Cyril Scott (1879–1970)

Spring 2019

Great Esotericists Cyril Scott (1879–1970)

Cyril Scott. Portrait by George H. Neale National Portrait Gallery, London

yril Meir Scott is recognized as a compos- The vitality of Scott’s piano performances was C er of the late nineteenth and early twenti- soon recognized. He also showed promise as eth centuries, and biographies typically add a composer, and in the 1890s he joined a circle that he was also a writer and poet. Less well- of composers at the Conservatory. Scott’s first known is Scott’s unique contribution to mod- symphony was performed, when he was twen- ern esotericism. He was a Theosophist, com- ty years old, through the good offices of mentator on a number of esoteric topics, and friend and poet Stefan George. Much later exponent of music’s potential to provide a me- Scott dedicated a book of poetry to George. dium for the communication of devic and even In 1902, Scott met Evelyn Suart—later Lady Hierarchical impressions. Harcourt—who had a formative influence both Cyril Scott was born in Oxton, Cheshire, Eng- on his musical career and on his interest in land, on September 27, 1879, the son of Henry esotericism. Suart, a concert pianist, encourag- and Mary Griffiths Scott. Henry Scott was a ed him, premiered some of his compositions, scholar of Hebrew and Greek, in addition to and introduced him to Robert Elkin, who was managing a shipping company. Mary Scott starting the music publishing company that was a talented amateur pianist, and Cyril flourishes today as Elkin Music International. showed an aptitude for the piano at an early Elkin agreed to publish Scott’s work, and the age. Before he was three “he could pick up any firm went on to publish most of his future tune or hymn he heard, and could also impro- compositions. More importantly, for our vise; though it was not until the age of seven present purposes, Suart was a Christian that he began to write things down, having re- Scientist, and under her influence Scott wrote ceived some instruction in musical notation several books on alternative healing therapies. 1 from his governess.” Cyril Scott came into contact with Theosophy At twelve years of age Cyril Scott spent time in about 1905, and thereafter it colored his with a tutor in Frankfurt, Germany. Four years whole life and work. In the words of a biogra- later he returned to Frankfurt to study at the pher, it became “the most vital and most famed Hoch Konservatorium-Musikakademie.2 absorbing thing in life; embracing all its

Copyright © The Esoteric Quarterly 85 The Esoteric Quarterly activities and inspiring them with a meaning of In The Initiate in the Dark Cycle, a teacher unfathomable profundity.”3 In 1921, Cyril identified as “Sir Thomas” expounds on the Scott married Jewish novelist and Theosophist future of the arts. Musicians, he declared, “will Rose Laure Allatini.4 The couple had two be inspired by the Devas to bring down com- children, Vivien and Desmond. binations of sounds from the Higher Planes to help and to heal.”8 In the final chapter the nar- Cyril Scott established his reputation as an eso- rator describes two transformative experiences: teric writer with the trilogy: The Initiate: Some Impressions of a Great Soul (1920), The Initi- From far away I heard the strains of an or- ate in the New World (1927), and The Initiate gan with which was mingled the sound of in the Dark Cycle (1932). Early editions were voices so pure and ethereal as to suggest the published under the pseudonym “His Pupil,” chanting of a celestial choir, wafted on a but later editions named Scott as the author. peaceful evening breeze. The music was The trilogy, written in fictionalized style, unlike any music I had heard before; it was heavy with dialog, describes students undergo- subtle, yet melodious, sweet, yet devoid of ing advanced esoteric training. The first of the all sentimental lusciousness; at one moment three books is dedicated to “That Great Soul powerful and awe-awakening, at another Whose Identity is Concealed Under the Name soft and tender as the caress of an angel’s of Justin Moreward Haig,” and Haig features hand.9 as a mysterious figure throughout the trilogy. “My brother Koot Hoomi playing on His or- Other teachers also come and go in the story. gan,” Sir Thomas explains; “and the voices The first and third books are set in England you hear are those of the Gandharvas…. Listen and the second in Boston, Massachusetts. well, and remember, for one day you shall give The Initiate. Some Impressions of a Great Soul forth such music to the world.”10 begins thus: “The story, if so it can be called, Then, as “a sweet fragrance as of mingled of Justin Moreward Haig is a true one, in so far flowers” wafted over the group, Justin More- that such a person does exist, although ... I ward Haig introduces the “Pupil” and one or have been compelled for many reasons to con- more fellow students to the Masters Koot ceal his identity.”5 After many adventures, the Hoomi and Djwhal Khul: “Brothers and Mas- “Pupil” is instructed to write an epic saga in ters,” he said, “into your keeping I give my the following style: beloved chelas who have served me well. May Let the English be quaint, flowing, and as they prove worthy of your guidance, your pro- poetical as possible ... for occult truths im- tection and your love.”11 In response, press themselves more readily on the reader Master Koot Hoomi stretched out His arms if they be clothed in melodious language. to us in loving welcome, and in His eyes Also endeavor to decorate the large story was a look of recognition, as if to say: by a number of smaller stories, and do not “Have we not spoken with each other be- fail to be lavish with simile and parable.6 fore?” Then His lips moved and I seemed to The saga, which occupies a major portion of hear Him say: “Long years ago in Greece the book, involves two characters: Antonius, a when I was Pythagoras, you were both my rich man, and his former mistress Cynara. pupils, and now I welcome you back to me They are repeatedly tested on their spiritual again. You who desire to serve humanity journey together, and “and in the course of shall be given greater power to serve—you, time a son was born to them; and because of with your pen, and you”—he turned to Ly- the purity of their love and the exaltedness of all—“with your music.12 their souls, they attracted to themselves an en- The trilogy seems to explore Scott’s dual mis- tity so lofty that he became a great sage, leav- sion as a writer and a musician. In this last ing the world an enrichment in the form of a quote the narrator and “Lyall” could be inter- divine philosophy.”7 Sadly the great sage is not preted as Scott’s two personas competing for named.

