THE ALBANIAN CONDUCTOR Olsi Qinami, who began studying music in Tirana (Albania), lives in London. He certainly knows how to get the best out of the orchestra he helped to found, the London City Philharmonic. On Saturday the 2nd of October 2021 he conducted the orchestra in a wonderful concert of music by three Russian composers, two of them from the 19th century and the other from the 20th. The musicians performed to a large and enthusiastic audience in the church of St James in Sussex Gardens, Paddington. Many of those present were Albanian speakers and amongst them the Albanian ambassador, Qirjako Qirko.
The church, a fine example of Victorian gothic, was built to satisfy the spiritual requirements of the rapidly growing population of 19th century Paddington. Designed by George Edmund Street (1824-1881), the building was completed in 1882 on the site of an earlier, smaller church that was built in the neo-classical style in about 1841. Apart from being a highly successful example of gothic revival, the church is notable for having been that in which the unjustly vilified writer Oscar Wilde married Constance Lloyd in 1884. Despite being a large, spacious building, the church’s acoustics coped well with the orchestral music.
The concert opened with a spirited rendering of the “Polovtsian Dances from Prince Igor” by Alexander Borodin. This piece holds a special place in my heart, as I will now explain. In the late 1950s, my parents bought or were gifted an LP entitled “Classical Music For People Who Don’t Know Anything About Classical Music”, which I played often in my childhood. Its cover has a sketch of four people in the living room of a very modern looking house, even by today’s standards. A lady, looking pleased with herself or the music or both, stands next to a gramophone player clutching a record cover (sleeve). Behind her, three people are seated in armchairs: one looks puzzled; another looks a bit bored; and the third has fallen asleep with a drinking glass resting on his armrest. One of the tracks on this LP was the “Polovtsian Dances”.
Borodin’s piece was followed by Peter Ilych Tchaikovsky’s “Romeo and Juliet Overture”, with which I am less familiar than the “Polovtsian Dances”. Although this brief piece was nicely performed, it is unlikely to enter my list of favourite works by this composer in the near future.
After the interval, we were treated to an exciting and brilliantly performed rendering of the 5th Symphony by Dmitri Shostakovich. Olsi Qinami and the orchestra handled the constant alternation of the composer’s triumphant sounding sections of the symphony with its comparatively peaceful, lyrical sections with exquisite mastery.
Shostakovitch completed his 5th Symphony in 1937, soon after having been heavily criticised by Stalin for his opera “Lady Macbeth of the Mtsensk District”, first performed in 1934. Had the Fifth Symphony not been so well received and liked by Stalin, the composer’s future might have become exceedingly grim. As Olsi Qinami pointed out in a brief speech before conducting the symphony, the piece, which was praised by the authorities, contains subtle musical messages expressing the composer’s criticism of the ruling regime. Whether or not one was able to detect these messages did not matter because the performance we heard was exciting, uplifting, and invigorating. In the last minutes of the symphony, I noticed one of the violinists breaking into a wonderful smile, no doubt because she and the rest of the orchestra had so successfully mastered this complex and difficult piece of music.
An odd thought occurred to me whilst listening to the Shostakovich piece. It was composed in 1937, when life for ordinary people in the USSR cannot have been at all easy. Although the situation here in the UK in 2021 is hardly comparable to that distant time in Russia, we are also going through times far more difficult than anyone has experienced since WW2, what with the covid 19 pandemic, Brexit-related problems, and shortages in shops and filling stations. It must have been a source of great solace for Soviet citizens to escape from their daily problems, if only for a few hours, by joining an audience at a concert of fine classical music. Well, that is how Olsi’s joyous concert felt for me as soon as he lifted his baton, and the orchestra began to play.
WE WERE FORTUNATE that we met a lady who unlocked (specially for us) the parish church of Saint John the Baptist with Our Lady and Saint Laurence in Thaxted, Essex. It was during our recent visit to the town in April 2021, when many churches tended to be kept closed most of the time. We were even luckier because this kind lady spent time with us, showing us the many interesting features within the building. Amongst these she pointed out: a cupboard colourfully painted with an Italian baroque design; an unusual lectern, also richly coloured; a decorative corona suspended from the ceiling of a southern aisle, and another above a figure next to the high altar. She told us that all these objects were made by the Marquis d’Oisy (1880-1959), who used to live in a cottage near Thaxted, an interesting man. My curiosity about the Marquis was aroused and after returning home, I looked for something about him on the Internet and found an informative article about the fellow, written by Julian Litten and published in “Saffron Walden Historical Journal”, issue number 24, Autumn 2012. Mr Litten has also recently published a book about the Marquis, which I have not yet seen.
The 37-year-old Marquis arrived in Essex in the summer of 1917. He settled in Plegdon Green, which is close to the present Stansted Airport and just over 4 miles south west of Thaxted. He lived out the rest of his life in Plegdon. He called himself ‘Amand Edouard Ambroise Marie Lowis Etienne Phillipe d’Sant Andre Tournay, Marquis d’Oisy’, and claimed to have been born in Rio de Janeiro. However, the so-called Marquis was neither an aristocrat nor born in South America.
It is most likely that the Marquis was born in Bath (England). Julian Litten’s research suggests that most likely the Marquis was born ‘Ambrose E Merchant’ the son of Ambrose C Merchant, a gasfitter, and his wife Alice Merchant (née Thomas) in Bath. When he grew up, the Marquis often used the name ‘Ambrose Thomas’.
By 1901, Ambrose Thomas (aka the Marquis) was living at Caldey Priory (near Tenby in Wales) where he was a Benedictine Monk. In 1902, he left the Order and most probably worked as a navvy, digging the Northern Line tunnels for the Underground Electric Railways Company of London. He did not keep this job for long. Until 1915, when he was working for a church furnishers’ company, Louis Grossé, as a vestment maker at St Saviours Church in London’s Hoxton, his life remains a mystery. It is not impossible that he spent some of the time learning the artistic skills that he was employ later in life.
The cottage that the Marquis moved into in 1917 was part of the estate at Plegdon owned by the silent-film screen actress Irene Rook, whom he could possibly have met if, as Litten suggested, he might have had some employment designing or manufacturing theatrical sets for films. By then, the Marquis was producing decorative wares such as the things he made, which we admired in the church in Thaxted. Litten suggested that Ambrose Thomas might have adopted the seemingly posh name Marquis d’Oisy whilst working at Louis Grossé but cannot be certain of this.
