British Music at the 1930 International Society of Contemporary Music in Liege & Brussels

It is often interesting to see what musical works have survived the vicissitudes of time. Music that was deemed to be ‘cutting edge’ and the ‘best’ that Britain could offer in 1930 looks very different in 2019.

I recently found a cutting from The Era dated 12 March 1930. This presented a list of the entries for the Festival of International Society of Contemporary Music (ISCM) to be held in Liege and Brussels, Belgium during the first week of September. The British Section were putting forward the following works:

Orchestral

William Walton: Concerto for viola and orchestra (1929)

Arthur Bliss: Serenade for baritone and small orchestra (1929)

Elizabeth Maconchy: The Land for orchestra (1930)

Alan Bush: Symphonic Impressions for orchestra (1927-8)

Henry Gibson: Gaelic Pipe March for orchestra (c.1930)

Chamber Music

Bernard Van Dieren: String Quartet No.6 (1927)

Patrick Hadley: Song Cycle with strings [I was unable to find any reference to this piece, apart from here]

Arnold Bax: Sonata for two pianos (1929)

Constant Lambert: Sonata for piano (1930)

William Busch: Theme, Variations and Fugue for piano (1929)

Frank Bridge: Trio for violin, cello and piano, no.2 (1928-9)

Military Band

Gordon Jacob: A Festival Overture [I was unable to find any reference to this piece, apart from here]

The article noted that the final selection would be made at the end of March by a jury including Max Butting, Jacques Ibert, Gian Francesco Malipiero, Paul A. Pisk and Erwin Schulhoff.

The three works that went through to Liege (and Brussels) were Walton’s Viola Concerto, Bax’s Sonata for two pianos and Henry Gibson’s March.

It is interesting to see what works have survived to the present time. Clearly William Walton’s Viola Concerto is well established in both concert performances and the record industry. Currently there are more than 25 recordings and many more re-packaging’s of this work. I tis clearly the big winner from the 1930 submissions.  On the other hand, virtually all the other pieces have been forgotten or at any rate are the preserve of enthusiasts of the individual composer.  There are recordings of the Bliss Serenade (1), Elizabeth Maconchy’s ‘The Land’ (1), Bernard Van Dieren’s String Quartet No.6 (1), Arnold Bax’s Sonata for two pianos (4), Constant Lambert’s Piano Sonata (4) and Frank Bridge’s Piano Trio No.2 (5).

Unbelievably. there is no recording of Alan Bush’s Symphonic Impressions on either CD or YouTube. William Busch’s Theme, Variations and Fugue for piano has largely disappeared without trace. In fact, there are only five CD that feature Busch’s music, and four of these are compilation albums showcasing several composers. Another work that has sunk without trace is Henry Gibson’s Gaelic Pipe March, despite being one of the three works put forward for inclusion in the Festival.  As noted above I was unable to find reference to the Gordon Jacob Festival Overture written at this time. Equally impenetrable is Patrick Hadley’s Song Cycle with strings. His catalogue, however, does reference a couple of songs for voice and string quartet composed at about this time. Or perhaps the work was withdrawn?

Finally, if it is any consolation to British music enthusiasts, many of the other named composers from Europe, the USA and beyond who were heard at the 1930 ISCM Festival have also fallen by the wayside. But that is another story.

Meanwhile Bill Walton from Oldham is clearly the winner with the longevity and staying power of what is typically regarded as one of his masterpieces.

One last thought: the five judges listed above are all worthy of exploration. Their music is largely an unknown country, but even a quick look at YouTube reveals some remarkable music. Note in particular Erwin Schulhoff’s jazz-infused chamber and piano music and Max Butting’s stunning Symphony No.3.