86 Copyright © The Esoteric Quarterly, 2019. Spring 2019 expression. Perhaps by “turning” to Lyall, the edged the contribution of his wife, Rose, who master was signaling that music should be provided “much literary assistance.” Even with Scott’s primary focus—though we would say the new information, he was not satisfied, and that his biggest contribution was to write about a substantially revised edition appeared in music. 1958. The Master Koot Hoomis is known to love Scott insisted that music is more than an es- music and to be a talented organist. Theoso- thetic medium; it can be a form through which phist Charles Leadbeater described a combined higher impressions can be captured and shared organ–piano in the mas- with those with ears to ter’s home. The organ Scott insisted that music is hear. He cited the exam- portion has three manu- more than an esthetic medi- ple of Johannes Brahms, als: great organ, swell um; it can be a form through who confessed that he and choir.13 Leadbeater was inspired by a power commented that, “by which higher impressions higher than himself— magnetization,” Koot can be captured and shared though Brahms would Hoomi placed the organ with those with ears to not allow that confession to be revealed until fifty in communication with hear.... Music can also build years after his death.17 the Gandharvas, or Music can also build Devas of music, so character; it even has the character; it even has the that whenever it is power to mold, for good or power to mold, for good played they cooperate, evil, whole civilizations. or evil, whole civiliza- and thus he obtains tions. For example, combinations of sound never to be heard on Scott credited the “intellectuality” of the Ger- the physical plane; and there is, too, an ef- man people in large measure to Johann Sebas- fect produced by the organ itself as of an tian Bach’s “monumental genius” and grasp of accompaniment of string and wind instru- mathematics.18 ments. The song of the Devas is ever being sung in the world; it is ever sounding in Much of Music: Its Secret Influence Through men’s ears.14 the Ages is devoted to biographical notes on Cyril Scott’s interest in writing about music famous composers, like Bach, Beethoven and was already evident in 1928 when he published Wagner. Scott commented that César Franck The Influence of Music on History and Morals, was “the first Deva-exponent,” adding that with the subtitle “A Vindication of Plato.”15 Franck “was a master of that form of improvi- sation which Initiates know to be the Devic Scott acknowledged that the book was inspired 19 by “a High Initiate of Esoteric Science.” Five type.” And “it is just this spontaneity ... years later—after completion of the trilogy and which is so evidential of the Deva-inspired, or Scott’s reported contact with the masters—he the Deva-overshadowed man.” Franck’s reli- realized that his understanding of the topic had gious piety brought him ever closer to “those developed and wrote a more comprehensive ‘Shining Ones,” making possible compositions like The Beatitudes which Scott held in high work, incorporating some of the earlier materi- 20 al. regard. Music: Its Secret Influence Through the Ages Scott commented on the work of Claude De- (1933), was Scott’s most significant and influ- bussy and the way it captures the joy—and ential book. By the time it was published he occasional mischief—of the nature spirits. felt free to identify the “High Initiate of Eso- Significant is “its similitude to the subtle music of Nature, yet only those who possess clairau- teric Science” as the Master Koot Hoomi and 21 dedicated the book to him. Koot Hoomi, Scott dience will realize how great that similitude.” explained, was “my Authority for what was Maurice Ravel, whom Scott and many others previously set forth and for much added infor- compared with Debussy, bridged the gap “be- mation which follows.” 16 Scott also acknowl- tween the music of the nature-spirits and that Copyright © The Esoteric Quarterly 87

