Amy Elise Horrocks (23 February 1867 â 4 December 1919), a life-long pacifist, was an English music educator, composer (particularly of songs) and pianist, born to English parents (Francis James Horrocks 8 July 1829 â 27 April 1913) and Hannah Horrocks (née Allen 1833 â 22 April 1913) in Rio Grande do Sul, Brazil, where it is suggested that Francis Horrocks was constructing tramways. Amy had an elder sister, Marian, also born in Brazil, but who died there in 1862 aged 1 year. Contrary to one report, she did not have a brother. She had a close association with the Royal Academy of Music as both a student, teacher and Fellow and enjoyed a degree of professional success, including several performances of her work at the Proms.
The family (Francis, Hannah, Amy [aged 4] and their servant Mary Thompson) are recorded in the Scottish census of 1871, as lodgers in Edinburgh, so presumably they left Brazil between 1867 and 1871 and are possibly taking a holiday. When they return from Brazil the family settles initially in Cheshire. Francis had a loose family connection to the area with his elder brother Thomas having been born and died in Chester as an infant in 1827, during the time their father (also called Thomas) was stationed there while serving as a quartermaster in the Royal Fusiliers.
AmyâÂÂs early education from the age of about six is at Miss Frances Anne GregsonâÂÂs Highbury College in Bowdon, Cheshire, which opened in the 1870s and continued to operate into the early twentieth century. The school site is now occupied by Altrincham Preparatory School for Boys (Kendrick 1996). Kendrick shines a little bit of light on the school, and mentions lessons in French, German, Mathematics, Science, Sewing. Cooking, Physical Training, Deportment, Dancing, Tennis and Ping-Pong (!), but there is no evidence of music teaching being particularly noteworthy: âÂÂMiss Gregson ⦠is said to have claimed ⦠that you could teach anything as long as you were one lesson ahead of your pupils⦠The supreme asset to the school was Gertrude, academically brilliant, with a reputation as a teacher. She was the first woman to attain degree standard at London University, in about 1887, at which date the University did not grant degrees to women. She had read English at London, but also had mathematical gifts, and at the age of forty was accepted at Manchester University for a degree course in Chemistry⦠The schoolâÂÂs motto was âÂÂSemper ad Lucem'."
But in 1879 the family relocates to London and are living at 35 Bartholomew Road, Kentish Town and Amy is enrolled at North London Collegiate School for Girls, the countryâÂÂs oldest academic girlsâ school, founded by Frances Mary Buss in 1850. Amy joins the school in May 1880 and is a pupil of Music Master John Blockley who âÂÂin addition to teaching pianoforte playing, gave lessons in class and solo singing and harmony, and was also a composerâÂÂ. No mention is made of AmyâÂÂs musical prowess while at the school (Amy wins a Junior prize for âÂÂsatisfactoryâ French) and she leaves in Easter 1882.
Indeed it might be argued that Frances Buss did not consider music teaching to be very important. A letter of hers written in 1868 about establishing a school states that âÂÂI would rigidly and entirely omit all arrangements for teaching instrumental music, which I believe to be the bane of girlsâ schools, in the time wasted and the expense entailed.â However she does make an exception for musical harmony âÂÂ⦠by which I mean the laws of musical construction, an interesting, and, in an educational point of view, a most useful subject for mental training. Instrumental musicâÂÂthe piano chieflyâÂÂmight fairly be left to a private teacher, as might dancing also.â However, by 1872, thankfully, her views had moved on significantly: âÂÂI want to teach music grandly - thoroughly in classes - making each girl understand what she plays, as well as if she were reading some passage of poetry, teaching her to find out the musicianâÂÂs thought; his [sic] mode of expressing it; other ways of expression of the same thought, viz. words. The grammar of music should be known to every musician.â She evidently began to understand the importance of musical education as after her death in 1894, a teacher at the school reflected that âÂÂI was afraid at first that she would not understand my point of view with respect to the study of music in high schools, but, instead of being misunderstood, she gave me her sympathy and help from the first in my endeavour to make music an earnest and educational part of school-work. ⦠She was always so glad to find that the majority of girls who did well in music were just those who were doing well in other school-work. ⦠She was never shocked at my hopes, mostly very wildly expressed, for the future of music in the education of girls. Music, above all studies, needs backing up with the advantage of a thoroughly good education. It has always been my endeavour to keep it from encroaching unfairly on the time and strength of the girls. Miss Buss understood this, and helped to make it understood.âÂÂ
After Amy leaves, the school does record AmyâÂÂs successes at the Royal Academy of Music, noting her Certificate of Merit for Harmony, Bronze and Silver Medals for Pianoforte, Potter Exhibition and Sterndale Bennett prize as well as one of her performances, commenting âÂÂAmy Horrocks (Potter Exhibitioner) played the pianoforte part of a Sonata for the Pianoforte and Violincello, one of her own compositions ⦠It is always gratifying to us to see our pupils coming to the fore in whatever line they have chosen after leaving our midst.â Two years later the school magazine again notes, âÂÂMiss Amy Horrocks, who has been studying for some time at the Royal Academy, also held a successful concert, at which several of her own compositions were performedâÂÂ. Another magazine article quotes the Daily Graphic: âÂÂThe name of A. E. Horrocks is new to us, but to judge by his (or her?) cantata, âÂÂThe Wild Swansâ (Joseph Williams), the composer is evidently above the average degree of merit. The cantata suffers from a poor libretto, which does not afford much scope for development, but every advantage has been taken, and the result is most musicianly and full of promise. It is an excellent little work, and may be recommended to small choirs of female voices, who care for good music." AmyâÂÂs song, âÂÂAt Peep of Dawnâ is performed at the school concert in 1897 and her âÂÂCollection of Two-Part Songsâ is bought for the library in 1902.
