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Who We Helped (3)

David Goodland is an actor and writer. He played Ivor Gurney in “Do Not Forget Me Quite” for BBC television and in “Stars in a Dark Night” for Channel 4. On stage his many Gurney productions include
“Songs On Lonely Roads”,”Only the Wanderer” at London’s Wigmore Hall and, recently, “Nightwalker” with Jennifer Partridge. In addition to his stage and television work, David has made over 600 recordings for BBC Radio, and four of his own plays have been produced on BBC Radio. Recent plays include “The Life and Death of a Buffalo Soldier” (Bristol Old Vic Theatre), “Making Up” (BBC Radio), and “Mere Marriage” (HTV). David has recently appeared as Laurie Lee in “Cider With Rosie” and in “Edge of Day” (national tour). He has also recorded the poetry of Ivor Gurney and contributed to the IGS’s Annual Journal ( Gurney… In and out of the shadows … Vol 14, 2008).

Philip Lancaster is in increasing demand as a solo baritone, in recital and on the concert platform. He is also building a significant reputation as a textual and critical scholar, specialising in the study of British music and poetry of the early twentieth century, which work also informs and feeds into his recital programmes. His recent work has focused on the music and poetry of Ivor Gurney, whose music he has edited for performance, broadcast and publication, and whose poetry he is co-editing for publication by Oxford University Press. See website: and blog:

The violinist Rupert Marshall-Luck has been widely praised for the verve, commitment and intelligence of his interpretations. He appears as soloist and recitalist at major festivals and venues throughout the UK as well as in France, Germany, the Netherlands, the Republic of Ireland, Switzerland and the USA. His discography includes CDs for EM Records and Toccata Classics and his recordings have attracted glowing critical acclaim from the musical press, including MusicWeb International, BBC Music Magazine, Gramophone, International Record Review and The Strad.As well as his busy schedule as a soloist and chamber musician, Rupert is increasingly active as an editor, having prepared a number of works for performance, recording and publication. Among recent projects has been the Violin Sonata in E-flat major by Ivor Gurney, of which he gave the World Première performance in 2011 and recorded the following year for EM Records (EMR CD011). His scholarly-critical performing edition of the Sonata is published by EM Publishing.

Eleanor Rawling (MA Oxon, MBE) is a geographer and educationalist, currently a Research Fellow at the University of Oxford. She is a former President of the Geographical Association and was given an award in 2003 by the Royal Geographical Society for her research into the geography curriculum. She has recently extended her research into cultural and literary geography, focusing particularly on the relationship between poetry and place. Her book Ivor Gurney’s Gloucestershire; exploring poetry and place was published by the History Press in March 2011. She continues to be fascinated by Ivor Gurney and his creative dialogue with Gloucestershire, her own county of birth.

René Samson was born in 1948. From an early age, he started playing flute and piano, in symphony orchestras, chamber music groups. At age 40, he began composing, taking composition lessons from Leo Samama and Klaas de Vries. Since 1998, his music is being played regularly. The following musicians and ensembles have performed pieces written by him: the Amsterdam Bridge Ensemble, Amsterdam Sinfonietta, Holland Symfonia (conducted by Hans Leenders), the Cristofori Piano Quartet, the Lumaka Ensemble, the Valerius Ensemble (conducted by Jacob Slagter), singers Marcel Beekman, Wilke te Brummelstroete, Ken Gould, Valérie Guillorit, Charlotte Riedijk and Mattijs van de Woerd, pianists Paolo Giacometti and Shuann Chai and double base player Rick Stotijn. Samson wrote a full-length opera entitled Het ware geweld to an original libretto by Olaf Mulder. His ‘Walking into Clarity’ for baritone and piano (2012) – a musical fantasy based on the life and work of Ivor Gurney will receive its British première at The Gloucester Music Society in 2014.

