This week’s Royston Crow carries a very good article on Cracked Voices and all the related events.
This week’s Royston Crow carries a very good article on Cracked Voices and all the related events.
The megastar had arrived. With his distinctively high forehead, curling hair and aggressively jutting beard, no-one could mistake the great Charles Dickens as he stepped down into the quiet country lane at Redcoats Green near Hitchin. But, alas, apart from a watchman, there was no-one there to witness his arrival.
That year, gossip of his extraordinary extra-marital arrangements was still helping news-vendors’ earn their crust. Having separated from his wife, Dickens was rumoured to be sleeping with his sister-in-law and housekeeper, Georgiana Hogarth. Along with his eldest daughter, Georgiana had accompanied him to Knebworth House where Dickens was weekending with Edward Bulwer-Lytton.
The final draft of Great Expectations was complete and he was eager to share it with Lytton, a highly-respected writer in his own right. In this version, the reclusive Miss Havisham would die horrifically in a fire – killed by her own wedding dress – and Estelle would marry, leaving poor Pip destitute of hope. The great writer was uneasy. Did the ending work? At Knebworth, Bulwer-Lytton read over his friend’s work and suggested it was a little too down-beat. Dickens later wrote, ‘I have resumed the wheel, and taken another turn at it…I think it is for the better.’ The finished piece did not placate Dickens’ critics though. When Great Expectations was finally published in book form a few weeks later it received mixed reviews. The Morning Post claimed he had ‘betrayed his public’ and called its plot an offence against all laws of probability.
Redcoats Green was to be a diverting day excursion from Knebworth. But as Dickens’ carriage halted in the quiet country lane, the only person who stirred was an Irishman, watching from an old shepherd’s hut whose wheels showed signs of not having moved for years. The house he was guarding had once been the modest country dwelling of a gentleman. Now it was collapsing in on itself. Its gardens were tangled in weeds and the grounds were secured by a barricade of sheep-hurdles, its broken windows barred with roughly-cut timbers. In the coach-house, the painted family crest was fading on a once-grand carriage, now worm-eaten and covered with thick cobwebs. Given the popularity of everything Gothic, other curious tourists and roving down-and-outs would soon likely-as-not come traipsing down the lane either on foot or horseback.The decaying house was a disturbing sight for Dickens who remained deeply troubled by memories of the degradation of the debtors’ prison. Forced to abandon school at 12, he had managed to feed the family by working ten hours a day, pasting labels on pots of boot blacking. It was this savage experience – the life and death struggle to make ends meet – that fuelled his social conscience and found expression through his novels. Later, he was to write ‘my whole nature was so penetrated with grief and humiliation that even now, famous and caressed and happy, I often forget in my dreams…that I am a man; and wander desolately back to that time of my life.’ What greeted him at Redcoats Green challenged every lesson he had learned from his own miserable childhood. Staring through a barred basement window into a filthy kitchen, he was truly disgusted.
On a pile of soot, surrounded by scraps of stale bread and wearing nothing but a filthy blanket sat a rich man – a man who had chosen to throw his wealth away and waste every hour of his blessed life. A celebrity – famous for doing nothing – a ‘slothful, unsavoury, nasty reversal of the laws of human nature’ living a ‘highly absurd and highly indecent life’ (Dickens’ words, not mine).
The object of Dickens’ derision was James Lucas – an articulate, intelligent and contrary man who quizzed his visitors unmercifully and had a wide knowledge of what was happening in the world. A man who did not suffer others’ puffed-up egos lightly.
The James Lucas whom Dickens could not see was ill – a paranoid schizophrenic, convinced that his brother George had murdered his mother and was plotting to kill him. A man who shut himself away for his own safety.