By the time of the 1881 census the family (Francis, Hannah, Amy [aged 14 and described as a scholar], a visitor, Alice Marland [described as a solicitorâÂÂs wife] and a new servant Susan Hood) have moved and are living at 17 Goldhurst Terrace in Hampstead. In the 1891 census the family are living at 163 Goldhurst Terrace which is actually the same house: According to Camden History Society, "in 1877 Goldhurst Road (as it was then) was approved from Finchley Road as far as Fairhazel Gardens. The name was officially changed to Goldhurst Terrace the following year when the extension from Fairhazel Gardens to Priory Road was agreed. For many years the houses were numbered and named in âÂÂEastâ and âÂÂWestâ sections on either side of Fairhazel Gardens which caused great confusion. Before all the houses were built, a renumbering order was issued in 1896". What is now 163 Goldhurst had already been constructed by 1894 and sits west of Fairhazel Gardens so would have been subject to renumbering as it seems it would have been labelled as the West section prior to 1896.
It is presumably shortly after this when Amy starts her musical career, studying piano and composition under the pianist Adolf Schlösser and musician Francis William Davenport at the Royal Academy which she enters in 1882 (Brown and Stratton 1897) at the age of 15.
Amy is referred to as a Professor of Music in the 1891 census, having been elected as an Associate of the Academy in 1890 and a Fellow in 1895. She wins various awards while a student, including the Potter Exhibition prize in 1888 and the Sterndale Bennett Prize in 1889 (Brown and Stratton 1897).
Highlights of AmyâÂÂs student career at the Royal Academy are captured in various newspaper articles:-
One of her Prince's Hall concerts is advertised in The Morning Post and The Standard and is favourably reviewed in The Weekly Dispatch, describing the music as âÂÂagreeableâ including âÂÂa well-written and effective sonata in G, for piano and violincelloâÂÂ. While The Northern Whig describes Amy as âÂÂa talented composer as well as an able pianistâ and later goes on to say she is âÂÂmaking a name as a composer as well as a pianistâÂÂ. The Musical Times goes into a lot more detail: âÂÂMiss Amy HorrocksâÂÂs Concert. Several examples of the skill of Miss Amy Horrocks as a pianoforte player and composer were presented on Thursday afternoon ⦠at Princesâ Hall, when, besides executing ChopinâÂÂs Fantasia in F minor (Op. 49) and joining Miss Winifred Robinson (violin) in BrahmsâÂÂs Duo Sonata in A (Op. 100), she had an important share in a second part formed entirely of materials from her own pen. Naturally special interest attached to the latter. First in this list came a Sonata in G, for pianoforte and violincello, containing some excellent workmanship in the opening Allegro and the final movement, and having for its middle section a theme with variations ingeniously worked out. Altogether the work shows much promise, more especially as the composer does not seem afraid to express her ideas in the manner she deems most suitable to the purpose. It was capitally played by Miss Horrocks and Mr. Whitehouse, and was cordially approved. Of the âÂÂEight Variations on an Original Theme,â for pianoforte, violin, viola and violincello, it is scarcely possible to enter into particulars, for the reason that Mr. Arthur Dyson was an involuntary absentee. His place was taken by Mr. Wayland, with Miss Horrocks at the pianoforte; Miss Winifred Robinson, violin; and Mr. Whitehouse, violincello. The young composer played a Berceuse and Waltz, also by herself; and between the various pieces in the second part some of her songs were sung by Miss Marian McKenzie [of whom more later], Miss Edith Tulloch and Mr. Fred. King. The first-named sang the plaintive âÂÂAshes of Rosesâ and the joyous âÂÂBonnie wee thingâ and Miss Tulloch, the fanciful âÂÂA Midsummer Song.âÂÂâÂÂ
AmyâÂÂs career as a composer can be shown by reviews of several of her compositions in a variety of contemporary newspapers and periodicals. For instance, AmyâÂÂs music is reported as being performed by members of the Lyric Club Orchestral Society in 1889. Four of her songs are reviewed (mainly favourably) in the Crotchets and Quavers column of The Gentlewoman in 1890: âÂÂAnd now I want to say something about a young lady composer, Miss Amy Horrocks. I have been sent four songs composed by her, and I am quite delighted by all of them except one. âÂÂAshes of Rosesâ is really beautiful, though only slight. It breathes the very spirit of romantic sorrow, and is highly original also. âÂÂA Love Song of the 17th Centuryâ is not quite so good. It seems to me more ambitious but less effective. The other two, âÂÂWith a Primrose,â and âÂÂA Cradle Hymn,â are very much above the average, especially the former, in which at the end Miss Horrocks makes the voice drop a tenth, a rather daring thing to do, but very admirable here. Grieg, by whose compositions I should fancy Miss Horrooks [sic] [is] inspired, in one of his songs takes the voice down from G natural to G sharp below, in a very merciless but very delightful manner. I strongly recommend these four songs to all capable singers and shall look forward with interest to fresh work from this clever young composer, who evidently looks upon song writing as a worthy vehicle for refined art, and not as a mere swift and easy means of making money.âÂÂ
Other pieces by Amy are listed or reported on several occasions:-
The Return of May
Bonnie Wee Thing
An Idyll of New Years Eve
A Midsummer Song
Berceuse in F. Waltz in C
Four Songs in Two Books
When Mortals are at Rest
Six Songs, Two Fairy Songs for Treble Voices and Six Pieces for Piano
The SkylarkâÂÂs Wooing, Hill Tops
On a Nankin Plate
If Amy can be said to have had a âÂÂhitâ then it is her song, The Bird and the Rose with words by writer and satirist Robert Smythe Hichens published in 1895.