During WW1, there was a shortage of work for the Grossé company. This was probably the reason that the Marquis left in 1917 and came to live rent-free in Irene Rook’s cottage. It is likely that Irene Rook had bought things made by the Marquis and felt sorry for him when he faced unemployment in 1917. On arrival in Plegdon, Litten noted:
“At first, the locals were afeared of him, some even taking him to be a spy, attributing his exotic apparel of long cloak and floppy-brimmed hat as being more French than English. With money being in very short supply, he kept a cow tethered on the green for the sake of its milk, as well as a goat, and he grew edible flowers, fruits and herbs to keep the cost of his groceries down. He also kept two elegant greyhounds, and always slept in the open, whatever the weather, on the first-floor balcony of his cottage. Now that in itself points towards the probability of him having TB.”
Few of those who knew him well after he moved to Essex found it easy to believe that Ambrose was truly aristocratic. The film director Basil Dean (1888-1978), who lived near him, wrote of the Marquis:
“Lady Warwick used to say he came not from any foreign land but from the East End of London. He was a strange creature altogether, very tall and thin, emaciated almost, with a squeaky voice and a chin beard; and obvious homosexual … artist-antiquarian, vegetarian, and decorator – extraordinary of cottage replacements of period furniture to Lady Warwick. We owed to him much of our knowledge of Little Easton Manor’s history, all of our discovery of its foundations, and enthusiastic guidance along the path of its restoration. A passionate student of peasant ways – a folk-artist, you might say …”
The Marquis worked with Conrad Noel (1869-1942), the left-wing vicar of Thaxted (between 1910 and his death), known as the ‘Red Vicar’, about whom I will write in the near future. In 1923, he began making some of the objects that we saw in the church, beginning with the vestment cupboard he decorated with the Italianate motifs. Noel helped the Marquis by commissioning him to paint and/or create the following items as listed by Litten:
“…the lectern, the niche and statue of St Lawrence, the decorative carving on the reredos in the Becket Chapel, and commissioning two painted pewter coronas for the Lady Chapel and one for the statue of Our Lady as well as a band of identical cresting for the High Altar …”
We were shown some of these items by the lady who kindly let us enter the spacious, light-filled Perpendicular-style church, which was mostly built between the 14th and 16th centuries.
As well as his work at Thaxted church, the Marquis did extensive restoration work at Basil Dean’s Little Easton Manor and organised many folkloric pageants both in Essex and in London. Notable amongst the pageants was one organised near Thaxted in 1926 to raise money for the English Folk Dance Society who were trying to build their London headquarters in what was to become Cecil Sharp House (in London’s Regents Park Road). Music for this occasion was provided by the wife of the composer Gustav Holst, herself a composer, Imogen Holst (1907-1984). Gustav had strong associations with Thaxted and Conrad Noel, about which I plan to write. The largest event, arranged by the Marquis, was held at Hatfield House in 1936. With a cast of 600 and lasting 3 hours, the Marquis designed the costumes. The composer Ralph Vaughan Williams was amongst the audience. In addition to these activities, the Marquis created painted furniture for Heals in London and Sayles in Cambridge.
Irene Rook died in 1958 and left the cottage at Plegdon to the Marquis, who was by then a very far from wealthy man. Desperately short of money, he sold the cottage for a pittance in January 1959. Suffering from prostate cancer, he was put up by his former man servant Bernard Keel in his cottage at Takely, just south of the present Stansted Airport. He died in December 1959.
I have attempted to summarise what is known about the Marquis but omitted many of the fascinating details about this remarkable man’s life, which has been well-researched by Julian Litten, whose book “The Mystery of Marquis D’oisy” was published in late 2015. Had it not been for the superb tour given us by the kind lady who admitted us to the church in Thaxted, we would have most probably remained completely ignorant of the marvellous Marquis.
CLAVICHORDS, HARPSICHICHORDS, VIRGINALS, and other historical musical instruments can be viewed whilst walking through the rooms of Fenton House in Hampstead. When I first visited the house in the second half of the 1960s, anyone could touch the keyboards of these antique instruments even if they had not the faintest idea how to play them. Some visitors with musical skills used to play music on them. Nowadays, visitors are not permitted to touch the instruments without special permission from the management of this house maintained by the National Trust.
Built in about 1693 (https://historicengland.org.uk/listing/the-list/list-entry/1378648), Fenton House is named after Philip Robertson Fenton, a wealthy Riga merchant who exported goods to the UK. He bought it in 1793. Prior to getting its current name Fenton House was known as Ostend, then Clock House. Members of the Fenton family lived there until about 1835. Later residents included a Mrs Selwyn, and, according to Baratt, a historian of Hampstead, also:
“…Mr. Vaughan Davis; Thomas Turner, Treasurer of Guy’s Hospital and the Hon. Mrs. Margaret Murray, afterwards Baroness Gray in her own right, and great-aunt of the sixth Lord Mansfield. Lady Abercrombie also resided in this mansion for a time. Both Baroness Gray and Lady Abercrombie had been ladies-in-waiting to Queen Victoria, and her Majesty visited them on different occasions at Fenton House.”
Lady Binning, widow of Brigadier-General George Baillie-Hamilton (1856-1917), whom she married in 1892, bequeathed Fenton House to the National Trust in 1952, the year of her death.
The musical instruments within the house were collected by Major George Henry Benton Fletcher (1866-1944), who had a varied career including social work; archaeology; art and book illustrating; and soldiering. His collection of keyboard instruments was housed in various locations including Old Devonshire House in Holborn, where he lived until it was destroyed by the Luftwaffe in 1941. Fortunately, his collection of musical instruments was saved because he had evacuated them to Gloucestershire earlier. In 1937, he had donated his house and the collection to the National Trust on the condition that he could live there for the rest of his life. His collection of musical instruments was moved to Fenton House in 1952.
At present (April 2021), visitors cannot enter the house, but are able to see the small but lovely gardens. The rear gardens are on two levels, the lower of these includes a small orchard. The upper level is a lawn surrounded by flower beds. At one end of the lawn, there is a sculpture of a standing figure holding a long, slender staff in his right hand and dressed in what looks like 18th century attire.
