Cooper - known as "GC" by his colleagues - was born in Long Eaton, Derbyshire. His early teachers included Arthur Eaglefield Hull for composition and Frederick Dawson (1868-1940) for piano. He worked in a legal office before the war, and during the war served as an Army driver. After a gas attack he was invalided out. Following this he entered the Royal Academy of Music where he studied with Frederick Moore (piano) and Benjamin Dale (composition).
Private teaching provided an income, and in 1925 Cooper joined the faculty at the Midland Conservatoire of Music, where he founded the orchestra in 1933. This evolved into the Nottingham Symphony Orchestra in 1942. He also lectured on music at University College, Nottingham, and directed the Derby Philharmonic Orchestra for eight years.
He was a prolific composer, often using his own orchestra and local Nottingham musicians to perform his works, but also attracting performance in London and elsewhere. An early success was the Rachmaninov-influenced Piano Concerto No. 1, performed by Dan Godfrey and the Bournemouth Symphony Orchestra in May 1923.
The Symphony No 1 (the first of nine symphonies) was composed in 1924.
The 1st movement (Allegro) begins with cellos and basses announcing the main theme. This is no more than a phrase. Elements of these four bars are then developed throughout the movement.
The second prinipal theme is a longer more legato melody.
SAMPLE: 1st movement - from start
The development section is short but yields a contrasting jig-like melody with a 6/8 feel.
SAMPLE: 1st movement - middle
The recap follows with a coda which modulates sharply away from the home key and back again for the final pianissimo bars.
SAMPLE: 1st movement - ending
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The 2nd movement (Andante) opens with a melody clearly inspired by english folksong.
SAMPLE: 2nd movement - start
This is then answered by another melody, more lyrical.
The third elemet, a short haunting phrase is introduced.
The central part of the movement introduces more intricate counter melodies. The counterpoint between the horn and oboe is a moment of great tenderness. The music then builds to a passionate fortissimo climax.
SAMPLE: 2nd movement - middle
The ending returns again to the main theme but now it is presented with a scattato quaver bass line, almost in the manner of a solemn march.
The violas end the movement gently.
SAMPLE: 2nd movement - ending