The Bird and The Rose
A rose that bloomed in a desert land<br /> Sighed in her loneliness;<br /> A little bird that was singing near<br /> Was touched by her distress.
âÂÂWhy are you sad, sweet rose?â he said,<br /> âÂÂWhy do you weep and sigh?âÂÂ<br /> âÂÂAh!â said the rose âÂÂif I had wings<br /> To other lands IâÂÂd fly.âÂÂ
âÂÂWhy do you linger here, dear bird,<br /> When you might fly away?âÂÂ<br /> âÂÂBecause I love your scent, sweet rose,<br /> In this lone land I stay.
I linger in this solitude,<br /> To cheer you with my song.âÂÂ<br /> âÂÂAh! little bird, bear me away,<br /> Your spreading wings are strong.âÂÂ<br />
The little bird raised the sweet rose<br /> And spread his pinions fair;<br /> He flew away across the sea<br /> Through the bright summer air.
But when he reached his nest at last<br /> He sang a sadder lay;<br /> His joy was hushed. The lovely rose<br /> Was faded quite away.
Arno Lücker writing in online Van magazine, analyses the song: âÂÂIn a leisurely, narrative Andante, the song often goes from harmony to harmony, with a few connecting lines, in the style of lovely folk art songs of the 19th century, which also - only with biblical text - found their way into various hymnals of (free) church groups (primarily in the USA and Canada). Subtle chromaticism is at work here in the middle voices and the text almost always appears syllable for syllable, each on its own note value. Only when the direct speech of the questioning bird finds its way does more movement enter the music, gently interpreting the text. Syncopated chords vibrate in the comforting middle of the piano. And at the end of this beautiful song there is a reluctant conclusion full of homeliness.âÂÂ
The song features in many contemporary reports:-
Two of AmyâÂÂs songs, âÂÂAn Idle Poetâ (later performed at the Proms) and âÂÂConstant Loveâ (both described as âÂÂcharmingâÂÂ) are performed by Frances Morris at an Orchestral Union concert at Temperance Hall in Derby in 1891. Another song is performed by a cold-affected Miss Waite at CroydonâÂÂs Small Public Hall in 1892.
A performance of her Eight Variations features at another St JamesâÂÂs Hall concert, conducted by Royal Academy principal Alexander MacKenzie on 27 February 1893 with the piece described as a âÂÂvery clever compositionâ and âÂÂmay be regarded as a distinct advance upon any of Miss HorrocksâÂÂs previous effortsâÂÂ. The Illustrated Sporting and Dramatic News describes the quartet âÂÂcomposed by Miss Amy Horrocksâ as giving âÂÂfurther testimony to the excellence of the teaching obtainable at the R.A.M.â While The Era describes Amy as âÂÂa most promising young composer, whose simple and graceful theme was treated with no little variety of effect in the course of the eight variations, all of them being pleasing and some decidedly effective.âÂÂ
After completing her studies, she continues to perform as a pianist and retains strong links with the Academy, where she becomes a teacher. As well as teaching, Amy acts as one of the AcademyâÂÂs examiners for the 1893 and 1897 Hine Exhibition Prize for composition and the 1896 Robert Cocks Prize for piano playing. And one of her songs (âÂÂTo Music To Becalm His FeverâÂÂ) features at the AcademyâÂÂs annual prize giving in 1894 and two of her âÂÂfresh and prettyâ duets, âÂÂApril Showersâ and âÂÂThe SkylarkâÂÂs WooingâÂÂ, at another Academy concert in 1898.
Amy performs Dvorak and one of her own piano compositions at a concert in Westerham, Kent, publicised in the Westerham Herald and also features as soloist and composer at a Birmingham Chamber Concert. She contributes to a collection of Artistic Songs, published by Robert Cocks & Co. where she is referred to as Elise Horrocks. And this is followed up by a letter mentioning Amy, from the publisher lamenting the lack of public interest in âÂÂhigh class songsâ and the limitations this placed on music publishers, stating that until things change, âÂÂthe publishers of âÂÂartisticâ work must content themselves with the thought that they are devoting energy and capital towards bringing about this much desired improvement, for that is all the compensation they are likely to get at present.âÂÂ
AmyâÂÂs song âÂÂHollyâ is âÂÂheard to great advantageâ at a charitable concert in Nottingham. Amy is one of a number of featured composers at a performance of music by the DâÂÂOyly Carte singer Esther Palliser. The programme consists entirely of works by female composers (including Clara Schumann), prompting The Weekly Dispatch to comment that the event âÂÂproved that if lady composers cannot write with power, they can with grace, fluency, symmetry, and charmâÂÂ. The Social Review mentions the concert in a column dedicated to highlighting WomenâÂÂs Pursuits with the note that âÂÂYoung ladies desirous of procuring advice as to their careers in life should write in confidence enclosing coupon cut from the last page of this journal to âÂÂThyraâÂÂ, care of Editor, The Social Review, 49 Middle Abbey Street, Dublin.âÂÂ
Amy composes two songs, âÂÂGarden Voicesâ and âÂÂLullabyâ for a performance by the singer Marian McKenzie in Plymouth (her birthplace) in 1895. An article in the Newark Advertiser goes into more detail about Marian McKenzieâÂÂs career ahead of a concert in 1896, highlighting her ballad-singing abilities and mentions Amy as being one âÂÂof the best ballad writers the [Royal] Academy has producedâ who contributes two songs (actually the same two songs, âÂÂGarden Voicesâ and âÂÂLullabyâÂÂ) especially for the performance which âÂÂwere listened to with evident delight by the audienceâ as reported the following week. AmyâÂÂs accompaniment of the Russian pianist Wassily Sapellnikoff in a performance at the Steinway Hall of two of her duets, âÂÂThe Night Has a Thousand Eyesâ and âÂÂA Flowerâ is advertised in the Morning Post and London Evening Standard.
