I recently wrote that I felt Maconchy’s Three Bagatelles for Oboe & Harpsichord was a far removed from the ethos of her teacher Ralph Vaughan Williams as it is possible to imagine. I conceded that, although I was a great enthusiast of Maconchy’s music, I could not quite get to grips with these three miniatures. Yet a friend has challenged me to listen to them again and to make a few notes about them.
The work was composed in 1972 for a recital given by Lady Barbirolli (Evelyn Rothwell) and her duo partner Valda Aveling in the Purcell Rooms. Maconchy had already shown an interest in baroque instrumentation – she had composed a number of pieces for solo harpsichord in 1965 including Notebook and a Sonatina. She was to go on to write Touchstone for oboe and chamber orchestra and Trittico for two oboes, bassoon and harpsichord.
The opening allegro of the present work has a brisk rhythmic drive which emphasises the characteristics of both instruments. The 'feel' to the music is largely neo-classical – I believe that it actually nods to Stravinsky more than to Bartok – who was a great influence on Maconchy. It has been noted that the chord clusters in this movement are reminiscent of a passage from The Rite of Spring!
The 'poco lento' is perhaps the most idiomatic part of this work. It is not stilted or static but has the freedom of a fantasia. There is a spaciousness about this music that defies the three and half minute time span. The spread chords on the harpsichord are particularly appropriate.
The last movement is signed as a ‘vivo’ –perhaps it would be better to say that parts of it resemble a 'perpetuum mobile.' This is great writing for the players and develops through a variety of time signatures. There are a few moments of relaxation before the work closes with considerable élan.
The 'poco lento' is perhaps the most idiomatic part of this work. It is not stilted or static but has the freedom of a fantasia. There is a spaciousness about this music that defies the three and half minute time span. The spread chords on the harpsichord are particularly appropriate.
The last movement is signed as a ‘vivo’ –perhaps it would be better to say that parts of it resemble a 'perpetuum mobile.' This is great writing for the players and develops through a variety of time signatures. There are a few moments of relaxation before the work closes with considerable élan.
These three miniatures are beautifully constructed – there is no doubt about that. They are an important addition to the repertoire for oboe and harpsichord -if for no other reason than few ‘modern’ composers choose to write for this combination. Yet more than this, these Bagatelles grow on you -there is a haunting quality about them that makes them compulsive. I am coming round to liking them…
Visit the link below and search around for a CD called "From Leipzig to London” for full details of this work and others on this fine disc.
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