Elizabeth Maconchy’s (1907-94) Epyllion
for solo cello and strings is stunningly beautiful. It is not only her personal ‘magnum opus,’ but it is one of the
finest examples of concerted music written for ‘cello in the entire repertoire.
Yet, I guess that it is little known and even less appreciated.
Maconchy’s music saw a minor revival in her centenary year (2007) yet nothing that suggests she is achieving the level of interest that is her due. The boxed set of the Complete String Quartets re-issued by Regis on the Forum label is crucial to an understanding of Maconchy’s composing career. I guess that many people will know the fine overture, Proud Thames - released on the Lyrita label. Purchasers of that disc will surely be impressed by the essential Symphony for Double String Orchestra. This latter ought to take its place alongside Tippett’s Double Concerto, RVW’s Tallis Fantasia and Elgar’s Introduction and Allegro. Yet it doesn’t. For some reason, and I hope that it is not misogyny, Maconchy’s music fails to reach a wide audience.
Elizabeth Maconchy studied with Ralph Vaughan Williams and Charles Wood. She was also praised by Gustav Holst. Her catalogues includes works written in most genres however, chamber music is usually regarded as her penchant. I would tend to agree with this – but the more of her orchestral oeuvre that I discover the more convinced I am that she is in fact a fine ‘all-rounder.’
Epyllion was commissioned by the Cheltenham Festival and was first performed there on 13 July 1975. The Novello website has a superb programme note devised by the composer herself and I crib from this extensively!
The title of the piece is the
Greek word for “a relatively short narrative poem resembling an epic in theme,
tone, or style.” The principal idea of this work is the exposition of musical
events of a widely varied character. There is no suggestion that it is in any
way programmatic. Maconchy is at pains to point out that the soloist is more of
a leading character in a cast of actors rather than the traditional concert
soloist. Although, it is obvious that the complexity of the ‘solo’ part would
exclude this role of ‘primus inter pares’ to all but the best of performers.
Epyllion is conceived in
four sections rather than discrete movements. The first is dark and quite
oppressive. Maconchy uses "reiterated chords, low-pitched, with glissandi
in harmonics for violins". It creates an unsettling mood. Nevertheless,
later bars become much more lyrical. In fact it is here that the listener is
most aware of her famous teacher - in his less than pastoral moods. She does
not mimic, parody or copy RVW’s style – yet it is somewhere in the background.
This is certainly deep-felt, moving music. The second section, a scherzo, is brief
– almost quicksilver in its mood. This is entertaining. The composer describes
the third part as being "lyrical in feeling and mainly contrapuntal in
texture, with long interlacing lines; it includes on the way several solo
passages for the cello." I am not sure that Maconchy would have regarded
the Epyllion as cyclical – yet there are definite references to earlier
arguments. In fact, the opening chords are repeated towards the end. A major
part of the finale is a ‘climbing’ passage replete with trills. This frames the
reflection on earlier parts of the work.
The total impression of Epyllion
is one of perfect balance and poise - between warmth and desolation and between
strings and soloist. Maconchy uses a variety of devices to express her ideas. I
have alluded to the impact of RVW, and it is not hard to detect the influence
of Bartók. It is this clever synthesis of her material that makes this a
magnificent composition – in fact a masterpiece.
The only detailed study of Epyllion
is in Rhiannon Mathias’s Lutyens, Maconchy, Williams and Twentieth-Century British
Music: A Blest Trio of Sirens published by Ashgate in 2012. Nicola Le Fanu
(MusicWeb International October 2007) states that Epyllion is
notable for the textures and timbres of its novel sound world, indicating how
far [she] had travelled in her musical lifetime.”
Elizabeth Maconchy’s Epyllion was released on Nimbus NI5185 in 2007. The soloist was Raphael Wallfisch with the South-West German Chamber Orchestra, Pforzheim conducted by William Boughton. It remains the sole recording. Reviewing this CD, Rob Barnett (MusicWeb International 8 January 2008) wrote that: “[Maconchy’s] Epyllion was written deep in the atonal mists of the 1970s. I recall hearing it broadcast by Christopher van Kampen on BBC Radio 3 shortly after its premiere…It is in a single crepuscular span in which the sounds of buzzing shimmer, bristle and shiver. This music sometimes has a Ravel-like patter contrasted with a rapid Bartókian angularity and an anxious neon glare.”
To be continued…
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