In a short article published in The Musical Standard in November 1906, composer and editor Ernest Austin (1874-1947) assesses the state of British chamber music produced by his contemporaries. Describing a unique paradox, he emphasizes, with some sarcasm : "Any nation but the English would be proud of them [the new generation of British composers], but, luckless fellows, they were born here".
One can read Austin's article under the section Fragment of the Ravel right here :
https://www.proquest.com/openview/6634a3ae54dbeac6/1?pq-origsite=gscholar&cbl=2563
At the end of this article, Austin offers a list of the most worthy British chamber works that should be, in his view, among the standard repertoire of concert givers. In his opinion, they are "works of absolute individuality" :
- Piano Quintet in A major, by Ernest Walker
- String Quartet in A minor, by John B. McEwen
- Piano Sextet "In Memoriam", by Joseph Holbrooke
- Piano Quartet in G minor, Richard H. Walthew
- Piano Quartet in E minor, by Cyril Scott
- String Quartet in one movement, by H. Balfour Gardiner
Luckily enough, some of these works have been recorded so far : McEwen's String Quartet No. 2, (available on Chandos), Scott's Piano Quartet Op. 16 (available on Dutton and on Meridian) and Balfour Gardiner's String Quartet (available on Dutton Epoch).
With the benefit of hindsight, we know that some of these composers would develop a singular voice later in their career. I suppose one could argue that none of the above works is groundbreaking, but those I was lucky enough to hear still showcase good craftsmanship and elements of transitional style that were undoubtedly rising much interest among concert-goers in 1906, namely one year after the first Cobbett Competition.
Thanks for showing us this. I can't help but agree with the verdict of posterity, that the greatest time for British chamber music was yet to come. I wish some enterprising organization (the BBC?) would collect, perform and record as many entries for the Cobbett competition as can be located because this was clearly a major influence on future development. By 1906 even "Scotland's greatest composer" hadn't got into his stride.