And the singer, Rosa Leo performs AmyâÂÂs âÂÂLullabyâÂÂ, demonstrating âÂÂexpressive style and rare intelligenceâ at a vocal recital at the Steinway Hall. AmyâÂÂs songs feature at three more of Rosa Leo concerts in 1896. The first Steinway Hall event on 3 March includes âÂÂThe Night Has a Thousand Eyesâ and âÂÂA Flowerâ described as âÂÂeffective airs, ably contrastedâ and also as âÂÂclever and pleasing duetsâÂÂ. These âÂÂcharmingâÂÂ, âÂÂnew and clever vocal duetsâ afforded âÂÂa delightful finaleâÂÂ. At later concerts in the series, advertised in The Morning Post and London Evening Standard, âÂÂâÂÂForget-me-notâ by Amy Horrocks, is a perfect gem, and âÂÂThe Answer,â by the same composer, is a sweet little ditty, which was deliciously sung by Miss Leoâ and she is counted as one âÂÂof the best of our lady English writers of songsâÂÂ. This 1896 series of Rosa LeoâÂÂs Steinway Hall concerts featuring AmyâÂÂs songs are also mentioned in The London Evening Standard, The Weekly Dispatch, The Queen and The Musical Times.
Amy is performed at a concert in Clifton in 1896 and her song, âÂÂA Romany Spring Songâ features in the annual Wilhelm Ganz concert. Ganz was a German-born English pianist, violinist, and conductor. The song is described âÂÂpleasingâ and as carrying âÂÂwith it a delightful little breeze, straight from the heatherâÂÂ.
Two more of AmyâÂÂs songs (âÂÂThe Bird and the Roseâ and âÂÂMy Pretty JaneâÂÂ) are performed by Jack Robertson as part of a 1896 London Ballad Concert, sponsored by one of AmyâÂÂs publishers, Boosey & Co. These Ballad concerts began in the 1860s and consisted mainly of newly composed songs and were sponsored by sheet music publishers as a way to drive sales of music that would be bought by members of the public to perform at home. Remember this was before recorded music and at a time when many households would possess a piano for domestic entertainment. Esther Palliser performs AmyâÂÂs âÂÂprettyâÂÂ, âÂÂpiquantâ âÂÂRomany Spring Songâ at a QueenâÂÂs Hall Ballad Concert in January 1897. âÂÂThe Bird and the Roseâ features again in another QueenâÂÂs Hall Ballad Concert in October 1897 performed by Edwardian actress, Georgina Delmar. And the song makes yet another appearance at the Ballad Concert in March 1898.
Amy herself makes an appearance at the 1898 Ballad Concert accompanying Ellen Bowick in her performance of TennysonâÂÂs âÂÂThe Lady of the Shalottâ for which Amy had composed a âÂÂgraceful and picturesqueâ accompaniment of violin, cello and piano. Amy is quite likely to be one of the first composers (if not the first) to set TennysonâÂÂs poem to music. The duo repeat the performance on several occasions in 1899. AmyâÂÂs musical arrangement of the poem is performed at a Royal Academy student concert in July 1899, although the eventâÂÂs length is not appreciated by the reviewer for the London Evening Standard: âÂÂSt. JamesâÂÂs Hall leaves little to be desired on the score of ventilation, but nearly two hours and a half of musical festivity in yesterdayâÂÂs oppressive heat was clearly too much for a large portion of the audience, who filtered out long before the final items were disposed ofâÂÂ. Nevertheless, The Era describes the piece as âÂÂgraceful and melodious ⦠In the descriptive portions Miss Horrocks has succeeded well, and the effect was pleasingâÂÂ. Ellen Bowick returns with a âÂÂthoughtfulâ and âÂÂagreeable variationâ rendition of the piece at the 1900 Ballad Concert and also performs the recitation in Eastbourne later in the year, although the piece is misattributed to âÂÂAmy Louise [sic] HorrocksâÂÂ. Another performance of âÂÂThe Lady of Shalottâ by Elinor Lucas âÂÂwas rendered admirably and elicited loud applauseâÂÂ.
An Amy composition, âÂÂSing Heigh-ho!â is performed by Australian contralto, Ada Crossley at another Ballad concert in December 1898 and AmyâÂÂs work is also performed at a recital given by the celebrated English operatic soprano and contralto, and occasional pianist of the Victorian era, Greta Williams. Greta Williams is also remembered as a heroine of the 1899 wreck of the SS Stella, in which 77 people perished. During the 14 hours she and other survivors waited in open boats for their rescuers, she quelled the fears of the passengers and crew by singing âÂÂO, Rest in the LordâÂÂ.
