Allegro energico 

Andante con moto 

Scherzo. Allegro 

Finale. Allegro vivace 

Coleridge-Taylor composed his Nonet in 1893–4, while he was a student at the Royal College of Music, and it was first performed there in July 1894. Still in his teens, Coleridge-Taylor has modestly headed the score ‘Gradus ad Parnassum’ (Steps to Parnassus), suggesting he realised that he still had plenty to learn. His teacher at the RCM was Charles Villiers Stanford, and the work reveals the clear influence of Brahms – a composer Stanford himself admired enormously. 

The Nonet is conceived on quite a grand scale. The first movement immediately reveals Coleridge-Taylor’s skill in writing for nine instruments: at times the textures are almost orchestral while at others he reduces the forces to evoke the more private world of chamber music. There’s a similar kind of contrast in the main themes: the first of these, broad and expansive, is initially heard on the clarinet before being taken up by the whole ensemble. The second theme is livelier, with dotted rhythms, and it is introduced by the piano. The Andante reveals Coleridge-Taylor’s gift for song-like melodies (with some phrases suggesting the influence of Dvořák on the young composer), while the Scherzo (in duple rather than triple time) is highly animated, with a warm Trio section led by the horn. Again, the benign shadow of Dvořák seems to hover over this movement. The instrumental writing in the ebullient finale is particularly colourful, with some magical effects. 

A review appeared in the August 1894 issue of Musical Times where the un-named critic commented that ‘the whole Nonet is most interesting, its themes are fresh and vigorous, and their treatment proves that the writer has learnt to compose with skill. The scherzo is unquestionably the most striking movement, and few would guess it to be the work of one still a student.’ 

© Nigel Simeone, 2021