The Daily Telegraph (7 December 1946) gave details of the concert held
at the Cambridge Theatre on Sunday 8 October. It included the premiere of E.J.
Moeran’s Fantasy Quartet for oboe, violin, viola and cello It was held at the
Cambridge Theatre in London. It was the third work in a concert that included
J.C. Bach’s Quartet No.1 in C major, op.8, three examples of Henry Purcell’s
Three-Part Fantasias, Ludwig van Beethoven’s Serenade in D major, op.8 and
concluding with Mozart’s Oboe Quartet in F major, K.370. Leon Goossens was the soloist in the Moeran
and the Mozart: he was accompanied by the Carter String Trio which featured Mary
Carter (violin), Anatole Mines (viola), and Peggie Sampson (cello). The concert began at 7 pm.
The same edition of newspaper
also intimated the second performance of Moeran’s Fantasy. This was on the
following day, the 9 December at the London Contemporary Music Centre (L.C.M.C.)
at Cowdray Hall in Henrietta Place, Cavendish Square. Leon Goossens was one again
the oboe soloist and was accompanied by the Aeolian String Quartet. Other works
featured were Béla Bartók’s String Quartet No.2, Op.17 (1915-17) and Paul
Hindemith’s String Quartet No. 6 in E flat (1943). At this time the Aeolian
String Quartet included Max Salpeter (violin), Colin Sauer (violin), Watson
Forbes (viola) and John Moore (cello)
The Times (10 December 1946) reporting the premiere, considered that
Moeran’s Fantasy Quartet was ‘almost inevitably pastoral in its general
character.’ The reviewer felt that this work ‘somehow conveyed the feeling of
sunshine over rural England.’ Several things contrived to make this a
successful and ‘pleasing’ piece music: ‘Moeran’s roots in folk-music, his
dexterity with the medium of a string trio…and the concision of the ‘fantasy’
form.’ The only negative criticism was that the ‘joins were not always
concealed.’ In other words, the balance between the repetition of the themes
and the contrasting episodes was set in high relief. Yet the critic insisted
that this made the formal shape of the work clearer. The Quartet’s
‘melodiousness, its unpretentious sincerity, and its sunshine made it so
pleasing.’ As for the performances, the Carter
Trio approached all the works with ‘a complete understanding of what the style
of chamber music playing is and how much their rather fragile medium can
carry.’ He felt that they ‘combine individuality in a working partnership.’ No
more can be asked of any ensemble. In
conclusion, the critic felt that ‘the whole programme, quiet and intimate,
soothed the ear and refreshed the mind.
In a syndicated (and anonymous)
‘London Letter’ published in the Western
Morning News (11 December 1946) the reviewer of the ‘L.C.M.C. Concert at
Cowdray Hall’ noted the ‘disappointment felt at the unavoidable postponement of
a first performance in London George Linstead's String Quartet…’ However, this
was mitigated by the ‘superb playing by the Aeolian String Quartet. He noted
that ‘Leon Goossens assisted the first violin, viola, and 'cello of the
ensemble in Moeran's Oboe Quartet, for which both the players and the composer
- who was present - were strongly applauded.’ The critic considered that ‘Moeran
treats the oboe mainly as a solo instrument in this composition, which is full
of colourful Celtic charm…’ This is a good point.
Goossens evidenced the perfect
breath control and phrasing at his command in Three Landscape Sketches ' for solo instrument by Bernhard van den
Sigtenhorst Meyer (1888-1953).
Finally, I will investigate who
George Linstead is, and perhaps follow him up in a subsequent post.
Alas the only other review of the
Cowdray Hall recital I could find was a short note in the Daily Telegraph (10 December 1946). R.C. simply noted that ‘a new
quartet for oboe and strings by E.J. Moeran was played by Leon Goossens and the
Aeolian strings. This is an attractive work in fantasy form, pastoral in
feeling with a grateful role for the oboe.’ A concise but impressive review.
No comments:
Post a Comment