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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