William Fenney was born in Handsworth, Birmingham. Despite having a very keen interest in music early on he went into the insurance business as a clerk at the age of 20. In his spare time he worked hard at composition, completely self taught.
He was soon fortunate enough to then study composition with Granville Bantock at the Midland Institiute School of Music.
“From early years I studied the great masters, - Beethoven and Chopin were my first teachers; I liked Wagner only on the stage. I have never liked the modernist school; my own style owes to Elgar.” (from a short written note by Fenney)
Jospeh Holbrooke’s book, Contemporary British Composers, mentions Fenney as follows:
"Of the real youngsters we have yet to make acquaintance with - there is the introspective gift of W. J. FENNEY of Birmingham. His Trio alone will place him in high estimation among musicians. Already he has a personality in music which cannot be acquired, neither can it be bought. It is there; or it is not. Our British music is not overflowing with personalities. Fenney's music is intrepid, malleable and interwoven in a charming way. There is much of his chamber music to which I am very susceptible, and a few small orchestral works which deserve every encouragement. I understand this composer is desperately poor in this world’s goods and health. A pity such things can be in our days of millionaires.”
Fenney's first published orchestral work was his:
Pastoral for Small Orchestra - 1917
It was first performed as part of a Bournemouth Municipal Orchestra Concert given at the Bournemouth Winter Gardens on 10 January 1918. The short descriptive text is tantalising. Although signed “Anon” it most likely was written by the composer:
"This work expresses the feeling with which one looks on a quiet countryside. It does not echo the songs of rustic folk or the music of the shepherd’s pipe and is essentially modern English. Even on the brightest day our country scenery has at least a hint of melancholy for us, and the music, composed in autumn, is bright in colour and sad in feeling.
It begins with one note on the horn,
followed by bright chromatic harmonies in the strings;
several fragmentary themes appear.
The episode is more flowing, beginning in the woodwind instruments and leading to a brief climax.
The work ends with various references to the opening themes.”
The Pastoral lasts for about 5 mins. It's intensley lyrical and poetic and there's a lot crammed into a short space. Here is the complete work.
SAMPLE: Pastoral for Small Orchestra