ELIZABETH MACONCHY
DBE (1907-1994):
Some biographical and
musical notes
by her daughter Nicola
LeFanu. [pictured
right]
[Elizabeth
Maconchy is referred to as EM and her
husband William LeFanu as WRL.]
Part 1: 1907-1945
Elizabeth Maconchy
(EM) was born in 1907, the middle child
of the three daughters of Violet, née
Poë, and Gerald Maconchy, a solicitor.
Though she was born in England, family
life was based on Ireland. The children
had the run of the Santry demesne in
Co. Dublin: their grandparents lived
at Santry Court, since Captain Poë
was agent for the Domville estate. In
1917 the Maconchy family moved to Howth
and EM was able to have music lessons
in Dublin. She had been found at the
piano, picking out tunes, when she was
six; from then on her focus on music
never wavered, the centre of an otherwise
unremarkable and happy childhood.
In 1922 her father
died; he had contracted tuberculosis
during his service in the Great War.
Soon, Mrs Maconchy decided to move back
to England so as to follow the advice
of EM’s Dublin teachers, who had recognised
an outstanding talent and said ’she
must go to the Royal College of Music’.
EM entered the RCM
in 1923, studying piano with Arthur
Alexander and composition with Charles
Wood; in a couple of years, she became
a pupil of Vaughan Williams, saying
later that ‘it was like turning on a
light’. Her progress at RCM was meteoric.
She arrived as a shy Irish girl of 16
who knew only the music she could play
for herself (no wireless, no gramophone
and very few professional musicians
resident in Dublin). By 1925 she was
greeted by the doorman as ‘the great
Maconchy’; in 1927, moving on from songs
and suites, she composed her first violin
sonata and began her Piano Concertino.
These striking works were already in
a musical language far removed from
mainstream English music, and indicate
her growing familiarity with European
new music, which she was discovering
for herself: Debussy, Ravel and Stravinsky,
but especially Bartók. Patron’s
Fund orchestral performances confirmed
her distinctive voice; in 1929 she left
the RCM with glowing reports (RVW: ‘I
can teach her no more; she will go far’)
and an Octavia travelling scholarship,
which enabled several months study in
Prague. The story of her being denied
the Mendelssohn Scholarship is well
known: the committee were in favour
of Maconchy but the Chair (Sir Hugh
Allen) cast his vote against her, telling
her ’you will only get married and never
write another note’.
EM’s formative years
as a music student were enhanced by
the lifelong friends she made, especially
Anne Macnaghten and Grace Williams.
With the latter, she corresponded for
over fifty years; their correspondence
will be published in 2008 (University
of Illinois Press, edited by Sophie
Fuller and Jenny Doctor). In Prague,
too, she made lifelong Czech friends;
when she arrived there, she was very
homesick, but at the end of her first
week she heard Jenufa ‘and that transformed
things’. Janáček’s music
was, like Bartók’s, an important
influence on her.
Public acclaim came
in 1930. On March 19th, her 23rd birthday,
the Piano Concertino was played in Prague;
Jirak conducted the Prague Philharmonic
Orchestra with Erwin Schulhoff as the
soloist. Then on 30th August, Henry
Wood gave the premiere of her orchestral
suite ‘The Land’ at the Proms. ‘The
Land’, named after the poem by Vita
Sackville West, is a four movement work,
vivid, assured and individual. It received
wonderful notices in the Press: Hughes
in the Daily Telegraph wrote that ’the
young composer, equipped with a superb
technique, has created a work of art
that is in every way distinguished and
masterly.. music
of a first rate intelligence, sensitive
and subtle yet capable of creating things
on big lines’; the Daily Mail referred
to ‘boldness and directness.. EM has
no timidity, she covers great fresco-like
surfaces with confidence and strength..
sustained brilliance’; The Times noted
‘a very favourable impression was created..
the greatest degree of imagination was
discernible in the orchestration’; and
both the Manchester Guardian and the
journal ‘The Lady’ stressed her originality:
‘she is destined to occupy a very high
place among native composers’. No less
significant was the praise EM received
from Henry Wood, Gustav Holst, RVW and
Donald Tovey, who went on to programme
and play her works in Edinburgh. Although
publication did not immediately come
her way (Boosey and Hawkes said ‘they
would not consider publishing orchestral
music by a young lady, perhaps a few
songs’..) further performances did,
and her career was watched with great
interest.
