Review of First Performance

Moeran's 'Songs of Springtime'

At their Aeolian Hall concert on March 13th [1934], Mr C. Kennedy Scott and the Oriana Madrigal Society gave the first performance of Moeran's seven 'Songs of Springtime', hereby fitting a double feather into their cap. They not only did the songs first, they did them all.

This example of singing the series straight through is not likely to become the rule. The songs are not a conncted whole that becomes greater than the sum of its parts when treated whole. Mr. Scott even made his choir pass from one song to the next without a chord or cue from the pianoforte to make or rectify pitch. This was unquestionable as etiquette and as an indulgence to the aesthetic ear; but was it practical? 'Sigh no more, Ladies' ends in F, and 'Good Wine' begins in E. Only a heavenly choir could be sure of making an exact transition; and the Oriana, being at least one stage lower, failed to make a true anchorage in the new key till a dozen bars had passed. Again, the chromatic writing throughout the seven songs is an invitation to flattening. The Oriana, it is true, held their pitch until near the end, but not many choirs would be as successful.

This by the way. The songs made an even better impression in tone than they do in print. Harmonic complexities that had threatened a slight vexation of the ear were carried into it smoothly and with no more than an agreeable piquancy by the well-managed vocal movement. The performance also established the unity that comprehended the Tudor suggestion on the one hand and the modern harmonic feeling on the other. The total effect was that of something singularly fresh and pleasant and stimulating in vocal music, and we hope that the Oriana will do the songs again.

McN. Musical Times, April 1934