Amy is performing the piano again in 1899 at the Salle Erard in LondonâÂÂs Regent Street, accompanying Hungarian cellist Dezso Kordy. Kordy performs two of AmyâÂÂs pieces âÂÂfor which both executant and composer received a hearty recallâÂÂ. By the end of the century, Amy is advertising her services as a music teacher, drawing on her Royal Academy credentials and has clearly established herself on the London classical music scene. In the 1901 census she is still living with her parents in Goldhurst Terrace, along with a Dutch lodger (Carl Bloemandal) and their servant, Alice Clarke. Amy describes herself as a Professor of Music living âÂÂon own accountâÂÂ.
Three of her âÂÂSix Greek Love Songsâ are premiered by the baritone Frederick Keel (to whom the collection is dedicated) at the Steinway Hall in May 1899 and her duet for female voices, âÂÂHarebell Curfewâ is described as âÂÂcharmingâ and âÂÂthis clever lady composer has selected a tuneful and generally grateful [sic] melody, while the refinement of the accompaniment mingle pleasing and picturesque effectsâÂÂ. AmyâÂÂs songs continue to feature at the Ballad Concerts in LondonâÂÂs St JamesâÂÂs Hall. Her two new songs, âÂÂTo Violetsâ and âÂÂJuly the Pedlarâ are described as being âÂÂwritten with studious simplicity though with musicianly feelingâÂÂ. And English contralto, (Louise) Kirkby Lunn performs AmyâÂÂs âÂÂBonnie Wee ThingâÂÂ, while Amy accompanies Rhoda Wiley in her vocal recital, including two of AmyâÂÂs âÂÂtuneful and well-writtenâ songs (âÂÂTo Violetsâ and âÂÂJuly the PedlarâÂÂ), at the Steinway Hall. The County Gentleman comments that the âÂÂformer was not a success; but the latter proved pretty and commendably shortâÂÂ, but according to the Hampstead News, both songs âÂÂwere enthusiastically receivedâÂÂ. Another of AmyâÂÂs vocal compositions, âÂÂPrithee MaidenâÂÂ, sees out the century by featuring at the inaugural concert of the Wycombe Orchestral Society. But despite her growing fame, the Musical Times writes to a correspondent to âÂÂregret that we cannot trace the publisher of âÂÂShort Exercises on Sight-readingâ by A.E. HorrocksâÂÂ.
AmyâÂÂs piece, âÂÂThe Hotspurâ is performed by Scottish baritone Andrew Black at the 1900 Ballad Concert, but he âÂÂfailed to make [it] very convincingâÂÂ. Two of her Greek Love Songs make a welcome reappearance in 1900 at a concert given by Florence Bulleid accompanied by Amy and âÂÂwere items of interest, the second, entitled âÂÂGolden EyesâÂÂ, proving very bright and effective, winning for the singer and composer a warm recallâÂÂ, although another reviewer dismisses the songs as âÂÂof no especial meritâÂÂ. AmyâÂÂs songs feature in a concert in Halifax by the American baritone David Bispham, and her âÂÂLove, the Pedlarâ (presumably this is actually July the Pedlar) is included in a concert in Acton. Frederick Kreel reprises his performance of AmyâÂÂs âÂÂSix Greek Love Songsâ at Steinway Hall in June 1901.
It may be that the Birmingham Mail is to blame for the original miss-spelling of AmyâÂÂs second name, when they report on another performance in 1901 of âÂÂThe Lady of Shalottâ âÂÂwith a beautiful musical accompaniment for piano, violin, and violincello, by Amy Elsie [sic] HorrocksâÂÂ, describing the music as âÂÂquite symphonic in characterâÂÂ.
It is alleged that Amy was proposed to by Sir Henry Wood âÂÂwho was a student with her at the Royal Academy, whom she called Grubby Woodâ (Norrington 2006) and whom she apparently turned down! There was clearly some sort of a relationship or friendship between the two as Amy has several of her compositions performed (and some of them premiered) at five of WoodâÂÂs Promenade Concerts between 1897 and 1909.
The first of these is in the early days of the Promenade concerts when Robert Newman (co-founder with Wood of the Queen's Hall promenade concerts in 1895) built on the success of the second summer season of proms and presented Saturday-only concerts in the early spring of 1896/7. Amy appears on the bill for the Promenade concert under the baton of Henry Wood, sharing the programme with performances of RossiniâÂÂs âÂÂWilliam Tellâ Overture, Allan MacbethâÂÂs âÂÂSerenataâÂÂ, GounodâÂÂs âÂÂFuneral March of a Marionetteâ and two pieces by Wagner amongst others. Amy âÂÂwas twice called to the platform after the first performance of her âÂÂorchestral legendâ Undineâ on 6 February 1897 (Jacobs 1994). The performance receives a lot of favourable press coverage with the Musical Times describing the piece as âÂÂdeftly orchestrated and possesses considerable interestâ with the underlying mediaeval legendary incidents âÂÂmusically suggested in a graceful and effective mannerâÂÂ. The Glasgow Herald says Amy has âÂÂan agreeable and melodious styleâÂÂ, and âÂÂMiss Horrocks treated her theme in a graceful and musicianly mannerâÂÂ. The Standard adds that the piece is âÂÂmelodious, fresh in design and brilliantly executedâÂÂ, while the Irish Times remarks that the âÂÂthemes are melodious, and well chosen, plenty of contrast is provided, and the scoring is decidedly effectiveâÂÂ. The weekly magazine, Black and White, mentions AmyâÂÂs performance, but sadly illustrates the ignorant attitudes of the time towards DvorakâÂÂs New World Symphony, describing it as âÂÂn***** musicâÂÂ. The Daily Telegraph celebrates AmyâÂÂs prowess, describing her as âÂÂa musician who has already attracted the attention of those who look for elements of promise in the younger generationâÂÂ. And The Era hopes âÂÂthat a composer, young, talented and already popular, will continue to exercise her gifts in the same direction, and have the good fortune to hear her ideas so perfectly rendered as they were on this occasionâÂÂ.