Only a week before
the Prom premiere, she married William
LeFanu, (WRL) an historian and scholar,
from a well known Irish literary family.
Although their families were in Ireland,
they settled in London. Only a year
or so later, however, it became apparent
that EM, like her father, had TB. She
refused to go and live in Switzerland
as the doctors said she must; she had
just married and begun a brilliant musical
career in London and, she said later,
it never occurred to her that she was
thought to be dying. She and her husband
moved to the country - first Brighton,
then Kent - and she lived entirely out
of doors; they slept in an open-sided
hut, and as her strength returned, she
composed outside. When she was too ill
to copy her music, friends rallied round
to do so - the young Benjamin Britten
among them.
Gradually she began
to re-establish herself: choral, orchestral
and chamber works all received their
premieres in these pre-war years and
she knew, and wrote for, many of the
leading performers of the time. Sophie
Wyss, Kathleen Long, Harriet Cohen,
Andre Mangeot, Bernard Shore all gave
premieres of her work. Often her first
performances were at the newly founded
Macnaghten Lemare concerts; this era
is evoked superbly in Margaret Williams’
film about EM, made in 1985 for Channel
4. EM’s ballet ‘Great Agrippa’ (1933)
was first heard at the Macnaghten Lemare
concerts, as was her first String Quartet
(1932/3); almost all her works were
broadcast by the BBC, and her 1932 oboe
quartet was recorded for HMV, by Helen
Gaskell and the Griller quartet. As
well as performances in London, Dublin
and Prague, she was programmed regularly
at ISCM festivals, bringing her music
to the attention of a wider European
audience. This led, for example, to
a concert in Warsaw in 1937 devoted
entirely to her music; but the deteriorating
situation in Europe meant that further
East European and Austrian performances
planned for 1938/9 could not happen.
During the nineteen thirties, EM became
politically active as far as her health
permitted, raising funds for the Republican
cause when the Spanish Civil War began
and running a section of the Left Book
club. She was also involved in helping
her Jewish friends in Prague to escape.
It is instructive to
compare the gravitas of the String
Quartet no 2 (1936) with the exuberance
of no 1 from four years earlier. This
second quartet is searching and serious,
contemplative as well as assertive;
the texture is largely contrapuntal,
its four voices weaving a counterpoint
of rhythms as well as melodic lines.
It embodies qualities which she later
described in a broadcast about the nature
of string quartets: ‘an impassioned
argument, an intense but disciplined
expression of emotion’. Meanwhile, alongside
her concert works - for example the
beautiful song cycle ‘The Garland’ (1937),
the ballet ‘Little Red Shoes’ (1935),
the 3rd string quartet (1938) and a
number of other chamber works and songs
- she wrote some ‘political’ pieces:
choruses or unison songs, published
by the Workers Music Association.
In 1939, with the threat
of German invasion, EM went back to
Dublin for the birth of her first child,
Elizabeth Anna; but the next year she
rejoined WRL in Kent. Then in 1941 they
were evacuated; WRL was Librarian for
the Royal College of Surgeons, and they
went, with the library, to Shropshire.
Inevitably, the war years were difficult
for them: they were isolated from friends
and musicians and from their families
in Ireland. Moreover EM’s younger sister
had also succumbed to TB, and was living
in Switzerland; her mother was with
her, and both died during the war. Some
of the sisters’ correspondence survives,
and gives a detailed picture of wartime
life: EM strove to make time every day
for composing, while also growing a
vegetable garden and cooking and preserving
to eke out rations. The letters also
give numerous glimpses of EM the composer;
asked to contribute to a composite orchestral
work in honour of VW’s seventieth birthday,
she wrote: ‘Arthur Bliss has asked me
to write something ... there are five
others being asked - Constant Lambert,
Rubbra, Gerald Finzi, Robin Milford
and Patrick Hadley ... it will be a
frightfully funny concert, won’t it?’
