THE MUSE REMEMBERED

The performance on this CD was given by the Christ Church Music Society at Christ Church Cathedral on 18 May 2004, and dedicated by the composer to Olivia Ritter. The text of the programme is reproduced here with additions.

THE COMPOSER

Henry Hardy is known, if known at all, as the editor of the work of Isaiah Berlin. Not many people are aware that he has also been a musician of sorts. He had a burst of composing activity between the ages of 16 and 24, but the muse has now deserted him. His composition was his equivalent of writing teenage poetry, at least to start with. His school didn’t encourage him in his weird behaviour, which may help to explain why it fizzled out. Another reason is that he didn’t want to write pieces that weren’t performed, and some of his pieces still hadn’t been – until now.

THE PERFORMERS

Elizabeth Burgess (Organ)
Victoria Davies (Solo Piano and Alto)
Matthew Gardner (Piano Accompaniment)
James Turnbull (Oboe)
Edward Jones (French Horn and Baritone)
Sophie Biddell (Clarinet and Soprano)
Sarah Pantcheff (Soprano)
Oliver Winstone (Tenor)
Clare Wheeler (Violin)
William Gaunt (Baritone in ‘Strained Sonnet’)
Alison Eden (Soprano in ‘Who’s Who’)
Henry Hardy (Baritone in ‘Who’s Who’)

The music on this CD is also available as a score or as a CD of computerised renditions, both entitled Tunes. For details click here or write to the distributor, Nymet Music (details below).

Inevitably there were a few mistakes in this performance. The bars in which the most significant of these occur are listed here, not as a criticism, but in case any future performer, using this recording as a blueprint without checking against the computerised renditions posted on the Internet, is puzzled by apparent discrepancies with the published scores, and wishes to be reassured about the composer’s intentions.

Op. 1b: 9–10; op. 2.1: 26–7, 48; op. 2.3, 21, 77–8, 96; op. 3.1: 32 (1st time); op. 5, 1.5, 4.16; op. 9, 65, 138; op. 10, 26–31, 59; op. 11, 98; op. 12, 131

PROGRAMME NOTES by Robert Dugdale

Announcement for Organ, op. 13

The composer has no recollection of writing these few bars, but it seems that he must have intended them for the organ. He does not know whether the piece was going to have been longer, but as it stands it seems suitable for use as a brief fanfare-like preface to some significant entrance into, or event in, the space where the organ plays. This piece was first performed by tonight’s organist Elizabeth Burgess as the Gospel Fanfare at Eucharist in Christ Church Cathedral on 2 May 2004. For this evening’s performance, Hardy had the idea that this piece should be treated like the ‘Promenade’ from Mussorgsky’s Pictures at an Exhibition, acting as an introduction to various other works throughout the programme.

A Short Piece for Piano, op. 1b

This is the first independent piece of music Hardy wrote. It is based on his incidental music for a chorus from a Greek play written by Richard Black, a contemporary at Lancing College, Sussex, probably in 1965. It was submitted for the school composition prize, with the note ‘PLEASE THROW AWAY IF NO GOOD’ written at the end. It won the prize, possibly jointly with a much longer, more deserving piece by John Maloney; the prize was of the order of 10 shillings.

Suite for Wind Instruments and Piano, op. 3

This suite was written for performance at a Second’s House concert at Lancing. Hardy played the piano, Charles Wheatley the oboe, Hardy’s brother Jim the horn, John Oakenfold the clarinet.

Sonata No 1 for Piano, op. 2

Hardy has no memory of the circumstances of the composition of this work, except that it was written when he was at school at Lancing. It is his first piano sonata, but also his last. ‘No 1’ has been left in the title to reflect his groundless optimism about the future.

Anima Christi, op. 6

The composition of this setting of the familiar anonymous fourteenth-century Latin poem was influenced by Hardy’s experience as a member of the Lancing Chapel choir.

A Short Carol, words by John Short, op. 8

This carol for unaccompanied choir was written at Mantšonyane in the middle of the Maluti Mountains of Lesotho, Southern Africa, at Christmas 1966, while Hardy was a volunteer carpenter at the hospital there. He was aided by a strange plastic keyboard that sounded when a tube was blown into: it was called something like a Melodion. The words were brought to his attention by his father.

Anthem for St Frideswide, op. 12; words by Christopher Schenk

Hardy’s last completed work is an anthem for unaccompanied choir, first performed at a festal evensong for St Frideswide on 19 October 1973 at St Frideswide’s Church, Osney, Oxford, by the combined choirs of Wolfson and St Frideswide’s, in the presence of the President (Sir Isaiah Berlin) of Wolfson and Lady Berlin, and of the Vice-President (Michael Brock). Hardy and the librettist were at the time lodgers at the Vicarage and Churchwardens of the Church.

Study for Solo Violin, op. 10

Hardy learnt the violin at school, and this stimulated him to write this piece, which he was unable to play, as he was an extremely bad violinist. His teacher played it to him at sight, only moderately well. Hardy has forgotten the teacher’s name.

