Composer Who Introduced Avant-Garde Sensibilities to 1950s Britain

The death of Alexander Goehr at the age of 92 marks the end of a pivotal era in British music of the 20th century. Even though Goehr’s own compositions may not have gained as much recognition over time, his influence as a teacher who mentored some of the leading British composers cannot be understated. His significant role in establishing a new surge in British music post-World War II is undeniably important.

Goehr, alongside fellow students from Manchester University and the Royal Manchester College of Music, namely composers Harrison Birtwistle and Peter Maxwell Davies, trumpeter and later conductor Elgar Howarth, and pianist and composer John Ogdon, founded the New Music Manchester group. This group swiftly became a formidable and progressive force in the otherwise conventional British music scene of the early 1950s.

The Manchester group didn’t just showcase their own works but, thanks to Goehr’s awareness of European avant-garde trends, also introduced these to the British audience. Goehr, born in Berlin in 1932, moved to Britain with his family shortly after. His father, Walter, a conductor and former Schoenberg pupil, played a significant role in London’s musical life. Despite his father’s reluctance towards his ambitions, Goehr pursued his passion and went on to study with Olivier Messiaen in Paris. Here, he met Pierre Boulez and delved deep into the world of total serialism, bringing back new insights to his British contemporaries.

Perhaps due to his rich cosmopolitan background, Goehr matured as a composer faster than Maxwell Davies or Birtwistle, who only began to gain prominence in the 1960s. In the late 1950s and early 60s, Goehr composed pieces that evolved from strict serialism to more expressive styles. Works like his cantata “The Deluge” and “Little Symphony” (a homage to his father) remain standout successes. During the 1960s, he became one of the pioneers of music theatre in Britain, founding the Music Theatre Ensemble in 1967 and composing a trilogy of pieces for them. His career also saw the creation of five larger operas, including “Arianna,” which was a realization of a lost Monteverdi opera for Covent Garden in 1995.

As his contemporaries gained prominence, comparisons became inevitable, and Goehr’s music was often viewed less favorably. Unlike Birtwistle and Maxwell Davies, who seemed instinctual in their compositions, Goehr appeared more self-aware. His works often seemed highly calculated, with a continuous engagement with historical influences, mostly extending beyond Monteverdi’s works. Despite this, some of his pieces transcended these technical preoccupations and had undeniable expressive impact.

Goehr’s intense focus on musical language and technique made him an exceptional teacher. He taught at Yale and Leeds University before becoming a professor of music at Cambridge in 1976. His students included renowned composers like George Benjamin, Thomas Adès, and Julian Anderson. His mentorship inspired immense loyalty among performers of his music, as evidenced by Oliver Knussen, a discerning composer-conductor, who was one of his ardent supporters. Even though Goehr’s music could be challenging, his influence on British music endured for more than fifty years.

Source: the Guardian