Cowen and his Symphonies

[Sydney Grew]

We wonder whether any one still enjoys Cowen and his symphonies. At one time he was the Englishman most respected for his production. There is number 1 in C minor, number 2 in F, number 3 in C minor, number 4 in B flat minor, and number 5 in F. The third in fact is thought by some to be his best and most finished work, remarkable for inter alia its scholarly treatment. Perhaps the Rattle man might do it, or that Scotchman, MacMillan - yes? Then there is his opera Pauline, it too once a favourite in England. When was it last put on? Could it be done to-day?

[salymap]

WellMr Grew, I knew of four works of Frederick Cowen in the hire library in the 1950s. Symphonies No.4 in Bbmin and the Scandinavian in C min [no number given] They were never hired in my four or five years in this job.

On the other hand, in the vocal score library we had The Rose Maiden and Sleeping Beauty. The former was hired out quite a lot, Sleeping Beauty was left asleep. Sorry,not much help.

[Roehre]

I've got the 3rd symphony, The Scandinavian, coupled with the Indian rhapsody and the concert Overture The Butterfly's Ball now a 20-odd years in my collection on a Marco Polo CD (8.223273).
But if this is a representative cross-section through his output showing its qualities, then I'm afraid it were better that the rest is gathering dust.

[Suffolkcoastal]

Sydney you forgot No 6 'The Idyllic'. Ive got the marco polo disc of No 3 and a disc of No 6 coupled with quite a good symphony by Coleridge Taylor. Both Cowen symphonies aren't that bad, No 3 could benefit from a better performance and it was reasonably well regarded and performed in Europe towards the end of the 19th century I believe.

[Sydney Grew]

Thanks for all the responses and information!

. . . it was reasonably well regarded and performed in Europe towards the end of the 19th century I believe.

Yes that is what interests me - how the same music that is at one time so highly esteemed can at another be so despised belittled spurned and neglected.

The information in message 1 comes from a book of Upton, his Standard Symphonies, published in 1888, evidently before that Sixth Symphony appeared - it was premiered in Leipsic that most musical of cities.

Cowen's Ode to the Passions of 1898 does look interesting does it not - it was first performed at the Leeds Festival - does any one know it? And I like the look of his opera Signa, after Ouida.

He succeeded Sullivan as conductor of the Promenade Concerts in 1880. And in 1888 he was invited to a place in the Antipodes, in connection with a Centennial Exhibition, and came back five thousand pounds richer after just six months.

Yes the Third Symphony was performed all over Europe, and was described by the Times critic of the day as "the most important English symphony for many years." Indeed it played an important role in the establishment of a British symphonic tradition.

Upton's book includes a description in some detail of each of the four movements of the Third Symphony, which may be of interest to some modern readers:

"Cowen's symphony in C minor, better known as the Scandinavian symphony, was first performed in London, Dec. 18, 1880, and since that time has made the tour of the musical world in England, Germany, and the United States, and been received with a cordial welcome. It is a charming example of programme-music in a romantic form, and, as its name suggests, seeks to convey impressions of the Northland. The opening movement, Allegro moderato ma con moto, is sombre and almost melancholy in character, and delineates the natural emotions inspired by the forests and mountains of Scandinavia. It begins with a quiet and serious theme for clarinets and bassoons alone, to which the violins reply without changing its general character, leading up after a repeat to the full orchestral effect, in which, excepting horns and trumpets, the instruments are in unison. After a short development of this theme, the second is given out by the violins, repeated by the 'cellos, and then taken by 'cellos and first violins. This theme is local in its colour and in strong contrast with the first, — the one sombre, the other cheerful. After the repetitions, the subjects are worked up in the orthodox manner, the general character of the music alternating between energy and quiet; but the first theme ultimately asserts itself with great power and dominates the close of the movement.

"The second movement, Molto adagio, is very poetical in its sentiment. It is entitled "Summer Night at the Fjord," and is intended to represent the impressions of one standing by the water in the moonlight, looking out on the one hand at the shimmering waves, and on the other at the darkling mountains. Even more than the opening movement the Adagio is coloured with the Northern tone. It opens with a short passage for the strings, which alternates between them and the wood winds and is charmingly treated. As it comes to a close an unexpected but delightful intermezzo occurs, — an Allegretto, representing a party of pleasure-seekers sailing along the other shore, whose song comes across the water to the listener and disturbs his meditations. The song is given out by the horn quartette with harp accompaniment, and diminishes as the boat sails along in the darkness, finally dying away into the stillness of the night. Once more the flute and oboes, followed by the violins, take up the principal theme of the Adagio, and the development proceeds to the end, interrupted for a few measures only by the horn theme, which is once more heard in the distance through the dreamy visions of the fjord. The movement as a whole is charming for its poetical ideas and tender, romantic effect.

"The Scherzo, molto vivace quasi presto, presents a third picture entirely different from its predecessors in colour and outlines. From the moonlight night on the fjord we are transported at once into the heart of a Northern winter, and enjoy a sleigh-ride. The opening theme, introduced by the strings, and its treatment are full of the freedom and exhilaration of the drive, and ingeniously reproduce the motion of the horses, while the triangle's clang supplies the jingle of the bells. The Scherzo is in conventional form, and has a pretty Trio and a Coda reuniting the themes of each.

"The final movement, Allegro ma non troppo, leading to Allegro molto vivace, is constructed upon a larger and more energetic plan than any of the others, and has the genuine Northern sturdiness and rugged force. It enters with its main subject in unison, which increases in vigour with the Allegro molto vivace. The second theme is introduced by the violins, followed by the basses, and after its working up, the first part of the movement closes with the repetition of the opening theme. From this point on, the movement is in the nature of a fantasie, which is devoted not alone to the first theme, but includes in its scheme the second motive of the first Allegro, the opening bars of its first theme, and the principal theme of the Adagio. The entire close, however, is dominated by the strong theme which opened the movement, and is treated in a very skilful manner."

That sleigh-ride may well have inspired Delius the Bradford man do Members not think? I am inspired to go over to the Naxos download business and listen to it!

[rauschwerk]

Yes the Third Symphony was performed all over Europe, and was described by the Times critic of the day as "the most important English symphony for many years."

Considering that it pre-dated all of Stanford's published symphonies and all of Parry's, that is hardly saying a lot! The article in Grove by Jeremy Dibble, whose opinions I respect, suggests that the songs might be more worth exploring. However, Mr Grew, who (if memory serves) once described singing as "an essentially unmusical activity" is hardly likely to recommend those!

[Roehre]

Considering that it pre-dated all of Stanford's published symphonies and all of Parry's, that is hardly saying a lot!

The very first regular concert in the Concertgebouw in Amsterdam, November 1888, featured Stanford's Symphony no.3, the Irish, and at approximately the same time the Berlin Phil played his fourth.
We hardly can say that these are standard repertoire these days, independently from how well written they are.

I'd like to point to (IIRC the first edition of) the Grove's dictionary in which is stated that for opera Wagner is undoubtedly the most important composer, and for the symphonic repertoire Joachim Raff. At least one of these utterances have to be taken with a nice pinch of salt I think