The Disproportionate Appeal of Frank Bridge's Music To
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A LONG SELL: THE DISPROPORTIONATE APPEAL OF FRANK BRIDGE’S MUSIC TO FAMILIAR LISTENERS, AND ITS IMPACT UPON HIS RECEPTION, 1912-36. DAVID WEBER A thesis submitted in partial fulfilment of the requirements of the University of West London for the degree of Doctor of Philosophy July 2016 i A long sell: The disproportionate appeal of Frank Bridge’s music to familiar listeners, and its impact upon his reception, 1912-36. David John Weber Primary supervisor: Professor Francis Pott Secondary supervisor: Professor Robert Sholl Abstract The thesis of this research project is that the music of Frank Bridge (1879-1941) is characterised by recurring effects that are disproportionately appealing to familiar listeners, and that these effects have had a significant impact on the shape of his critical reception. Two types of effect are described, which arise respectively out of genre and hierarchical structure, and are suggested by selected reviews of Bridge’s music. The composer’s treatment of genre is presented as subtle, complex, and misleading, creating what this thesis defines as generic misdirection, suggestions of genre within a musical work that act to veil a more fundamental and counter-generic aesthetic. These features are linked to the historical generic sensitivities of interwar British listeners, and potential effects on the listening experience are described. Similarly, the musical structures of Bridge’s later works are shown to be deceptively simple, partially veiled behind an appearance of complexity that arises out of surface features of lesser importance. This effect is argued to possess an ongoing significance for listeners, a likely influence on the experiences of present-day hearers of Bridge’s music. These effects are presented as an important part of understanding Bridge’s history and music, relevant to its dissemination and scholarly understanding. They also provide valuable new insights into the role of genre and structure in music listening, reception, and composition, and for the developing relationship between criticism and new music. i i A long sell: The disproportionate appeal of Frank Bridge’s music to familiar listeners, and its impact upon his reception, 1912-36. David John Weber Primary supervisor: Professor Francis Pott Secondary supervisor: Professor Robert Sholl Abstract The thesis of this research project is that the music of Frank Bridge (1879-1941) is characterised by recurring effects that are disproportionately appealing to familiar listeners, and that these effects have had a significant impact on the shape of his critical reception. Two types of effect are described, which arise respectively out of genre and hierarchical structure, and are suggested by selected reviews of Bridge’s music. The composer’s treatment of genre is presented as subtle, complex, and misleading, creating what this thesis defines as generic misdirection, suggestions of genre within a musical work that act to veil a more fundamental and counter-generic aesthetic. These features are linked to the historical generic sensitivities of interwar British listeners, and potential effects on the listening experience are described. Similarly, the musical structures of Bridge’s later works are shown to be deceptively simple, partially veiled behind an appearance of complexity that arises out of surface features of lesser importance. This effect is argued to possess an ongoing significance for listeners, a likely influence on the experiences of present-day hearers of Bridge’s music. These effects are presented as an important part of understanding Bridge’s history and music, relevant to its dissemination and scholarly understanding. They also provide valuable new insights into the role of genre and structure in music listening, reception, and composition, and for the developing relationship between criticism and new music. ii ii iii Acknowledgements Contents In the writing of this thesis I have a huge debt of gratitude to many people for their generous iv Introduction support. But first and foremost I acknowledge my thankfulness to the Lord Jesus, because He has provided everything. 1 Chapter I Tonal misdirection: lyrical and gradual reworking of Sonata form in the String Sextet in E♭ (1906-12) I am very grateful to my wife for her ongoing and patient love, encouragement, and support, and for asserting two things to me: first, that I would finish this PhD, contrary to my constant doubts and 31 Chapter II Thematic misdirection: expanded reworkings of fears, and second, that I would meet my deadlines at the last possible moment! I am similarly Sonata form in the String Quartet no. 2 (1915) grateful to my mother and father for their constant loving and prayerful support. My father also proof-read the majority of the draft thesis, which I am indebted to him for. 45 Chapter III Genre, structure, and memory: old and new challenges to listeners in the Cello Sonata (1913-17) I am also very grateful to professors Francis Pott and Robert