2018 is the centenary year of the birth of Leonard Bernstein. Among the many events to mark the year is the Bernstein in Chichester festival, which celebrates Bernstein’s Chichester Psalms, commissioned for Chichester Cathedral by its dean, Walter Hussey. I shall be speaking about Hussey at a symposium event on April 20th (booking details here), and then curating an exhibition of archival holdings about the Psalms later in the year, including some of Bernstein’s letters. It will be shown first at the West Sussex Record Office, and then in the cathedral. This short essay was written for the festival website. My own book on Hussey’s patronage of the arts is published by Palgrave Macmillan.
Walter Hussey, dean of Chichester between 1955 and 1977, was the most significant patron of the contemporary arts for the Church of England in the twentieth century. The Bernstein in Chichester festival celebrates his most famous commission of music for Chichester, the Chichester Psalms. But there was more music than this for the cathedral: works from William Walton, Lennox Berkeley and others. For his church of St Matthew Northampton (where he was vicar for nearly twenty years before coming to Chichester) there was more music: from Lennox Berkeley, Gerald Finzi (Lo, the full final sacrifice), Michael Tippett and (most famously) Rejoice in the Lamb, by Benjamin Britten, with whom he became a lifelong friend.
Hussey in the late 1940s. Image from West Sussex Record Office, all rights reserved.
Though music was perhaps Hussey’s first love, his own collection of painting and sculpture was the basis of the collection at Pallant House in Chichester. Visitors to the cathedral can see commissions from John Piper, Graham Sutherland and also Marc Chagall; Chichester is one of only two churches in the UK that contain Chagall stained glass. At Northampton two commissions by Hussey still face each other across the church: one by Sutherland, and the other, Hussey’s first, from Henry Moore.
In 1943, in wartime Northampton, still under blackout conditions at night, why did Hussey, provincial parish priest, decide that a revival of the religious arts should be his life’s work? (This, to be sure, was not his first thought, but within a few short years he had achieved national and international recognition for his project.) Hussey was not given to much theological reflection on why he, a priest, should be trying to commission contemporary art for the church at a time when such activity was at a low ebb. But Hussey was led by his senses. Deeply moved as a young man in London by the art he could see and the music he could hear, he could not see why the close relationship between church and artist he saw in the medieval churches of England should not be restored. Leaving the justification to others to make, he decided just to do what he could in a practical way. Unencumbered by any sense of his place in the pecking order, his first successful commissions were from Britten and Moore, who came to be arguably the two greatest exponents of their arts that England produced in the twentieth century.
Kenneth, Lord Clark, a Hussey ally from early on, described him as ‘aesthete, impressario and indomitable persuader’. It was this persistence and sheer self-confidence which led him to approach Leonard Bernstein on the basis of the briefest of meetings in New York some years before. But it is this chutzpah that is the hallmark of Hussey’s way of working. Artistic commissions in the twenty-first century tend to be committee affairs, with stages of consultation with all those with an interest in a project. Hussey was a patron of an older school: he kept his eyes and ears open, decided what he liked, and went all out to persuade an artist or composer to work for him, and to raise the money to pay for it. Chichester, Northampton, and the English church in general are the richer for it.
Abstracts of each chapter of Church and Patronage in 20th Century Britain: Walter Hussey and the Arts (now available from Palgrave Macmillan, 2017 as ebook and hardback), with links to purchasable PDF versions of each.
The book as a whole
The first full-length treatment of Walter Hussey’s work as a patron between 1943 and 1978, first for the Anglican parish church of St Matthew in Northampton, and then at Chichester Cathedral. He was responsible for the most significant sequence of works of art commissioned for the British churches in the twentieth century. They included music by Benjamin Britten, Leonard Bernstein and William Walton, visual art by Henry Moore, Graham Sutherland and Marc Chagall, and poetry by W. H. Auden. Placing Hussey in theological context and in a period of rapid cultural change, it explores the making and reception of the commissions, and the longer-term influence of his work, still felt today.
