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A Composer Goes to War: E. J. Moeran and the First World War IAN MAXWELL Introduction Just over one hundred years ago, in the early morning of 3 May 1917, Lieutenant Ernest John Moeran, along with tens of thousands of other officers and men of the British and Australian armies, took part in what would later become known as the Second Battle of Bullecourt—a major effort by the Allied Command to break German resistance at the so-called Hindenburg Line. At some point during the morning, Moeran was injured, and the story of this injury and its consequences has evolved into a compelling and persistent narrative that has generally informed writing on the composer and his music.1 Moreover, the ordeals that he is believed to have endured during his wartime service have placed Moeran on a pedestal of circumstances that has engendered a sympathetic and favourable response to virtually every aspect of his later life and career. However, a comparative examination of the various accounts of Moeran’s experiences during the First World War exposes inconsistencies that raise suspicions regarding the reliability of much of the story. Extensive research has 1 For example: Philip Heseltine, ‘E. J. Moeran’, Music Bulletin, 6/6 (June 1924), 170–4: 171; Sir Arnold Bax, ‘E. J. Moeran: 1894–1950’, Music & Letters, 32/2 (April 1951), 125–7; Geoffrey Self, The Music of E. J. Moeran (London: Toccata Press, 1986), 19–20, 233–4 and 245–7; Trevor Hold, Parry to Finzi: Twenty English Song Composers (Woodbridge: Boydell & Brewer, 2002), 373; Geoffrey Self, ‘Moeran, Ernest John Smeed (1894–1950)’, in Oxford Dictionary of National Biography (Oxford University Press, 2004), https://doi- org.jproxy.nuim.ie/10.1093/ref:odnb/35052; Anthony Payne, ‘Moeran, E.
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