Her ballet ‘Puck Fair’
(1939/40) was performed in Ireland in
her absence, first in a two piano version,
then orchestrated by her friend Ina
Boyle. With choreography by Cepta Cullen
and designs by Mainie Jellett, it was
an important landmark in the establishment
of a national ballet in Ireland, as
Victoria O’Brien has demonstrated. EM
made a concert Suite from the ballet,
which Boult played at a 1944 Prom; and
later she revised the ballet orchestration.
She continued to be regularly performed
and also to be broadcast, despite the
lack of an overtly patriotic aspect
in her music. It was during the war
that she wrote a number of serial works,
giving herself what she called ’a course
in twelve note method’. However, she
withdrew these pieces and did not embrace
serialism; her language was concise
and economic and she already derived
all her harmonic and melodic material
from an initial donnée; further
constraint would not benefit her.
With the end of the
war, EM and WRL left Shropshire; their
cottage in Kent had been bombed and
virtually nothing could be salvaged,
so they moved to Essex. There they could
be in reach of London, while living
in a climate that would prevent a recurrence
of TB. Living first at Wickham Bishops
(where the undersigned, their second
child Nicola Frances, was born in 1947)
and then at Boreham, EM remained in
Essex until the year of her death. Her
musical life was based on London, as
was WRL’s working life; but they continued
to spend their holidays in Ireland as
far as possible, homesick for their
childhood places. In Boreham, they established
a beautiful garden, and their house
Shottesbrook now bears a blue plaque
commemorating the forty years EM lived
there.
The main influence
on the musical style of EM’s works up
till 1945 is East European modernism.
She was never part of the English pastoral
school. Holst was the only English composer
whose influence can be heard in her
early work; although RVW was a lifelong
and much loved friend, there is not
a strong stylistic influence. When in
her letters to her sister or Grace Williams
she refers to her excitement over hearing
broadcasts of Wozzeck or Sacre
or, later, of ‘Les Illuminations’,
it is clear that her tastes were also
well removed from those of her erstwhile
teacher. This did not prevent her continuing
to seek his advice throughout her early
years, when she would travel to Dorking
to play him her latest piece. Likewise,
she and Grace Williams frequently sought
each other’s advice, scrawling bits
of ms into their letters.
Part 2: 1945-1994
In the ten years following
the war, Maconchy composed prolifically:
string quartets nos 5 and 6, her orchestral
Nocturne (1950) and the magnificent
Symphony for Double String Orchestra
(1952), and a number of concerti for
leading performers, notably the Concertino
for Clarinet, for Frederick Thurston
and the Concertino for Bassoon
and Strings for Gwydion Brooke. There
was another piano concertino (1949)
premiered by Margaret Kitchin and several
works for voice, first performed by
Joan Cross and Sophie Wyss. Two of these,
Sonnet Sequence and A Winter’s
Tale, were settings of the contemporary
poet Kenneth Gee; they were followed
in 1951 by Six Settings of Poems
by Yeats, (for soprano and SSA choir,
also premiered by Sophie Wyss.) There
was also the Duo for violin and cello,
for her close friends Anne Macnaghten
and Arnold Ashby, and a number of pieces
for children.
Yet this substantial
output did not mean that composing came
easily to her. In the three years after
the war, she worked on a symphony which
she withdrew after its first performance.
Her letters to Grace Williams reveal
the extent of her self criticism and
her dissatisfaction with herself and
the symphony. These were not easy years
for her; she felt isolated, living in
the country with no ‘extended family’
to help her with two young children.
It was very different from the international
success she had had before the war.
Nor were the post war years easy for
any women, a phenomenon noted by a number
of historians. My own earliest memories
of EM are of hearing her compose at
the piano after I had gone to bed. It
was her only time for composition, and
she spoke later of ‘falling asleep in
the small hours, my head on the keyboard’.
String Quartet no.5
(1948) won the Edwin Evans prize, and
proved to be one of her most successful
quartets: it also proved that adverse
circumstances may have no direct bearing
on works of art. EM wrote it in Dublin,
where her elder daughter was in hospital
with appendicitis, while the younger
one (myself) was in London, in hospital
in Gt. Ormond St. Another prize winning
work was the overture Proud Thames,
which won the LCC prize for a Coronation
Overture. Its premiere in October 1953
was a gala occasion in the Royal Festival
Hall, with the BBC Symphony Orchestra
conducted by Sir Malcolm Sargent.
