Promenade Concert British Novelties for 1920 Part 3

Eugene Goossens’s The Eternal Rhythm is believed to have been composed in 1913, although there seems to be no definite date. The work received its first performance at the Promenade Concerts on 19 October 1920. There were two further performances: firstly, at one of the composer’s ‘contemporary concerts’ in June 1921 and secondly, at the inaugural concert of the International Society of Contemporary Music (ISCM) during December 1922. 

Certainly, there appears to have been few further hearings of this work after that performance. In fact, Goossens suggests in his autobiography, Overture and Beginners, that the work had been lost or perhaps even destroyed. Fortunately, a copy of the score and the orchestral parts turned up at J.& W. Chesters and allowed Vernon Handley and the Melbourne Symphony Orchestra to make the ‘World Premiere Recording’ in 1995.

The CD liner notes of the only recording make a very pertinent comment: they suggest that if Sir Charles Villiers Stanford, Goossens teacher at the Royal College of Music, had ‘set his pupil the task of creating a Franco-German tone poem, with Debussy, Ravel and Richard Strauss glowing on every page, The Eternal Rhythm would have fitted the bill magnificently.’ I would go a little further and suggest that Goossens has taken cues from Frank Bridge, Fred. Delius and, perhaps more vitally, Arnold Bax, in the genesis of this work. However, this piece is not about ‘hunting the influence.’ It is not a parody or a pastiche of anyone’s music.

From the first bar to the last, The Eternal Rhythm shimmers with a kind of impressionism that is relatively rare in music- especially English music. Perhaps Bridge’s Summer or Enter Spring are called to mind. It is unfair to suggest that it does not have an ‘English’ feel to it although at times the mood of this work seems more ‘Celtic’ that ‘Gallic’, but was still in the tradition of early 20th century English music. The musical imagery may as well suggest a hazy day on the Downs as much as a jog round the Rings of Kerry. It depends on the listener’s mood.

The Eternal Rhythm can be heard on ABC Classics 476 7632. The author of the CD notes wonders why the composer chose to suppress, or even consider to destroy this work. Perhaps it was due to criticism that he somehow lacked his own voice? Maybe he felt that this work ‘played into their (these critics) hands?’ For example, R.H. Hull wrote in Music & Letters (October 1932) ‘An early concern with rhythmic devices which had attracted him in the music of foreign contemporaries had incited Goossens to a similar ingenuity in a number of somewhat imitative writings. In The Eternal Rhythm he utilises previous knowledge to speak his own mind very much. This composition is a vital summary of artistic experience up to the moment combined with resolute promise of release from external influence’. Yet even here Hull in not suggesting parody. He admits that it is a synthesis rather than a copy.

All these concerns do not trouble the listener after 100 years have passed. We are fortunate in having a piece of music that is well constructed, brilliantly scored, and downright interesting. It is a work that both entertains and moves the listener. What more can anyone ask of a work? One thing is for sure - if The Eternal Rhythm had been composed by a Frenchman or a German it would have been in the repertoire, both in those countries and in British concert halls. It is that impressive! The Handley recording has been uploaded to YouTube.  

Herbert Howells’s Merry Eye was written in 1920 whilst the composer and his newly wed wife were staying at Soudley in Gloucestershire: it was their honeymoon. The sleeve notes from the Lyrita CD quote Howells's diary: - ‘Merry-Eye occupied me often on brief and early walks on the hilltops. Dorothy and I legged over Bailey Hilland saw miles of the Cotswolds and Severn’.

Howells had received a commission for a new work for that years Promenade Concert and, ‘unfortunately’, the wedding had delayed work on this piece.  The listener can only wonder as to what Mrs Howells felt about Herbert’s workload at this time!

In his programme note for the concert, Howells wrote that ‘This piece has not necessarily a program; but if an idea of such be entertained, it can be supposed that the listener meets with an average-type character out of the domain of folklore - called ‘Merry-Eye’ - who reveals more about himself and his personality than folklore itself ever tells of him or his kind. Much that he relates is true to his name and to such part of his history as is common reading - public property; much else, on the other hand, contradicts this.’

The work is a small tone poem, lasting just under nine minutes. The critic Marion Scott, reviewing the Prom premiere (Christian Science Monitor, 30 October 1920) considered that Merry Eye was ‘what may be called a big-little work and possesses qualities which pique the listener's attention. Short as to length, delicately handled, and scored for a small orchestra, it achieves a music effect as if it were a symphonic poem. Upon the surface it appears to be light music; beneath there runs a vein of deep seriousness.’

Two recordings of this work are currently available: Lyrita SRCD245 and Dutton Epoch CDLX7317. The former has been uploaded to YouTube.

To be concluded...