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Smitten forever by Gilbert and Sullivan
Liveryman Chris Morgan-Gray (OC) writes
Like most children brought up between the wars, the early musical influences
in my life were delivered via steam radio" - The Ovalteenies, In Town
Tonight, the Palm Court Orchestra with Albert Sandler, and Henry Hall's Guest
Night. Paul Robeson and Flotsam and Jetsam were names I used to conjure with
when I went to prep school in 1936, and sang as a treble in the school choir.
Moving on to senior school, the music got more complicated, with services by
Stanford, participation in schools choir festivals at Gloucester Cathedral, Dr
Sumssion playing the organ, and involvement with Sir Sydney Nicholson's Royal
School of English Church Music ... finally lying on the floor of the music
master's room on a Saturday night, listening to a 78rpm recording of Elgar's
Dream of Gerontius sung by Heddle Nash.
There was no television to distract from the sound with audience and conductor
antics. Everything was simple. But now there are very few people who even
remember the programmes, let alone the artists.
At the age of 16 two names came out of the woodwork to bite me with an infection
that I have never been able to find a cure for: Gilbert and Sullivan. It started
with a concert performance of Trial by Jury in the school library, when I was so
smitten that I learned every part of the opera by heart.
The normal pressures of school life took over again, contact with fine minds
helping to put flesh and blood on the bones of Shakespeare, Matthew Arnold,
Dorothy L Sayers and Gogol. Rugby and cross-country running too, over the
voluptuous hills of Dorset.
Later, National Service posted me to Oxford, where the theatre would host D'Oyly
Carte. In those days the company would tour nine or 10 operas, and I think that
I saw every one over a period of two weeks.
I was hooked. If it was humanly possible, I had to try and audition for the
company and be involved in that magical world. It was not a case of being
stage-struck; I was captivated by Gilbert and Sullivan.
I have to say that one of my principal memories from those days is the way in
which those great Victorians managed to create something timeless.
Princess Ida was created to mock the start of education for women. But
the sentiments come back to us again as women are found at the top of most
professions.
Iolanthe was specifically aimed at the Victorian movement to reform the
House of Lords, and Private Willis's song at the opening of Act 2 has found
recognition through countless governments, not to speak of their lordships being
forced to gain entry by 'competitive examination".
There are of course many more references that can be made, and I find it sad
that support cannot be found for a touring company to present this heritage of
wit and spectacle, which has such a following among amateur theatrical groups
nation-wide.
At a time when the nearest we get to Sullivan's music is a Proms performance of
The Lost Chord, it is a shame to have lost his countless brilliant orchestral
touches of colour, like the Spinning Song which opens Yeomen, and When
the Night Wind Howls from Ruddigore.
From Preserve Harmony - Newsletter of the Worshipful Company
of Musicians - Autumn 2001