses. The cellos have several sections n
treble clef thumb position. There are several pizzicato parts that require quick switches back to
arco. The contrast of the duple and triple rhythms are essential. Overall, the main technical
challenge will be the intricate rhythms at such a fast tempo.

Unit 5: Stylistic Considerations

To feel the English folksong lilt, this should be felt in two. The dynamics often apply to the
whole ensemble. At the beginning everyone plays a pianissimo, piano, or mezzo piano, while
parts in the middle have everyone playing forte or fortissimo. Even though this may be the case,
melodic lines may need to play louder to cut through the sound of the plucked strings and
harmonies. The articulations are noted throughout, and should be unified in the stressing of
beats. The accented notes have a bit of lean to them and should have a strong start to the note.
Staccatos should be played detached, and not cut short.
The quick paised patterns are passed around the string orchestra throughout the entire piece and
should be seamless; this is often the melody, but for other portions of the piece, this is the motor.
The melody plays over this motor, therefore the balance needs to bring the melody out more; and
the conductor can focus on conducting the melody after establishing the motor underneath.

Unit 6: Musical Elements (Teaching Concepts and Strategies)

Molly on the Shore is in a large ABA form with different techniques repeated throughout the
piece. Along with the melody, there are ostinatos, sustains, and a countermelody that passes
section to section. The director should reinforce unity in each melodic idea so that there are
seamless transitions. This piece is mainly in G major tonality with a few sections that hint at a
minor shift in the tonality. The B section is more open sounding with only one voice having the
melody which is a stark contrast to the beginning and ending sections which are very busy.

Unit 7: Form and Structure

1 Begins with two measures of plucked strings in arpeggios.

3-9 Theme A in violas

10-17 Theme B in violas

18-33 New Theme C in cellos

34-44 Theme B with the marking “short and heavy”- staccato and pesante

44-45 Theme D in violin 1

46-53 Theme E in violin 1

54-61 Theme A

62-69 Theme B

70-77 Theme C Variation in cellos with accompaniment from the other sections

78-85 Theme A and C together, C is the melody in this section which is in the violin 2
and violas

86-93 Theme C

94-109 Theme D (with some theme E) in violin 2 while there are sustains surrounding

110-117 Theme D and C

118-125 Theme E with heavy accents

126- 133 Theme A

134-141 Theme B in violins. M. 138 up two octaves

142-149 Theme A in violin 2 and viola

144 Theme C Variation in violin1

150-157 Theme C Var still on top with the original C theme in Bass Fiddle

158- 165 Theme D in violin 2, getting much quieter now

166-173 Theme E
173-181 Theme A in viola

182- 185 Theme B in violin 1

186-190 Theme B in violin 2

190 Last measure quadruple forte

Unit 8: Suggested Listening

25 Norwegian Folk-Songs and Dances. Einar Steen-Nokleberg: pianist. Edvard Grieg. Naxos
publishing
Publisher’s Number: CD 8.550882
Molly on the Shore. Texas All State String Orchestra, James Kjelland, conductor. Texas Music
Educators Association, 2004

Unit 9: Additional References and Resources

1. Audley, Brian. "The Petrie Collection of the Ancient Music of Ireland." Folk Music Journal,
vol. 8, no. 4, annual 2004, pp. 524+. Gale Academic OneFile,
link.gale.com/apps/doc/A154806340/AONE?u=ksu&sid=googleScholar&xid=f9a4ab16.
Accessed 30 Mar. 2022.

2. Britannica, The Editors of Encyclopaedia. "Percy Grainger". Encyclopedia Britannica, 16 Feb.

2022, https://www.britannica.com/biography/Percy-Aldridge-Grainger. Accessed 30 March
2022.

3. Freeman, Graham. "That chief undercurrent of my mind': Percy Grainger and the aesthetics of
English folk song." Folk Music Journal, vol. 9, no. 4, annual 2009, pp. 581+. Gale Academic
OneFile,
link.gale.com/apps/doc/A190760808/AONE?u=ksu&sid=bookmark-AONE&xid=ab436ba0.
Accessed 30 Mar. 2022.

4. Goza, David “Molly on the Shore: A Conductor’s Guide to a Minor Miracle.” abosa.org, 2006.
https://www.asboa.org/Resources/Molly.pdf

5. Kennedy, Michael, and Lewis Foreman. "Grainger, (George) Percy (Aldridge)." The Oxford
Companion to Music. : Oxford University Press, . Oxford Reference. Date Accessed 30 Mar.
2022<https://www-oxfordreference-com.er.lib.k-state.edu/view/10.1093/acref/9780199579037.0
01.0001/acref-9780199579037-e-2993>.
6. Rabon, John “Brit History: Ten of the Most Important Moments in Britain's History from
1900-1910.” Anglotopia. Feb. 21, 2021.
https://anglotopia.net/british-history/brit-history-ten-of-the-most-important-events-in-british-hist
ory-from-1900-1910/