Graham Garton, GRSM, LRAM, ARCO, ARAM

16 Pages·2016·1.09 MB·English

by  P Harrod

Graham Garton, GRSM, LRAM, ARCO, ARAM

(Lincoln School 1937-1946)

From the Garton Archive at Lincoln Christ’s Hospital School

Occasional Paper No 47

compiled by

Peter Harrod

May 2016
Occasional Paper 25 from the Garton Archive, ‘A Quintet of Musicians’, summarises
the life and achievements of Graham Garton, younger brother of Professor Charles
Garton after whom the Garton Archive is named. This article is a sequel to that
earlier tribute, which was written by John Males, and will focus on Graham’s career
at Lincoln School, and on the prolific collection of his life’s work, which now occupies
a prominent position in the archive, and numbers more than twenty books,
manuscripts, files, folders and other collections of his work.
Born in Hull on 25th April 1929, Graham entered Lincoln School in September 1937
following the family’s move to Lincoln. The Admissions register recorded that his
father was a journalist, and that the family lived at 9 Chaucer Drive, a short walk
away from Lincoln School. As was the custom in the Lincoln School ‘House’ system
at the time, Graham was allocated to Moss House, the same House as his brother
Charles.
Music, like Art and Drama, was always something of a peripheral subject at Lincoln
School, and there were no opportunities to take the subject at examination level at
the School. However, lip service was occasionally paid to Music, as the July 1938
edition of The Lincolnian magazine testified. It was rare for the headmaster to make
reference to the subject in his report, but on that occasion Mr Franklin informed his
audience that class teaching in Music was at present confined to forms at and below
the Thirds, but it was hoped that it would be extended and expanded.
Mr Franklin congratulated the part-time Music teacher, Mr Clifford Hewis, Assistant
Organist at Lincoln Cathedral, on his recent elevation to the degree of Bachelor of
Music, and was delighted that he had recently been busy with other members of staff
forming a senior and junior choir. He also announced plans to develop instrumental
music teaching, which was at that time confined to piano lessons. Perhaps
influenced by the fact that a talented young musician, Neville Marriner, had recently
won the Gold Medal for solo violin, he appealed to parents to consider taking up the
instrument.
The first mark that the young Graham Garton made on his career at Lincoln school
was in being awarded the Form Prize two years in succession in 1938 and ’39.
However it was in Music that Graham excelled, and in the April 1939 Lincolnian, the
School Notes celebrated his winning of the Under 11 Pianoforte Solo at the Lincoln
Music Festival. In the same edition it was also reported that Steve Race, who had
recently left Lincoln school, had been awarded the Harry Sarjeon prize for
composition at the Royal Academy of Music. Steve, who went on to work as a well-
known jazz musician and broadcaster, and the celebrated conductor Neville Marriner
were also featured in the Quintet of Musicians article. I have written elsewhere how
remarkable it was that Lincoln School, not known for its music teaching, should
produce so many eminent musicians. Much of the credit for that should go to the
Cathedral Choirmasters, and to local private music teachers.
During the war years The Lincolnian magazines were necessarily curtailed not least