That December Dickens published a damning account of his visit to Redcoats Green in the Christmas edition of All Year Round. ‘Tom Tiddler’s Ground’ (named after a children’s game of ‘dare’ where children had to run into forbidden territory and gather up pretend coins before scary Tom could catch them), portrayed Lucas as nothing more than an arrogant waster. That piece had reporters flocking to interview ‘the hermit’ and one, Edward Copping from London Society, was left aghast at his intellect. ‘He overturns my opinions with ruthless energy, he kicks them when they are down, he pummels them with his two fists; and in a short time they are so bruised and disfigured as to be scarcely recognisable’. Perhaps this ability to demolish preconceptions is what had so offended Dickens. Whatever the great writer’s intentions, ‘Tom Tiddler’s Ground‘ cemented Redcoats Green as a go-to destination for the daring Victorian day-tripper and the Great Northern Railway was soon advertising weekend excursions ‘to see the Hermit of Hertfordshire’.
For over a decade the ‘hermit’ continued to hold court until, on a spring morning in 1874, his watchman found him groaning and gasping for breath, having suffered a stroke in the night. A doctor had James placed in a horse drawn cart (so very different from the elegant family carriage) and taken to a nearby farmhouse. He died there two days later. The Dundee Courier ran the news under the headline ‘The death of one of Dickens’ characters’ and other papers followed The Times lead and echoed popular sentiment, calling it ‘A doubtful loss’.
 The Selected Letters of Charles Dickens (Oxford, 2012) p.360; The Letters of Charles Dickens, Volume 2 (London, 1880) p.142-143; Morning Post, Wednesday 31 July 1861; Herts Guardian, Agricultural Journal, and General Advertiser – Saturday 10 August 1861, Tuesday 13 August 1861
 The life and times of Charles Dickens, Peter Ackroyd (Califiornia, 2003), p.11
 ‘Mr Mopes, the Hermit’, London Society, Volume 1 (March 1862) p.303-313 ( )
 Hertfordshire Express and General Advertiser – Saturday 26 January 1867; Â Herts Advertiser – Saturday 02 May 1874 (quoting the Telegraph); Dundee Courier – Monday 27 April 1874; Western Mail – Tuesday 21 April 1874 (echoing the Times), Western Times – Tuesday 28 April 1874
Published over thirty years ago, Richard Whitmore’s Mad Lucas remains the best biography of the Hertfordshire hermit.
The conversation between James Lucas and Dickens forms the basis for one of the songs of Cracked Voices, ‘A doubtful loss’.
We’re delighted to be able to share the dates of the premiere and second performance of Cracked Voices.
The premiere of will take place in the Music Recital Hall of Anglia Ruskin University, Cambridge on Saturday 10th March at 7.30pm.
The second performance will be held at Royston Methodist Church, Queens Road, Royston on Saturday 28th April at 7.30pm. This performance will include the premiere of Meridian School’s Cracked Objects – art songs written by students based on objects on display at Royston Museum.
To buy tickets for these performances please head to the Tickets page.
[Click here if you’ve landed here looking for our Primary School Resource Pack].
Bilbo Baggins bets his life on a riddle in The Hobbit. Fortunately, for the story he doesn’t lose (or else the dwarves would never have kept their appointment with Smaug!). That riddling competition takes place in a dank deserted cave under the Misty Mountains…all very lonely and sinister…but riddles are mostly rooted in a far more homely place.
In the drinking halls of Anglo-Saxon Britain riddling competitions were as common as pub quizzes today and the word-puzzles were often packed with as many double-meanings and smut as the Sun. It’s a tradition that still continues in Christmas Crackers where the jokes are made up of sound-alike words and make you groan out loud:
Marathon runners with bad footwear suffer the agony of defeat.
A bicycle can’t stand on its own because it is two-tired.
One for Graham…
Santa’s helpers are subordinate clauses.
And finally, one for Jenni…
Show me a piano falling down a mineshaft and I’ll show you A-flat minor.
In Anglo-Saxon times very few people could read, so the riddles relied on sound-alike words. The riddles would be learned by heart and performed in public, sometimes with musical accompaniment (a bit like Cracked Voices). Luckily for the author of The Hobbit, around 975 AD some of the riddles were eventually written down, probably by a monk. The Exeter Book is the largest surviving collection of Anglo-Saxon riddles in the world and provides the first recorded use of the term ‘Middle Earth’.
Most of The Exeter Book riddles pretend something that can’t talk is alive. They give inanimate objects a voice, just like Gollum and Bilbo, and ask ‘What am I?’