A new opportunity came
in 1957 when, for the New Opera Company,
Maconchy wrote The Sofa; it became
the first of her trilogy of chamber
operas. She seized and welcomed the
chance, feeling that the new challenge
was exactly what she wanted. The
Sofa, libretto by Ursula Vaughan
Williams, was premiered in December
1958; that year she completed The
Three Strangers, libretto after
Thomas Hardy, and in 1960/1, The
Departure, libretto by Anne Ridler.
The three one-act operas each play for
about 40 minutes and are dramatically
contrasting, while sharing similar orchestral
forces. The Sofa is a French
farce; the story, after Crebillon fils,
was probably suggested by Ralph Vaughan
Williams. It is a sexy and deliciously
absurd fairy tale. The Departure
is a tragedy, its evocative libretto
giving EM the opportunity for radiant
vocal lines.
For The Three Strangers
Maconchy devised her own libretto,
using Hardy’s dramatisation (The
Three Wayfarers) of his own short
story. The play is written in brief
conversational dialogue, but Maconchy
knew better than to create an opera
of endless recitative. So as to have
texts suitable for arias, she chose
lines from Hardy’s poem ‘Not only I’
and from several poems by William Barnes,
the Dorset poet Hardy championed. These
gave the opportunities for reflection,
and for extended lyric forms, which
can save an opera from continual arioso.
Then, so that her chorus could sing
and dance with zest, she wove into her
score words and tunes from Dorset folksongs.
Last, but in no way least, Hardy’s narrative
descriptions of the wild stormy night
are captured in the orchestral music.
Writing for opera allowed
Maconchy to develop her dramatic instincts,
and it also encouraged her to extend
her musical language. People who had
thought of her music as very intellectual,
concise and dissonant, were surprised
to discover how lyrical and expressive
it was. (In truth, these qualities were
always there, and were praised in her
early work; but after the war, people
knew less of her work and so were apt
to generalise about it.)
In
the operas, melodies flower, the harmonic
language becomes much more sensuous,
and the rhythmic drive is harnessed
to dramatic ends. That the operas mark
something of a turning point is borne
out by the chamber works that follow:
Reflections (1960) for oboe,
clarinet viola and harp, commissioned
by the BBC for the Melos Ensemble, or
the Clarinet quintet (1963),
written for Gervase de Peyer. This is
a brilliant piece: everything grows
organically from the opening few notes,
but the lyricism and boundless vitality
of the clarinet quintet show the extent
to which the operatic experience has
enriched EM’s work.
It is equally apparent
in her next big orchestra work, the
Serenata Concertante for
violin and orchestra, a Feeney Trust
commission for Manoug Parikian and the
CBSO. Like the chamber works, it shows
what a steady evolution took place in
EM’s language. She had left behind a
harmony based on familiar tonal or modal
hierarchies, for a language that is
more exploratory. Her melodies became
more expansive and her sensitivity to
timbre, notable from her earliest work,
was strengthened through her contact
with a new generation of outstanding
performers. Hallmarks remain: she never
lost her early contrapuntal skill, with
a flair for a counterpoint of rhythms
as well as melodies; and she retained
too her characteristic economy of means,
in which all the material in a piece
is drawn out of what she called the
donné.
With these very successful
works from the early 1960s, EM began
an extraordinarily fruitful era of composition.
During the next twenty-five years she
wrote over thirty substantial works
and a similar number of smaller pieces.
She wrote both for the most distinguished
musicians of the day, and for a younger
generation who were discovering her
work and seeking her out.
The 1960s also saw
her re-emergence into a more public
role. As Chairman of the Composer’s
Guild she worked tirelessly for greater
recognition for British composers. She
represented them in Canada (1961) and
in Russia (1962). She sowed the seed
which was to become the BMIC when she
established a core library of scores
by living British composers, at Senate
house (library of the University of
London). She sought better conditions
(fees and rights) for composers, and
when the Guild seemed under threat persuaded
her old acquaintance Benjamin Britten
to lend his name to it. She served too
on advisory panels for the BBC and the
Arts Council and was an active member
of the SPNM’s Council, and Chair of
its executive committee.
Unseen, but very important,
was the encouragement she gave to the
many young composers who wrote to her
or sent their works, asking for her
advice. She knew what it was to have
both public acclaim and discouraging
neglect, and gave practical advice and
solace in equal measure to her correspondents.
