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Publication of Conference 1. Tribute to Elizabeth Poston ........................................................... 2 2. Some Letters from Elizabeth Poston to William Busch ................ 4 3. Suzanne Rose’s Friendship with Elizabeth .................................. 10 Visit to Stanbrook Abbey ........................................................ 17 4. Extracts of Letters to Joan Littlejohn .......................................... 26 5. Elizabeth and the BBC Production of Howards End ................... 32 6. Elizabeth Poston and Jean Coulthard, ...................................... 41 7. Correspondence with Madeau Stewart, 1964-87 ......................... 54 8. Face to Face with Elizabeth ....................................................... 110 9. Dispelling the Jackals ............................................................ 129 Appendix I. Trois Chansons pour Suzanne [Rose] ........................ 137 (1) Quand vous voulez faire une amie (Chanson xxiv) ...... 137 (2) Ode de Ronsard .............................................................. 138 (3) Allons, allons gai, ma mignonne .................................... 139 Appendix II Notes on Elizabeth Poston’s Seal Saga for ................ 140 Index .............................................................................................. 142 1 1. Tribute to Elizabeth Poston Sylvia Watkins I first met Elizabeth Poston in 1973 when I took up a post at the Lister Hospital in Stevenage. She had written some music for my harpist cousin, David Watkins, who suggested that I should contact her when I arrived in Stevenage. Elizabeth was, of course, most hospitable, and immediately suggested that I should live with her until I found a house. So, unexpectedly, I found myself for three months part of that extraordinary household: there was the deaf old housekeeper who was an old family retainer, the dogs, the donkeys Fairy and Nonny (‘hey Nonny, no’); and Elizabeth herself, quietly and efficiently running this unusual ménage. She was calm, intelligent, enigmatic, generous to a fault, so perceptive and such enormous fun; she was other-worldly, and unbelievably hard working at her music, in the garden, and giving a helping hand to anyone in need. And yes, she was beautiful, tall, slim, elegant, and statuesque: she was one of those rare people who could wear any old gardening rags (which is what she wore most of the time) and still look a million dollars. At that first meeting 34 years ago, I never dreamt that in 2006, to celebrate her centenary, I would play with the Hertfordshire Chamber Orchestra in London in only the third performance of her Harlow Concertante for string quartet and string orchestra, which was written and originally performed in 1969 (and made available by Simon Campion for the centenary celebrations). And cousin, David Watkins played some of her harp music, again as part of those celebrations, at a concert at the church of St. Andrew and St. George, Stevenage on 30 September 2006. Elizabeth was a carer: she cared deeply about people, about her family and friends, about the people who worked for her, such as the old housekeeper, who was put into the best bedroom in Rooks Nest House for her last years and was nursed by Elizabeth until she died. She went to great lengths to keep up with friends, entertaining them 2 generously and corresponding with them at considerable length. Her letters, inscribed in magnificent calligraphy, consisted of elegant and sensitively crafted prose; they said far more about the recipients than about herself, which was so typical of her caring and selfless spirit. Elizabeth’s final act of caring for me was revealed when I received a parcel from her solicitor, six months after her death. It contained a silver jug, inside which was a note, written on her deathbed: ‘with my love and thanks to you, and for knowing you. Elizabeth’. Her life was wrapped in music, she breathed it, she lived in music in its broadest sense. She heard music in daily life, in country sounds and of course in language. And this is why song writing was so important to her. Elizabeth's concept of the relationship between words and music was as the fusion of elements which are inextricably entwined and mutually enriching, rather than competition as some have seen it. This was why she insisted on having eloquent and beautiful texts to set to music. Dr. Jamie Bartlett has explored this theme elsewhere1. There is a line in Howards End, which she would have understood: ‘Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height’. Forster writes about ‘finding the rainbow bridge that should connect the prose in us with the passion’. Part of Elizabeth's great gift was to find the right prose, and infuse it with passion: she found that elusive rainbow bridge, and her love for humanity was manifest. 