As well as contributing to the religious and cultural history of Britain, and of Anglo-Catholicism and the cathedrals in particular, the book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts. Chapter 1. Introduction
The introduction outlines Hussey’s reputation as patron of the arts both during his career and since his death. It reviews the scholarly literature to date insofar as it has paid Hussey any attention, and sets out the several areas of the current historiography of British religion and the arts to which the study addresses itself. Finally it outlines the argument of the book chapter by chapter and ends with some remarks on the scope of the book and what it aims (and does not aim) to do. Buy the PDF
Chapter 2. The formation of a patron
Chapter 2 traces Hussey’s formation in the 1920s and 1930s: the son of a clergyman who progressed through public school (Marlborough), Oxford and ordination training at the Anglo-Catholic Cuddesdon College to a curacy in London. It also examines his early aesthetic development, as a viewer, listener, amateur musician and artist, and lays out the context for that development: of Anglican theologies of the arts of the 1920s, and the available examples of ecclesiastical patronage that others set. It argues that Hussey’s understanding of the arts in relation to culture and of the right form of patronage were both present in their essentials before he began his work at Northampton, as were his particular enthusiasms and artistic blind spots. It also shows that Hussey’s homosexuality was key to understanding the relationships he was later to form with those he commissioned. Buy the PDF
Chapter 3. The 1943 Jubilee festival at Northampton
Chapters 3 and 4 together examine the full record of patronage for Northampton. Chapter 3 begins by situating the church of St Matthew in its local context, and as a prominent example of an Anglo-Catholic church. It then examines the five ventures that together formed the jubilee festival of the church in 1943: an organ recital from George Thalben-Ball, a concert by the BBC Orchestra, new music from Benjamin Britten (his Rejoice in the Lamb) and from Michael Tippett, and finally (in 1944) the sculpture Madonna and Child by Henry Moore. It examines in particular the critical and public reactions to each work, and shows that the debates that the Moore provoked went to the very heart of what religious art was, and what it was for. Buy the PDF
Chapter 4. Music, art and poetry: 1944-55
Chapter 4 continues the story of Hussey’s patronage from 1944 until his departure from Northampton in 1955. It produced a painting from Graham Sutherland (Crucifixion, 1946), poetry from W.H. Auden and Norman Nicholson, and music from Malcolm Arnold, Lennox Berkeley, Edmund Rubbra and Gerald Finzi (Lo, the full final sacrifice, 1947) amongst others, including Benjamin Britten (for a second time). Those twelve years also saw the establishment of Hussey’s characteristic modus operandi, as he created ex nihilo a network of supportive critics, clergy and key players in the spheres of art, music and broadcasting. Buy the PDF
Chapter 5: The religious arts on a rising tide: people, media, networks
Chapter 5 places Hussey’s growing renown in the changed context of the immediate post-war period. Whilst the characteristic catholic understanding of the nature of culture was mostly unaltered by the War, Hussey’s project was now also framed by the need for reconstruction, both physical and (as some saw it) cultural and spiritual. The chapter describes a moment at which a new settlement between the church and the arts seemed possible, supported by a growth in media coverage, scholarly interest and exhibitions. It also details two key relationships in Hussey’s network: with Kenneth Clark, perhaps the most influential individual in British art, and with George Bell, bishop of Chichester, the other most significant figure in Anglican patronage of the arts in the period. It was Bell who brought Hussey from Northampton to Chichester in 1955: the cathedral of a diocese in which Bell had done significant work in relation to the arts, but that was itself not quite ready for a project such as Hussey’s. Buy the PDF
Chapter 6: new visual art for Chichester
Hussey’s commissions of new visual art and new music for Chichester cathedral are examined in chapters 6 and 7 respectively. Chapter 6 begins with an examination of what cathedrals were thought to be for, since their purposes were in question in a new way in the fifties and sixties. It then examines each of the works of visual art in turn: works by Graham Sutherland, Geoffrey Clarke, John Piper, Ceri Richards, Cecil Collins and Marc Chagall. As in chapters 3 and 4, it examines both the making of the works and their reception, and argues that, whilst highly effective in their own right, the works as a whole strike a less radical note than the Northampton pair from 1944-6. Buy the PDF
Chapter 7: Chichester music
Chapter 7 examines the series of compositions of new music for Chichester. It argues that the final compositions in the 1970s from the older figures William Walton and Lennox Berkeley have a similarly conservative flavour to the works of visual art documented in chapter 6. However, the commissions from Bryan Kelly, James Bernard, William Albright and in particular from Leonard Bernstein (the Chichester Psalms) show a more consistent engagement with contemporary trends in composition, and in particular the revolution in ‘church pop’ then under way. Buy the PDF
Chapter 8: cathedral, city and diocese
Hussey’s time as dean was one of searching, indeed existential questioning of the very purpose of the cathedrals within the church, in their urban environments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; chapter 8 examines the rest of his record as dean, and argues that his overwhelming focus on the arts was to the detriment of other areas of the cathedral’s life. Buy the PDF
Chapter 9: Legacy
The book ends with a reflection on the nature of Hussey’s model of patronage. Hussey did inspire others during his career and immediately following to commission new works for churches. But chapter 9 argues that Hussey’s success was in large part due to his personal qualities; his work was not as a distant, demanding patron but as a friend and collaborator, and as an unofficial chaplain to those with whom he worked. As such, his way of working was not easily codified into a model that could easily be transferred to other contexts, and the more public and institutional way in which the churches have come to work in the very recent past is perhaps an acknowledgment of the fact. More fundamentally, it argues that Hussey’s work was based on a catholic understanding of the relationship between national religion and culture, formed before the Second World War but given new impetus by it, which became hard to sustain as both the arts and the position of the churches changed during the long Sixties. Those in the present day churches who would see a live tradition of ecclesiastical patronage have needed to look elsewhere for their justification. Buy the PDF