Saliva Variations, op. 5

These variations, on a theme from a Greek tomb dating from the first century AD, were written in the summer of 1966, when Hardy was seventeen, and first performed at a symposium held by Phrontisterion, Lancing’s classics society. The epitaph reads: ‘As long as you live, shine bright; grieve over nothing at all; life is short, time asks an end in return.’ Of the seven original variations, four were reused, with one new one (‘H.A.P. F.’), on 21 June 1975 at a concert in Wolfson College, Oxford: it is these five that appear here. In 1966 the variations were entitled with the initials of members of Phrontisterion, in 1975 with those of Hardy’s then acquaintances Sir Henry Fisher, Michael Brock, Arnold Mallinson, Christopher Schenk and Sir Isaiah Berlin.

Original Finale for ‘Saliva Variations’, op. 5a

This is the seventh and last of the original variations, entitled ‘J.E.H.’ after the then head of classics at Lancing, John Higginbotham, whose favourite tunes included ‘The Entry of the Queen of Sheba’ and the hymn ‘Lord of Our Life and God of Our Salvation’.

An Epitaph: Song for Baritone and Piano, op. 7; words by Walter de la Mare

This work was written in 1966 at Hardy’s home in Exmouth, Devon, in his school holidays. A critic
has described it as ‘compact, clear and simple, but very expressive’.

Spring and Fall: To a Young Child; Song for Baritone and Piano, op. 11; words by Gerard Manley Hopkins

A setting of a well-known poem by the nineteenth-century Welsh Catholic priest-poet. This song was written when Hardy was in his early twenties. A critic describes the setting as ‘beautiful’, and adds: ‘It is simple and expressive, and is a clear vehicle for the sentiments of the poetry.’

Strained Sonnet for One Highish Baritone, One Lowish Baritone and Piano, op. 9; words by Sir John Davies

This light-hearted duet was written in Mohale’s Hoek, Lesotho, Southern Africa, in June 1967, when Hardy was a volunteer teacher at St Stephen’s High School there. Acknowledgements are due to his fellow teacher Mr Mpati’s piano (largely out of tune and non-functional), at which the creative act took place.

Who’s Who

When Isaiah Berlin retired as President of Wolfson in March 1975, a celebratory dinner was held in the College dining hall. Because of Berlin’s love of music, a musical offering seemed appropriate. Hardy had the idea of setting Berlin’s entry in Who’s Who to music, and Ruth Padel chose the duet between Papageno and Papagena from Mozart’s opera The Magic Flute as a fitting vehicle for this significant text. Berlin’s successor as President, Sir Henry Fisher, played the piano, Ruth Padel sang soprano, Hardy baritone.

Anima Christi – Soul of Christ

Anima Christi sanctifica me,
Soul of Christ purify me
Corpus Christi salva me,
Body of Christ save me
Sanguis Christi inebria me,
Blood of Christ intoxicate me
Aqua lateris Christi lava me,
Water from the side of Christ wash me
Passio Christi conforta me.
Passion of Christ strengthen me
O bone Jesu exaudi me,
O good Jesus hear me
Intra vulnera tua absconde me,
Within your wounds hide me
Ne permittas me seperavi a te.
Do not allow me to be parted from you
Ab hoste maligno defende me.
From the wicked enemy defend me
In hora mortis meae voca me,
At the hour of my death call me
Et iube me venire ad te,
And tell me to come to you
Ut cum sanctis tuis laudem te
That with your saints I may praise you
In saecula saeculorum.
For ever and ever
Amen

Anon. 14th Century
(translation by Edward Jones)

A Short Carol

There was a boy bedded in bracken,
Like to a sleeping snake all curled he lay;
On his thin navel turned the spinning sphere,
Each feeble finger fetched seven suns away.

He was not dropped in good for lambing weather,
He took no suck when shook birds sing together;
But he is come in cold-as-workhouse weather,
Poor as a Salford child.

John Short

Anthem for St Frideswide

‘All that is not God is naught.’
So the saintly virgin taught.
The blessèd daughter of a king,
Saint ffrediswyde of whom we sing.

Her the hapless Algar woo’d,
But she created things eschewed.
Algar did not understand,
And bent to kiss her on the hand.

Wrathful heav’n sent down a lightning flash so bright,
It robbed the rash foolhardy youth of sight.
And would have plunged him into everlasting night,
Had not the Abbess sorrowed at his plight.

‘Saint Margaret and Saint Katherine,’ so she cried,
‘Have pity on poor Algar for the sake of ffrediswyde.’
The saints appeared and struck the ground whence sprang
A well of holy water while the Virgins sang.

Then holy Frideswide stooped to rinse
The afflicted eyelids of the Mercian prince.
His wound was healed without a wem:
He saw, and kissed her holy habit’s hem.

He sang as homeward on his way he trod
‘Nothing is that is not God.’

Christopher Schenk

An Epitaph

Here lies a most beautiful lady,
Light of step and heart was she;
I think she was the most beautiful lady
That ever was in the West Country.

But beauty vanishes; beauty passes;
However rare – rare it be;
And when I crumble, who will remember
This lady of the West Country?

