Norman O’Neill was born in Kensington, London, the son of Irish artist G. B. O’Neill. He studied theory and composition with Arthur Somervell and from 1893, on the advice of the violinist Joachim, he continued his studies at the Hoch Conservatorium, Frankfurt. Here he joined a number of students who together became known as the Frankfurt Group – Percy Grainger, Cyril Scott, Roger Quilter and Balfour Gardiner – destined to have considerable influence on the development of English music.
From 1900 onwards O’Neill composed a considerable quantity of songs, ballets, chamber and orchestral works.
In 1908 he played a significant role in the formation of the short-lived Musical League of which he became secretary. Elgar was president, and the vice-president was Delius whom Norman first met in 1907, becoming one of the composer’s closest friends. Delius was usually a visitor to Pembroke Villas on his occasional trips to England, and in December 1907 Norman made the first of his visits to Delius’s home at Grez-sur-Loing. When Delius came again in June 1909 for the first complete performance of A Mass of Life he stayed with the O’Neills, and in July Norman went on a walking holiday with Delius in the Black Forest. Much later it was O’Neill who persuaded Delius to allow James Gunn to paint him, resulting in the familiar portrait of the blind and paralysed composer in his last years.
In Autumn - 1901
His first important orchestral work dedicated to Henry Wood and conducted by him at a Promenade concert at the Queen’s Hall in October 1901, and soon taken up by Hans Richter in Manchester. (click on photo to enlarge)
After a short, atmospheric introduction, the Allegro begins and we hear the first of the two principal themes that dominate this work.
SAMPLE: In Autumn - start
The second theme is more gentle and lyrical in nature.
SAMPLE: In Autumn - middle
The final part brings back the opening theme building to a grand climax which stops abruptly to make way for a soft, wistful coda.
SAMPLE: In Autumn - ending