Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- List of Abbreviations
- Introduction
- 1 An Unexpected Talent, 1907–23
- 2 The Royal College of Music, 1923–9
- 3 Prague, Paris, Vienna, and London, 1929–31
- 4 An Expansion of Style, 1932–5
- 5 A Growing Reputation, 1936–9
- 6 Darker Days Ahead, 1939–45
- 7 Balancing Motherhood and a Career, 1946–50
- 8 Glimmers of Hope, 1951–5
- 9 A Musical Block and an Operatic Solution, 1956–9
- 10 Administrative Diversions, 1959–66
- 11 Of Ageing and Critics, 1967–73
- 12 Recognition at Last, 1973–7
- 13 Sunset before Twilight, 1978–94
- Epilogue
- Chronological List of Works
- Select Bibliography
- Index
- Music in Britain, 1600–2000
3 - Prague, Paris, Vienna, and London, 1929–31
Published online by Cambridge University Press: 17 December 2023
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- List of Abbreviations
- Introduction
- 1 An Unexpected Talent, 1907–23
- 2 The Royal College of Music, 1923–9
- 3 Prague, Paris, Vienna, and London, 1929–31
- 4 An Expansion of Style, 1932–5
- 5 A Growing Reputation, 1936–9
- 6 Darker Days Ahead, 1939–45
- 7 Balancing Motherhood and a Career, 1946–50
- 8 Glimmers of Hope, 1951–5
- 9 A Musical Block and an Operatic Solution, 1956–9
- 10 Administrative Diversions, 1959–66
- 11 Of Ageing and Critics, 1967–73
- 12 Recognition at Last, 1973–7
- 13 Sunset before Twilight, 1978–94
- Epilogue
- Chronological List of Works
- Select Bibliography
- Index
- Music in Britain, 1600–2000
Summary
The years between 1929 and 1931 were a period of transition for Maconchy. Though she was still officially a student of the RCM while she held the Octavia Scholarship, her development – both musically and professionally – took place outside its supportive and inclusive environment.
It was not long after Maconchy began her studies with Vaughan Williams that she voiced a desire to study abroad. As Vaughan Williams had benefitted tremendously from his studies with Ravel in Paris, he was keen to help his own pupils to do the same. Initially, however, Vaughan Williams had been unsure about where to send Maconchy, and in 1926 – approximately a year after Maconchy had begun studying with him – he sought out the advice of E.J. Dent, professor of music at Cambridge University, writing in a letter dated 1 July 1926,
May I ask you for some advice? A composition pupil of mine at the R.C.M. whom I consider very gifted is anxious to go abroad and study music, especially composition, for 6 months, or possibly longer.
I also think it would be very good for her. Who do you consider the best composition teacher in Europe at present? And which centre do you consider the best for a young student to receive a ‘finishing’ musical education and generally to improve their musical culture. I expect you will say that the two queries are incompatible, in which case we shall have to make a compromise.
Miss Maconchy is just 19 – plays the piano quite well and has had a thorough grounding at the hands of Kitson and Charles Wood. She has – as I say – in my opinion decided inventive powers but is of course at present like all young people going through a new phase every month. At present she has been badly bitten by Bartok and is of course anxious to study with him, but I rather doubt the wisdom of this.
I feel possibly that Respighi or Casella might be good for her – if they ever take pupils. On the other hand neither Rome nor Buda-Pesth would I imagine be good from the point of view of general musical atmosphere and the hearing of plenty of good music etc. Also of course we must consider a place where we could find a nice family for her to live with and so on.
- Type
- Chapter
- Information
- The Life and Music of Elizabeth Maconchy , pp. 28 - 47Publisher: Boydell & BrewerPrint publication year: 2023