The success of the proms encourages speculation in the press on which composers would produce new work for the next season of concerts. The Glasgow Herald, The Stage, The Sporting Gazette, The Weekly Dispatch, Lloyds Weekly Newspaper, The Referee, The Norfolk News, The Queen and The Graphic all identify Amy as one such composer.
But as things turn out her second proms outing is not until a year later, with her fresh composition âÂÂRomaunt of the PageâÂÂ, which has its world premiere on 6 October 1899 (Jacobs 1994), (Newmarch 1904). The event is previewed in the Glasgow Herald, but the newspaper gives Amy a bit of a backhanded compliment stating that the piece was âÂÂmisnamed a Ballade by Miss Amy Horrocks. It is based on Mrs BrowningâÂÂs âÂÂRomaunt of the Page.â But to depict in music a work of this character is almost impossible, and, at any rate, it is rather beyond the means of this clever young studentâÂÂ. The Graphic agreed, calling the work âÂÂa somewhat over-ambitious symphonic piece by that clever young composer, Miss Amy HorrocksâÂÂ. The Gentlewoman is more upbeat calling the piece a âÂÂvery pleasing noveltyâ and describing Amy as âÂÂa young lady already well known as the writer of some charming songs, and one who is to be warmly welcomed into the growing ranks of women composersâÂÂ.
AmyâÂÂs songs feature at three more promenade concerts: âÂÂAn Idle Poetâ on 3 and 21 September 1900 and what had by now become her greatest âÂÂhitâÂÂ, âÂÂThe Bird and the Roseâ on 23 August 1909. Whatever relationship she may have had with Henry Wood clearly came to nothing, as he writes in his 1938 autobiography that âÂÂI have now quite lost sight of Amy Elise HorrocksâÂÂ. She had actually died nearly twenty years previously and Wood continues, quite erroneously, âÂÂShe returned to her native Brazil, where she was born of English parents, having been made a fellow of the R.A.M. [Royal Academy of Music]â Wood (1938). The truth is that she eventually (after a long gap between proposal and marriage) marries Nicholas (Nico) Paramythioti (1871âÂÂ1943 - a businessman from Corfu and therefore perhaps her muse for her 1899 Greek Love Songs?) on 22 August 1903. Nico works as a sales representative for Steam Roller and Engine manufacturer Aveling and Porter.
A list of some of her compositions from the British Library catalogue reveals that her output drops off after she marries and has children. From then on, her works feature only intermittently in the British press and no further performances by herself are reported. âÂÂTo Althea from Prisonâ features in a concert in Cheltenham in 1901. Later that year, Ellen Bowick performs âÂÂThe Lady of Shalottâ at the London Ballad Concerts again and also in Bath and it is described as âÂÂa melodrama and dramatic scene for solo voice ⦠heard for the first time in New York in the season now closing [1906]â one of the âÂÂmore importantâÂÂ. The recitation is also included in a concert in Hampstead in 1902, at the Steinway Hall in 1904 and 1905 and at a Royal Academy of Music concert in 1906. Amy achieves a first by a performance of her music in Canada by the Toronto Ladies Trio, accompanying a âÂÂdelightful recitationâ of the poem by R.S. Pigott. The Leeds Mercury reports AmyâÂÂs composition of the music a mere 10 years late(!), while The Croydon Guardian reports on a performance in Eastbourne, describing the piece as âÂÂdelightfully given and thoroughly enjoyedâÂÂ. The Bromley Chronicle reports âÂÂa most artistically renderedâ recital including the poem in 1917 and there are favourable reports on another performance in Sheffield in 1918.
âÂÂThe Bird and the Roseâ continues to make regular appearances: At a school concert in Bournemouth, Hythe, East London, a cricket club fundraiser in Lincolnshire, a Meister Glee singers performance in Penzance, as part of the entertainment at the conclusion of a meeting of the Conservative supporting Primrose League in Exeter, on the programme sung by Jack Robertson as part of a concert by popular contralto, Clara Butt during a tour that takes in Exeter, Bristol and Belfast. Mr Robertson continues to perform the song in his own concert in Canterbury. âÂÂThe Bird and the Roseâ makes up part of a concert in Elgin and also âÂÂLadies Nightâ at the Society of Bristol Gleemen, a group of choral enthusiasts founded in 1886. The song is also one of the competition pieces for vocalists at the Bristol Eisteddfod, is included in an amateur performance in Cork and a concert in Drumglass, County Tyrone. The piece features in one of the Pump Room concerts in Bath, as part of the âÂÂannual conversaxioneâ of the Presbyterian Literary Society in Jersey in 1909 and is on the programme for the musical entertainment at the distribution of prizes at the Retford Miniature Rifle Club in 1914. The song is also included in the Henley in Arden Musical SocietyâÂÂs concert in 1914 and is mentioned as one of the popular songs of the time (meaning the Victorian era of Arthur Sullivan, as in Gilbert and Sullivan) (Simpson 1910).
