Our sad news is that Bellway Miller have renewed the Planning Application for a development on the Stevenage part of Forster Country. Letters have gone out to people on SBC’s mailing list and the application is notified in The Comet (yesterday, p.54) and in notices near Forster Country. There are changes from the original estate layout but nothing affecting our strong opposition. We will be commenting, mainly pointing out recent changes to National Planning Policy Framework since the Public Inquiry but which should apply now.
We urge anyone who wants to support us to reply to SBC with cogent arguments by the deadline of November 7th..
https://publicaccess.stevenage.gov.uk/online-applications/ Ref 17/00862/OPM
Among the works missing from Elizabeth Poston’s archive of music that was left at Rooks Nest House, after she died in 1987, was her Concertino da Camera on a Theme of Martin Peerson, written for early instruments in 1957 and based on a transcription by her friend, Marylin Wailes; all that could be found among her papers was a single MS title-page. The work, described by a critic as new wine poured successfully into old bottles, had been dedicated to Marylin and her London Consort of ancient instruments.
Elizabeth thought that Marylin’s copy of her music was the only one in existence when, in August 1985, she asked for its return in order to add it to her ‘National Archive’, explaining, ‘I am trying very hard to put together writing I count of any value & leave it tidily while I am still alive & not forgetting or gaga!’ There is no evidence that the music was actually returned before Elizabeth died but a copy (perhaps Marylin’s) did, at some time, get into the possession of Faber Music and, in January 1968, was passed on to David Munrow, the well-known enthusiast for early music and ancient musical instruments. After Munrow’s untimely death in 1976 that copy was given by his widow to the virtuoso recorder player, John Turner. He, finally, with the kind permission of the copyright-holder, Simon Campion, has now had it published by Peacock Press, (PJT 201) and a copy has been safely deposited at the British Library with the rest of Elizabeth’s extant manuscripts. He has also recorded the work on the Prima Facie label (PFCD 005) with Richard Simpson (oboe d’amore), Richard Tunniclife (viola d’amore) and Ian Thompson (harpsichord).
The piece has the unique position of being the particular one Elizabeth chose when asked to lecture on the subject of composition; now that the music has been found and printed we can follow more clearly what she described with such enthusiasm.