Music In The Great War - Ivor Gurney (1890-1937)

It's a story that begins full of possibility and hope; Gurney was one of the brightest musical lights of his generation. He imagined himself as Schubert's heir; a fresh, young genius whose music and poetry would revolutionise British society. Donald Macleod discovers how that early promise came to fruition and then unravelled, as Gurney struggled with the horrors of World War One and serious mental illness. Gurney expert, Dr Kate Kennedy, joins Donald to uncover the man behind the tragedy and explore the art he produced in the face of enormous adversity. Much of Gurney's output is still rarely performed, and several works have been specially recorded for these programmes.

Ivor Gurney grew up in the shadow of Gloucester Cathedral and, at the age of nine, he became a chorister there. Gurney would go on to compose a number of choral works, although none have ever been recorded until now. 'The Trumpet' has its broadcast premiere in today's programme. After Gurney's voice had broken, he took up the organ. He had lessons at the cathedral, where his fellow students included Herbert Howells, and Ivor Novello. Soon, Gurney's talents landed him an opportunity to study at the Royal College of Music. Just before he left, he composed a Coronation March, also specially recorded for this programme by the BBC Symphony Orchestra.

Donald Macleod explains how Ivor Gurney discoved his passion for music.

It's a story that begins full of possibility and hope; Gurney was one of the brightest musical lights of his generation. He imagined himself as Schubert's heir; a fresh, young genius whose music and poetry would revolutionise British society. Donald Macleod discovers how that early promise came to fruition and then unravelled, as Gurney struggled with the horrors of World War One and serious mental illness. Gurney expert, Dr Kate Kennedy, joins Donald to uncover the man behind the tragedy and explore the art he produced in the face of enormous adversity. Much of Gurney's output is still rarely performed, and several works have been specially recorded for these programmes.

Ivor Gurney had been accepted to study music at the Royal College of Music. One of the first things he presented to his tutor, Stanford, was a delicate setting of the poem by Robert Bridges, I Praise the Tender Flower. Soon however, Gurney found that life in London was not for him and he started to get periods of depression.

By 1915, Gurney had been recruited into the army and, after training, found himself serving in the trenches. He was able to compose some music while at war, including one of his most famous songs, By a Bierside, although it was poetry that occupied more of his attention during this period. In the wall of his dugout, Gurney erected a little shrine to his beloved Gloucestershire with a picture postcard. Amid the mud and squalor, a tune kept running through Gurney's mind - it was his own setting for Psalm 23, recorded here by the BBC Singers especially for Composer of the Week.

Donald Macleod discovers how Gurney's early promise came to fruition and then unravelled.

It's a story that begins full of possibility and hope; Gurney was one of the brightest musical lights of his generation. He imagined himself as Schubert's heir; a fresh, young genius whose music and poetry would revolutionise British society. Donald Macleod discovers how that early promise came to fruition and then unravelled, as Gurney struggled with the horrors of World War One and serious mental illness. Gurney expert, Dr Kate Kennedy, joins Donald to uncover the man behind the tragedy and explore the art he produced in the face of enormous adversity. Much of Gurney's output is still rarely performed, and several works have been specially recorded for these programmes.

With Gurney serving in France during World War One, his passion for music took a back seat. However, his creativity found a new outlet as a poet. He didn't stop composing altogether though, and one of his songs, Captain Stratton's Fancy, became quite a hit amongst fellow soldiers.

Gurney had now transferred to the Machine Gun Corps. He escaped with only minor symptoms after being caught in a gas attack, but found himself sent back from the frontline, and eventually shipped off to Scotland for treatment. Whilst in hospital he fell in love with a nurse, Annie Nelson Drummond, and during his convalescence he composed one of his favourite songs, The Folly of Being Comforted.

Donald Macleod discusses Gurney's falling in love while in hospital during WWI.

It's a story that begins full of possibility and hope; Gurney was one of the brightest musical lights of his generation. He imagined himself as Schubert's heir; a fresh, young genius whose music and poetry would revolutionise British society. Donald Macleod discovers how that early promise came to fruition and then unravelled, as Gurney struggled with the horrors of World War One and serious mental illness. Gurney expert, Dr Kate Kennedy, joins Donald to uncover the man behind the tragedy and explore the art he produced in the face of enormous adversity. Much of Gurney's output is still rarely performed, and several works have been specially recorded for these programmes.

In 1919 an old and close friend of Gurney's, Margaret Hunt, passed away in the flu epidemic; he threw himself into composing his Violin Sonata in E flat major, which he dedicated to her. Things seemed to be looking up for Gurney though, as he returned to his studies at the Royal College of Music, where his new tutor was Vaughan Williams. Student and teacher developed a good relationship, and Gurney was inspired to compose new works, including his Ludlow and Teme.

The signs of instability that had previously arisen before the war were soon to resurface again. Gurney began to struggle, and found it hard to find work. He considered suicide, and at one point visited a police station to ask for a gun. By 1922, Gurney was been certified and committed to Barnwood House asylum.

Donald Macleod focuses on Gurney's deteriorating mental health.

It's a story that begins full of possibility and hope; Gurney was one of the brightest musical lights of his generation. He imagined himself as Schubert's heir; a fresh, young genius whose music and poetry would revolutionise British society. Donald Macleod discovers how that early promise came to fruition and then unravelled, as Gurney struggled with the horrors of World War One and serious mental illness. Gurney expert, Dr Kate Kennedy, joins Donald to uncover the man behind the tragedy and explore the art he produced in the face of enormous adversity. Much of Gurney's output is still rarely performed, and several works have been specially recorded for these programmes.

Ivor Gurney had been committed to an asylum, and from this point, through fear of him hurting himself and possibly others, he was only allowed to use a pencil to write music. He tried to escape, smashing a window and injuring his hands and feet, but was soon back in the hospital. He continued, after a period of silence, to write music again. In 1925 he composed 25 songs, including completing his set called Lights Out.

In 1922 Gurney had been transferred to the City of London Mental Hospital at Dartford. Vaughan Williams would visit often, sometimes bringing with him students from the Royal College of Music to play Gurney's music with him. At Dartford, Gurney composed a setting of Robert Bridges poem, Since I Believe, for double choir, recorded for Composer of the Week by the BBC Singers. Gurney's confinement was taking it's toll, however, and he eventually stopped writing music altogether. He died on Boxing Day in 1937.

Donald Macleod focuses on Ivor Gurney's final years, marked by time spent in confinement.