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The London Labour Choral Union, 1924-1940: a Musical Institution of the Left

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The London Labour Choral Union, 1924-1940: a Musical Institution of the Left The London Labour Choral Union, 1924-1940: A Musical Institution of the Left. Maria Kiladi Department of Music Royal Holloway, University of London Submission for the Degree of Doctor of Philosophy October 2016 Declaration of Authorship I, Maria Kiladi, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Maria Kiladi October 2016. Abstract The London Labour Choral Union, 1924-1940: A Musical Institution of the Left. In 1924, the leader of the London Labour Party, Herbert Morrison, along with the socialist composer, Rutland Boughton, launched the London Labour Choral Union (LLCU), an organisation aiming to co-ordinate the activities of the various local socialist choirs active in London. The activity became particularly popular and successful under Boughton’s conductorship. After his resignation in 1929, Alan Bush took over, and a gravitation towards Communism becomes evident. Under Bush’s leadership, the organisation is transformed. The Union slowly begins to attract communist-sympathetic individuals, such as Randall Swingler, who became Bush’s close collaborator. Together they composed a number of songs which the Union performed, all of which used Agitprop techniques, and along with the introduction of works by Hanns Eisler, a trajectory from socialism to communism begins. There is also a conscious attempt to transform the organisation from a national to an international one, largely thanks to Bush’s insistence, with the Union becoming affiliated to international organisations such as the Internationale der Arbeitersänger, and participating in International events like the Communist-organised Workers’ Music Olympiad in Strasbourg during 1935, and the 1939 Festival of Music for the People. The thesis examines to what extent this gravitation to communism was voluntary or enforced by the leadership (and Bush in particular) and how it was achieved; what type of organisation was the Union, and to what extent was political indoctrination more important than providing music education for workers. This is analysed through close study not only of the political background during the 1920s and 1930s that directly affected the Union’s membership, but also of the repertoire performed in both decades of the Union’s existence, as well as the reaction of the choir members towards it, and the various other activities in which the Union participated. The London Labour Choral Union, 1924-1940: A Musical Institution of the Left. Table of contents. Acknowledgements 1 List of Abbreviations 3 Introduction. Research Questions 5 Scope and Content 11 Overview of the thesis 13 Defining terms: labour movement, socialism, and working-class culture. 17 Chapter 1: The London Labour Choral Union, 1924-1928. The founding of the London Labour Choral Union 20 The Labour Churches 21 Local Socialist choirs in London 23 The London Labour Party and Music 25 Activities of the London Labour Choral Union: Propaganda and Education 29 Repertoire 33 Lansbury’s Sixpence Songs 40 Popularity and unpopularity of the Union and its Festival 44 Conclusions 50 Chapter 2: The Union’s development between1929 and 1934 1929: The beginning of a new era 54 Eisler’s influence on Bush’s workers’ music 58 Reactions to the new songs introduced in the repertoire 67 Affiliation to the Internationale der Arbeitersänger 70 The 1933 Festival and the Pageant of Labour 1934 77 Conclusions 81 Chapter 3: The International Music Bureau (IMB) and the Workers’ Music Olympiad in Strasbourg Fascism in Europe before the 1930s and the ‘Popular Front’ 83 The Comintern and its artistic International Organisations 87 The International Music Bureau (IMB) 90 The Communist Party of Great Britain (CPGB) and its cultural activities 92 The duality of Alsace-Lorraine and its implications 95 The City of Strasbourg and the Event: Recession and the significance of the Olympiad 97 The use of the term ‘Olympiad’ 99 The British delegation: Preparations for the visit to Strasbourg 100 The Event 105 The IMB’s appraisal of the Olympiad 108 The impact of the event in Britain: British Press and reception 111 New repertoire? 114 Conclusions: A socialist choir moving dangerously to Communism 116 Chapter 4: The London Labour Choral Union, 1936-1938. International Trotskyism and the British Left: Communist and Trotskyist debates within the Union 119 The Workers Music Association (WMA) 121 Eisler’s Die Maßnahme as part of the Union’s repertoire 128 The Revue ‘Peace and Prosperity’ 131 The ‘Left Song Book’ 140 The Union’s new phase: marching to the hard Left 141 Reactions to the new revolutionary repertoire: A socialist choir destroyed? 