Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity

An exhibition curated by the Enchanted Modernities Leverhulme Trust International Network at the Borthwick Institute for Archives and online 7 February – 9 May 2014

Enchanted Modernities: Theosophy, Modernism and the Arts, c. 1875-1960 www.york.ac.uk/library/borthwick www.york.ac.uk/history-of-art/enchanted-modernities

http://hoaportal.york.ac.uk/hoaportal/pioneering-spirit.jsp Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity Introduction

This exhibition explores the extraordinary life and career of Maud MacCarthy (1882–1967). The material on display here highlights her extensive cultural networks in Britain and India in the first part of the twentieth century. MacCarthy’s active life as a professional violinist, writer on music and the visual arts, social campaigner and committed mystic is highlighted through a selection of material from the MacCarthy/Foulds Family Papers archive collection held at the Borthwick Institute for Archives at the University of York.

hen the collection of international co-operation; a spirituality would barely have raised before it had occurred to many arrived at the devotee of mystical movements an eyebrow, her objections to others to use the arts in this way. Borthwick Institute following a determined quest for nationalism and imperialism would This archive of personal documents, Win 2008, few could have imagined spiritual enlightenment in the have been readily understood, and photographs, newspaper articles, the stories it contained: a little modern world. Maud MacCarthy, even her commitment to using concert pamphlets and published girl so enchanting upon the violin pioneering spirit that she was, music as a healing agent, labelled writings sheds light on the that she played before queens managed to be all of these. as quackery in the 1930s, had gone astonishing breadth and depth and prime ministers; a young Despite the existence of this mainstream (in the form of music of Maud MacCarthy’s activities in woman who, despite her public archive, MacCarthy’s story has therapy). Indeed, for much of her Britain and India. profile, steadfastly rejected the gone more or less untold until life, MacCarthy was well ahead of An extended essay on Maud social, political and religious now. Why? At the end of her her times. She was one of the first MacCarthy and more information norms of her day; a tireless artistic life, in the freer atmosphere of Western scholars and performers of about the archive is available on the innovator in the modernist heyday the 1960s, the world had almost Indian music, for example, and she digital exhibition website: of artistic experimentation; an caught up with MacCarthy. By developed community arts projects http://hoaportal.york.ac.uk/ intrepid traveller and champion then, her fascination with Eastern in the poorest parts of London hoaportal/pioneering-spirit

2 3 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity Love & Life The Theosophical

aud MacCarthy’s early childhood was every bit as Society cosmopolitan as her later ounded in 1875 in New York Besant that Maud came Mlife. Her prodigious artistic talents, too, City, the Theosophical Society to Theosophy, joining showed themselves at a young age. came to embrace the study the Theosophical Society in Born in Ireland, she lived in Sydney, Fof spiritualism, occultism, Eastern 1900, and entering the Esoteric Section Australia before moving to London religions and esoteric Christianity. in 1905. Maud worked on behalf of the at the tender age of nine to enrol Helena Blavatsky’s writings, Isis Society in many capacities before the at the Royal College of Music. She Unveiled (1877) and later The First World War, including lecturing on quickly went on to build a remarkable also a Theosophist, with whom she Secret Doctrine (1888), became Indian music, writing for its journals, 1career as a child prodigy on the violin. began a passionate love affair. Maud 2foundational, shaping the Society’s and organizing weekly musical services Early on she caught the eye of Prime lived with John in London through uniquely syncretic and inclusive at its London headquarters. In this last Minister William Gladstone. Her talents the 1920s despite not marrying him outlook. In the first twenty years endeavour she collaborated with the even attracted the patronage of until 1932, a risky arrangement in the Society grew across the globe, composer John Foulds, whom she would royalty: in 1895 she played for Queen the context of the early twentieth establishing important centres in later marry. The two also began a series Victoria who gave her a brooch as century’s sexual politics. Maud and India, Europe and the United States. of “Theosophical Experiments in Music”, thanks. She went on to perform in John had two children: John Patrick England became an especially communicating with suprahuman concert halls around the world. At and Marybride. The family moved important site, as from 1887 entities through music and beginning to the age of 23, however, MacCarthy permanently to India in 1934, and Blavatsky resided in London. It was instruct others how to do so. was forced to retire from concert following Foulds’s death in 1939, during that time that she began an Maud left the Theosophical Society performance due to the onset of Maud married Bill Coote, a man with “esoteric” section of the Theosophical sometime around the end of the First neuritis. This painful physical illness, remarkable mystical powers who had Society dedicated to studying occult World War. The possible reasons for and its treatment, was to trouble her worked alongside the family in London practices with her private students. this can be read as a distillation of the throughout her later life and work. in the 1930s. The problematic side of the challenges that institutional Theosophy The gap which concert performance Maud changed her name several organization’s syncretism became faced in the early twentieth century. left in MacCarthy’s life was filled by times, both through circumstances apparent after Blavatsky’s death in Maud’s claim to occult agency was dedication to the mystical movement of marriage and personal choice. She 1891, with the next twenty-five years a direct challenge to the authority of of Theosophy. MacCarthy joined the was born Maud MacCarthy. In 1911, riven by internecine conflict, scandal Theosophical leaders who had worked Theosophical Society in 1900, and her name changed to Maud Mann. and schism. One of the central figures to concretize Theosophical belief, and in 1911 she married the Theosophical Later on, following her work in India, in this period was the social-reformer- it led to her expulsion from the Esoteric writer William Mann with whom she she would use the names Tandra Devi turned-Theosophist Annie Besant, who Section. At the same time her growing had a daughter, Joan. The union was and Swami Omananda Puri. In this was one of Blavatsky’s private students affair with John Foulds represented the not to last and in 1915 Maud met the exhibition, we mostly refer to her as and became President of the Society kind of scandal that the Society could not cellist and composer John Foulds, “Maud” or “Maud MacCarthy”. in 1907. It was through friendship with afford.