for reasons of austerity. Their pages increasingly featured lists of those Old
Lincolnians serving in HM Forces, and sadly those who lost their lives in that service.
In 1940 the Gramophone Club met for the first time during the mid-day interval with
‘about a dozen music lovers’, to listen to good music. The first session included
music by Bach, Mozart and Purcell, and I am wondering if Graham was one of its
younger members. The entry in The Lincolnian was signed by the appropriate
soubriquet ‘Turn Table’, which evoked memories of Messrs Spouge on the Cornhill,
where one could listen to new recordings in one of the booths.
It was recorded in the July 1941 edition of The Lincolnian that music teacher Clifford
Hewis had joined the RAF, and that he was to be replaced by the Cathedral
Choirmaster and Organist, Dr Gordon Slater, affectionately known as ‘Gassy’! No
doubt Graham and the other budding musicians of Lincoln School were fortunate
enough to be under the influence of his literal and metaphorical ‘baton’! Dr Slater
was later accorded the great gift of imparting some of his boundless enthusiasm,
with the result that music in the School was thoroughly enjoyed and performance
reached a high level. During his time at Lincoln School, Graham also came under the
influence of Dr Slater when he joined the Lincoln Cathedral choir, and later becoming
Head Chorister.
Certainly Graham’s musical credentials were highlighted in the Christmas 1943
edition of the School magazine, which celebrated his success in the Advanced
Pianoforte Examinations of the Royal Academy and Royal College of Music. No
doubt he would have performed regularly in the School Concerts. However, for some
reason, although details were given of the School Concert programmes, the names
of the performers were not normally included. Graham’s performance of Schubert’s
Impromptu in E flat in the Christmas 1943 concert, hpwever, was acknowledged. I
wonder if he also played Grieg’s Allegro Moderato from the Sonata in E Minor the
following year? The lack of detail in relation to the arts, compared to sporting
activities, appears to be indicative of where the School’s priorities lay.
I searched in vain for any evidence of Graham’s own sporting prowess, but could
find only one success when he came second in the High Jump competition in 1945.
It seems that he was more efficient in the ‘jumps’ along the piano keyboard, and the
dexterity required to play some of the more challenging pieces! He did, however,
become a Prefect, Sub-Librarian and Captain of Moss House, overseeing a ‘gradual
improvement in its status’. He also showed his literary talents by having the following
poem published in the ‘Original Contributions’ section of the July 1945 magazine,
written when he was in the Sixth Form (Classics).
I am in no position to judge its qualities as a poem, but it shows a passionate
concern for the music, and an ability to capture those images we which are all able
to evoke when listening to music which inspires, and titillates the imagination.
On Hearing Bach’s ‘Sheep May Safely Graze’
And with the fading of those last dim chords,
It is the ending of a melody,
Yet never ending in inspiring thought.
Above the theme is felt a sovereign awe;
Such inspiration, how could he resist?
I see, like him, the picture, feel and grasp
The meaning, too. Alas! no one else but he
Could ever give expression to that thought.

