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University of California Riverside UNIVERSITY OF CALIFORNIA RIVERSIDE Elizabeth Maconchy: The Early Years, 1923 - 1939 A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Erica Janice Siegel August 2016 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Rogerio Budasz Dr. Walter Clark Copyright by Erica Janice Siegel 2016 The Dissertation of Erica Janice Siegel is approved: Committee Chairperson University of California, Riverside Acknowledgements This dissertation would have been impossible to complete without the assistance of several individuals. First and foremost, I would like to thank Dr. Nicola LeFanu for her incredible kindness, generosity, and assistance. I am also indebted to Dr. Jenny Doctor, Dr. Sophie Fuller, and Dr. Rhiannon Mathias, who have all made important contributions to scholarship on Maconchy and women composers in Britain. I would especially like to thank my advisor, Dr. Byron Adams, for his unwavering support, as well as my committee members Dr. Rogerio Budasz, Dr. Walter Clark, and Dr. Leonora Saavedra. Much of this research would have been impossible to complete without the generous funding of an IHR Mellon Dissertation Research Fellowship, and I’d like to thank Dr. Lawrence Goldman and Vanessa Rockel for their support during my year as a Mellon Fellow at the Institute of Historical Research. Several individual also offered their time and assistance over the course of my research in the UK, and I am particularly grateful to Dr. Dan Grimely, Dr. Leanne Langley, and Hugh Cobbe for their advice and guidance. I would also particularly like to thank Clara Colvin for her generous hospitality. Thanks are also due to the many archivists who offered their assistance and I’d like to thank Oliver Mahony and Elizabeth Boardman at St. Hilda’s College, Dr. Peter Horton and Johanna Byrne at the Royal College of Music, Samantha Blake and Kate O’Brien at the BBC Written Archives, and the staff of the Britten-Pears Library. Last, but not least, I’d also like to thank my family iv and friends for their continued support throughout the lengthy process of completing my PhD. v ABSTRACT OF THE DISSERTATION Elizabeth Maconchy: The Early Years, 1923-1939 by Erica Janice Siegel Doctor of Philosophy, Graduate Program in Music University of California, Riverside, August 2016 Dr. Byron Adams, Chairperson Though musical modernism was a topic of frequent debate in the British press in the 1920s and 30s, until the 1990s, few scholars attempted to challenge underlying assumptions that modernism in British music was somehow less modern than the musical developments of its continental peers. This growing body of scholarship, however, has focused almost exclusively on male composers, ignoring the contributions of composers such as Elizabeth Maconchy (1907-1994), who was widely considered to be at the forefront of the younger generation of composers emerging during the interwar period. This dissertation examines Maconchy’s early career and its reception in conjunction with the political landscape of music in Britain during the interwar period. While the contemporary neglect of Maconchy’s music has often been attributed to gender discrimination, in the late 1920s and early 30s, Maconchy achieved renown despite the discouragement meted out by prejudice and incomprehension. By the late 1930s, however, the overall reception of Maconchy’s music began to shift. Her music, which vi had been welcome in the early part of decade and praised for its radically modern—yet at the same time distinctively “British”—idiom, came to be castigated by critics as the exact opposite by the end of the decade. This research contributes to a greater understanding of the intricate web of gender politics and shifting attitudes towards modern music in Britain by illuminating not only aspects of Maconchy’s early career that have been ignored and overlooked, but also the vital role played by nationalist ideologies in the decade leading up to the Second World War. vii Table of Contents Introduction ..........................................................................................................................1 I. The Royal College of Music, 1923-29 ...........................................................................14 II. Prague, Paris, Vienna, and London, 1929-31 ................................................................41 III. An Expansion of Style, 1932-35 ..................................................................................85 IV. A Growing Reputation, 1936-39 ...............................................................................146 Conclusion .......................................................................................................................195 Chronological List of