Tuesday 19 January 2021

John Blackwood McEwen (1868-1948) Tone Poem, 'Grey Galloway' (Border Ballad, No. 3) (1908)

John Blackwood McEwen’s Tone Poem, Grey Galloway was composed in 1908. It was the final instalment of his Three Border Ballads. The other two being The Demon Lover and Coronach. There is no suggestion of a ‘literary’ programme for this final work. The musical content is a ‘reflection on the ideas engendered by the physical characteristics and historical associations of the district lying in the extreme south west corner of Scotland.’  The ‘scenery is of the greatest diversity and beauty, embracing the flat reaches of Solway Sand to the beetling ‘heughs’ or cliffs of Wigton Bay…The interior country rises to a considerable height, and amongst its hills are lochs and tarns innumerable…The whole country is shadowed by legends and historical associations, and romance cannot have a more fruitful field or a more beautiful setting. (Philharmonic Society Programme Book). 

Rosa Harriet Newmarch (1857-1940) was a poet and writer about music. Much of her time was spent studying Russians composers and their work. She wrote several books, including biographies of Tchaikovsky, Sibelius and Sr Henry Wood. Between 1908 and 1920, Newmarch provided programme notes for the New Queen’s Hall Symphony Orchestra. Latterly she was assisted in this by the Swiss-born musicologist Eric Blom. Many of these notes were published in The Concert-Goer's Library (six volumes, 1928–48). She gives a succinct description of McEwen’s Grey Galloway.

‘This work was premiered at a Philharmonic Concert in February 1909 [1]. It reflects the romantic beauty of this south-western District of Scotland, which under the name of Galloway includes part of Ayrshire, with Wigtownshire and Kirkcudbrightshire, and embraces a great variety of scenery; sometimes stern and desolate; sometimes rich and pleasing. The opening theme (Andante molto marcato) seems to be inspired by the former aspect of nature. Rugged and strongly emphasized, it is given out by the strings, and accompanied by detached chords for brass and harps. After some development a second melody is introduced by the 'cellos, against sustained notes for woodwind, the upper strings having light semiquaver figures of accompaniment. A contrasting section follows (Molto tranquillo), the first pastoral subject of which is assigned to solo oboe. The second subject is heard from solo 'cello, cor anglais, and horns. The Finale opens Molto vivace with a vigorous theme, to which succeeds a gentler subject for woodwind. Aclimax is built up, at the height of which the brass gives out the initial theme with great emphasis, and with a Molto ritornando the work comes to an end.’ 
Rosa Newmarch The Concert-Goer's Library Volume 2 p.52 

Notes
[1] The occasion was the 100th Anniversary of the Birth of Mendelssohn. The Philharmonic Society concert, held at the Queen’s Hall on 2 February 1909, included the German composer’s Overture to a Midsummer Night’s Dream, the Piano Concerto in G minor, three piano pieces and the Symphony No.3 in A major, op.56 (Scotch). In the second half, concertgoers heard McEwen’s Grey Galloway and Chabrier’s Overture: Gwendoline. The orchestra was conducted by Camille Chevillard (1859-1923).

John Blackwood McEwen’s (1868-1948) Tone Poem, 'Grey Galloway' has been issued on Chandos 9241. The London Philharmonic Orchestra is conducted by Alasdair Mitchell. The work has been uploaded to YouTube.

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