"PHILIP HAGREEN . 1919"
accompanied with a book " Westminster Retrospective , A Memoir of Sir Richard Terry , by Hilda Andrews , Oxford University Press 1948, with dedication from his wife Jean F Terry.
Sir Richard Runciman Terry (3 January 1864 – 18 April 1938) was an English organist, choir director and musicologist. He is noted for his pioneering revival of Tudor liturgical music.
Richard Terry was born in 1864[2] in Ellington, Northumberland. At the age of 11 he started playing the organ at the local church. Educated at various schools in South Shields, St Albans and London. In 1881 Terry was living in Jarrow[3] and working as a Pupil Teacher. Terry then spent seventeen months as a non-collegiate person at Oxford (October 1887 to May 1889)[4] and two years at Cambridge (1888–90), where he went as a non-collegiate student but became a choral scholar at King's College, Cambridge.[5] There he also became a music critic for The Cambridge Review. At Cambridge, he was much influenced by the Professor of Music, Charles Villiers Stanford and the King's Chapel organist Arthur Henry Mann who taught him the techniques of choral singing and the training of boys' voices.[6]
Terry left Cambridge in 1890 without taking a degree. He was appointed School Master: Teacher of Music, Organist and School Choir Master at Bedford County School,] (renamed Elstow School in 1907 Kempston, Bedfordshire. Then organist at St. John's Cathedral, Antigua in 1892. Terry then taught and was Director of Music at Highgate School from September 1895 to December 1895. Terry became a Catholic in 1896, the year he was appointed organist and director of music at the Roman Catholic Benedictine Downside School in Somerset. It was here where he began the massively important work of reviving the Latin music of Tudor English composers such as William Byrd and Thomas Tallis. He was greatly inspired by the revival of Gregorian chant by Dom Prosper Guéranger at Solesmes Abbey in France, which was to be an important part of the Downside musical repertoire.
In 1899 Terry took his Downside choir to Ealing, for the opening of the new Benedictine church, where they sang William Byrd's Mass for Five Voices and motets by Palestrina, Philips and Allegri. The archbishop of Westminster, cardinal Herbert Vaughan, was the preacher on the occasion and he decided that he would have Terry as his Master of Music at the newly built Westminster Cathedral.
Terry's time at Westminster Cathedral was marked by admiration and praise, as well as frustrations. In 1911, he received a honoris causa degree of Doctor of Music at Durham University, and in the same year, during the International Music Congress, a special session was held in the Cathedral of early English church music, sung by the Cathedral Choir.
While Terry's relation with Cardinal Vaughan was excellent, it was less so with his successor, Cardinal Francis Bourne. Bourne's different view on church music, a continual shortage of financial means to support the choir, the decrease in the number of lay clerks during and after the World War I, together with Terry's engagements in other things outside the Cathedral led to a prolonged period of tension.
Terry was forced to resign from the Cathedral in 1924, after coming under increasing criticism for his erratic behaviour and neglect of duty (including neglecting administrative work, taking off without leave for weeks at a time, cancelling choir rehearsals without notice, dismissing Lay Clerks without proper procedure, taking on too many engagements outside his Cathedral work and tensions due to his inconsistent approach to congregational singing at the Cathedral). Nonetheless, during this time he was able to establish a choral tradition of great merit at the Cathedral, developing a repertoire of both Gregorian chant and polyphonic music. The choir's particular focus on renaissance polyphony is believed to have influenced the emerging school of 20th century English composers and the performance of church music in England.
The Grove Dictionary of Music and Musicians credits Terry with the revival of much English church music, including Peter Philips' Cantiones sacrae, Byrd's three and five part masses and Gradualia and Cantiones sacrae, Tallis' mass and lamentations, William Mundy's Mass Upon the Square and many motets by Thomas Morley, Christopher Tye and others. Much of this work resulted in his editing and publishing performing editions of this music including 24 motets in Novello's series of Tudor motets. He also published the first modern editions of Calvin's first psalter of 1539 and the Scottish Psalter of 1635. In 1912 he edited the Westminster Hymnal.
In 1921, in an obvious departure from his church music, he edited the Curwen edition of 'The Shanty Book (Part 1)'. The foreword was written by Sir Walter Runciman, acknowledging that the time of the shanty was over, along with sail-powered merchant ships. Terry's 'Introduction' gives an excellent insight into the shanty as the sailor's work song, deferring to the well-known shanty collection by Capt. W.B Whall 'Sea Songs, Ships and Shanties' (1910 & 1912), above other accounts written between 1887 and 1920. The collection of 30 shanties also includes explanations for their use at sea, and his extensive comments give us a deal of valuable information about a particular aspect of social and maritime history.
