This String Quartet is one of Moeran’s most characteristic pieces. Mostly lively, there are a few grey moments, which may reflect the composer’s response to the winter coasts of East Anglia. The opening movement (allegro) is urbane in its presentation of the two main themes, and their subsequent development. Much of this is redolent of the then-contemporary English music’s enthusiasm for modally inflected melodies and harmonies, as well as folksong. The movement ends with a reprise of the opening material.
The heart of this work is the lovely ‘andante con moto.’ The main theme is sad and moving in its gentle exposition. The music nods towards the country of Ireland here, which was so influential for Moeran. There is just a hint of animation in the middle section before the opening strain returns in all its subdued and reflective glory. The Quartet concludes with a technically demanding ‘Rondo.’ Moeran has introduced a comprehensive palette of rhythms to provide this lively and rumbustious movement with energy and drive. Once again, confected folk song seems to underlie the melodic material in this movement. Overall, it is hardly surprising that several critics have suggested the influence of Maurice Ravel’s Quartet (1903) on this piece.
The String Quartet in A minor was dedicated to Désiré Defauw (1885-1960), a Belgian violinist and conductor, who had been a refugee during the war, working in London. The Quartet was premiered at the Wigmore Hall on 15 January 1923, by the Allied String Quartet
which included Defauw as lead violinist.
Sonata in E minor for violin and piano, (1923)W J. Mitson (Cobbett, 1963 p.146) divines the correct mood for this introverted and sometimes disturbing work. He hears that its ‘dominant note is a strong seriousness, which deepens even to tragedy.’ For enthusiasts of Moeran’s music, this Violin Sonata may seem much more discordant than expected. There are several passages which project violence, and others that portray a ‘solemn intensity.’ This is so different in tone to the String Quartet written around the same time. Commentators often note the debt of this Sonata to Moeran’s teacher, John Ireland: he finished study with him in 1922. Geoffrey Self (1986, p.36) has insisted that this composition ‘far exceeds in power, energy, and scope anything similar by the older composer.’
The Violin Sonata opens with a brusque sonata-form movement. This balances a ‘tense and brooding’ first subject, with a second that gives just a little repose. Interestingly, Moeran breaks convention by recapitulating the main themes in reverse order. This enables him to conclude the movement with an unsettled mood. The coda is frantic in its brief explosion of power. The slow movement, ‘Lento’ is less brutal, but the intensity of the rhapsodic first subject is exacerbated by dissonant and chromatic harmonies. On the other hand, the second theme of movement is typical Moeran. It is relaxed and evocative of the English landscape. Only here in this Sonata is there any optimism. The final movement is a ‘rondo’, but there is little lightness of touch here, despite the dance-like principal theme (or refrain). This opening melody becomes increasingly ferocious in sound on each recurrence. Even the intervening episodes do little to ease the tension. Rhoderick McNeil (Liner Notes, CHAN 8465) has suggested that ‘the violence of this final movement, and indeed the dark intensity of the work as a whole, can be related to Moeran’s first-hand experience of the horrors of the First World War.’
The modernist tendency of this music pointed in a direction that Moeran may have taken if it had not been for his friendship with Peter Warlock, for better or worse.
Sonata for two violins (1930)
The remarkable thing about the Sonata for two violins is the wide-ranging invention which permeates virtually every bar of this three-movement work. There is a satisfying balance between a muscular approach to the material, and many sensitive and expressive moments. The music is always spontaneous. The opening movement shows a ‘nonchalant interweaving of parts.’ (Monthly Musical Record, October 1937, p.185). This insouciant temper is carried into the middle movement, ‘Presto’, which constantly displays ‘rhythmic vitality’. The final ‘Passacaglia’ is particularly impressive in its ingenuity. This is tightly controlled in both its exposition and variation. The entire piece demands an exacting technique from both soloists. There is little repose in this Sonata, with the pace being brisk for most of its sixteen-minute duration.
The Sonata for two violins was premiered during a Contemporary Music Centre concert at the College of Nursing on 3 May 1932. The soloists were André Mangeot and Walter Price (McNeill, 1982).
Trio for violin, viola, and cello (1931)
This work was dedicated ‘To the Pasquier Trio’, who gave the premiere performance on 20 October 1931, at a Music Society concert at the St John’s Institute, Tufton Street, Westminster. The Daily Telegraph (21 October 1931 p.10) reviewer C.G. (Cecil Gray) provided the fundamental critical assessment which has largely held to the present day. The ‘Trio further confirmed the favourable impression created by his Quartet some years ago [1921]. It is exceedingly well written for the medium…and, if lacking any outstanding originality, nevertheless, possesses distinction of thought and clarity and precision of style. It is probably the best thing its composer has yet given us, in fact.’ A good description of the music is given by The Times (23 October 1931, p.10). The reviewer, possibly H.C. Colles states that the Trio ‘is an attractive work of definitely English flavour, avoiding in its workmanship the extremes of bareness and fussiness…It also avoids prolixity, and the slow movement is striking for its terse combination of lyrical feeling and astringent quality.’ Despite the Trio’s ‘Englishness’ the thematic material is neither ‘folk’ nor ‘folksy’ [but] instrumentally conceived.’