Works, 1924-1939 ........................................................................211 Bibliography ....................................................................................................................222 viii List of Musical Examples Ex. 1.1 – Maconchy, “There is a Lady Sweet and Kind,” mm. 1-13 .................................23 Ex. 1.2 – Maconchy, Allegro for Flute and Strings, mm. 1-8 ...........................................28 Ex. 1.3 – Maconchy, “Ophelia’s Song,” mm. 1-14 ...........................................................29 Ex. 2.1 – Maconchy, Piano Concerto, mvt. I, mm. 1-4 .....................................................48 Ex. 2.2 – Maconchy, Piano Concerto, mvt. I., rehearsal number 2 ...................................48 Ex. 2.3 – Maconchy, Piano Concerto, mvt. I, rehearsal number 3 ....................................48 Ex. 2.4 – Maconchy, Piano Concerto, mvt. II, mm. 110-117 ............................................50 Ex. 2.5 – Maconchy, Piano Concerto, mvt. II, mm. 116-120 ............................................51 Ex. 2.6 – Maconchy, Piano Concerto, mvt. II, mm. 120-126 ............................................51 Ex. 2.7 – Debussy, La cathédrale engloutie, mm. 1-3.......................................................52 Ex. 2.8 – Maconchy, Piano Concerto, mvt. III, mm. 1-4 ...................................................53 Ex. 2.9 – Maconchy, Piano Concerto, mvt. III, final seven bars .......................................53 Ex. 2.10 – Maconchy, The Land, mvt. I, mm. 1-11 ...........................................................60 Ex. 2.11 – Maconchy, The Land, mvt. I, mm. 12-17 .........................................................63 Ex. 2.12 – Holst, Egdon Heath, mm.1-6 ............................................................................64 Ex. 2.13 – Maconchy, The Land, mvt. II, mm. 1-21..........................................................64 Ex. 2.14 – Maconchy, The Land, mvt. III, mm. 1-8 ..........................................................66 ix Ex. 2.15 – Holst, The Planets, “Saturn,” mm. 1-13 ...........................................................68 Ex. 2.16 – Maconchy, The Land, mvt. III, mm. 33-34 ......................................................69 Ex. 2.17 – Vaughan Williams, Flos campi, mvt. III, opening viola cadenza ...................69 Ex. 2.18 – Maconchy, The Land, mvt. IV, mm. 1-24 ........................................................70 Ex. 2.19 – Maconchy, Suite for Chamber Orchestra, mvt. I, mm. 1-4 ..............................77 Ex. 3.1 – Maconchy, Symphony, mvt. III, mm. 1-20 ........................................................88 Ex. 3.2 – Maconchy, Quintet for Oboe and Strings, mvt. I, mm. 1-9 ................................98 Ex. 3.3 – Maconchy, Quintet for Oboe and Strings, mvt. I, mm. 9-14 ..............................99 Ex. 3.4 – Maconchy, Quintet for Strings, mvt. I, mm. 15-23 ..........................................100 Ex. 3.5 – Maconchy, Quintet for Oboe and Strings, mvt. II, mm. 1-4 ............................101 Ex. 3.6 – Maconchy, Quintet for Oboe and Strings, mvt. II, mm. 10-16 ........................101 Ex. 3.7 – Maconchy, Quintet for Oboe and Strings, mvt. III, mm. 1-7 ...........................103 Ex. 3.8 – Maconchy, String Quartet No. 1, mvt. I, mm. 1-12 .........................................110 Ex. 3.9 – Maconchy, String Quartet No. 1, mvt. I, mm. 24-35 .......................................111 Ex. 3.10 – Maconchy, String Quartet No. 1, mvt. I, mm. 72-79 .....................................111 Ex. 3.11 – Maconchy, String Quartet No. 1, mvt. II, mm. 1-9 ........................................113 Ex. 3.12 – Maconchy, String Quartet No. 1, mvt. III, mm. 1-7 .......................................114 Ex. 3.13 – Maconchy, String Quartet No. 1, mvt. IV, mm. 1-10.....................................115 Ex. 3.14 – Maconchy, “A Hymn to God the Father,” rehearsal no. 35 ...........................118 x Ex. 3.15 – Maconchy, Comedy Overture, mm. 1-3 .........................................................123 Ex. 3.16 – Maconchy, Comedy Overture, mm. 7-11 .......................................................124 Ex. 3.17 – Maconchy, Comedy Overture, mm. 19-20 .....................................................125 Ex. 3.18 – Maconchy, Great Agrippa, or the Inky Boys, mm. 1-11 ................................132 Ex. 3.19 – Maconchy, Prelude, mm. 1-3 .........................................................................143 Ex. 3.20 – Maconchy, Interlude, mm. 1-6 .......................................................................143 Ex. 3.21 – Maconchy, Fugue, mm. 1-7 ...........................................................................144
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