The picture, all complete, is now revealed,
Almost as if within a gilded frame
Formed by those bright-edged clouds which surely show
That eventide approaches and more peace.
Those mellow pastures, haven of the sheep,
In undulation back, beyond, they go,
Until they meet the sun-capped clouds. The tree
And underneath the loving shepherd sits,
With quiet exultation in his eye,
Surveys his flock. The bliss of solitude!
His faithful dog, one eye alert, lies still.
A lamb looks round at me, returns to graze.
One bleats and skips away to join his mate,

A gentle movement passes through the flock.
The dog and shepherd rise together, and
The sheep look up. They gather one by one,
And move way content towards the fold.
The sun sinks further, shadows longer grow,
The scene dissolves in perfect harmony.
Such is a place where ‘sheep may safely graze.’

G Garton VIc

In the Summer 1946 edition of The Lincolnian, Graham Garton was congratulated on
winning the G J Bennett Scholarship for pianoforte at the Royal Academy of Music,
and joined the growing list of Lincolnians who had gained musical success at the
highest level. He celebrated this award by winning the Long Jump that year with a
leap of several octaves! Clearly a late developer on the sporting front, he also
recorded creditable performances in the 100 and 220 yards races.
Thus Graham Garton left Lincoln School in July 1946, after a notable career there, to
take up his Scholarship at the Royal Academy of Music, where he gained his LRAM
for Piano Teaching in 1948, and achieved graduate status in 1949 when he was
awarded his GRSM. He was also awarded the Macfarren Scholarship for
Composition, which was held over until he completed his National Service, where he
was commissioned in the RAEC.
On his return to the Academy in 1951, Graham studied composition with Lennox
Berkeley, and conducting with Ernest Read. During that time he also continued his
piano and organ studies, and gained the ARCO in 1953.
Graham began teaching at Repton School as Assistant Director of Music in 1953,
but in January was appointed by Norman Sinclair to be Assistant Director of Music at
the Royal Masonic School for Boys at Bushey where the Director was Terence
Lovett. Within twelve months Lovett had moved on to the Royal Academy of Music
and Graham became Director of Music (without any assistant for several years until,
after HMI representations, he had a series of very fine assistants). He remained at
Bushey until the closure of the School in 1977. His 24 years there turned out to be
the principal part of his professional life. He continued the traditions which had been
established with relation to the Chapel Choir (and Congregational Practices), and the
Choral Society (often combining with the Royal Masonic School for Girls School at
Rickmansworth or with St. Margaret's School, Bushey).
Graham was able to substitute his post-National Service obligation in the Territorial
Army by becoming an officer in the School Cadet Corps ( First Cadet battalion of the
London Rifle Brigade) rising to the rank of Captain and directing the Regimental
Band which fulfilled many duties both in School parades and in Concerts. The many
outside engagements of the Band included The Royal Tournament, The Lord
Mayor's Show, Remembrance Day parades and deputising for the regular Rifle
Brigade Band when it was stationed abroad. With the Band he attended more than
20 Annual Camps where the Band inevitably became 'the enemy' in battle exercises
including one on Luneberg Heath in 1961 when the Corps went to Germany.
At Bushey, Graham was supported by a substantial number of full-time staff and
visiting music staff who enabled a vast number of boys to learn instrumental, vocal
and ensemble music. Each School Term had a programme of Concerts (both
internal and with visiting artists) and a full progamme of musical events. The
expansion was so great that an HMI Inspection resulted in the appointment of a full-
time Secretary for the Department and a magnificent extension to the Music School
with extra teaching and practice rooms, a classroom and a Recital Hall. He was
greatly encouraged by Hugh Mullens during his 15-year Headmastership and many
opportunities occurred for Graham to feature his own compositions, whether in
Chapel Music, Incidental Music for Plays, Military Band music, Choral Society
Cantatas or Instrumental music for soloists – in House Music Competitions for
example.
Maestro Garton in his pomp
During that period in Bushey he was elected ARAM and became an Examiner for the
Associated Board of the Royal Schools of Music, examining not only in the UK but
also in overseas tours to the Far East and USA. From 1967-1989 he was Conductor
of Watford Philharmonic Society, which comprised a Choir of around 200 Voices and
a Symphony Orchestra. On his departure to Bermuda the Society bestowed on him
the title of Conductor Emeritus. In this capacity he returned to Watford in March 2015
for a performance of his Magna Carta Cantata conducted by Michael Cayton.
Moreover, he was for many years a member of the Association of British Choral
Directors, the Music Masters Association and the Incorporated Society of musicians
of which he is now a Fellow.