4 5 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity A World Requiem

or Maud MacCarthy, as for many by tenor and soprano), to embody the Hall on Armistice Night, beginning in Theosophists, the Great War was mystic conception of life continuous 1923. MacCarthy worked tirelessly a world conflict on the astral as beyond the earthly sphere”. to organize these events – the first Fwell as the physical plane, something Maud’s main contribution to the of the British Legion’s “Festivals of humanity would undergo in order to Requiem was to assemble the text, Remembrance”, a term she claimed achieve a higher stage of evolution. combining passages of the Old and New to have invented herself – and even She and Foulds enshrined this vision Testaments with lines from Bunyan’s redoubled her efforts when in early in a colossal commemorative oratorio The Pilgrim’s Progress and the 1925 the British establishment’s 3entitled A World Requiem (1918–20), fifteenth-century mystic Indian poet enthusiasm for their World Requiem subtitled “a tribute to the memory of Kabir. More than once she smoothed began to cool. This was ostensibly the Dead – a message of consolation the transitions with verses of her own. for financial, although probably to the bereaved of all nations”. At The result was deeply unconventional also for doctrinal reasons, and in a time when many were frustrated theologically, which probably explains the face of resistance from church by a perceived lack of answers from why the original intention to perform musicians to such an unconventional “official” sources, MacCarthy and the Requiem in “a national cathedral” score rapidly becoming ritualized Foulds offered an interpretation of never came to fruition. order to imitate the sounds reaching as the official national/imperial the war that for some, at least, was Foulds set MacCarthy’s text them from beyond the veil. commemorative work of the war. meaningful. Their stated aim was to to music, sometimes doing so, Foulds’s original intention By 1927 A World Requiem had been “produce a work which might belong according to Maud herself, “in a was to dedicate the score of A officially “forgotten”, to MacCarthy’s to many nations and creeds so that psychically objective way”, by World Requiem to the Y.M.C.A., intense frustration, and was replaced amidst the clash and conflict of the listening “clairaudiently” and but after losing his position with on Armistice Night by community races, of the religions, and of the notating what was heard as the Association early in 1923 (see singing for ex-servicemen followed factions; some expression might be accurately as possible. The house next section) he and MacCarthy by a torchlit procession to the found for the indestructible spiritual seemed “shaken”, she recalled, “by garnered support from the British Cenotaph. John’s ultimate dedication unity of mankind”. In the closing this heavenly music, and angelic Legion, and particularly its president of his score to Maud seems a fitting movements they sought “to typify the choirs sang, and angelic musicians Earl Haig. The Legion adopted the reminder of her constant but fruitless joy underlying all creation, even death, played to us”; Foulds even invented work for high-profile fundraising efforts to obtain performances over and in a series of visions (described a new instrument – a sistrum – in performances held at the Royal Albert the ensuing decades.