146 Conclusions 151 Chapter 5: The Festival of Music for the People, London, 1-5 April 1939 Organisation of the event 155 Appealing to Adrian Boult and Henry Wood 158 The Programme 162 The Festival as a response to the London Music Festival 173 Reception 175 Conclusions 180 Conclusions. The political background after April 1939 184 The Union from 1924 to 1940: An overview 189 Further research topics emerging from this thesis 193 Bibliography P a g e | 1 Acknowledgements. As it took nine years to complete this part-time PhD, I am indebted to a lot of people who made this possible and supported me through this, especially during the very dark (at personal level) last year. Above all, to my supervisor Professor Erik Levi, for his guidance, support and enthusiasm about this project. I don’t think there is any doubt that he was the best supervisor for this PhD. His experience and advice helped me shape it from a vague proposal to a very focused project. I am very grateful to Anthony Pryer from Goldsmith’s College who introduced me to Erik, and extremely grateful for Erik’s support and very hard work during the last few days leading up to the resubmission. I am also grateful to my examiners, Professor Simon McVeigh and Dr. Pauline Fairclough who agreed to examine this thesis, and above all for their very valuable comments on my work. I thoroughly enjoyed the discussion we had during my Viva, and I feel lucky to have had both of them as my examiners. Thanks also to my ‘extended research family’ at the Royal Holloway. I never quite understood why other students see the PhD as a ‘lonely process’, because it never felt like that at the Royal Holloway. Many thanks to Professor Stephen Cottrell who suggested Alan Bush as a possible PhD topic. It was after an initial research on Bush that I came across to the London Labour Choral Union and this research was made possible. Thanks also to Professor Paul Banks, for developing my curiosity on music and politics as an MMus student at Goldsmiths, and for giving me the opportunity to work on projects between the Royal College of Music and Boosey & Hawkes. I am grateful to Dr Nicholas Bell from the British Library, not only for providing a list of Bush’s manuscripts (which I am still using to request Bush’s material) but for also introducing me to other Bush scholars. Many thanks to Dr. Joanna Bullivant, for her friendship and support all those year, and for some very interesting Bush discussions we had. Mr. John Powles, for giving me access to the Janey Buchan material, which is now part of the University of Glasgow Political Song Archive. I am very sorry I didn’t have a change to get to know Janey. Mr Nigel Cochrane and Mr Sandy Macmillen for access to the Warner Archive at the Albert Sloam library and the gems I discovered there. I am grateful to my second extended family at UCL Library Services, that supported me in every way all those years, but especially the last few months between the Viva and the final submission. I truly could not have completed this PhD without their (emotional) support. I P a g e | 2 am particularly indebted to my managers, past and present: The Reshelving Team and Janice Payne (Binding Preparation) for supporting me during the early stages of this research; Bill Martin (Acquisitions Department), Titilola Ogunsowon (Periodicals and E- Serials) and Fred Bearman (Special Collections) for allowing me to take a much needed career break during the last year of my research, but for also showing their support the last few months. I am especially grateful to my current manager, Matthew Reynolds, Head of Membership, who put up with me during the very difficult last few stages of my corrections. Thank you for making sure I don’t give up. You won’t believe me, but your support really kept me going. My very faithful friends, Maria Koutsoukanidou; Marianthi Karadima and Antonis Tsagarakis; Daniela LoRe and her family, Thomas and Juliet Matthews; Rossana and Robert Pinckney: Thank you all for your endless support, for your generosity, for your love during this very difficult year. Paul Amies and Javier Fernández-Peña: I am forever grateful to you two. I could never have done this without you. Above all, thank you for introducing me to Susana when I was really desperate and thought everything was lost. The wonderful Susana Cespédes-Léon: You are my Guardian Angel. It is a real blessing to have met you. You are like a sister now to me. How appropriate for a Greek to complete her PhD in Geoffrey’s study… He would have been so proud. Thank you for providing me a haven. Thank you, Dr Tim Causer, for those nine wonderful years we had together, and for putting up with me and this PhD for so long. Above all, thank you for giving me the greatest lesson in life. I never thought I was so strong, focused and resilient, so devoted to this PhD, that I would find enough strength to carry on.
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