A Blog about the Wardour Castle Summer Schools 1964, 1965

Flyers/Programme 1965

Michael Hall gave me copies of two flyers, one for each of the two WCSSs. The 1964 is the material posted here. I had paid far less attention to the 1965 flyer, since I already had this information from the concert programme. Or so I thought. Read the rest of this entry »


Filed under: What music was performed?, , , , , , , , , , , , , , , , ,

Hugh Wood

On Thursday, 29th October I visited Hugh Wood at his London home, to speak with him about his experience and memory of the WCSSs. I recorded, with permission, the interview. Meeting Wood was thoroughly enjoyable and he lived up to his reputation as charming, intelligent and thoughtful. His memories will enlighten my research, and over the coming months more details of the events will be posted. This post, like the initial post regarding Michael Hall, will focus on the ethics of recording and publishing the interview.

At the outset I asked if it would be alright to record, and Wood agreed.

Late in the conversation I mentioned that there were ethical issues with me making a recording. His response was ‘oh that’s nice of you to say’. Then the following took place:

(LS100045; from 35’55”)

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Filed under: Interviews, Uncategorized, , ,

1964 Programme of Concerts

1964 Programme of Concerts as given in the publicity leaflet, a copy of which was given to me by Michael Hall.

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Michael Hall

I had a meeting with Michael Hall at his house in Exeter on Monday, 26th October. It was particularly worthwhile. Firstly because my recorder functioned perfectly. Secondly because of the wealth of useful information that Hall provided. He also gave me an excerpt from the book he is working on at the moment, which details Birtwistle’s theatre music and its genesis at Cranborne Chase. Future posts will deal with this, though for the details you will have to wait for the book to be published.

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Filed under: Interviews, Methodology, , ,

blind but not deaf: methodology iv

I have organized a series of interviews over the next few weeks and so needed some new equipment for documenting these. Much has changed since the last time I bought a portable recording device, including the prevalence of very portable high quality video and audio equipment and the dissolution of low end and professional quality gear (see, for example, the Tascam DR-100). In the end the decision was based on what I didn’t want to record. My worry with this project is that I will accumulate too much data that I have neither the time nor expertise to adequately process, leading to a situation where I fall back on old habits, clichéd categorisations and the like. With a project based on events that occurred more than forty years ago, the accuracy of memory of those who attended is going to be a major factor, and one that I am keen to construct as a positive part of the research process, such that the study informs a broader understanding of a cultural memory for these events. The blog so far has detailed what exists in written publications and the questions that I am formulating for the forthcoming interviews are based on the extent of those documents. To an extent about which I cannot be precise, loss of memory of details and the unmemorability of the events are entangled. Read the rest of this entry »

Filed under: Methodology, , , , , , , , , , , , , ,

5/6 concerts and the Arts Council’s guarantee

Following the submission of the accounts for the 1965 series of concerts was correspondence between the Arts Council and the H.O. Young, the treasurer of the WCSS.

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Filed under: How was it funded?, , , , , , , ,

Accounts for 1965

1965 Accounts

The following are excerpts from the 1965 Certified Statement of Accounts, held at the V&A (ACGB/51/1265)

It is curious that no payment was made for music hire… It is also interesting to see the insistence with which the Arts Council corrects the accounts to conform to their commitment to guarantee 5 concerts and not six. There seems to have been a close eye kept on ensuring that the support the arts council gave was transparent and not confused with overall support for the summer school. One thinks of how rarely the arts council is credited as such in today’s concert programmes, where, instead, an arts council logo appears alongside other supporters. The full amount of the guarantee was paid, since the reduced deficit was still more than double the guarantee.

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Filed under: How was it funded?, , , , , , , , , , ,

1965 budget

The V&A archive (ACGB/51/1265) contains the accounts for the 1964 and 1965 summer schools and a budget for the 1965 event. I have posted the 1964 accounts here.

One of my research questions considers ways in which these summer schools were funded, and how this reflects prestige, as well as indicating the priorities of the events. Here is the budget for the 1965 events.

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Filed under: General details of the Summer Schools, How was it funded?, What music was performed?, , , , , , , , , , , , , , , , , , , , , , ,