“a tribute to the memory of the Dead - a message of consolation to the bereaved of all nations” 6 7 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity The Unity of the Arts Y.M.C.A.

aud MacCarthy’s interests in the arts extended far beyond her professional Mpursuits as a violinist and writer on music. She was an active participant in a number of Theosophical and spiritual artistic networks, and was a founder-member of the Theosophical 4Art-Circle, as well as founder and 5 President of the Brotherhood of Arts, Crafts and Industries. Through her work in these organizations, as well as her many published articles and lectures, MacCarthy promoted the idea of the unity of all the arts and the co-operation of different of Theosophical President Annie kinds of artists. These organizations Besant in particular, MacCarthy endeavoured to bring together developed theories about an “ideal” musicians, painters, writers and craft kind of art. The ultimate purpose workers who were committed to of art was, she claimed, to reflect oulds was classified as unfit and Foulds were probably drawn to exploring the connections between the divine in man. She was also for combat when conscription the Association’s internationalist the spiritual and the arts. For heavily inspired by the Arts & Crafts came in, and during the latter and ecumenical outlook, and when a MacCarthy, her concept of the unity and Aesthetic movements of the Fyears of the war, he and MacCarthy Y.M.C.A. social club was established of the arts also expanded across nineteenth century, particularly the became involved with the Young under the auspices of Lena Ashwell national boundaries and she called writings of John Ruskin and Walter Men’s Christian Association. A in a former high-society nightclub for a “world-wide exchange of art Pater. Her hope was to inspire a new predominantly middle-class – Ciro’s Club, north of Leicester powers”, criticizing what she saw as generation of artists who would voluntary organization, the Y.M.C.A. Square, London (above) – Foulds was the insularity of artistic practice in reject materialism and search instead was crucial to the allied war effort, appointed Musical Director. Britain and the “savage exclusiveness for the “revival of the mysteries in providing pastoral and practical Ciro’s was the first mixed Y.M.C.A. to national ideals”. the Arts and Crafts” in order to create support for troops both on the front venue, offering servicemen and their Inspired by her knowledge of an art of “cosmic ideals” for the new lines and home on leave. With their female friends respectable alcohol- Theosophical texts, and the writings age of the twentieth century. Theosophical background, MacCarthy free refreshment and entertainment.

8 9 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity

Together MacCarthy and Foulds over national prejudice; Gounod, “the organized concerts at Ciro’s of sacred Great French Composer”; Franco- and quasi-sacred music on a Sunday British and French music; American evening, when soldiers were thought music; Easter music; and Christmas most likely to fall prey to immoral music, with carol-singing for the temptations and London’s criminals. audience. On at least three occasions Foulds arranged often large-scale MacCarthy played alongside another orchestral and vocal works for a solo violinist in Bach’s Double small group of musicians, usually Concerto. Each concert concluded in comprising a single voice, piano, two the manner of a service, with a hymn violins (including MacCarthy), cello followed by an address. and organ (often both played by By mid August 1918, 62 such Foulds himself). Alongside meditative concerts had been presented and religious music mainly of the under Foulds’s directorship, and nineteenth century were heard according to MacCarthy, such was works by Foulds and MacCarthy their popularity that she and Foulds themselves, including MacCarthy’s were also invited to give Sunday Songs of England Today, comprising evening performances at Central “England, My Country”, “Home”, and Y.M.C.A., Tottenham Court Road. On “Clarion Call”. As well as “request” 28 September 1918, in recognition of Phonotherapy programmes, “special” programmes their success, Foulds was appointed were offered on dedicated themes, Musical Director of the National and Grove End including: Wagner, the spirituality Council of Y.M.C.A.s for London, a of scores such as Parsifal and post he held until March 1923. Tannhäuser transcending concerns ollowing the disappointment wanted to open this settlement in of having the Festival of the slums of East London, but after Remembrance wrested several attempts to buy a suitable Ffrom them by the British Legion, property failed, she and Foulds set up MacCarthy and Foulds set about a Grove End in Chiswick, also referred new project. MacCarthy wanted to to as Tadema House and Everyone’s establish a settlement house along Concern. Grove End acted in part as 6the lines of Kingsley Hall (a radical a guest house: paying visitors could community centre in the East End come merely for “complete isolation of London) for the encouragement and quiet”. But MacCarthy also of artistic and spiritual activities in encouraged Londoners to frequent the local community. She originally the establishment to take part, for