1 Bartlett, Jamie C. (2006) The Music of the Words Themselves. In Elizabeth Poston Centenary, 2005: Contributed Articles and Personal Letters. Ed. John S. Alabaster. Friends of the Forster Country, 2006, 129 pp. 3 2. Some Letters from Elizabeth Poston to William Busch Julia Busch From the 50 letters and over 40,000 words Elizabeth Poston wrote to my father William Busch, I have selected the first three which immediately shows the deepening friendship that was to develop between them during the period 1942 to 1945. I end this piece with the letter written by Elizabeth to my mother on his unexpected death. The first letter written from G.P.O. B 7, Bedford2 on 6 November 1942 is in response to a letter William wrote to René Soames3 commenting on the performance of one of his songs. ‘Dear Mr. Busch, René Soames has just shown me your letter after yesterday’s broadcast, so I have to thank you twice over, on our joint behalf as well as for your kind letter to me a few weeks ago. I was going to write in any case, but went away in the meantime to get better after being i Ritornello [the refrain] ill – and shake off the BBC-!’ This was a song called Rest (1). I first heard it recorded in the 60’s by Dame Janet Baker, sung in her beautiful mellow voice with perfect phrasing and intelligence. We had this recording played at my mother‘s funeral in 1991, and I then subsequently discovered on reading William’s diaries (which only came into my possession on the death of my mother) that Rest was sung at William’s funeral, 46 years earlier by Sophie Wyss. In this letter Elizabeth reveals a true appreciation of the song and its composer and how it affected her. 2 Elizabeth had moved with the BBC from Bristol to Bedford on 28 July 1941 (Poston Pocket Diary) 3 René Soames (tenor) was a soloist in broadcasts of several of Elizabeth’s works during the 40’s and 50’s, including The Elizabethans, Comus and A Garland of Laurel – a collection of 8 songs, the first of which, A Definition she dedicated to him (Simon Campion Archive). 4 ‘I am really tremendously glad you approved of the performance of your Rest. I find so much in the song that I felt it would be hard to do it anything like justice. It is beautifully-wrought and satisfying writing: its strange mixture of austerity and more tender lyricism make a strong appeal to me. The impeccable craftsmanship – the actual quality of the writing, so finely carried out within the clearly defined harmonic scheme might, one would think, take away all real spontaneity. But that is there as well: you have succeeded in getting both and that is truly an artistic achievement. And you have caught the spirit of the poem.’ To a not so young aspiring composer – he was 41 – this must have been magic to read such an encouraging criticism of his work. William Busch’s composing career was unfortunately very short, covering a period of about 10 years from 1935, when he married and found the encouragement to devote more time to composition, to 1945 when he died on 30 January after walking home to Woolacombe in Devonshire, in a snow blizzard after visiting his wife in a nursing home in Ilfracombe where she had just given birth to their second child. Elizabeth Poston and William developed a strong friendship through their letters, both being inveterate letter writers. Their discussions regarding the plight of composers to find the right poems on which to base their composition, was a constant source of amusement and discovery. ‘You raise a very interesting point in your previous letter and we must discuss it someday. I experience just the same difficulty in finding the right poem to set – and yet the wealth in this language is unsurpassed. This problem has made itself so acute that I’ve long ago given up trying to set any certain set of words. I only know - and that rarely - that I shall and must, and then (if I live long enough) I usually do. But so rarely that at that rate a lifetime would have but a tiny showing!’ From her letters I understand that she was a perfectionist and even though she was against transposing music to suit a particular singer, the song Rest had to be put into a higher pitch to rest easily with the voice of René Soames, she writes: ‘I hope our transposition of Rest didn’t worry you unduly. I’m against it on principle, but to do the song, René needed a higher pitch. It made it very awkward to play on the piano as it doesn’t ’lie’ in this key, the original being so black- note in shape and I had to exact all my skill in trying to disguise the difference. We will return you the copy you kindly sent, as I still have available the one in the set I borrowed from Henry Cummings (2), and I can transpose this one for any future occasions with René. I am very 5 glad indeed you like his singing.
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