She enjoyed, too, the new friendships
among a younger generation of her peers
- Thea Musgrave, Richard Rodney Bennett,
Jeremy Dale Roberts.
With her family grown,
it was much easier for her to travel
to the increasing number of performances
she was receiving, and for EM and WRL
to be in London to hear new music and
new opera. I began to attend new music
concerts with her at this time, so I
know how open minded and adventurous
she was; with concert going and listening
keenly to the BBC’s Third programme,
she always wanted to keep up to date
with new developments.
Much of EM’s output
during these later years was vocal.
She was constantly in demand for commissions,
ranging from songs and a cappella
choral pieces to larger scale works
for voices and instruments, not least
her big dramatic cantata Heloise
and Abelard (1978). A recent study
of her choral music (Catherine Roma,
Scarecrow Press 2006) makes an invaluable
introduction to this repertoire.
A typical example of
the lyrical voice of her maturity is
the little choral piece from 1965, Nocturnal.
It begins with a spring serenade and
moves through a scherzando courtship
to a sensuous consummation. Characteristically,
the settings are concise, the three
apparently disparate texts (William
Barnes, Edward Thomas and Shelley) linked
with the motive ‘will you come?’ Yet
despite the brevity, she catches the
essence of each poem.
A poet to whom she
turned repeatedly was Gerard Manley
Hopkins; she shared his fascination
with poetic rhythm and she was fired
by his imagery. There are choral settings,
with brass and with instrumental ensemble,
and there is a beautiful work for high
voice with chamber orchestra, setting
The Starlight Night, Peace and
The May Magnificat. Many singer
friends invited her to write for them:
Peter Pears, Noelle Barker, Jane Manning,
Tracey Chadwell; among conductors who
sought works from her, Graham Treacher,
John Poole and Stephen Wilkinson were
often associated with her premieres.
Of her cantatas, Ariadne, with
a text by Day Lewis, (beautifully recorded
by Heather Harper) and Heloise and
Abelard both have impassioned and
dramatic vocal writing; an opera composer
manqué, perhaps. EM had
followed her operatic trilogy with a
masque, The Jesse Tree, an ‘extravaganza’
for young people, The Birds,
and a children’s opera, The King
of the Golden River, all of which
were successfully staged; but she never
had a substantial, fully professional
opera commission.
Instrumental music
was certainly not neglected during the
seventies and eighties. The cycle of
string quartets grew to thirteen, from
no.8 (1966) to Quartetto Corto
(no.13) of 1984. The importance of the
cycle was acknowledged by its complete
recording, issued by Unicorn-Kanchana
in 1989/90 (and recently re-issued by
Regis: Forum, FRC 9301). The cycle was
also broadcast complete on more than
one occasion. Other chamber works were
commissions from friends: Thea King,
Janet Craxton, Evelyn Rothwell, Kenneth
Heath, Osian Ellis, Nicholas Logie,
Stephen Isserlis. There were small scale
concerti, for clarinet (Janet Hilton),
viola (Paul Silverthorne) and some larger
works for strings: Epyllion,
(1973) for solo cello and string ensemble,
and Music for Strings
(1983), the last of her many Prom commissions.
Epyllion is notable for the textures
and timbres of its novel sound world,
indicating how far EM had travelled
in her musical lifetime.
Among
the late works, my own favourite is
My Dark Heart, (1981) commissioned
by the RCM for their centenary. Scored
for soprano and six instruments, Maconchy
set three Petrarch sonnets in the translation
by Synge. Petrarch is mourning his dead
love, Laura, and Synge’s Anglo-Irish
turns of phrase were very familiar to
EM; it was the language of her childhood.
It is a haunting work with a valedictory
quality, as if EM too was preparing
for death. Certainly, in her later years,
she took certain steps in recognition
of her age and failing health; she withdrew
some orchestral works, and ceased composing
in 1986, saying she did not want to
add to her canon any works that were
not worthy of it.
A number of public
honours came her way: Fellowship of
the College and the Academy, a medal
from the Worshipful Company of Musicians,
an Honorary Fellowship at St Hilda’s
College Oxford, and in 1977, a CBE.