Voiceless it cries,
This thing all things devours;
Birds, beasts, trees, flowers;
Gnaws iron, bites steel;
Grinds hard stones to meal;
Slays king, ruins town,
And beats mountain down.
The answer to these two of Tolkien’s puzzles are or course wind and time.
When writing about the Anglo-Saxon origins of Therfield Heath (a puzzle in itself) for Cracked Voices, it seemed right to base the song on a riddle, so I set about writing my own.
Riddle the first
Beaten for the silence I steal –
I am the cup that spills sorrow and joy.
With prayerful mouth and enduring noise,
mine is the fateful summoning voice.
Tethered yet ethereal –
no fruit in the Garden so readily peels.
[Scroll to the bottom of the page to find the answer].
It was a fun challenge. Why don’t you have a go? (Don’t worry…it doesn’t have to rhyme!)
Here’s some tips to help you write your own riddle…
[Answer to Riddle the first: a bell]
For slightly more in depth advice from the Poetry Society on writing riddles click here.
The text is written. The dots are on the page. The rehearsals all completed, the performers walk on stage..
As Cracked Voices has progressed, Graham and I have shared snippets of our processes with you. From the beginnings of Graham’s research into a piece from me musing on inspiration and scales, we’ve given you an insight into how we work. Between February and October, 10 art songs were drafted, ready for rehearsal, having being shared between Graham and I. Before they could head towards the performers they had to be checked one more time and parts created. As anyone who has ever created parts in any scoring program can attest to, this is never as easy as pressing a button – there’s always further tweaking to be done before they’re ready for the performers to set eyes on them.
In November, it was wonderful to finally have Donna, Ian, Sue and Ralph in the same room and to hear them performing together. Some of the pieces required more rehearsal than others, but we managed to get through all 10 completed songs. While some pieces were fine as they were, others needed tweaking in various forms. Graham and I each came away with our own notes, along with those suggested by the performers, which we discussed before I began the next stage of redrafts.
I then deliberately ignored the physical scores for a while and just listened to the recordings of the rehearsal. Which bits didn’t feel quite right? Where was the balance wrong? How could I convey Graham’s carefully crafted words better? I recorded the whole rehearsal on my handy H4N Zoom recorder (an invaluable piece of kit) so I could hear not only how the pieces were performed, but also re-listen to our discussions about them in case I’d missed anything vital.
It was then time to get back to work. Some pieces needed more work than others. For example, for A composite man, it was decided another part was needed to tie the vocal parts together. The clarinet, then, became the spirits of the dead workers and widows. Other pieces needed more bird song, or less accompaniment.
The process of redrafting is always a tricky one. You listen, analyse, revisit and revise, time and time again. Often you find yourself amending a line in one fashion one day, only to amend it back to the original the next. Along with the changes to actual notes, lines and instrumentation in the redraft stage, there are also the more technical bits of music notation. Which time signatures convey the music best and ensure it makes the most sense for the performers – a non-standard beaming of 12/8 or 6/8 followed by 3/4? Should I spell my phrase F sharp – F natural – F sharp or should it be an E sharp in the middle – or G flats at either end? I’ve found that with Cracked Songs a considerable amount of this stage has been spent playing around with these nitty gritty bits. Not only do you have to make them make sense throughout one song, but the whole cycle has to be taken into consideration too – it has to make sense as the sum of its parts as well as each constituent piece, and in the way it is notated along with the actual music itself.
I’ve spent the month and a bit since the rehearsal tweaking and redrafting – and I’m just reaching the end of the process. In the next few days the ‘final’ version of the scores and parts will wing their way over to the Cracked Voices performers, ready for them to look at for the next rehearsal. Along with polished final versions of the previous drafts there are two new pieces – the final two songs of the cycle.
That double bar line really is only the beginning.
We all know riddles from Christmas crackers. They are simple puzzles…puzzles that take things that don’t normally speak and give them a voice. They ask, ‘What am I?’
I have heads and tails but no legs.
(Hover your cursor over the riddle to see the answer).
When I’m young, I’m tall.
When I’m old, I’m short.