After the closure of the Royal Masonic School in 1977 he became Director of Music
for the next twelve years at St. Margaret's School, Bushey, an Independent Girls'
Boarding and Day School much renowned for its Chapel Choir, which won the
Voices in Concert Competition at the Royal Festival Hall in 1987, followed by a week
at the Edinburgh Fringe Festival singing at Services in St. Mary's Episcopal
Cathedral and giving Concerts.
Graham married Barbara Howson, lyric and coloratura soprano in 1955. They
celebrated their Diamond Wedding in 2015. All four children were baptised in the
Royal Masonic School Chapel of St. Alban. Barbara was a frequent soloist and
recitalist and is still singing and teaching. She taught Voice and Piano at Bermuda
Academy of Music. They now have six grandchildren. Barbara and Graham continue
teaching at their home in East Heckington.
Graham Garton has always been active as a composer particularly of choral and
solo vocal music. Much of his early output was published by the now defunct
Oecumuse. His original Full Score of his choral/orchestral Fanfare Quo Fata Ferunt
(Bermuda's National Motto) is lodged in the Government Archives Office. His
professional work has often taken him abroad notably to Germany where Mainz is
Watford's Twin Town. He has examined in Singapore, Malaysia, Hong Kong, India
and USA.
In Bermuda, Graham Garton directed many public concerts including what was
believed to be the world's first open-air performance of Handel's Messiah in the
International BT Voices for Hospices event in 1997. He has featured in recitals in
many venues including the Anglican Cathedral where he has also played the organ
for Services. He has been and Adjudicator member of the British Festivals for Music
and also the International Music Festivals organisation. He was Adviser to the
Bermuda Festival for the Advancement of the Performing Arts. He was also a
delegate at the 4th International Choral Symposium in Sydney, Australia in 1996 and
attended the Rotterdam Symposium in 1999.
The academic year 1999-2000 saw the composition of a major new choral work
Millenium Symphony, which lasts over 106 minutes. Written for mixed choir, contralto
(mezzo-soprano) soloist and symphony orchestra, it comprises two parts. Part 1,
March of the Years, covers all the years from the Birth of Christ to the year 2000.
Part 2 is a setting in six movements of Mental Fight from the Millennium poem by
Ben Okri, the Nigerian Booker Prize-winning poet. An Academy Chorus was formed
and symphony orchestral players engaged (heavily reinforced by players from USA
including horns and harps) for the world Première on 25 June 2000 in St John's
Church, Pembroke, Bermuda.
In the year 2000, Graham returned permanently to the UK after having been resident
in Bermuda since 1989. He completed ten years as Director of Bermuda
Philharmonic Society which comprised a Choir and Symphony Orchestra. From
1990-94, he was conductor of the Geoffrey Tankard Foundation Chamber Choir and
from 1994-2000 he was Conductor of Bermuda Chamber Choir. Until 1994 he was in
full-time employment with Dunbarton School of Music first as Specialist Piano
Teacher and from1991 as Director. In the summer of 1994 he was appointed
Principal of the newly founded Bermuda Academy of Music and completed six years
at this flourishing and expanding school of music which had over 300 individual
students. He specialised in piano and organ teaching, conducting, choir training and
composition. He also has voice students, does instrumental coaching and teaches
theory, aural, sight-singing and musical appreciation.
Shortly after his return to England, Graham was appointed Organ and Choirmaster
at St. Botolph's Church, Quarrington, Sleaford, and began his tenure of twelve years
on Passion Sunday, 1 April 2001. He expanded the Choir and its repertoire. He was
appointed Conductor of Sleaford Choral Society in September 2001 and directed
some 19 Concerts in St. Denys' Church: Christmas Carol Concerts, Stainer's
Crucifixion, the Mozart Requiem, a Jubilee Concert of Traditional British Songs, Five
Centuries of Choral and Organ music, Haydn's Creation, J. S. Bach's St. John
Passion, Mendelssohn's Elijah, Bach's Easter Oratorio and Haydn's Nelson Mass.
Graham has always enjoyed planning and executing celebratory concerts. There
was one at St. Margaret's School marking Graham's 100th term as Director of Music
in which all the programme items had connections with the number 100 (the girls
dubbed it a '100th birthday concert'). His 70th Birthday Concert in Bermuda featured
Rachmaninov's Second Piano Concerto, Poulenc's Gloria and Ravel's Bolero. His
75th birthday Concert in Sleaford included some of his own works. His 80th Birthday
celebration in 2009 included extracts from The Armed Man, from Mass for Peace by
Karl Jenkins, and a Song Cycle for Tenor and Piano by Graham, A Song of the Day,
a setting a four poems by J. R. Heron – Dawn, Noon, Evening and Night. The Tenor
was Julian Stocker with Rowland Lee at the Piano.
Outside musical activities are rarer now but Graham has recently played the organ
for several churches within 10 miles of East Heckington, including the 2015
Christmas Eve Midnight Service in the Church of the Holy Cross, Scopwick.