Kelsey Thornton was Professor of English and Head of Department first at the University of Newcastle and then at the University of Birmingham. He retired in 2000 and went back to Newcastle, where he is now Visiting Professor. He has written widely on literary topics, including a book on Hopkins (1973) and The Decadent Dilemma (1983), and edited Poetry of the 1890s and books by Gurney, Clare, Gibson, Dowson, Nicholas Hilliard’s A Treatise Concerning the Arte of Limning (with T G S Cain), and a series of 29 volumes of poems under the title Decadents, Symbolists, Anti-Decadents (with Ian Small). He has just completed an edition of the Correspondence of Gerard Manley Hopkins for OUP. He has more recently taken to publishing books of his own poems, of which the latest is a series of pastiches called Adlestrophes. He edits the Ivor Gurney Society Annual Journal.

Who We Helped (2)

Richard Carder is a clarinettist, composer and conductor and who has been researching Gurney’s unpublished music since 1984, following a grant from the Worshipful Company of Musicians. His edition of Gurney’s Seven Sappho Songs was published by Thames Music in 2000. This and many more of the songs have been performed at the concerts of the English Poetry and Song Society, of which he is chairman. He is currently researching for an MPhil on Ivor Gurney’s asylum music at Bristol University.

Roderic Dunnett is a freelance journalist whose work has appeared in The Times, Financial Times, Guardian, Opera, Music and Musicians and The Musical Times. He wrote and presented the BBC Radio 3 series Britannia at the Opera last year and his illustrated outline biographies of Dvorak and Debussy were recently published by the Exley Press. He is an authority on the music of Ivor Gurney and has written many articles for music magazines and national newspapers as well as contributing to the IGS’s Annual Journal. (‘Patterns of Bright Green’- Vol 1, 1995 and ‘The Rightness of Gurney’ – Vol 2, 1996)

April Fredrick grew up in rural Wisconsin and began her vocal studies with Catherine McCord-Larsen at North Western College in Minnesota. She went on to gain an MMus in Vocal Performance and a PhD on the late songs of Ivor Gurney at the Royal Academy of Music, studying with Jane Highfield and Dominic Wheeler. April has performed widely as a soloist in recital and oratorio venues in the UK, including St. John’s Smith Square and Queen Elizabeth Hall in London and the Holywell Music Room in Oxford. Recent performances have included Vaughan Williams’ Dona Nobis Pacem with David Parry and the English Chamber Orchestra and the role of ‘Zora’ in the world premiere of Gloria Coates’ chamber opera A Stolen Identity in Munich. Her first solo disc, including Barber’s Knoxville: Summer of 1915 and Copland’s Eight Songs of Emily Dickinson, has been released on the SOMM label.

Rolf Jordan is a former chairman of the Ivor Gurney Society. Until recently he was the editor of the Finzi Journal and of the Finzi anthology, The Clock of the Years (Chosen Press, 2007). He was recipient of a Finzi Trust Travel Scholarship in 2008. As a writer on British music he has contributed articles to the Ivor Gurney Society Journal, the British Music Society Journal and RVW Society Newsletter. He is currently preparing a joint biography of the singer James Campbell Mcinnes and composer Graham Peel.

Tim Kendall read English at Christ Church, Oxford, and completed his D. Phil on Northern Irish poetry in 1994. After holding several short-term teaching posts in Oxford, he became the Sir James Knott Research Fellow at the University of Newcastle. In 1997 he was appointed to his first permanent post, at the University of Bristol. He joined Exeter as Professor of English Literature in 2006, and became Head of Department in 2009. Tim has published a volume of poetry Strange Land (Carcanet, 2005) and authored and edited books on Sylvia Plath, Paul Muldoon, and British war poetry. His most recent publication was The Art of Robert Frost (Yale UP, 2012), and his next will be an anthology of First World War poetry (Oxford World’s Classics, 2013). With Philip Lancaster, he is working on a 3-volume variorum edition of Ivor Gurney’s complete poetry and prose for Oxford English Texts. The first of these volumes, covering the period up to September 1922, will appear in 2014. For further information please see:

Kate Kennedy is a Research Fellow in English and Music at Girton College, Cambridge, where she is also Director of Studies in Music. She specialises in twentieth century music and literature, particularly of the First World War. She studied both English and Music at Cambridge, and continued her studies as a cellist at the Royal College of Music, before completing a masters in Biography at King’s College, London. Her PhD was on the songs and poems of Ivor Gurney. She has published numerous papers on music and literature around the First World War, and is co-editing The Silent Morning: Cultural Responses to the Armistice, 1918. She has also co-edited and contributed to a special edition of the Journal of First World War Studies, entitled ‘The First World War: Music, Literature, Memory’. She is currently engaged in writing a critical biography of Ivor Gurney to be published by OUP.