In one of the flowerbeds, I noticed three small carved stones that look like small tombstones. Two of these have become almost submerged in the soil. The third has the following carved on it: “ BE??? 1933-1944”, the question marks being letters that were too indistinct to read. The stones reminded me of the small gravestones that I have seen in the pet cemetery on the edge of London’s Hyde Park. The volunteers working at the house confirmed that these stones mark burial sites of pets, who resided at Fenton House. The stone with a visible inscription most probably commemorates a pet owned by Lady Katharine Binning (née Salting), who bought the house in 1936 (https://alondoninheritance.com/london-buildings/fenton-house-hampstead/). As for the other two stones, without digging them up, which would not find favour with the National Trust, we cannot know when they were placed, or by whom. As they are the same design and material as the one inscribed stone, maybe it would be safe to guess that they mark the burial places of other pets owned by Lady Binning.
I look forward to entering Fenton House when covid19 regulations are relaxed in the future. From what I remember of earlier visits, its rooms are filled with interesting exhibits in addition to the lovely old musical instruments.
A ROW OF HOUSEBOATS is moored alongside the bank of the River Thames that runs past Cheyne Walk in London’s Chelsea. The floating dwellings are faced by Lindsey House, one of the oldest buildings in the Royal Borough of Kensington and Chelsea. Built in 1674 by Robert Bertie, 3rd Earl of Lindsey (1630-1701) on land that was once part of Thomas More’s riverside garden, it was remodelled by Count Nicolaus Zinzendorf (1700-1760) for London’s Moravian community in 1750. Five years later, the edifice was divided into separate dwellings. Today, they are numbered 96 to 101 Cheyne Walk. The American artist James McNeill Whistler (1834-1903) lived in number 96, and the engineers Sir Marc Isambard Brunel (1769-1849) and his son Isambard Kingdom Brunel (1806-1859) lived in number 98. My friends Kit and Sheridan lived in a ground floor flat in number 100.
I first met Kit and Sheridan during one of our annual family holidays to Venice. Kit, who was a colleague of my father at the London School of Economics, and her husband Sheridan used to stay in the Pensione Seguso that was next door to the Pensione La Calcina, where John Ruskin (1819-1900) once stayed, and we always stayed in Venice. During one of our holidays when we stopped on the Fondamente Zattere to talk with Kit and Sheridan in Venice, they asked me whether I liked classical music. When I told them that I did, they said that they would invite me to their musical evenings held some Saturdays in their home. I attended quite a few of these during the second half of the 1960s.
On arrival at 100 Cheyne Walk, Kit used to welcome the guests by offering us coloured sugar-coated almonds, which she described as ‘stones of Venice’, an illusion to Ruskin’s book about Venice (“The Stones of Venice”), where the almonds had been purchased. After discarding coats, all of the guests, twenty to thirty in number, had to find somewhere to sit in the large, low-ceilinged living room. I was always directed by Kit to the same seat. She used to want me to sit next to the telephone. She always told me:
“If it rings during the music, dear, lift the receiver and say: ‘Sorry, we are having a party. Please ring again tomorrow’”
It never did ring, but I used to sit nervously in anticipation of having to perform my important duty.
Sheridan was a fine ‘cellist, who knew many professional musicians, all of them quite famous. He used to invite several musicians, anything from two to four, to perform a couple of chamber works with him. Kit knew what was to be performed at each soirée, but the invited musicians were not told until they arrived (at the same time as the audience). Without prior rehearsal, Kit and his musical guests performed chamber works, often by Brahms and Beethoven, beautifully and, except for Sheridan, from ‘scratch’. The acoustics of the 17th (or 18th) century living room were perfect for the music performed. These wonderful evenings engendered my enduring love of the chamber music of Brahms. During the music, Kit sat a few feet away from Sheridan on his right. Her eyes never wandered from him and she always smiled sweetly as he played. Whenever we saw them in Venice, they were always walking hand-in-hand like two lovers.
I believe that Kit and Sheridan married late in life. Sheridan told me once that he was pleased when he married, because as a married man he was able to perform a service, for which only married people were eligible at the time. He was at last able to become a marriage guidance counsellor.
Sheridan told me once that there was a lot of planning before putting on each musical evening. He ensured that none of his guest musicians ever played the same piece together more than once. Also, he tried to make sure that nobody in the audience ever heard the same combinations of pieces more than once. He did this by recording who had played what and who had heard what in a set of notebooks.
Two works were played at each soirée. During the interval, everyone stood up, many relieved to get off the not always comfortable seating provided. Kit served glasses of red wine and crackers with pieces of cheese that contained cumin seeds. Every soirée, the same refreshments were provided.
A few of the musicians that I can remember hearing playing with Sheridan included the violinist Maria Lidka (1914-2013) and her son, a ‘cellist; individual players from the Amadeus Quartet; and once the pianist Louis Kentner (1905-1987). At the end of the evening when Kentner had played, Kit asked him to give me a lift part of the way back to north west London. He agreed, but as we drove together, I had a distinct feeling that this famous pianist was not at all keen about giving me a lift and said not a word to me during the short journey.
As Sheridan grew older, he became increasingly frail and began looking gaunt. During the last few concerts I attended, I noticed that he covered his hands with woollen fingerless gloves. Maybe, he had a circulation problem. Sheridan died in 1991. Kit lived on another seven years. I believe that the last time I spoke to her was just after I married in late 1993, but she showed little interest in my news.
Whereas back in the 1960s, when I used to attend the musical evenings at Lindsey House, one could walk from the street to the front door, today this is impossible without being able to unlock a gate leading into the grounds of the house. Currently owned by the National Trust and rented to tenants, Lindsey House is rarely opened to the public. Fortunately, we did once manage to attend one of these openings, but all seemed to have changed since I last listened to chamber music being played close to the river.
OPERA IS FOR THE ELITE or, at least, for those who can afford the often-high seat prices. London’s Covent Garden used to offer some reasonably priced tickets, but these only gave access to seats or standing places far away from the stage, from which one could hear the performance, but one only saw what looked like ants moving around on the stage. Once I had one of these ‘budget’ seats at a performance given by the ballet dancer Rudolf Nureyev. I was so far from the stage that, even though my eyesight was excellent at the time, it could have been almost anyone or anything flitting about in time with the music so far away from me. The best I can say is that I have spent time under the same roof as the great dancer even though I could hardly see him.