The Esoteric Quarterly of the lesser Devas—those who inhabit the the Christian Faith to save the noble ‘ark’ Emotional Plane.”22 which They built from shipwreck on the rocks of man’s ineptitude.” And: “a part of Master Alexander Scriabin is often cited for the eso- Jesus’ work has been and still is by means of teric quality of his work. Writing eight years the written word to counteract those baneful, after Scriabin’s death, Theosophist Dane doctrinal fallacies of the past, thereby seeking Rudhyar described him as “prophet of the mu- to inspire a great spirit of tolerance, not only sic of the future, a seer to whose Inner gaze the among the differing sects but also towards oth- plans of a great art-synthesis were revealed.”23 er religions.”28 Later the master is quoted as Scott offered a more cautious evaluation: saying: [I]n contacting the Devas of the higher To my first disciples did I teach the eternal planes, he [Scriabin] subjected his delicate verities, and instructed them in the way of physical vehicle to such a strain that he laid Realization and the finding of the mystic himself open to the attacks of the Dark Christ. And I taught them of the true nature Forces. Not being clairvoyant and pos- of man, and of his subtler bodies and of the sessed of the necessary knowledge, he was inner worlds and of the doctrine of re- unable to keep them at bay.... Thus he died birth.... And after I had passed from their at forty years of age with his greatest work 24 midst, my disciples taught others those unaccomplished. 29 same doctrines. Yet Scott agreed that Scriabin’s music has a Sadly, he continued: “the enemies of Truth quality of “exuberance and ecstasy.” Scriabin’s sowed noisome tares which choked those Prometheus, in particular, exhibits “the gran- beautiful flowers.”30 deur of mighty Beings, flashing forth Their unimaginable colors and filling the vast ex- Notwithstanding his distaste for the church, panses with Their song.”25 Cyril Scott lived in an “ecclesiastical atmos- Cyril Scott lamented that, for various reasons, phere” with gothic furniture and stained-glass devic influence on musical compositions had windows; and he “candidly avows his fondness for the smell of incense, which he is constantly failed, or at least had not achieved its full po- 31 tential. But now, he said, “certain Masters are burning.” Scott’s attitude to sacred music specializing in the work of directing the higher was similarly ambiguous. On the one hand he criticized it—or people’s attitude toward it—as types of Devas, suggesting to them what lines 32 to adopt and deprecating those which have being arrogant. On the other, he was a great hitherto proved unfortunate and even disas- admirer of Handel, and he composed a few trous in their results.”26 But the Masters are sacred works of his own, including a setting of selective in whom they are prepared to work the Evensong canticles: the Magnificat (“My with. Trustworthy individuals are known by soul doth magnify the Lord”), and Nunc Dimit- tis (“Lord, now lettest thy servant depart in the quality of their causal bodies, and “Only if 33 the Master thinks fit do they bring through into peace”). The works are rarely performed, waking consciousness the knowledge of how however, and no recordings seem to have been to invoke the Devas, and then solely for the made. helping of their fellow men.”27 Presumably Cyril and Rose Scott separated in 1939. By such screening applies to others as well as to that time he had met Marjorie Hartston who musicians. had clairvoyant gifts. Hartston remained his Like many Theosophists, from Helena Blavat- companion until his death at age ninety-one. sky onward, Scott did not share César Franck’s Although Scott’s musical fame waned over religious piety. Although he applauded the time, Hartston encouraged him to continue ministry of Jesus, he criticized institutional composing, which he did until the last weeks Christianity’s response to Jesus’ message. In of his life. The Vision of the Nazarene (1933), he com- So often the value of musical compositions is mented on “the task of the great Founders of recognized only after composers’ deaths.