The opening movement ‘Allegretto giovale’ is interesting in being written entirely in 7/8 time. This provides the opportunity for irregular cross rhythms, offering considerable interest throughout. The slow movement ‘Adagio’ is expressive, without ever descending into long-windedness. Here and there, Moeran introduces some sharpness, which never becomes commanding. The ‘scherzo’ played ‘molto vivace’, is suitably light-hearted and occasionally just a touch facetious. The finale begins with a fluid ‘andante grazioso’ before proceeding to a ‘presto’ dance-like coda.
Critically, in the Sonata for two violins and the Trio for violin, viola, and cello, Moeran can be seen pushing against his ‘Delian roots.’ In a letter to Peter Warlock (cited Self, 1986, p.91), Moeran wrote: ‘...It is an excellent discipline in trying to break away from the mush of Delius-like chords, which I have been obsessed with on every occasion I have attempted to compose during the last two years.’ There is a close relationship between the Sonata for Two Violins and the Trio, both in their more caustic mood and musical texture.
Peers Coetmore and Moeran
For an informed appreciation of these compositions it is important to understand the context. Anecdotally, in 1930 Moeran met Peers Coetmore at a reception organised by the artist Augustus Johns (Wild 1973, p.14). Coetmore had been an exceptional student at the Royal Academy of Music, winning the Piatti Prize for cellists in 1924. At the time of her meeting with Moeran, she was beginning to enjoy a successful solo career. Thirteen years later, the couple met again at a concert in Leominster. Within weeks they were engaged to be married. It was virtually love at first sight, at least from Moeran’s perspective. The musical outcome of this relationship was the inspiration to compose several works for his bride-to-be to perform. The most significant of these is the magisterial Cello Concerto (1945). The wedding took place at Kington Parish Church on 26 July 1945. (Moeran Database).
Much has been written about the Moeran/Coetmore relationship: it is fair to say that their marriage was far from successful. They were largely incompatible. Moeran often needed to escape into solitude, and Coetmore had a busy performance schedule and a commitment to war-work with CEMA (Council for the Encouragement of Music and the Arts) and ENSA (Entertainments National Service Association) engagements. Gradually, the couple drifted apart. In 1949, Coetmore left the United Kingdom for an extended tour of South Africa, Australia, and New Zealand. They did not see each other again. Moeran died on 1 December 1950. It is not possible to read a detailed programme into these compositions for cello and piano: they are not ‘autobiographies’. Yet, in many of these pages, Moeran expressed the genuine, deep feeling he had for Peers.
Prelude for Cello and piano (1943)
This Prelude, ‘Adagio ma non troppo’ for cello and piano is a deceptively simple piece. The cellist plays a heartbreakingly beautiful melody, that is accompanied by a straightforward piano part. It was offered to Peers as a ‘keepsake’ whilst she was on tour with ENSA. It was premiered by her in Alexandra, Egypt in early 1944. Geoffrey Self (1986, p.164) does not rate it highly. He writes, ‘it is a work of little distinction; the cello melody is shapely enough, but the piano part is frankly dull. It is a retrogressive piece doomed to a humble place in grade examination lists.’ I would suggest Moeran deliberately wanted the cello to predominate with its gorgeous, lyrical melody, and to allow the piano to play a subservient role. Reviewing the score (Novello, 1944), The Music Review (May1945, p.71) gives a less than complimentary note on the Prelude: ‘It…is best described as ‘School of Londonderry Air’ and a blasé posterity will probably earmark it as domestic after blacking-out music of the middle [1940s].’
Irish Lament for cello and piano (1944)
The Irish Lament is more complex than the Prelude. It is based on an authentic Irish folksong. Readers who know Moeran’s piano music will realise that it is an arrangement of his ‘Irish Love Song’, written in 1926. The ethos of the Lament is self-evident. This has been recreated as a heartfelt love song to his then fiancée. It is typically sad and introspective with just a hint of passion. I think that it is telling the title of the arrangement has changed from ‘Love Song’ to ‘Lament’. It is unfortunate that Peers Coetmore did not make a commercial recording of this piece.
The score was published by Novello in 1952. It is not known when the premiere of the Irish Lament was given.
BibliographyCobbett, Walter Willson, ed., Cobbett's Cyclopedic Survey of Chamber Music Volume 2 (Oxford University Press, 1963)
Maxwell, Ian, The Importance of Being Ernest John: Challenging the Misconceptions about the Life and Works of E. J. Moeran, Doctoral Thesis, Durham University, 2014
McNeill, R. J. (1982). A critical study of the life and works of E. J. Moeran. PhD thesis, Faculty of Music, The University of Melbourne.
Self, Geoffrey, The Music of E.J. Moeran, Toccata Press, 1986
Wild, Stephen, E.J. Moeran, Triad Press, Rickmansworth, 1974
The Moeran Database (website seems to be defunct, July 2024).
The files of The Times, The Observer, The Daily Telegraph, The Chesterian, Music Review, Monthly Musical Record etc.
With thanks to Spirited, the Journal of the English Music Festival where this essay was first published.
To be continued…
No comments:
Post a Comment