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Who We Helped

Whilst the Trust is not a grant awarding body and therefore cannot offer individual financial assistance, nevertheless, we have over the years been able to support and give help and advice to those researchers, academics and performers interested in furthering the life and works of Ivor Gurney.

The Trust is proud to have helped the following:

Stephen Banfield is an authority on English music. His books include; Sensibility and English Song (1985), Sondheim’s Broadway Musicals (1993), The Blackwell History of Music in Britain, Vol. VI: The Twentieth Century (1995 ed. and contributed), Gerald Finzi (1997), Jerome Kern (2006), and Music in Britain: The 20th Century (ed.,1995). He is the founding director of CHOMBEC, Bristol University’s Centre for the History of Music in Britain, the Empire and the Commonwealth. He is a leading exponent of the music of Ivor Gurney and has recently arranged Gurney’s Chorale Prelude on Rockingham for piano.

Pamela Blevins
is an award winning journalist and scholar specialising in women composer and British music. She is the co-founder and editor of The Maud Powell Signature a quarterly online publication featuring women past and present ( She was the founder and president of the Finzi Society of America (1983-2003). Her acclaimed dual biography of Ivor Gurney and Marion Scott, Song of Pain and Beauty was published by Boydell and Brewer in 2008. (For further information please visit: Since the founding of the Ivor Gurney Sociery in 1995 Pamela has written numerous articles for the society’s annual journal. She is currently preparing a selection of Marion Scott’s writings for future publication.

Anthony Boden is a writer with particular interests in British music. In 1995 he became the founding Chairman of the Ivor Gurney Society. His books include: F. W. Harvey: Soldier, Poet (1988; revised. 2004); Three Choirs: A History of the Festival Gloucester- Hereford- Worcester (1992); Stars in a Dark Night: The Letters of Ivor Gurney to the Chapman Family (1986 and 2004, 2nd. Ed.); The Parrys of the Golden Vale (1998); Thomas Tomkins: The Last Elizabethan (2005) and F.W Harvey: Selected Poems, edited by Anthony Boden and R.K.R Thornton (2011).

Iain Burnside enjoys a unique reputation as pianist and broadcaster, forged through his commitment to the song repertoire and his collaborations with leading international singers. His extensive discography reflects his passion for British music. For the Naxos English Song series he has recorded the complete songs of Gerald Finzi, and songs by Alwyn, Britten, Butterworth, Gurney, Ireland, Vaughan Williams, and Ian Venables, for Signum; Britten, Tippett, Herbert Hughes, FG Scott and Judith Weir. Richard Rodney Bennett on NMC and contemporary Scottish repertoire on Delphian.His recording of Gurney’s song on Naxos with soprano Susan Bickley received much critical acclaim. Edward Greenfield, writing in the Gramophone described it as an ‘impressive disc that amply demonstrates Gurney’s greatness’. His debut solo piano disc of Vaughan Williams and Gurney released on Albion Records includes the premiere recording of Gurney’s Chorale Prelude on Rockingham. His recent play ‘A Soldier and a Maker’ brings Gurney’s life to the stage in a unique piece of music theatre. Please see:

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The Trust’s Role

The Trust has three principal roles.

  1. To help the Gloucestershire archives maintain and preserve ‘The Ivor Gurney Collection’.

  2. To authorise the use of archival materials for the purpose of academic research, publication, performance and recordings.