Husband and wife Ethel Barns and Charles Philips include one of AmyâÂÂs songs in their Bechstein Hall Chamber Concert. AmyâÂÂs cello piece âÂÂTwilightâ is performed in Bath and earns an encore. Two of her duets, âÂÂTo Violetsâ and âÂÂJuly the Pedlarâ are included in the annual Grantham concert in 1902 and the same two songs appear in a 1903 concert in Norwich and also a fundraiser for the hospital in St Albans and a concert in Eastbourne. âÂÂJuly the Pedlarâ also features in a concert in Croydon performed by American opera singer Margaret Crawford and was âÂÂfinely sung ⦠and had to be repeatedâÂÂ. The song is also included in a school concert in Forest Hill in 1908 and is one of the competition pieces at the 1909 Bury and District Music Festival.
The Stage reviews her new compositions in 1903, âÂÂForget Me Notâ and âÂÂAn Idle Poetâ saying that they "should find favour as light itemsâÂÂ. The newspaper also misspells her second name as Elsie. The London Evening Standard finds them âÂÂvery short, but charming little songsâ and also misspells her name. These two songs are also reviewed in The Referee where they are described as âÂÂunpretentious, but might be made very effective by a sympathetic singerâÂÂ, but at least her name is spelled correctly. One of these songs, âÂÂForget Me Notâ is included in a concert by soprano, Charlotte Thudichum in 1906. The Daily Telegraph announces âÂÂa bright setting of NashâÂÂs âÂÂThe Sweet Springâ and one of âÂÂWeep you no more, sad fountainsâÂÂâÂÂ. Amy is one of three featured composers at a concert of new music at the Lyceum Club in 1906. âÂÂRomany Spring Songâ is on the programme at the 1909 Theydon Bois Choral Society concert in East London. âÂÂThe Fairy Cobblerâ is one of the competition pieces for a junior singing festivals in 1910, âÂÂRose Songâ in Bristol in 1911 and âÂÂSpring Dayâ in Morecambe in 1913. AmyâÂÂs songs continue to appear at the Ballad Concerts, this time performed again by Kirkby Lunn in 1914. New compositions âÂÂMy Little Houseâ and âÂÂThe Baby Child of Maryâ are advertised by Chappell & Co in 1914/5. âÂÂVery impressiveâ singing of AmyâÂÂs work by English contralto Marguerite d'Alvarez in 1914 is noted by the Daily Record and she is included in a concert in Plymouth. One of AmyâÂÂs newer piano pieces, âÂÂA Tale of the Seaâ features in a Letchworth concert in 1916.
Amy is referenced in the obituaries of one of her former pupils, composer and namesake Amy Woodforde-Finden who died on 13 March 1919.
Amy was apparently informed by a doctor that she would never have any children, but then produced two, one of whom, her daughter Pamela, was always at great pains to point out that Amy's own two children and all of their various offspring "are all Amy's children" (Norrington 2006). Amy and Nico move to France (where her two children are born, Jean in 1904 and Pamela in 1906) and she seems to divide her time initially between France and Margate (where her parents had retired to and where they are both buried, having succumbed to the influenza epidemic, dying within a few days of each other in 1913).
She kept a diary, (which spans the years 1907 to 1918) which she wrote as a sort of life-guidance manual for her two children. It is not a diary in the sense of a chronology of events, although a large section of it is devoted to the events of World War I and AmyâÂÂs evident displeasure at the whole affair. It also describes how she and Nico were constantly relocating in France during this period in search of a healthy environment for their children. These few entries give an insight into her opinions about music and composition.
24 October 1907 âÂÂIâÂÂm afraid my composing days are practically over. I worked too hard once upon a time, & now I can only do very little without feeling my head spin round. And as regards the opera it really does not matter; these light things are usually written & composed by half a dozen different people; they have no consistency whatever, but nobody minds.âÂÂ
21 March 1908 âÂÂI have been filling up my time with composition I have from past songs in hand; because expenses are heavy & I want to help. I hope neither of my dears will want to take up music as a profession, by the way! Their Mummy should serve them as an awful warning. If you put aside prima donas, infant prodigies, & a very few composers who happen to be momentarily the sage, there is no profession worse paid; & certainly there are very few more injurious to the health.âÂÂ
23 May 1908 âÂÂAll those things â hysterical religion, sentimental poetry, sad music â (of which I myself have written far too much!) all, as Ruskin says âÂÂwaste your strength in artificial sorrowâ â that strength which God gave you to bear your real troubles, to control your own nature, & to fight the battle of life.âÂÂ
Amy and Nico wrote to each other frequently during the nineteen years of their engagement and marriage from September 1900 to June 1919. âÂÂWe know that Mother and Father write to each other every day ⦠FatherâÂÂs letters often begin âÂÂDear Girlâ and end âÂÂYour loving husband NicoâÂÂâ (Norrington 2006). In 1919 their letters cover AmyâÂÂs composition of a song, which went through various iterations, often with Nico suggesting lyrics and advising on French grammar. Amy enters the song, which became Le Drapeau Bleu, into a competition run by the French newspaper LâÂÂOeuvre to compose a song to celebrate the end of the first world war and the establishment of a Society or League of Nations, as proposed by US President Wilson, which had chosen a blue flag as its symbol.
