The Irish Literary Theatre

Freeman’s Journal, 13 September 1901, page 5, 837 words

The Music for “Diarmuid and Grania.”

Interview with Mr. George Moore.

Yesterday a we;;-known Irish musician sent us a protest provoked by the announcement that Mr. George Moore had arranged with Dr. Edward Elgar, an English musician, to write incidental music for the Irish Literary Theatre’s play, “Diarmuid and Grania.” Dr. Elgar has no connection with Ireland, and even his name is almost unknown in this island. Richter and the Hallé Band lately performed in Dublin a piece of his, supposed to be a musical description of fourteen (or was it forty?) of his friends, and the criticism of the wearied audience upon it was that his friends, though a singularly varied lot, were all unattractive, and far too numerous. Elgar’s name as a “scholarly musician” is well established in England, and there can be no doubt of his perfect competence to write for an orchestra. Still, the question remains, why not an Irishman? And as it was Mr. George Moore who settled the matter, the answer to the question should be sought from him. So our representative went and asked him, and this, or something like it, is what Mr. Moore said: —

“I quite agree with what your correspondent says. The incidental music for “Diamuid and Grania” ought to be written by an Irish musician. Everything connected with the Irish Literary Theatre ought to be Irish. The plays should be played in an Irish theatre by Irish actors, with scenery painted by Irish artists; and should be written in Irish. But these are ideal conditions not all obtainable in present circumstances. I did my best about the music. My first notion was to apply to Augusta Holmes, the only Irish musician who writes for the orchestra.”

The interviewer interrupted. “What about Stanford? Is not his Irish symphony, if he had written nothing else, a work of great merit, and is he not as Irish as the lady from Paris?”

“An anti-Irish Irishman,” said Mr. Moore, “is less welcome than even a stranger. And then, is not there every reason to suppose that, even if Stanford were asked to write music for the Irish Literary Theatre, he would certainly refuse? And you can imagine the tone of his refusal. So I asked Augusta Holmes. She would have been delighted to help us, but was unfortunately going to Normandy, and was engaged on important work. She proposed that we should use the march which ends her fine symphony ‘Irlande’? But it is too full of dramatic effect and quite unsuitable to the purpose in view. You might as well play a march of Berlioz to finish ‘Hamlet.’ Failing an Irish musician, Mr. Elgar was an excellent choice. I know him, and I like his music. Your correspondent objects to Wagnerian influence in his music as likely to be inappropriate to the play of ‘Diarmuid and Grania.’ Why inappropriate? I can’t for the life of me see why. Wagner’s music was surely not inappropriate for ‘Die Walkure,’ and that is a legend of the same time as the legend of “Diarmuid and Grania.’”

Then Mr. Moore discussed the general question of the Irish Literary Theatre and its prospects. Why should not such a theatre be a permanent institution? “I only regret,” said he, “that the Corporation of some other public authority does not purchase a theatre in Dublin, and play Irish plays in it all the year round. Look at the enormous amount of money English companies take out of Ireland; many tens of thousands of pounds a year. Even if an Irish theatre involved a loss of £1,000 a year, better lose £1,000 a year in Dublin than see all those tens of thousands go out of it every year. The Irish drama would be a great educational influence, quite as good, in its way, as public libraries. And for how small a sum the thing could be done! Compare the cost of a permanent Irish theatre with the cost of, say, a great yacht race. I see that the race for the America’s Cup will cost £900,000. And what it is after all but a purely mechanical thing, a nice calculation of weights and sails? The question of a permanent Irish theatre is one which, I hope, will be taken up. It is well worthy of being debated in the columns of your paper.”

Mr. Moore is a man whose earnestness robs his conversation of none of its charm, and he said many other interesting things too numerous (and some of them too interesting) to print. The interviewer went to ask him a simple question, and writes the result as above. Reduced to bald summary, the answer to his question, “Why is not an Irish musician engaged to write the incidental music for “Diarmuid and Grania?” is “Because Mr. George Moore does not know any Irish musician who can write for orchestra except one in Paris, who is not available.”