Whilst exploring John McCabe’s
Sonata for clarinet, cello and piano which was commissioned for the 1969
Macclesfield Arts Festival, I came across the other work specifically composed
for this event. The catalogue of Alexander Goehr’s music compiled by Schott in
2013, states that Nonomiya, op. 27 for piano was commissioned by Brocklehurst-Whiston
Amalgamated. This was a large silk mill, based at Hurdsfield, near
Macclesfield. Interestingly, Gerard
Larner writings in the Manchester Guardian (13 May 1969) states that the
work was commissioned by the former textile machinery giant, Ernest Scragg and
Sons. I will assume that the catalogue is correct.
Nonomiya is the title of a Noh play. This art form is a Japanese theatrical tradition combining poetic texts, ritualistic drama, dance, and music with elaborate costumes and simple props. The Noh play originated in the 14th century and flourished during the 17th century. There are more than 200 examples from that period still extant. This genre was influential on W.B. Yeats and Ezra Pound. Benjamin Britten’s Curlew River is based on the Noh play Sumida-gawa (Sumida River) of Juro Motomasa (1395–1431). Britten saw this play when he was in Japan during 1956.
Goehr’s Nonomiya opens with a declaimed song with a “finely drawn vocal line in the first part, surrounded by somewhat exotic decoration” given by the “principal actor”. (Dawes 1975, p.719). In the second section, possibly some centuries later he returns as a ghost, and rails against those who have caused his death. The mood of the music takes on that of a dance and then the characters “exeunt.”
In reality, Goehr has used the
Noh play’s traditional bipartite structure as a starting point. Bill Hopkins
(Northcott, 1980, p.22) quotes the composer as saying that “the piece does not
depict, it enacts.” A good evaluation. This
music is not programmatic and does not attempt to follow the story of this
play. In fact, the liner notes (CD PFCD 013) suggest that the main character is
a man, rather than a woman. In the original Nonomiya play, the chief protagonist
is Lady Rokujō, an extremely jealous personality derived from The Tale of
Genji. The overall impact of this play is of a character “soaked in the
feeling of deep suffering and pensiveness that comes from living in this world.”
This does not describe the predominant mood of Goehr’s work.
It is interesting that although
he has not attempted to “create an explicitly Eastern sound-world, its finely
wrought 'calligraphic' detail expresses a subtle affinity with Japanese
culture.” (Pruslin, Liner note, AUC 1005).
Bill Hopkins (Northcott, 1980, p.22) writes that the “intervallic constants which form the core of the piece’s serial apparatus are presented with aggressive insistence, and – as is appropriate in such a dramatically gestural work - much of the emphasis is switched to rhythmic invention…” This creativity seems to transcend the dodecaphonic structure of the piece. Furthermore, Nonomiya “is deliberately more florid and showier; it has stylized, objective brilliance which throws into relief the ritualised contrasts the work encompasses – between, for example, embellished cantilena style and the stark rhythmic composition of the closing pages.” Finally, Hopkins considers that the piano “ceases to be a mechanical vehicle for musical thought, and becomes a persona, a protagonist in the [Noh] drama…”
Stylistically, Goehr’s Nonomiya looks back to the pianism of Aleksandr Scriabin, the tight concentration of Claude Debussy’s Sonatas and the logical perfection of Anton Webern’s Symphony, op.21 for inspiration. Yet, these have been subtly deployed rather than parodied.
John Ogdon was the soloist at the piano recital given on 12 May 1969 at the King’s School, Macclesfield. His programme included Beethoven’s “Appassionato” Sonata, Schubert’s “Wanderer” Fantasy and Chopin’s Sonata in B flat minor. Gerald Larner (Manchester Guardian, 13 May 1969) was delighted that the Macclesfield Art Festival’s “interest in English music is happily not restricted to period pieces and pillars of the establishment.” This was evident in Goehr’s new work heard the previous evening. He considers that “it is an interesting piece. It begins unpromisingly with an obsessive insistence on certain chords and intervals, the texture opaque and the melodic interest lost somewhere in the middle, but it gradually clarifies.” Larner suggests that the “middle section is graced by the parlando [in a ‘speaking’ manner] lyricism of the Japanese dramatic declamation and the piano’s climactic percussive figures atmospherically recall the use of the drum in Noh drama.” He concludes by suggesting that further performances “will clarify the first part too.” Sadly, Alexander Goehr’s Nonomiya has largely fallen by the wayside. Turning to the other works in the recital, Gerald Larner felt that Ogdon was at his “commanding best” during the ‘Appassionata’ Sonata. On the other hand, the “quieter passages” of the Schubert’s Wanderer Fantasy “lacked something in physical strength as well as accuracy.” Finally, Chopin’s Sonata “gained much from Mr. Ogdon’s mature interpretive insight.” The recital was followed by a “generous succession of encores”.
In 1983, Auracle Records released an LP (AUC 1005) featuring the premiere recording of Peter Maxwell Davies’s Piano Sonata. This was coupled with Goehr’s Nonomiya and Capriccio. The pianist was Stephen Pruslin. Reviewing this album for The Gramophone (December 1983, p.801) Arnold Whittall considered that “Nonomiya is...demanding and impressive in its slow, inexorable build-up to a final, vehement yet formal explosion. Here Pruslin's rhythmic precision and delicacy of touch are abundantly in evidence, though the climax lacks something in sheer dynamic force.” In 1999, Elisabeth Klein issued a recording of Nonomiya on her compilation album, Music of the Night (Classico CLASSCD 270). Another CD was issued in 2012 on the Prima Facie Label (CD PFCD 013) played by Panayiotis Demopoulos. It features music by David Ellis, Anthony Gilbert and the pianist. A remarkable live performance of Nonomiya recorded by Jonathan Powell in 2019 has been uploaded to Sound Cloud.
Dawes, Frank “Review: Modern Piano” The Musical Times, August 1975, p.719-720)
Northcott, Bayan, ed. The Music of Alexander Goehr, (Schott & Co. London, 1980)
Files of the Manchester Guardian, The Gramophone, CD liner notes etc.
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