Even though The Blind Horse of Corfu gives the impression that Nico destroyed the song,âÂÂ⦠a 'Song for Peace' which had apparently won an important prize" (Norrington 2006), obituaries in The Stage and, suffragette newspaper, The Vote announcing Amy's death both report that "shortly before her death a jury of musicians and literary men in Paris had awarded her the prize, open to the world, for a song in honour of the 'Drapeau Bleu' - the ensign of the League of Nations". Le Drapeau Bleu was eventually published in 1920 and was performed by AmyâÂÂs granddaughter, Nicole Paramythioti one hundred years later, in January 2020 at a concert in Horspath, Oxfordshire organised by AmyâÂÂs great granddaughter, musician, Isabel Richards to celebrate AmyâÂÂs life and music.
Le Drapeau Bleu (Chant des Peuples)<br /> The Blue Flag (Song of the People)<br /> Words and music by A.E. Horrocks Paramythioti (1920)
Salut, ô frères de la grande foi!<br /> Salut, ô règne de la noble loi!<br /> Au jour naissant, de loin nous pouvons voir<br /> Briller le rayon du céleste Espoir.
Refrain<br /> Hissez le drapeau bleu<br /> Dans tous les coins de la terre!<br /> Hissez le drapeau bleu;<br /> Le Paix a vaineu la Guerre!<br /> Hissez le drapeau bleu:<br /> Partout les peuples sont frères<br /> Assez de fer! Assez de feu!<br /> Hissez le drapeau bleu!
Le monde, endormi dans un rêve affreux<br /> De sang, de tyrans et de malheureux,<br /> A lâÂÂaube sourit, tournant son regard<br /> Vers le reflet qui est notre étandard.
Refrain
Voici lâÂÂaurore, voici le soleil;<br /> Salut, ô matin de ce doux réveil!<br /> Du grand chemin sâÂÂélève un chant nouveau<br /> Chantez, ô frères! Salut au drapeau!
Refrain
English translation by Paul Davy (2020)<br /> Hello o brothers of the faith so great!<br /> Hello to the kingdom and laws of state!<br /> From far we can see in the dawnâÂÂs new light<br /> And a ray of hope shines celestially bright.
Chorus<br /> Hoisting the bright blue flag<br /> In every corner of the world!<br /> Hoisting the bright blue flag<br /> The Peace has overcome War!<br /> Hoisting the bright blue flag:<br /> Out there the people are brothers<br /> ThereâÂÂs enough iron! ThereâÂÂs enough fire!<br /> Hoisting the bright blue flag!
The world was sleeping through bad dreams at night<br /> Of blood, dictators and unhappy plight,<br /> The rising sun smiles, while turning his gaze<br /> To the reflection as our flag is raised.
Chorus
Here is the early dawn. Here is the sun;<br /> Hello good morning sweet waking begun!<br /> A new song grows from the great path to shout<br /> Say hello to the flag! Brothers sing out!
Chorus
Amy died on 4 December 1919 in Paris. She is recorded as a Deceased Fellow (under her married name) in the 1929/30 Prospectus for the Royal Academy of Music and Nico as a Subscribing Member. An obituary in The Etude sums up her life: âÂÂAmy Elsie [sic] Horrocks, pianist and composer, died lately in Paris. She was born in Brazil, of English parentage. She composed numerous songs, as well as compositions in larger form. Undine, an orchestral tone-poem, had performance at QueenâÂÂs Hall, London, with success. Her most famous song was The Bird and the RoseâÂÂ.
Nigel Burton writing in Sadie (1994), also makes the mistake of saying that Amy returned to Brazil and summarises AmyâÂÂs musical career: âÂÂHorrocksâÂÂs work suffer from a lack of musical substance, though her miniatures have a certain delicate charm. Her piano writing is usually derived from the style of Adolf Henselt and Anton Rubinstein; in larger works, however (such as the Cello Sonata and the Eight Variations op. 11 for piano quartet), of the texture is reminiscent of Brahms. She relied heavily on her rhythmic facility and was over-fond of canons. Her most successful piece is the experimental narrative scena with piano trio, The Lady of Shalott.âÂÂ
AmyâÂÂs work continues to be performed after her death. The Royal Academy of Music celebrates its centenary in 1922 and featured two of her songs prompting the Monthly Musical Record to recommend her song, Tragedy: âÂÂMiss Horrocksâ music is graceful and melodious. The most sensitive person need not hesitate to invest threepence in a copyâÂÂ. Later in 1922, âÂÂThe Lady of Shalottâ is performed in Wallingford and again in Forest Hill, London in 1925. AmyâÂÂs Christmas Carol is one of the performance pieces in a Scottish musical festival, although there is only one entrant. The Yorkshire Post reports another performance of The Lady of Shalott in Harrogate in 1929 and the piece also features in a concert in Orpington in 1938 and Eastbourne in 1940. Her cello pieces Irish Melody and Country Dance feature in another music festival in Somerset in 1934. The Bird and the Rose is performed in Chester in 1942.
Amy composed music for orchestra, chamber ensemble, choral and solo voice. The Bird and the Rose was recorded on a 78 record (Victrola (64751) by Herbert Witherspoon in 1917. Some of her other works have been recorded and issued on CD, including:
Copies of many of her compositions are held at the British Library. Selected works include (dates are dates of publication unless better dates are available):-
Date of Publication Unknown
1886
1889
1890
1891
1892
1893
1894
1895
1896
1897
1898
1899
1900
1901
1902
1903
1904
1905
1908
1911
1913
1914
1915
1917
1919