I recently read a programme note for Birmingham composer William Fenney’s Pastoral, op.5 (1916). It was part of a Bournemouth Municipal Orchestra Concert given at the Bournemouth Winter Gardens on 10 January 1918. The short descriptive text is tantalising. Although signed “Anon” it may have been written by the composer:
"This work expresses the feeling with which one looks on a quiet countryside. It does not echo the songs of rustic folk or the music of the shepherd’s pipe and is essentially modern English. Even on the brightest day our country scenery has at least a hint of melancholy for us, and the music, composed in autumn, is bright in colour and sad in feeling.
It begins with one note on the
horn, followed by bright chromatic harmonies in the strings; several
fragmentary themes appear. The episode is more flowing, beginning in the
woodwind instruments and leading to a brief climax. The work ends with various
references to the opening themes.”
Fenney’s work was praised and criticised at the time for being in the tradition of Edward Elgar. Pastoral was published by Stainer and Bell in 1916.
On 5 January 1918 (p.5), the Bournemouth Guardian had reported that on the 14th orchestral concert in the 1917/18 series, would include Karl Goldmark’s Symphony, Rustic Wedding (1875), Beethoven’s Piano Concerto No.3 (1800) played by Winifred Browne, and a tone poem Nineveh, op.18, no.1 by William J. Fenney. For some reason, they omitted to mention the premiere of his Pastoral, op.5.
The same newspaper (12 January 1918, p.5) duly informed that “Thursday afternoon’s symphony concert at the Bournemouth Winter Gardens…included two novelties by Mr William Fenney, who is associated with the Midland Institute, and [is] a special protégé of Professor Granville Bantock, the distinguished composer.” The critic explained that this was Fenney’s first appearance at these concerts. It was also to be his last. They continued, “Great interest was shown in the two pieces, Pastoral and the tone poem Nineveh, both of which must have struck the hearers with the fact that there was individuality therein, although with a strong tendency to modern harmonies.” Slightly critical was the comment that “The only point that hearing these items conveyed was a wish that Mr Fenney would somewhat vary the treatment of his compositions more as there is a feeling of rather undue heaviness, and if some lighter vein were introduced it would surely help in the appreciation of such promising work.” Looking at each work, the critic felt that the “Pastoral was very pleasing and in [Nineveh] the composer has caught something of the still amazing gloires of the great lost empire of the past.” Finally, “Mr Fenney is to be congratulated, and he well deserved the plaudits of an audience, many of whom are accustomed to expect great things at these concerts.”
One day, an orchestra may discover
the full score of the Pastoral in Birmingham University Library, and
allow an audience to judge the work for themselves.
A subsequent post will give a few biographical details about William J. Fenney.
No comments:
Post a Comment