In early 1994, my wife, Lopa, became aware that a foundation was offering Covent Garden opera tickets at radically reduced prices to members of south Asian minority communities to introduce them to the joys of western European opera. Lopa decided to investigate this generous offer aimed at what the foundation assumed were ‘culturally deprived people’. She rang the organisation to ask how to become involved in the scheme. An ineffably patronising but kindly lady replied:
“Which community do you come from, by the way?”
“I am Gujarati.”
“All you need is a letter from the association that represents your community.”
“I don’t belong to such an organisation,” Lopa responded.
“Never mind, dear, why don’t you start one, and then contact us again?”
Not once did the lady ask Lopa if she had ever been to the opera. I suppose she assumed that south Asians never watched western European opera.
A short time later, Lopa sent a letter to the foundation on paper she had headed with the words: ‘Gujarati Worker’s Association of Kensington.’ Soon after this, she was accepted on to the scheme, which offered several tickets for each of a selection of top-class opera performances. These tickets were for the best seats and were priced at less than a fifth of their full price, which was still not an inconsiderable amount of money. We attended about six operas, sitting no more than three rows away from the stage. Sitting in these wonderful seats, which in 1994 cost well over £130 each, spoiled me forever. I do not think that I would be happy to attend another performance at Covent Garden unless I sat in seats with as good a view as those subsidised by the foundation.
On one occasion, we invited my father to join us. He was quite familiar the opera house at Covent Garden, having sat in the Royal Box several times with his colleague Lord Robbins, who was Chairman of the Royal Opera House. He accepted our invitation and we sat in wonderful seats watching an opera. I cannot remember which one we saw, but what happened in the interval, has remained in my memory. Dad said that he would treat us to champagne and smoked salmon sandwiches in the so-called ‘Crush Bar’, an exclusive refreshment area in the opera house.
We arrived at the Crush Bar, where a uniformed flunkey stopped all who wished to enter.
“We need a table for three,” my Dad explained.
“I am so very sorry, sir,” replied the flunkey, “all the tables are taken”.
My father reached into his pocket, and withdrew a £10 note before saying:
“Would this help you find a table?”
“Please follow me, sir,” replied the flunkey as he led us to an empty table.
Incidentally, the refreshments my father bought the three of us cost far more than we had spent on the subsidised tickets.
At each of the subsidised performances we attended, we saw few if any other south Asian or any other people of non-European appearances in the audience. Sadly, the foundation abandoned their scheme about a year after we had joined it. There might have been other schemes that followed it, but we never found out about them.
Oh, in case you are wondering about the Gujarati Workers Association of Kensington, whose creation was encouraged and suggested by the lady at the foundation, which shall remain unnamed, it still has only one member.
DURING THE COVID19 PANDEMIC, when travelling far afield has been discouraged for public health reasons, I have been exploring one of my old haunts, Hampstead, and have been becoming increasingly more interested in its attractions and historical associations. I invite you to join me on one of my rambles through a part of this intriguing area of north London.
East Heath Road runs eastwards, then southwards, relentlessly downhill from Hampstead’s Whitestone Pond towards South End Green, close to the Royal Free Hospital. The road marks the eastern edge of the spread of Hampstead into Hampstead Heath. Except for three well separated blocks of flats, there are no buildings on the eastern side of the Road. A winding lane leads off the road to the small settlement of the Vale of Health, an enclave which is surrounded by the Heath.
The block of flats facing Whitestone Pond at the top end of East Heath Road (‘EHR’) is called Bell Moor. Built in 1929, this edifice stands on the site of the home where the historian Thomas J Barratt (1841-1914) lived from 1877 to 1914. He was Chairman of the Pears soap manufacturing company and a pioneer in brand marketing as well as a historian of Hampstead. His “Annals of Hampstead”, published in 1912, is a detailed, monumental, beautifully illustrated, three volume account of Hampstead’s history. In addition to a plaque commemorating Barratt on Bell Moor there are two others. One of them records that the great conductor Sir Thomas Beecham (1879-1961) lived there from 1937-1941 and the other is placed to record that the surface of the soil at Bell Moor is 435 feet above sea level or 16.5 feet higher than the top of the cross on the dome of St Paul’s Cathedral.
Moving downhill, all the older houses are on the west side of East Heath Road. The writer Katherine Mansfield (1888-1923) and her husband, the critic John Middleton Murry (1889-1957), lived at the end of a short Victorian terrace, at number 17 EHR (formerly ‘Portland Villas’). Next door to this, there is a picturesque ivy-clad building, Heath Cottages, with one wall covered in wood cladding and a small balcony above one of its centrally placed pair of front doors. Barratt included a drawing of this building in his book but makes no comment about it.
Proceeding down EHR, we pass several large brick-built terraced houses until we arrive at the corner of a lane called Heathside. A large house on the corner of this and EHR bears a plaque that notes that the composer Sir Arthur Bliss (1891-1975) lived here in East Heath Lodge from 1929 to 1939. It was in this house that the painter Mark Gertler (1891-1939) painted the composer’s portrait in 1932 (https://www.npg.org.uk/collections/search/portrait/mw07115/Sir-Arthur-Bliss). During his residence on EHR, his musical compositions began to be come less avant-garde and he became a musical successor to the composer Edward Elgar. I wonder whether living in a house with views over Hampstead Heath might have influenced his change in composing style.
East Heath Lodge appears to have been divided into two residences. Bliss occupied the half of the building next to the Heath. It was built in about 1785 by the local builder Henry White and modified in about 1820 (https://historicengland.org.uk/listing/the-list/list-entry/1342097). A large bell hangs under a metal canopy outside the western half of the building, which bears the name ‘South Lodge’. West of East Heath Lodge along Heathside, there are some large cottages built in about 1814. South of Bliss’s former home, EHR is flanked to the east by a large public car park and to the west by a triangular green space whose apex is at the point where Willow Road meets the southern extension of EHR, South End Road. Just before it does that, EHR meets the eastern end of Downshire Hill soon before it crosses Willow Road.