  3. To help facilitate the publication of Gurney’s literary and musical works.

The Trust’s primary role is to help support the preservation of ‘The Gurney Collection’ held in Gloucestershire Archives. Since 2001, the Trust has offered assistance in the process of applying modern standards of preservation to the collection. A much needed ‘upgrade’ of the conservation work became something of a priority following the first important cataloguing of the collection by Anthony Boden and Sylvie Pierce, who also recognised the need for further detailed conservation work. Fortunately, a timely transference of the Gurney archive to the Gloucestershire Record Office (subsequently renamed Gloucestershire Archives) in 2006, meant that the collection could now be stored in ideal circumstances. More recently, a repackaging grant was awarded to the archive by the National Manuscripts Conservation Trust. This has allowed for additional conservation work to be carried out, including custom-made packaging for specific items and for cleaning and repair work. Furthermore, since 2006 the Trust has been most fortunate in having the expert help of Philip Lancaster. His initial research focused upon producing the first complete catalogue of the musical works of Ivor Gurney (see IGS Journal, Volume 12, 2006). Following on from this, in 2007, Philip Lancaster was awarded a PhD studentship from the University of Exeter. This three-year post, associated with the University’s centre for South West Writing, was funded jointly by Great Western Research, Gloucestershire Archives and the University of Exeter. Building upon the work of Anthony Boden and Sylvie Pierce his monumental task was to catalogue and reorganise the entire collection. This year will see the fruition of his remarkable and painstaking work. During his research he has uncovered a great deal of new information and made a number of startling discoveries. The Trust is indebted to him for this groundbreaking work and for his outstanding scholarship.

The Trust’s second role, is to monitor and give permission for the use of archival materials held in the collection. Although, the archive is open to the general public there are inevitably some restrictions regarding the access to, and use of these materials. These restrictions are in part necessary to preserve some of the more fragile items in the collection, but also to make certain that these items are used in a proper manner and in accordance with UK copyright law (See Appendix 1.)

As these restrictions are somewhat complicated it might be helpful if I outlined briefly the current arrangements.

Since 2007, all Ivor Gurney’s musical and literary works published during his lifetime are out of copyright and thus in the public domain. However, the majority of his works published after 1937, together with all the ‘unpublished’ material held in the archive is still subject to UK copyright law.

  1. Literary Works.

The greater part of Gurney’s poetry and literary output has now been commercially published, chiefly by Carcanet Press. Carcanet’s permission must therefore be sought for any one wishing to reproduce Gurney’s poetry or other literary works published by them. (See appendix 3.) For all ‘unpublished’ literary works held in ‘The Ivor Gurney Collection’, permission for their use must be obtained in writing from the Trust. (See Appendix 2 – ‘Terms and Conditions and Guidance Notes)

  1. Musical Works.

The chief restrictions regarding Gurney’s music concerns the use of the ‘unpublished’ manuscripts held in the archive. The term ‘use’ denotes the reproduction of, in part or whole and in any form, Gurney’s ‘unpublished’ music. Permission must be sought from the Trust in writing for anyone wishing to use any of Gurneys ‘unpublished’ music. (See Appendix 2 – ‘Terms and Conditions and Guidance Notes’)

The chief reason for these restrictions is that the Trust is currently engaged in the process of transcribing and editing all of Gurney’s ‘unpublished’ music. The Trust has felt this necessary, partly for preservation reasons (fragile originals would no longer need not be disturbed) but principally to achieve its long term goal of making all of Gurney’s music publically available in a form that is helpful to performers. Ideally, this music should be published commercially and therefore easily obtainable. However, given the huge costs involved in such an enterprise the Trust has opted, for the time being, to make this music available in its own ‘Performing Editions’. To achieve this end, the Trust appointed Ian Venables and Philip Lancaster as joint editors. It is hoped that in time all of Gurney’s ‘unpublished’ music will be typeset and edited as ‘performing versions’. Given the vast quantity of the ‘unpublished’ music held in the collection the Trust has inevitably felt the need to prioritise the production of these ‘performing editions’. Our priorities are set out below in the form of short and long-term goals.

Short-term goals

  1. To typeset, edit and make available in ‘performing editions’ all of Gurney’s songs composed before 1922.

  2. To typeset, edit and publish all of Gurney’s orchestral works.

  3. To typeset, edit and make available in ‘performing editions’ all of Gurney’s instrumental and choral works composed before 1922.

Long – term goals

  1. To typeset and edit in ‘performing editions’ all of Gurney’s songs composed after 1922.

  2. To typeset and edit in ‘performing editions’ all of Gurney’s instrumental works composed after 1922.