In the following year his Sinfonietta
was first performed by the London Symphony Orchestra. [1] This work, in three
linked movements, is rather more diatonic than his earlier compositions.
At about this time he was
appearing frequently as a conductor at Covent Garden, and seemed to be making
good progress, but in 1923 America tempted him with a much more rapid means of
rising to fame, and he went to New York to become the conductor of the
Rochester Philharmonic Orchestra. [2]. In the United States he soon established
a reputation as one of the world's most brilliant conductors. In 1927 he caused
quite a sensation by conducting a very revolutionary type of symphony by
Charles E. Ives of New England, thereby finding favour in New York's more
advanced schools of thought in music. [3] In the same year, at Rochester (New
York), he conducted the first performance of his Rhythmic Dance; a
scherzo in duple time. Four years later he succeeded Fritz Reiner as conductor
of the Cincinnati Symphony Orchestra. [4]
Return visits to Britain were made
in 1926 when he conducted at His Majesty's Theatre for the famous Diaghilev
season of Russian ballet, [5] in June 1929 to conduct his own opera Judith
at Covent Garden, [6] and again in 1937 when at the same opera house he
conducted during the international season held to celebrate the coronation of
King George VI and Queen Elizabeth.[7] It was during this memorable season that
he had the honour of directing another of his own works, the four-act opera Don
Juan. [8] The libretti of both of his operas, by the way, were written for
him by Arnold Bennett.
Goossens' compositions are
chiefly in the chromatic idiom; they are modern and experimental without being
freakish, although his earlier works suggested that he might develop on rather
curious lines. This has not happened, for his later compositions show some
concern for the more elegant style. Of the two operas, Judith, the
shorter, is the more satisfactory. Percy Grainger was very favourably impressed
by it, and declared that "only a keen, vigorous mind could have conceived
this music: in the main somewhat unbending in its extreme austerity and
conciseness, though flowering forth occasionally into brief moments of luscious
sensuousness." [9]
Writing in Music and Letters some years ago, R. H. Hull said of Goossens' work: "Notwithstanding a prolific output we find much to show a true co-operation between mind and intellect. From the beginning, Goossens has never lacked imaginative qualities, although their strength has greatly increased with experience. Since he began to see his way clearly, his sense of beauty, which is both delicate and subtle, has also gained in depth. The principal works reconcile convincingly an elegance of style and solidity of ideas." [10]
Goossens' most recent work of
importance is his Symphony, op.58, which was first performed in this country on
July 6th, 1943 during a Promenade concert at the Albert Hall. It is
an impressive work, but some of his critics were disappointed because they
thought that in undertaking a work of this magnitude Goossens would have made
it his masterpiece, whereas the Symphony scarcely comes up to the standard of
some of his other works, and its performance in 1943 was not a great success.
To all but his more intimate associates Goossens is apt to give an impression of aloofness, though he does so quite unconsciously. He prefers to conduct other people's works to his own, but always enjoys writing music, and finds that the morning and early evening are the best times of the day for composing. He has several other interests besides music. The sea has always fascinated him, and at one time he would spend hours on docks and harbours looking at ships and occasionally talking to their crews. This nautical interest originated in his boyhood when he was living at Liverpool, for much of his leisure time was spent on that city's docks, and it explains his passion for saltwater fishing.
Goossens still retains his boyish interest in steam engines. He was once allowed to drive a locomotive and has never forgotten the thrill of it: even today he could not resist an invitation to ride on an engine if one were sent to him. Add to this a great love of architecture and an occasional game of golf and the picture is complete.
Donald Brook, Composer’s Gallery (London, Rockcliff, 1944)
NOTES:[1] The Sinfonietta was performed for the first time at a London Symphony Orchestra concert on 19 February 1923 held in the Queen’s Hall, London. The composer conduced. The Proms premiere was on 16 August 1934, with Henry Wood conducting the BBC Symphony Orchestra.
[2] The Rochester Philharmonic
Orchestra was founded by the industrialist George Eastman in 1922. Eugene
Goossens was the first musical director, a post that he held from 1923 until
1931.
[3] Eugene Goossens premiered (incomplete)
Charles Ives Symphony No.4 on 29 January 1927 during an International
Referendum Concert sponsored by Pro Musica at Town Hall in New York. The
orchestra included members of the New York Philharmonic.
[4] Goossens was to retain this
position with Cincinnati Symphony Orchestra until 1946. He was succeeded by
Thor Johnson (1913-75).
[5] In 1926, Goossens was engaged
for the Russian Ballet season at His Majesty’s Theatre, London. Ballet works
that were conducted by Goossens included Stravinsky’s Les Noces and Pulcinella,
Erik Satie’s Jack in the Box, and Georges Auric’s Pastorale. A
new addition to the ballet season were the introduction of Interlude’s written
by mainly French and Russian composers. Three British interludes included
William Walton’s Portsmouth Point overture, Lord Berners’s Fugue and
Eugene Goossens’s Nonet.
[6] Judith with a libretto
by the English novelist, journalist, and playwright, Arnold Bennett (1867-1931)
was premiered on 25 June 1929 at Covent Garden.
[7] Operas at this International
Season for the Coronation included Giuseppe Verdi’s Otello (Thomas
Beecham), Paul Dukas’s Ariane et Barbe-Bleue (Philippe Gaubert), Gaetano
Donizetti’s Don Pasquale (Francesco Salfi), Richard Wagner’s Parsifal
(Fritz Reiner), Giacomo Puccini’s Turandot (John Barbirolli), Christoph Gluck’s
Alceste (Philippe Gaubert) and Verdi’s Aida (Francesco Salfi).
There were two complete performances of The Ring (William Furtwangler).
The London Philharmonic Orchestra accompanied throughout the season.
[8] Don Juan de Maraña is
a four-act opera, based on Arnold Bennett’s eponymous 1923 play. The libretto was
completed in 1931, but the opera was not premiered at Covent Garden 24 June 1937.
[9] Grainger’s comment comes from
the fourth in a series of ‘Impressions of Art in Europe’, published on 28
September1929. It is reprinted in ed, Malcolm Gillies and Bruce Clunies Ross, Grainger
on Music OUP 1999
[10] R. H. Hull, Music & Letters,
October 1931, pp. 345-353.
Concluded.
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