Molly on the Shore is a composition of Percy Aldridge Grainger. It is an arrangement of two contrasting Irish reels, Temple Hill and Molly on the Shore that present the melodies in a variety of textures and orchestrations, giving each section of the ensemble long stretches of thematic and counter melodic material. It was written in 1907 by Grainger as a birthday gift for his mother. Originally composed for string quartet, this piece was arranged in 1920 for wind band by the composer and Fritz Kreisler set it for violin and piano.
Percy Aldridge Grainger (born George Percy Grainger; July 1882 – February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune Country Gardens. Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms. Grainger was a musical democrat; he believed that in a performance each player's role should be of equal importance. His elastic scoring technique was developed to enable groups of all sizes and combinations of instruments to give effective performances of his music. Experimentation is evident in Grainger's earliest works; irregular rhythms based on rapid changes of time signature were employed, long before Stravinsky adopted this practice. In search of specific sounds Grainger employed unconventional instruments and techniques: solovoxes, theremins, marimbas, musical glasses, harmoniums, banjos, and ukuleles. Grainger introduced an element of chance into performances; individual vocalists and instrumentalists could make random choices from a menu of variations. This experiment in aleatoric composition presaged by many decades the use of similar procedures by avant-garde composers such as Berio and Stockhausen.
