Eric Coates’s Entr’acte a là Gavotte (1912)

I was listening to Eric Coates’ Entr’acte a là Gavotte (1912) the other day on the ASV recording by John Wilson and the BBC Concert Orchestra. It is a piece that I have not consciously listened to before. Michael Ponder in the liner notes points out that although songs tended to dominate the composer’s output at this time, he did compose a few orchestral works.

Reading Michael Payne’s biography of the composer (The Life & Music of Eric Coates: Ashgate 2012) sheds some light on the piece. It was composed in 1912, after the largely forgotten Six Short Pieces for piano and the well known Miniature Suite for orchestra. At the same time Coates wrote a ‘graceful dance’ called The Mermaid, which may or may not be based on the eponymous poem by Tennyson. Payne suggests that both works were ‘probably conceived’ for piano, however the Gavotte was later orchestrated by the composer. The Mermaid was subsequently scored for orchestra by H.M. Higgs.

The formal inspiration for Entr’acte a là Gavotte is the conventional ‘entr’acte’ written for operas. This was originally music played between he acts of operas, ballets or plays. It allowed for the changing of scenery or costumes. The Entr’acte may also have served the purpose of being an ‘overture’ for the second or third acts. In later years, the title was extensively used by composers who divorced the music from any stage production and wrote stand-alone pieces.

The formal structure of this Entr’acte is ‘Introduction-A-B-A-C-D-A-(B)-coda’ however there is a sense of continuity between the sections. After a short introduction that hints at the gavotte’s main theme, the music continues with a graceful charm that echoes the nature of the historic dance. The contrasting subject is really a development of this tune rather than breaking new ground, although it is more forceful in nature. After the first reprise of the main theme, the trio section presents a contrasting mood that is somewhat wistful. Payne points out the relatively unusual use of the mixolydian mode in the ‘trio’ section. The coda is quiet and restrained. The general feel of this piece is that of ‘Merrie England’ with nods to Elgar (who also wrote a rather uninspiring gavotte for violin and piano) and Edward German.

I agree with Michael Ponder that this present ‘Gavotte’ is untypical of Coates later works. It is more in the style of Haydn Wood or Edward German than the later more ‘symphonic and syncopated’ suites, marches and waltzes that would flow from his pen.

The Entr’acte was dedicated Phyllis Black who would later (1913) become Coates’ wife. The piano score was published by Boosey 7 Co. in 1912. The orchestral set of parts is published by Edwin F. Kalmus

The Entr’acte was seemingly never recorded by Eric Coates. Currently the only recording of the work that is available on Amazon is ASV CDWHL 2112 with the BBC Concert Orchestra conducted by John Wilson, however I am not sure that it is still officially in the catalogue. It can be heard on YouTube, here.