Number 2 Willow Road, a modern looking two-storey building can be seen across the grass from EHR. Modern it looks although it was designed and built by the architect of Trellick Tower Ernö Goldfinger (1902-1987) in 1939. In 1942, Goldfinger, who had Marxist sympathies, hosted an exhibition of leading artists in his new home in order to raise funds for “Aid to Russia” (www.nationaltrust.org.uk/features/who-was-ern-goldfinger). Now owned and maintained by the National Trust, it is well worth visiting this superbly designed living space. Incidentally, Goldfinger’s house was constructed on the site of some 18th century cottages that were demolished to make place for it.
South of Willow Road, EHR becomes South End Road. The houses lining this road’s western side, but set well back from it, are in complete contrast to Goldfinger’s residence just north of them. Each of the houses is separated from the pavement by long strips of beautifully cared for gardens. Most of the dwellings have names: Hartley House (no. 103), where the architect Oswald Milne (1881-1968) once lived; Heath Cottage (no. 101); Guernsey Cottage (no. 93), home of the 19th century translator of “Heinrich Heine’s Book of Songs”, JE Wallis; Bronte Cottage (no. 89), home of the artist Mary Hill (1870-1949); St Johns Cottage (no. 87); Rose Cottage; Leighton House (no. 73), and Russell House (no. 71), an early 19th century house with a late 19th century enclosed veranda by Charles Francis Annesley Voysey (1857-1941), one of his earliest projects. Beyond these, there is Keats Grove, across which a line of shops commences. The architectural historian, Nikolaus Pevsner, who lived in Hampstead, described this row of buildings as: “… a pleasant irregular sequence of early c19 houses.”
And that is a good description of them.
South End Road, the continuation of EHR, becomes Fleet Road and heads south east towards Chalk Farm. We end our ramble at Pond Square, where once there was a cinema, its site now occupied by Marks and Spencer’s superb food store. Just north of it is Hampstead Heath Overground Station, which is close to a pub with fake half-timbering called the Garden Gate. In 1855, a pub on this site was called ‘The Perseverance’. It was renamed ‘The Railway Tavern’ by 1871 and got its present name more recently. Closed at present because of the covid19 pandemic, the best place to refresh yourself, after walking down from Whitestone Pond and enjoying the varied architecture along the way, is the Matchbox Café next to the small, cobbled bus yard in Pond Square. Its friendly owner Mirko prepares good hot drinks and sells a variety of tempting snacks. And before you leave the area, pick up some great fruit and vegetables from the well[stocked stall next to the station ticket office.
CAN YOU BELIEVE that although we have walked through London’s Hyde Park so many times (in order to take exercise as is recommended by our great leader, a biographer of Winston Churchill, and his government) that there are still many things in it for us to discover? Walking in the southwest corner of the park recently, we saw four man-made items that caught our interest.
An octagonal Victorian bandstand, which was built in 1869 and stood in Kensington Gardens, was moved to its current location in Hyde Park not far from Hyde Park Corner in 1886 (www.royalparks.org.uk/parks/hyde-park/). It is said that this bandstand has good acoustics; I have yet to hear music played here. In the 1890s, concerts were held at the bandstand three times a week. Currently, in normal times, that is when there is no pandemic, the bandstand is used occasionally for concerts and other events as well as becoming part of the annual Winter Wonderland fairground held in Hyde Park.
The bandstand, which was/is often used by military bands, is about 100 feet northwest of a black coloured bronze equestrian statue depicting St George slaying a mammoth dragon. Its coiled, scale covered body, my wife considered accurately, resembles a haphazard pile of discarded lorry tyres. The stone base is surrounded by a frieze depicting cavalrymen in action. The equestrian sculpture stands in front of a low wall which bears the names of cavalry regiments involved in WW1. The monument, though erected before WW2, also those involved those:
“… in the war / 1939-1945 / and on active service thereafter.”
The monument, The Cavalry Memorial, which used to stand nearer Park Lane was unveiled in 1924 by Field Marshal, The Earl of Ypres (formerly Sir John French; 1852-1925) and the Prince of Wales (the future Edward VIII, who reigned for 11 month). The knight on the horse was modelled on:
The sculptor was Captain Adrian Jones (1845-1938). Jones was an army veterinary surgeon between 1867 and 1890. He took up painting and sculpting after he retired, specialising in depicting animals. His best-known work, created in 1912, is not far from the cavalry monument: it is the Quadriga that adorns the top of the Wellington Arch at Hyde Park Corner.
The cavalry monument is a mere 200 yards north by north-east of a modest memorial to a fairly recent tragedy that stands beside the South Carriage Drive. It remembers the eleven soldiers who were killed by a bomb planted by IRA terrorists near this spot on the 20th of July 1982.
Returning to a path that leads north from a spot between the Cavalry Memorial and the bandstand, you will quickly reach a small art-nouveau structure. Formerly a fountain, this is a depiction of an almost naked girl wearing a hat and holding a fish under each of her arms. We asked a gardener working nearby if he knew anything about this curious garden sculpture. He informed us that it was a sculpture of Little Nell, a character in “The Old Curiosity Shop” by Charles Dickens and that it used to stand in Hyde Park’s Rose Garden.
The sculpture, created by William Robert Colton (1867-1921) has been variously known as the ‘Memorial Fountain’, ‘The Mermaid Fountain’, ‘The Colton Memorial’, and, much later, as ‘Little Nell’ (www.victorianweb.org/sculpture/colton/7.html). It is not clear why Colton’s sculpture should be associated with Dicken’s character, Nell. What we see today is a concrete cast of the original that was made in 1897. It looks as if it could do with a lot of tender love and care as it seems to be crazed, cracked and scarred.
Colton created various public sculptures in London, but his work is found further afield. I read (www.speel.me.uk/sculpt/coltonwr.htm) that:
“Important in his career was a series of Indian portraits in the mid-1900s, including statues and busts of the Maharajah of Mysore and the Dewan of Mysore, and a monument to J. Tata, including allegorical figures, for Bombay.”