Walter de la Mare

Spring and Fall

Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! As the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie.
And yet you will weep and know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for.

Gerard Manley Hopkins

A Gulling Sonnet

The sacred Muse that first made love divine
Hath made him naked and without attire,
But I will clothe him with this pen of mine
That all the world his fashion shall admire.
His hat of hope, his band of beauty fine,
His cloak of craft, his doublet of desire,
Grief for a girdle, shall about him twine,
His points of pride, his eyelet holes of ire,
His hose of hate, his codpiece of conceit,
His stockings of stern strife, his shirt of shame,
His garters of vainglory gay and slight,
His pantofles of passion will I frame,
Pumps of presumption shall adorn his feet
And socks of sulleness exceeding sweet.

Sir John Davies

Who’s Who

Berlin, Sir Isaiah. Born 6 June 1909. Educ. at St Paul’s and Corpus Christi, and taught at New College ’38–’50. War service in the MOI. Publications include the following: Karl Marx 1939, translation from the Russian of First Love by Turgenev, Historical Inevitability, Four Essays on Liberty. Doctor at the following Universities: London, Liverpool, Jerusalem. And President of the British Academy. He wrote The Hedgehog and the Fox, and then The Age of Enlightenment. Then there’s Wolfson: he’s founding President of Wolfson College.

arr. Ruth Padel

The text of ‘An Epitaph’ is reproduced by permission of the Literary Trustees of Walter de la Mare, and the Society of Authors as their Representative

REFLECTIONS ON A MUSE REMEMBERED

The muse may have left Henry Hardy, but tonight Christ Church Music Society recaptures its presence in a scintillating performance of his works, including four world premieres.

Hardy was versatile in many disparate genres, and wrote idiomatically for a variety of instruments, reflected in the cross-section of works performed tonight. His distinctive word-setting and ability to rework existing materials is noticeable in ‘Who’s Who’, a duet which masterfully juxtaposes a theme from Mozart’s Magic Flute with words from Isaiah Berlin’s Who’s Who entry. In the combination of these two masters, one literary, one musical, Hardy approaches a modernist integration of the arts. Textural clarity is maintained throughout this work by principally setting the words in unison, although antiphonal exchanges between the two voices create textual variety.[1]

The suite for wind instruments and piano combines minimalist tendencies with a neo-classical approach, using familiar materials but altering them in such a way that a very unique compositional voice is achieved. Each piece presents a dialogue between soloist and accompaniment, sometimes suggesting tension, sometimes a more amiable relationship. The lengthy piano introduction to the ‘Theme for Horn and Piano’, for example, asserts the accompaniment’s authority, yet this is challenged by the horn’s entry with a new idea[2] which becomes the principal theme. As if to confirm the soloist’s role as protagonist, there is a lengthy ‘cadenza ad lib.’. The creation and resolution of tension between parts is a unifying factor of all three wind pieces. Amongst the other treats on offer tonight are the solo piano works. Sonata No 1 is relentless in its emotional journey, moving from the moody and melancholy opening bars to a dance-like and lighthearted major-key section before once again plunging to gloomy depths in the ‘misterioso’ bars. Whilst the positive presence continues to try to dominate, the subdued ppp ending, recalling the opening bars, suggests that any such attempt is futile. Although the Andante and Presto are more positive in outlook, the ambiguous harmonies at the very end of the sonata, over a static, non-progressive bass, suggest the respite is perhaps only a temporary one. This brief overview of some of the pieces to be performed is indicative of the variety of styles and genres that will be experienced this evening in what promises to be an emotionally charged concert full of surprises.

Rebecca Clarey
Christ Church
May 2004

1 I must make a correction here: I chose the words, but Ruth Padel chose the Mozart duet as their vehicle and fitted the words to it without any input from me. H.H. [back]

2 But already more than hinted at in the introduction. H.H. [back]

1    Announcement for Organ 0' 20"
2    A Short Piece for Piano* 2' 42"
 
Suite for Wind Instruments and Piano
3    Impromptu for Oboe and Piano 1' 58"
4    Theme for Horn and Piano 2' 16"
5    Fugato for Clarinet and Piano 1' 23"

6    Sonata No 1 for Piano*
      Moderato – Andante – Presto 6' 16"
7    Announcement for Organ 0' 21"
8    Anima Christi * 2' 06"
9    A Short Carol 1' 30"
10  Anthem for St Frideswide 2' 29"
11  Study for Solo Violin* 1' 42"
12  Announcement for Organ 0' 20"
13  Saliva Variations 4' 14"
14  Original Finale for ‘Saliva Variations’ 1' 04"
15  An Epitaph 1' 56"
16  Spring and Fall 2' 45"
17  Strained Sonnet 4' 04"
18  Who’s Who 3' 25"
19  Announcement for Organ 0' 22"

Total 42' 09"

* International premiere

Photo of wall at Lancing College taken by the composer, 1960s

Recording and production by Nymet Music, 4 Pitt Court, Nymet Rowland, CREDITON, Devon, EX17 6AN, UK, info@nymetmusic.com http://www.nymetmusic.com