Scott’s music has enjoyed a revival during the last two decades, and a number of recordings 5 Cyril Scott, The Initiate: Some Impressions of have now been made. His legacy amounts to a Great Soul (London: Routledge, 1920), 5. some 400 works, including two ma- 6 Ibid., 97. ture symphonies, three operas, three piano 7 Ibid., 158. concertos, and four oratorios. Scott now is of- 8 Cyril Scott, The Initiate in the Dark Cycle ten hailed as the “Father of modern British (London: Routledge, 1932), 65. music.” 9 Ibid., 84. 10 Ibid., 85. Cyril Scott shared his Libra sun sign, and its 11 Ibid. emphasis on beauty and harmony, with How- 12 Ibid. ells, Ives, Liszt, Saint-Saëns, Schütz, Shosta- 13 Charles W. Leadbeater, The Masters and the kovich, Stanford, Vaughan Williams, and Ver- Path (Adyar, India: Theosophical Publish- di. He established himself as a professional ing House, 1925), 25. Leadbeater and many musician and composer in the late Romantic other esotericists spell the master’s name “Ku- style. But Scott may be remembered best for thumi.” “Koot Hoomi” is used herein because of Scott’s preference. his unique insights into the esoteric dimensions 14 Ibid., 26. of music. He could speak with authority on 15 The book is out of print, and the present au- both sides of the equation, and his writings thor has been unable to locate a copy, reprint marked a turning point in our understanding of or facsimile. the efforts of the devas, and even the Masters, 16 Cyril Scott, Music: Its Secret Influence to guide, inspire and teach us through the me- Through the Ages, revised edition (Welling- dium of music. borough, UK: Aquarian Press, 1958), 31-32. 17 Ibid., 28. Interaction can be expected to increase when 18 Ibid., 58-59. the Fourth Ray comes back into manifestation 19 Ibid., 118-119. in 2025. We understand that the Master Sera- 20 Ibid., 119-120. pis, head of the Fourth-Ray ashram, is present- 21 Ibid., 129. ly “giving most of His time and attention to the 22 Ibid., 130. 23 work of the deva, or angel evolution, until their Dane Rudhyar, “Alexander Scriabin— agency helps to make possible the great revela- Precuror of the Future Synthetic Art,” Chris- tion in the world of music and painting which tian Science Monitor (May 19, 1923). Online: https://www.khaldea.com/rudhyar/scriabinpre lies immediately ahead.”34 Scott reassured cursor.html. Last accessed Dec. 11, 2018. people who might find modern music difficult 24 Scott, Music, rev. ed., 133. to listen to: “[M]usic of the near future will 25 Ibid. tend to become more harmonious than of re- 26 Ibid., 146. Italics in original. 35 cent years.” He was writing sixty years ago, 27 Ibid., 147. and some of us may be wondering when the 28 Cyril Scott, The Vision of the Nazarene (Lon- “near future” will arrive. don: Routledge, 1933), xi. 29 Ibid., 76. Contributed by John F. Nash 30 Ibid., 77. “Tares” is a reference to the parable Johnson City, Tennessee of the wheat and tares in Matthew 13. 31 Hull (ed.), Cyril Scott, 29. 32 Scott, Music, rev. ed., 51-52. In particular 1 Eaglefield Hull (ed.), Cyril Scott: Composer, Scott contrasted Victorian glorification of sa- Poet and Philosopher, 2/e (London: Kegan cred music with its prudery concerning other Paul, 1916), 12. types of sensual experience. 2 Ibid., 12-14. 33 Published by Stainer and Bell, London, 1931. 3 Ibid., 151. 34 Alice A. Bailey, Initiation, Human and Solar 4 Allatini, who wrote under several pseudo- (New York: Lucis: 1922), 60. nyms, attracted considerable controversy for 35 Scott, Music, rev. ed., 147. her fictional treatment of subjects like homo- sexuality.