I have probably seen some of his Indian works both in Mysore and Bangalore but took little notice of them. A website (http://mysore.ind.in/chamaraja-circle) extolling the virtues of Mysore reveals:
“The French born celebrated sculptor of the time, William Robert Colton was commissioned to execute a statue in memorial of the maharaja. He is the same sculptor who executed many famous sculpture in India including the statue of Sir K Seshadri Iyer, at Cubbon Park in Bangalore, who was the Dewan of Mysore State from 1883 to 1901. Also the 8 bronze tigers of Mysore Palace too are the works of Colton.
He spend[sic] some three months in Mysore during 1912 for the preliminary study for making the statue of Chamaraja Wodeyar. The statue was executed in white Italian marble in England … In the statue the maharaja is portrayed in standing posture in military uniform.
Though Colton was famous for executing lifelike sculptures, one glitch was the in the appearance of the face of the maharaja. There was not much resemblance between face of the maharaja and the face of the statue. When the statue finally arrived in Mysore in 1918, the queen the late maharaja Chamaraja Wodeyar was not happy with this aspect.”
Colton, whose father was an architect, was born in Paris, but was taken to England when he was three years old. He studied art first at the Lambeth School of Art and then at the Royal Academy.
Three of the items, which I have described, have connections with Britain’s former empire. Some of the cavalrymen remembered on the Cavalry Memorial, fought in not only in WW1 but also in Egypt, South Africa, and British India. Several major cavalry units were based in India and included soldiers of Indian origin. The other item with an association with part of the former British Empire is the small lady with two fishes, created by an artist who has sculpted some notable Indians. The bandstand near these two park features is typically Victorian and octagonal, and not markedly different in appearance from one that stands in Cubbon Park in Bangalore (India). And all of these are but a few minutes leisurely stroll from Apsley house, the former home of Arthur Wellesley (1769-1852), who fought in India in the late 18th century.
THE EYES OF MOST VISITORS to Kensington Gore are attracted to the spectacular Royal Albert Hall and, opposite it, the monument to Albert, Queen Victoria’s consort. Immediately to the west of the Royal Albert Hall, there stands the comparatively less impressive twentieth century building housing the Royal College of Art (‘RCA’), designed by H T Cadbury Brown and opened in 1962. Next to this geometric structure of concrete and glass and on its south side, there is an edifice whose appearance is a dramatic contrast to it. The walls of the RCA’s southern neighbour are covered with figurative illustrations, created in the ‘sgraffito’ technique. Bands of ‘putti’ carrying musical instruments, scrolls of paper, or singing, appear to be scurrying across the walls of the building. Maybe this is not surprising because once this place housed The Royal College of Organists (‘RCO’).
Founded in 1864 by the organist Richard Limpus (1824-1875) to promote advanced organ playing, it received its Royal Charter in 1893. The building next to the present RCA and facing the Royal Albert Hall was designed by Lieutenant Henry Hardy Cole (1843-1916) of the Royal Engineers, and the ‘sgraffiti’ decorating it was created by Francis Wallaston Moody (1824-1886).
Lieutenant Cole was a son of Sir Henry Cole (1808-1882), a civil servant who had an extremely important role in organising the Great Exhibition of 1851. His building, erected 1874-75, was originally constructed to house The National Training School for Music. It was paid for by Sir Henry Cole’s friend, music lover, and a fellow member of the Society of the Arts, the developer Charles James Freake (1818-1884), who lived in Cromwell Road (www.londonremembers.com/memorials/sir-c-j-freake).
“Lieutenant Cole had returned in 1871 from India, where he had been Superintendent of the Archaeological Survey, North-West Provinces, and his previous architectural work seems to have been confined mainly to publications on ancient Indian architecture and archaeology, and the preparation of casts for the Indian section of the South Kensington Museum, which he catalogued.”
“He was not left to design the school on his own. It was evolved in consultation with his father and was subjected to criticism by members of the Science and Art Department. A committee of management was appointed in July 1873 …”
Moody was a protégé of Sir Henry and a teacher at the National Art Training School, a forerunner of the RCA.
Between 1883 and 1896, the building was used by the newly founded Royal College of Music, which moved into its new premises south of the Royal Albert Hall in about 1896. The large variety of musical instruments that have been depicted on the building’s walls reflect the place’s first occupants. Between 1896 and 1903, it stood empty. Then it was leased to the RCO for 100 years at a ‘peppercorn’ rent. When it was learnt that after expiry of the lease the rent would be increased considerably, the RCO moved into new accommodation in 1991. Currently, at least in 2018, it is owned by an entrepreneur, Robert Tchenguiz.
The Lieutenant, who designed the RCO building, became the Curator of Ancient Monuments in India. His “First Report Of The Curator Of Ancient Monuments In India” was published in 1882 in Simla. This contains some of his views on dealing with archaeological items and sites. For example, he wrote:
“Experience has shown that the keenest investigators have not always had the greatest respect for the maintenance of monuments. Archaeological research has for its object the elucidation of history, and to an enthusiast the temptation to carry off a proof of an unravelled mystery is undoubtedly great. If there were no such things as photographs, casts, and other means of reproducing archaeological evidence, the removal of original stone records might perhaps be justified …”,
and, regarding the now controversial British possession of some famous sculptures in the British Museum:
“Sometimes, indeed, the removal of ancient remains is necessary for safe custody; and in the case of a foreign country, we are not responsible for the preservation in situ of important buildings. We are not answerable for keeping Grecian marbles in Greece; neither were we concerned for the rights of Egypt when Cleopatra’s Needle left Alexandria for the Thames embankment.”
However, regarding India, the Lieutenant wrote:
“In the case, however, of India—a country which is a British possession—the arguments are different. We are, I submit, responsible for Indian monuments, and that they are preserved in situ, when possible. Moreover, as Mr. Eergusson remarks, Indian sculpture is so essentially a part of the architecture with which it is bound, that it is impossible to appreciate it properly without being able to realise correctly the position for which it was originally designed …”
In order to satisfy the needs of museums in Europe, the lieutenant suggested that perfect replicas of artefacts can be made as is well demonstrated by the superb life-like plaster casts that can be seen in the Cast Courts of the Victoria and Albert Museum, which were opened in 1873 and established by Sir Henry Cole and the art collector John Charles Robinson (1824-1913). In general, Sir Henry’s son was against moving historical remains from British possessions. To make his point, he wrote:
“The removal, for instance, of Stonehenge to London would, I imagine, provoke considerable excitement in England, and be condemned by a majority in the scientific and artistic world.”