Sholl, who have provided detailed, invaluable feedback and training over the four years of this project. I also thank Daniel Sharpley for 57 Foreword to Chapters IV-V: New techniques, older genres, old his help, advice and support at important points throughout this project, and for proof-reading a effects: continuing challenges for listeners in Bridge’s chapter of the draft thesis shortly before the deadline. late period My thanks also goes to a number of Bridge scholars who have advised and even promoted this 61 Chapter IV Pastoralism, ideology, experimentation: generic work. Fabian Huss provided an opportunity for me to produce a published article on my research in incongruence in Summer (1915), Two Poems (1915), CHOMBEC, a particularly helpful and generous action. Anthony Payne, Paul Hindmarsh, and Mark and Enter Spring (1927) Amos each granted private interviews that helped sharpen my ideas and my understanding of the 81 Chapter V A view through the thicket: surface veiling of context of my research. Fabian Huss and Mark Amos also provided access to their work, which was accessible and elegant structural effects in the a great help. Rhapsody-Trio (1928) and Piano Trio no. 2 (1929) I would like to thank the Graduate School at University of West London for their support over the 118 Epilogue ‘A studio composer in a concert age’: conclusions of last four years. I am particularly grateful for the constant advice and helpfulness of Maria Pennells, thesis; implications for Bridge scholarship and wider who provided valuable help and advice at a number of points along the way. reception and music history Last but not least, I am very grateful to the people of Amyand Park Chapel, Wellington Chapel and 123 Appendix Themes in criticism explicable by Bridge’s Leominster Baptist Church for their support in prayer, without which I am not sure I would have got disproportionate appeal to returning and attentive through this project. listeners, 1915-91 129 Selected Bibliography 133 Selected Discography ii iii iii iii Acknowledgements Contents In the writing of this thesis I have a huge debt of gratitude to many people for their generous iv Introduction support. But first and foremost I acknowledge my thankfulness to the Lord Jesus, because He has provided everything. 1 Chapter I Tonal misdirection: lyrical and gradual reworking of Sonata form in the String Sextet in E♭ (1906-12) I am very grateful to my wife for her ongoing and patient love, encouragement, and support, and for asserting two things to me: first, that I would finish this PhD, contrary to my constant doubts and 31 Chapter II Thematic misdirection: expanded reworkings of fears, and second, that I would meet my deadlines at the last possible moment! I am similarly Sonata form in the String Quartet no. 2 (1915) grateful to my mother and father for their constant loving and prayerful support. My father also proof-read the majority of the draft thesis, which I am indebted to him for. 45 Chapter III Genre, structure, and memory: old and new challenges to listeners in the Cello Sonata (1913-17) I am also very grateful to professors Francis Pott and Robert Sholl, who have provided detailed, invaluable feedback and training over the four years of this project. I also thank Daniel Sharpley for 57 Foreword to Chapters IV-V: New techniques, older genres, old his help, advice and support at important points throughout this project, and for proof-reading a effects: continuing challenges for listeners in Bridge’s chapter of the draft thesis shortly before the deadline. late period My thanks also goes to a number of Bridge scholars who have advised and even promoted this 61 Chapter IV Pastoralism, ideology, experimentation: generic work. Fabian Huss provided an opportunity for me to produce a published article on my research in incongruence in Summer (1915), Two Poems (1915), CHOMBEC, a particularly helpful and generous action. Anthony Payne, Paul Hindmarsh, and Mark and Enter Spring (1927) Amos each granted private interviews that helped sharpen my ideas and my understanding of the 81 Chapter V A view through the thicket: surface veiling of context of my research. Fabian Huss and Mark Amos also provided access to their work, which was accessible and elegant structural effects in the a great help. Rhapsody-Trio (1928) and Piano Trio no. 2 (1929) I would like to thank the Graduate School at University of West London for their support over the 118 Epilogue ‘A studio composer in a concert age’: conclusions of last four years. I am particularly grateful for the constant advice and helpfulness of Maria Pennells, thesis; implications for Bridge scholarship and wider who provided valuable help and advice at a number of points along the way. reception and music history Last but not least, I am very grateful to the people of Amyand Park Chapel, Wellington Chapel and 123 Appendix Themes in criticism explicable by Bridge’s Leominster Baptist Church for their support in prayer, without which I am not sure I would have got disproportionate appeal to returning and attentive through this project.