Following his resignation from Westminster Cathedral he went on to work as a musical editor, journalist and academic. He was the initial editor of the Oxford University Press series Tudor Church Music, although by the time this series was completed he had been ousted from the editorship.
Terry was also a composer of church music, most notably of hymn tunes, several of which are in use today, such as the popular Christmas carol Myn Lyking.
He was awarded a knighthood for his services to music in the 1922 Dissolution Honours.
Select bibliography
Catholic Church Music, 1907 (enlarged in 1931 as The Music of the Roman Rite)
Still More Old Rhymes with New Tunes, Longmans, Green & Co, 1912 (illustrated by Gabriel Pippet)
On Music's Borders, 1927
Voodooism in Music and Other Essays, a collection published in 1934
Philip Hagreen (12 July 1890 – 5 February 1988) was a wood engraver who was active at the beginning of the twentieth century. He was a founder member of the Society of Wood Engravers. He was closely associated with Eric Gill and was a member of the Guild of St Joseph and St Dominic at Ditchling.
Biography
Henry Philip Alban Hagreen was the only child of Henry Hagreen, the drawing master at Wellington College, Berkshire. He studied at the college, but his education was disrupted by ill-health. He studied art in Cornwall, under Norman Garstin and then Harold and Laura Knight, and then entered the New Cross Art School. He enlisted in the army at the beginning of the First World War. He was a reluctant soldier, but felt that it was his duty. In 1918 he married Aileen Clegg; they had three children, John, Mary Bernadette and Mary Joan.
In 1923 the family joined Eric Gill at Ditchling, and moved with him to Capel-y-ffin in 1924. The climate proved too harsh for Hagreen and he moved to Lourdes with his family, where he stayed until 1932. He returned to Ditchling until 1959, when the Hagreens moved to Lingfield in Surrey. In 1973 they moved to a nursing home at Ifield Green, which is where he died in 1988 aged 97.
Wood engravings and book illustrations
Hagreen was a founder member of the Society of Wood Engravers in 1920, and exhibited with them from 1920 to 1922. It was Hagreen who suggested that a society be formed, and the first meeting was held in his studio. He was at his most active in the early 1920s and virtually all his wood engravings proper, as opposed to woodcuts, date from this period. In 1921 he showed five works at the first annual exhibition of the Society of Graphic Art.
He contributed seven wood engravings, the most by any engraver, to Change I and Change II (1919), a short-lived review that set out to capture the developments of the moment.
In 1922 he contributed a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Duckworth and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, wrote about him in his introduction to the book: Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces.
Salaman reproduced The Dawn in his Studio anthology, and wrote Mr. Philip Hagreen's woodcuts interpret light and landscape with an emotional simplicity that gives them poetic distinction.
In 1922 he illustrated Nursery Lyrics & other verses for Children by Lady Jane Strachey. He went on to illustrate The Golden Ass of Lucius Apuleius (1924) and The Devil On Two Sticks (1927) by Rene Le Sage; he also produced a poster for London Underground in 1923.
Eric Gill, the Guild of St Joseph and St Dominic, and Ditchling
Hagreen had become a Roman Catholic in 1915. When he met Eric Gill and moved to Ditchling to join the Guild of St Joseph and St Dominic his life was completely changed. He later moved to Capel-y-ffin with Gill, and virtually gave up his own work. He said that he had everything to unlearn. He learnt the art of lettering from Gill and helped him carve the Stations of the Cross for Saint Cuthbert's Church, Bradford. He shared a workshop with David Jones and played a full part in the communal life of the guild, where a great deal of time was spent in the chapel.
When the family moved to France Hagreen began to produce ivory and wood carvings. He also began to produce woodcuts, using pearwood blocks and knives and special tools that he invented himself; most of his print production was of bookplates and cuts for practical purposes.
In 1932 he was offered a workshop and cottage at Ditchling and returned there for the rest of his working life. This period saw the blossoming of his gifts as a woodcutter; most of his 170 bookplates were produced here. He engraved inscriptions on ecclesiastical vessels produced by the silversmith Dunstan Pruden. His lettering continued the tradition of simplicity and clarity in lettering established by Johnston and Gill.
He was also a committed distributist.
Hagreen's time at Ditchling, where he lived out his beliefs in his daily life, was the most important part of his life for him. He said, "All that matters to me is that I did my best with each job. It was a way of life as a man and a Christian. Work done rightly is wholesome and I have found it jolly good fun."
One consequence of withdrawing from the artistic life followed by most artists at the time was that he disappeared from view. Edgar Holloway says of him, "Considering his great skills in lettering and engraving and comparing him to well-known contemporaries who received official commissions, Hagreen had been probably the most unappreciated engraver of the century."