I am not sure that Lieutenant Cole’s views were shared by the American sculptor and collector of antiques George Grey Barnard (1863-1938), who bought and whole cloisters and other architectural items in France and then had them shipped to New York City. There, they were reassembled and displayed in the superb Cloisters Museum at the northern tip of Manhattan.
Looking at the outside of the former RCO building, I could not detect anything that reflected its architect’s experiences in India except, if I stretch my imagination, for the upper storey windows that faintly recall the projecting windows that can be found on ‘havelis’, for example, in Gujarat and Rajasthan. But maybe I am letting my imagination run a little wild.
A BUILDING ON THE CORNER of Lancaster Road and Basing Street, a few yards east of Portobello Road, looks as if it was once a church. Attached to its brickwork is a plaque commemorating the fact that the building was once used by the reggae artist Bob Marley (Robert Nester Marley:1945-1981). While we were looking at the building, a friendly passer-by stopped and chatted to us, confirming that the building had once been used as a church, but also as a waxworks studio and, maybe, a synagogue for a time.
Whereas many Jewish people used to live near the building before WW2 (www.rbkc.gov.uk/pdf/Colville%20March%20Newsletter3.pdf), notably in nearby Powis Square, I can find no evidence that there was ever a synagogue where the church-like building stands. A detailed map, surveyed in the 1890s, reveals that this building was a ‘Congregational Chapel’. It was ‘The Lancaster Road Congregational Church Notting Hill’ and is described in “A Book of Metropolitan Churches and Church Enterprise” by William Pepperell, which was published in 1872. The Reverend Pepperell describes the origin of the chapel as follows:
“The foundation-stone of this chapel was laid by Samuel Morley, Esq., M.P., in July, 1865, when, although so recent, the whole of that part of North Kensington in which it is situated was open field, with here and there a dotting of new buildings commenced, and new streets laid out. At the present time the occupied suburbs extend quite a mile beyond it either North or West. The congregation worshipping here first assembled in smaller numbers in Westbourne-hall, where they kept together for between two and three years, always with a view to a separate building as opportunity offered … The form of service is what is understood as Congregational, and the Congregational Hymn-book is used. An organ well suited to the dimensions of the building is efficiently employed by Mr. Charles Wetton, Jun., in aid of the devotional singing, which seems to lose nothing of its congregational life and character by the presence of the instrument.”
The authoritative British-history.ac.uk website confirms the date when the chapel was established and makes no mention of it ever having been used as a synagogue. It does state that the building was designed by James Rankin of St Marylebone and is now used for commercial purposes, its interior having been completely remodelled.
I could not find the chapel marked on a detailed map surveyed in 1914. This is not surprising because in the early part of the 20th century, the chapel became home to the workshop of Gems Waxworks (“Colville Conservation Area Appraisal”, published by RBKC in 2014). It was at this workshop that the model of the serial killer John Christie (1899-1953), who had a flat at 10 Rillington Place in Notting Hill (located at where is now Bartle Close and Andrews Square), was prepared (www.golbornelife.co.uk/colvillenewsletter1.pdf) in the 1950s for Madame Tussaud’s exhibition in Baker Street.
By 1970, the former chapel had reincarnated as the ‘Basing Street Studios”, established by Christopher Blackwell, founder of Island Records (began in 1959). In 1970, Led Zeppelin recorded his album “Led Zeppelin IV” at the studios. The same year, Jethro Tull recorded his “Aqualung” album at the same place. At one point in 1973, Bob Marley and the Wailers were using the studios at the same time as the Rolling Stones. Bob Marley lived for a year at the studios in 1977 (www.timeout.com/london/blog/15-places-in-london-with-a-bob-marley-connection-051116). Early in that year he recorded his album “Exodus” there. Before that, in 1973, he recorded his album “Catch a Fire”, also at Basing Street. In addition to the works already mentioned, many other well-known songs and albums, including Queen’s “We are the Champions” and Band Aid’s “Do they know It’s Christmas”, were recorded at these studios.
In 1983, Trevor Horn (born 1949) and Jill Sinclair (1952-2014), of SARM studios, acquired the recording establishment in the former chapel. The plaque on the outside of the building was placed there by the Nubian Jak Community Trust, which is:
“… an African and Caribbean community organisation that provides products and services to the generic population of the UK and internationally” (http://nubianjak.org/).
Their plaque not only celebrates Bob Marley’s use of the former chapel and his fellow musicians Bunny Wailer and Peter Tosh, but also the memory of Jill Sinclair. When the plaque was unveiled by her widowed husband, he said:
Currently, SARM is based on nearby Ladbroke Grove.
Having seen this building and looked into its history, I feel sure that the Congregationalists who used to sing in the chapel long ago would be pleased to know that the building remained a place of song, even if what was sung there is somewhat different to what they used to sing.
I WISH THAT I had taken a photograph of it when I was visiting Tirana, the capital of Albania, in 1984, the last year of the life of its long term dictator and admirer of Josef Stalin, Enver Hoxha (1908-1965). I managed to get at least one photograph of a statue of Stalin in Albania, the only European country that still displayed monuments to this by then mostly discredited Soviet dictator. However, in May 1984, I failed to take a picture of something I have never seen outside Albania or in Albania when I revisited it in 2016. What I failed to record on film was the sight of men walking along the streets with heads of flowers whose stems they were holding between their teeth. Their lips were hidden behind the blooms. I mentioned seeing this to several people who have visited Albania, and none recall seeing flowers being carried that way. So, I was beginning to wonder whether my memory was playing tricks as time passed.
A few days ago, I was browsing the bookshelves in an Oxfam charity shop when I noticed a travelogue that contained a few pages about the author’s experience of Albania, which he visited several decades before my first encounter with the country. I was thrilled and relieved that my memory had not failed me when I read the following words he wrote:
“The inhabitants of Tirana love music and flowers. You can see men going around with roses in their mouths. They seem to use them as an extra buttonhole.”
These words, translated from German, were published in the “Frankfurter Zeitung”, a German newspaper, on the 29th of June 1927. They were written by its journalist, the Austrian novelist Moses Joseph Roth (1894-1939), better known as ‘Joseph Roth’. The book in which I found his articles on Albania is “The Hotel Years”, edited and translated by Michael Hoffmann and published in 2015. The anthology of Roth’s writings covers countries, to mention a few of them, including Austria, Hungary the USSR, Germany, Yugoslavia, and Albania.