It is abundantly clear from his curriculum vitae and his prolific collection of
compositions that Graham Garton has enjoyed an outstanding career in the musical
field to rival his elder brother Charles’ achievements in the Classics. His oeuvre now
occupies pride of place in the Garton Archive at LCHS, and a summary is
reproduced below in Appendix 1. All of Graham’s compositions are available on the
Score Exchage website (www.scoreexchange.com) but I have reproduced one
recent anthem in Appendix 2 below, which he composed in honour of the Queen’s
90th birthday, and I have included a copy of the correspondence received in
acknowledgement.
Perhaps a case can now be made out for renaming the Garton Archive The Garton
Family Archive? Certainly no-one can doubt the respective talents and achievements
of both those accomplished alumni of Lincoln School.

Charles (right) and Graham in the Garton Archive at LCHS

Appendix 1 Graham Garton’s Compositions

FOLDER 1

A
1. ABCD Grace SATB unacc.
2. A Christmas Round in Nine parts- simple Piano arrangement
3. Clutch of Haiku Four Solo Voices and Two Percussionists in Pink Box File
4. Adam lay ybounden SATB unacc. Low key
5. Adam lay ybounden SATB unacc. High key
6. Adam lay ybounden SATB unacc. with Piano Reduction
7. A Flight of White Steps - Piano in Pink Box File ]
8. A grief ago (Sop & Piano) Song Cycle - 5 Songs Ah me! Ah me! SATB unacc.
9. Alice in Wonderland - Suite for Two Pianos – 4 Movements (2 Scores)
10. All and Some – Carol for Solo Male Voice and SATB unacc
11. A Man's Reach (Baritone) Mosaic 1.5812.
12. A Man's Reach ((OrganA Solo) on Sib.6
13. A Marriage Blessing - Unaccompanied Vocal Duet
14. A Mystery Grace – Voice and Piano
15. An Die Musik (arr. SA)
16. An Evening Blessing (Pf arr.)
17. Annunciation Carol – SATB unacc. Oecumuse
18. Annunciation Carol – SATB unacc.with Piano Reduction
19. Angels (Coloratura Sop. With piano) No.1 of Three Contrasts for Christmas
20. A Prayer at Pentecost -SSA SATB unacc. Morley
21. A Prayer for Heretics – Song for High Voice unacc.
22. A Prayer for York – SATB unacc.
23. A Riddle-Roddle Rhyme – Voice and piano
24. Arrival of the Queen of Sheba- Organ Short version
25. A Song of the Day (Tenor or Sop with Piano) Song Cycle – 1.Dawn 2.Noon 3.Evening 4.Night
26. As with gladness (arr.)
27. Archive Fanfare for SoloBb Trumpet
28. Autumn Fires Song for Tenor Voice and Piano
29. Autumnsong Choir SATB a cappella +Pf
30. Autumn Journey Song Cycle for Baritone and Piano with optional Flute & Oboe
31. Autumnsong Choir SATB Unacc. Optional Piano Accompaniment and Piano SATB Reduction

FOLDER 2
B
31. Bassoon Concerto – Published by Armwlin Musica, Italy (see separate box file)
32. Battle Hymn of the Republic – arr. SATB unacc. or Organ
33. Beauty Undecked – Song for Baritone Voice and Piano
34. Be Still My Soul – Anthem for SATB unacc.
35. Bridal Chorus from 'Lohengrin' – Wagner for SATB and Organ
C
36. Candle in the Wind – arrangement for Choir and Orchestra (Score missing)
37. Carol Carillon 'Nowell' SATB with Organ
38. Carol Carillon 'Two-part' with Organ (as above)
39. Cassocked and Ruffed (Score missing)
40. Choir Grace (No.162) from J.S. Bach for SATB unacc. with Piano Reduction
41. Choir Grace (No.162) from J.S. Bach for SATB unacc. without Piano Reduction
42. Choral Fanfare with Full Orchestra 1994 (Piano Reduction)
'FIDEM PRAESTAMIBUS' [Yes you can count on us]
43. Christ is the King desc.arr. on Sib.6
44. Christmas comes but once a year – SATB with Piano – extended version of No.1 Christmas 9-part
Round
45. Christmas is coming – for Double BassClarinet Sonata for Bb Clarinet and Piano – includes Clarinet
Part
46. Contretemps Songs -Cycle
47. Come again SSA Dowland arr. Sib.
48. Contretemps Songs – (Mezzo-Soprano and Piano) Song Cycle – 4 Songs
D
49. December Benediction SATB unacc. with Piano Reduction
50. Descant 'AR HYD Y NOS'
51. Descant 'DARWALL'S 148th'
52. Descant 'AYLESBURY'
53. Descant 'MONKLAND'
54. Descant 'MONK'S GATE'
55. Descant 'O TANNENBAUM'
56. Descant 'ST. CLEMENT
57. Descant 'VULPIUS'
58. Descant' 'WILTSHIRE'
59. Do Not Fear, O Soil – Anthem for SATB Unacc. With Piano or Organ ad lib.
E
60. Easter Song SA Men unacc.
61. Echo – Part-Song SATB unacc.
62. Epigraph – Song for Tenor Voice and Piano
63. Envoi - Part Song SATB unacc. with Piano Reduction