I glow with life.
Breath snuffs me out.
We’re sure you can do better than that, so here’s your chance to try! This International Puzzle Day (29 January) why not try writing your own riddle and send it to us? (If you want some help, visit our blogpost on riddle writing).
Simply type your riddle and answer (only clean ones please!) in the ‘Leave a Reply’ box and we’ll post the best ones.
Following our call for performers earlier in the year, we’re pleased to be able to share our fabulous Cracked Voices performers with you! We’re delighted to be working with Ian Beadle, Donna Lennard, Sue Pettitt and Ralph Woodward to bring Cracked Voices to life.
Ian Beadle – Baritone
Ian Beadle was born in Hertfordshire and studied at the Guildhall School of Music and Drama where he obtained a BMus (Hons) degree and Guildhall Artist Masters, as a scholar under the tutelage of Professor John Evans. In 2012/13 he was a part of the English National Opera’s Opera Works programme. Operatic experience includes the Bridegroom The Vanishing Bridegroom (British Youth Opera), Figaro Le Nozze Di Figaro (Opera Brava), Des Grieux Le Portrait De Manon, Belcore Elisir D’Amore and William Dale Silent Night (Wexford Festival Opera), Masetto Don Giovanni, Marco GIanni Schicchi, Quinault Adriana Lecouvreur, Jake Wallace La Fanciulla Del West (Opera Holland Park), Valentin Faust (Winterbourne Opera). Ian sang Bass soloist in a Messiah at the Palau de la Música, Valencia for the Philharmonia Chorus.
For more information on Ian, please see www.ianbeadle.co.uk
Donna Lennard – Soprano
Donna Lennard grew up in Bedford, and trained at the Guildhall School of Music & Drama, attaining an MPerf with Distinction, and on ENO’s ‘Opera Works’ programme. Her operatic roles include Frog in How the Whale Became (ROH), Selene in Tycho’s Dream (Glyndebourne), Alice in Airborne (Nova Music Opera), Despina in Così fan tutte (Cooper Hall Emerging Artists), Yellow in The Anatomy of Melancholy (bodycorps), Catfish in The Catfish Conundrum (The Music Troupe for Tête à Tête), Susanna in The Marriage of Figaro, Frasquita in Carmen, and Pamina in The Magic Flute (Opera Loki). Other stage work includes performing in the UK tour of May Contain Food with dance company, Protein, and the role of Madame Viardot in Salon Musical, a project initiated by pianist Marc Verter that recreates French salon concerts from the late 19th Century.
For more information on Donna, please see www.donnalennard.co.uk
Sue Pettitt – Clarinet
Sue came down from Lancashire in 1987 to study clarinet under John Stenhouse and Nick Bucknall at Trinity College of Music. After graduating with an FTCL in 1991 she started to work for Hertfordshire Music Service which she does to this day. Sue is the head of Royston Music School and conducts the North Herts and Stevenage Windband. She is also in great demand as an orchestral and pit musician across the whole of the South East. When not involved in the musical world she can be found chasing her young puppy around the garden trying to stop it from digging up the lawn!
Ralph Woodward – Piano
Ralph Woodward grew up in Durham, and studied Music as Organ Scholar at Queens’ College, Cambridge. He is now Musical Director of the Fairhaven Singers, Full Score and Orchestral Score. He has played concertos on three instruments, worked in over 25 countries, and conducted the London Mozart Players, City of London Sinfonia, The Parley of Instruments, English Chamber Orchestra, and Britten Sinfonia. He carries out a wide range of editorial tasks for Oxford University Press. Past projects have included work with Vladimir Ashkenazy, Emma Johnson, Iestyn Davies and Cradle of Filth, and an appearance on ITV’s Grantchester. Ralph also manages a cricket team and is a keen badminton player and a good steady drinker.
For more information on Ralph, please see www.ralphwoodward.com
The Doing History In Public website is currently carrying a post on Cracked Voices.
Doing History in Public is a collaborative blog written and edited by graduate historians (mainly at the University of Cambridge). Graham was delighted to be invited to share information about the challenges behind researching and writing Cracked Voices.