Roth visited Albania in 1927 and published six articles about it between May and July that year. He mentioned the love of music in Tirana. This observation relates to both the mandolins played mainly by Albanians who had unaccountably, in his opinion, returned to their country after having lived abroad, mainly in the USA, and to military bands. During his sojourn in the capital, he notes the seemingly endless army exercises and parades that are carried out throughout the day.
With regard to the Albanian army, it was his impression that they were poorly equipped:
“Now the army has Austrian rifles and Italian ammunition, bullets that jam, magazines that can’t be clicked in, British knapsacks that can’t be secured with Italian straps, covers for field-shovels and no field-shovels with which to dig trenches, Italian officers who don’t know commands in Albanian, …”
And, he asks:
“For whom do they exercise? Surely not for their country? Because half the country is unhappy with their government – for reasons of idealism.”
Reading this, made me wonder why Roth was sending reports from Albania between the end of May and the end of July in 1927. Near the end of his largely unflattering description of the country and its people, he wrote:
“Albania is beautiful, unhappy, and for all its current topicality, boring.”
Although Albania is anything but boring for me, I was curious about its “current topicality” during those months in 1927. Roth’s readers probably knew, but that was long ago.
I looked at various issues of the “Times” newspaper of London and other sources to discover what might have interested the world’s press in Albania at the time that Roth wrote his articles. On Monday, the 6th of June, the Times noted that diplomatic relations between Albania and its neighbour Yugoslavia had broken down. On the 27th of May, Mr Juraskovitch, an interpreter at the Yugoslav legation in Tirana, was arrested and his house was burnt down (www.jstor.org/stable/25638310?seq=1). Naturally, the Yugoslav government objected. On the 31st, Tzena Beg, an Albanian representative in Belgrade, explained to the Yugoslavs that Juraskovitch was an Albanian citizen and that compromising documents had been found in his possession. Mr Sakovitch, the Yugoslav chargé d’affaires, disclaimed all knowledge of this and demanded the release of Juraskovitch. Hussein Beg Vrioni, the Albanian Minister for Foreign Affairs, said that his case was purely an internal matter. On the 4th of June, the Yugoslav legation was withdrawn from Tirana. The following day, the Albanian government declared that it was taking the case to the League of Nations.
On the 5th of June, the “Times” noted that many Albanians feared that this diplomatic incident would create anxiety and unrest in the country, and many felt that the flames were being fanned by a third party with a great interest in Albania, Italy. According to “The Annual Register, Vol. 169- for 1927” Italy had:
“…sent to Berlin, Paris, and London a Note calling attention to alleged preparations on the part of Yugoslavia for an immediate invasion of Albanian territory. The crisis had arisen as the result of the arrest by the Albanian police of a certain Jurascovich, charged with espionage on behalf of the Yugoslav Government. Refusal to release the alleged spy led to the withdrawal of the Yugoslav Minister from Tirana, and to the Italian Note. The matter was, however, satisfactorily settled between Italy and Yugoslavia.”
Eventually in November 1927 after much Italian antagonism to the French and their cordial relations with Yugoslavia:
“ … the Italian Government published the text of an Italo -Albanian Treaty of defensive alliance.”
This was not the first attempt to forge an alliance between Italy and Albania as is illustrated from the following quote from “The Annual Register”:
“Relations with Italy and Albania were disturbed at the end of 1926 by the first Tirana Treaty and became more strained in March, 1927, when the Italian Government addressed a Note to the Great Powers (Germany, Great Britain, and France) accusing Yugoslavia of military preparations against Albania.”
Thus, Albania was being dragged gradually into the strong influence that Italy held on it until the Second World War had begun.
Roth travelled to Albania around about, or just after the Juraskovitch affair had begun. This might have been one reason for his visit. Another thing that might have attracted his attention, which was reported in the “Times” of the 10th of June 1927, was the growing unrest of many Albanians, particularly in the north, resulting from dissatisfaction with the government of Ahmed Zogu. However, by mid-July, a couple of weeks before Roth’s last article about Albania, the two countries, Albania and Yugoslavia, had come to a more or less satisfactory settlement of the Juraskovitch affair.
My surmise is that Roth came to Albania not out of curiosity but in connection with the diplomatic incident and the strained relationship between Albania and its Slav neighbour. My impression is that the urbane Roth cared little for what he observed during his time in Albania. His description of his arrival sets the tone for much that appears in the anthology of his Albanian travel writings:
“ … the hut, like so many attractions these days, has a guest book; sitting over the book is a man in a black uniform, rolling himself a cigarette, and this is the Albanian border police. A master of the alphabet, but unused to writing, he sits there whiling away the time of new arrivals by painstaking scrutiny of their passports … I cut short his study by offering to set down my name for him … Workmen are repairing the road. There are always two hunched over together … they collect little scoops of sand on their tiny shovels or in their bare hands, pour it into scars and potholes, sprinkle a few stones on top … and stamp it down with their bare feet …”
Roth also remarks on the telegraph wires linking Durres with Tirana. They were:
“… strung not on masts, but on crooked trees, which have been lopped and cropped. They used to stand by the wayside, a home to birds … now they are redesignated as telegraph poles … equipped to transmit journalistic reports – the twitterings of political sparrows – to Europe…”
Whereas Roth’s descriptions of Albania in 1927 are hardly flattering to the country, some other travellers, who visited it that year, published a far more flattering account in the same year. The travellers were Jan Gordon (1882-1944) and Cora C Gordon (née Turner;1879-1950), who wrote and illustrated a book called “Two Vagabonds in Albania”. It is amongst the best books I have read about the country. Unlike the critical and disapproving Roth, they take a delight in what they observed and convey that beautifully in their text and the illustrations they created.
Roth would be amazed by the changes that have occurred in Albania since his visit in 1927. I was also staggered by the changes I saw between my first visit in 1984, when I saw men with flowers in their mouths and motorised vehicles were few and far between, and 2016 when Tirana had become a modern city with traffic congestion and tall buildings to rival those found in any of the world’s large cities.