This was followed ten years later by
a DBE. In 1976, following the death
of Benjamin Britten, she was elected
President of the SPNM.
Also important was
the recognition accorded by concerts
held in her honour. When she was seventy,
the Park Lane Group gave an all Maconchy
programme, and SPNM included The
Land in an orchestral concert; it
received a standing ovation, a very
rare accolade in UK. Throughout her
seventies she was widely performed and
broadcast, and continued to travel to
premieres throughout the UK and overseas.
Her eightieth birthday was marked by
a wonderful concert party given by a
number of illustrious artists; and her
eighty-fifth by quartet concerts, by
a series of BBC Singers concerts and
also, in Norwich, a performance of her
bassoon concerto with her eldest grandson
Christopher Dunlop as soloist.
Although Maconchy is
included in many publications, there
is still no single monograph or biography;
the publication of her correspondence
with Grace Williams, currently being
edited by Jenny Doctor and Sophie Fuller,
will go some way towards remedying this.
The best documentation can be found
in Margaret Williams’ film, made for
Channel 4 in the nineteen-eighties.
The biography, narrated by EM herself,
is set in the context of the music;
it is a brilliant film.
Much of EM’s work from
the period 1927-1945 is still available
in one form or another, although she
withdrew quite a lot of her pre-war
works. The archive of her manuscripts,
together with printed matter and other
materials, is held at St Hilda’s College,
Oxford; she was an honorary Fellow of
the College. (www.sthildas.ox.ac.uk/information/).
Many of her early works
were published by Lengnick; the Lengnick
hire library is managed by Music Sales,
and Lengnick study scores, including
the first seven string quartets, should
be available on sale through Faber.
(Lengnick is now owned by BMG.) Early
works were also published by Hinrichsen
and OUP and are long out of print, with
the exception of ‘Ophelia’s song’ of
which OUP still sells hundreds. No publisher
has taken up her many early songs, though
‘The Garland’ (1937) is published by
Chester Music, who publish all her mature
work. This year (2007), Gonzaga Music
are publishing her two violin sonatas,
(1927 and 1943) which will make a fine
addition to the violin repertoire.
As far as recording
is concerned, all 13 of the string quartets
continue to be available: the original
Unicorn Kanchana CDs were re-issued
in 2005 (Regis FRC9301 review).
Individual artists have recorded isolated
songs and chamber works, but otherwise
early works are poorly represented in
the catalogue. Lorelt plan to remedy
this: Odaline de la Martinez is recording
a comprehensive CD of EM’s unaccompanied
choral music and plans a CD of orchestral
works. The absence of the Piano Concertino
(1928) and ‘The Land’ (1930) from the
discography only serves to point up
their absence from the canonic repertoire;
which is commented on with ever greater
frequency as a new generation examine
the received opinions of their predecessors,
and begin to establish a different view
of English music in the nineteen-thirties.
In 2001 Martin Anderson,
writing in the Independent, called Maconchy
‘Our finest lost composer’. 2007, her
centenary year, offers opportunities
to rediscover her. Anniversary concerts
have been given by Park Lane Group,
Diana Ambache, and Ireland’s National
Chamber Choir; there are a couple of
Prom matinee performances. A number
of chamber ensembles and choirs from
all over Britain have included her work
and notably, Independent Opera are staging
two of her operas at Sadlers Wells in
November 2007. Maconchy was featured
on BBC Radio 3’s ‘Composer of the Week’,
and this was especially welcome, since
the value of celebrating a centenary
lies not in its retrospective aspect
but in its capacity as a pointer to
the future.
The centenary of her
birth has created a welcome opportunity
for her music to come into the repertoire
once more. The correspondence that followed
BBC Radio 3’s ‘Composer of the Week’
makes it clear that her music is much
loved, both by those who were already
familiar with it and by those who are
discovering it. I believe it will continue
to delight performers and listeners
for many years to come.
Nicola LeFanu
© 2007
MACONCHY’S
operas: The Sofa; The Departure
(1956-1961). 7pm. 13, 15, 17 November
2007. Lilian
Baylis Theatre, Sadler's Wells, London.
Independent Opera. Alessandro Talevi,
director; Dominic Wheeler, conductor.
http://www.independentopera.com/2007_production.html
Maconchy
on MusicWeb