10 11 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity

example, in the Puppet Festival of sound vibrations alone. Described Theatre Club, or to attend cookery in a promotional flyer as “a ‘bath’ of classes. Everyone’s Concern was a sound” and as “analogous to sun or forum to promote the artistic, social sea-bathing”, the healing took place and mystical ideas that MacCarthy as MacCarthy sang and performed had developed in the preceding on musical instruments. However, decade, including the promotion of despite recording positive feedback Indian arts. Grove End was also to be from those she apparently healed, a quasi-religious space, as a sketch Maud’s phonotherapy project met of the proposed “peace room”, which with scorn from some mainstream features in the exhibition, shows. In commentators. In particular, an addition, MacCarthy used Grove End article in John Bull in 1933 ridiculed for what she termed “phonotherapy”, Maud for her esoteric interests and an early (and mystical) version attempted to out her as a charlatan of music therapy through which and a fraud. patients were healed by the power Indian Music & John Foulds’s Death

Maud’s phonotherapy project met with n the late 1910s Maud had Bantock and Gustav Holst. Later, in 1935, convalesced at Theosophical with few opportunities for employment Headquarters in Adyar, and began in Europe, Foulds and Maud moved scorn from some mainstream commentators. Ito study Indian classical music. Upon to India where he became Director of her return to England she lectured and European Music for All-India Radio. This published widely on the topic providing led him to experiment compositionally 7her own instrumental and vocal with ensembles consisting of both illustrations. These lectures established European and Indian instruments. Foulds her as one of the most important (pictured above, right) died tragically in authorities on Indian music in England 1939 from cholera, and most, if not all, at the time, and proved influential of his manuscripts from this time have for composers as varied as Granville been lost.

12 13 Pioneering Spirit: Maud MacCarthy Mysticism, Music and Modernity Later Life in India

fter controversial press with Coote is detailed in two books, about Grove End it became The Boy and the Brothers (1959) Acknowledgements clear that MacCarthy’s and and Towards the Mysteries (1968). This exhibition and accompanying AFoulds’s mystical interests were MacCarthy remained in India for over website have been made possible irreconcilably out of step with twenty years, returning to England through the Leverhulme Trust mainstream British culture. A year only in old age. She wrote prolifically International Network Grant for Enchanted Modernities: Theosophy, later the family moved to India, about Indian arts and on mystical 8 Modernism and the Arts, c. 1875- abandoning the Grove End project for matters under the name Tandra Devi 1960. The exhibition has been co- good. The move was inspired in part, during the 1930s and 1940s. She was curated by the Network Partners Prof. however, by the mystical powers also active as a poet. Her publications Rachel Cowgill (Cardiff University), of Bill Coote, whom MacCarthy and from this time were often illustrated Dr James Mansell (University of Foulds had first met at Kingsley Hall. with drawings by her son John Nottingham), Dr Christopher Scheer (Utah State University) and Dr Sarah Believing him to have great mystical Patrick, some of which are displayed Victoria Turner (The Paul Mellon potential, Maud wanted to take here. Although she did not continue Centre for Studies in British Art), Coote to India to work with higher to practise phonotherapy in India, and Network Facilitator Dr Katie spiritual initiates. Her mystical work MacCarthy felt strongly enough about Tyreman (University of York) with her harsh treatment at the hands the assistance of the Borthwick Institute for Archives team – Amanda of John Bull to write an extended Jones, Catherine Dand and Alison defence of her healing credentials, Fairburn – and the University’s Digital which was published in the Sunday Library Team, led by Julie Allinson. Statesman in 1937. She had bigger Thanks also go to the British Library; projects in mind, though. In addition Cadbury Research Library, Special to her work with Coote, she founded Collection, University of Birmingham; Edinburgh University Library; an ashram and took on advanced MacCarthy remained in India for Y.M.C.A.; Theosophical Publishing mystical status under yet another House; Chandos Records; and Altarus new name: Swami Omananda Puri. As Records. These organizations have over twenty years, returning to a “Swami”, she had not only attained loaned and/or given the permission the highest mystical rank in the Hindu for display of archival photographs, musical scores and music to the ashram system, but was the first exhibition. England only in old age. woman ever to do so.

14 15 Cover Image: Photograph of Maud MacCarthy with a musical instrument [probably a saraswati veena], taken from a pamphlet entitled Miss Maud MacCarthy (Mrs John Foulds) (MCF 5/2/3/1 (5))

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