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1546
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Invitation to the opening of Conway Hall
Description
An account of the resource
An invitation from the committee of South Place Ethical Society to the opening of Conway Hall, on Monday 23rd September, 1927.
Creator
An entity primarily responsible for making the resource
South Place Ethical Society (London, England)
Publisher
An entity responsible for making the resource available
South Place Ethical Society (London, England)
Date
A point or period of time associated with an event in the lifecycle of the resource
1929
Rights
Information about rights held in and over the resource
<p><a href="http://creativecommons.org/publicdomain/mark/1.0/"> <img style="border-style:none;" src="http://i.creativecommons.org/p/mark/1.0/88x31.png" alt="Public Domain Mark" /></a> <br /> This work (<span>Invitation to the opening of Conway Hall</span>, by the <span><span>South Place Ethical Society</span></span>), identified by the <a href="www.conwayhall.org.uk"><span>Humanist Library and Archives</span></a>, is free of known copyright restrictions.</p>
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/11
Subject
The topic of the resource
Conway Hall (London, England)
Opening ceremonies
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
South Place Ethical Society
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dd8ce103ef2d9653209782796330980e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Circular to the members of the South Place Ethical Society regarding the need for a new building
Description
An account of the resource
A circular disseminated to the members of the South Place Ethical Society prior to a special general meeting of members regarding the need for a new building.
Creator
An entity primarily responsible for making the resource
South Place Ethical Society (London, England)
Contributor
An entity responsible for making contributions to the resource
Smith, Caroline Fletcher
Read, F. W.
Date
A point or period of time associated with an event in the lifecycle of the resource
1913
Rights
Information about rights held in and over the resource
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width:0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License" /></a><br />This work by <span>Conway Hall Ethical Society</span> is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/1
Subject
The topic of the resource
South Place Ethical Society (London, England)
Buildings
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Publisher
An entity responsible for making the resource available
South Place Ethical Society (London, England)
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
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dddfd262f53561cba457f9225c44c404
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Letter from F. G. Gould to Mr. Turnadge, 14 December 1944
Description
An account of the resource
A letter from F. G. Gould, editor of the Monthly Record to Mr. C. James Turnadge regarding response letters from those asked to support the building fundraising appeal.
Creator
An entity primarily responsible for making the resource
Gould, F. G.
Date
A point or period of time associated with an event in the lifecycle of the resource
1944
Rights
Information about rights held in and over the resource
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width:0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License" /></a><br />This work by <span>Conway Hall Ethical Society</span> is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/9
Subject
The topic of the resource
Conway Hall (London, England)
Fund raising
Buildings
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
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608a143e04f8670a000f4d273e1d4d02
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Letter from P. Chalmers Mitchell to Dr. Delisle Burns, 18 March 1926
Description
An account of the resource
A letter from P. Chalmers Mitchell to Dr. Delisle Burns saying that although he sympathises with most of the Society's objects he cannot support of the use of his name in the Society's appeal.
Creator
An entity primarily responsible for making the resource
Mitchell, P. Chalmers (Peter Chalmers), Sir, 1864-1945
Date
A point or period of time associated with an event in the lifecycle of the resource
1926
Rights
Information about rights held in and over the resource
© Zoological Society of London. Digitised with their kind permission.
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/2
Subject
The topic of the resource
Conway Hall (London, England)
Fund raising
Buildings
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
-
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db259e9a109cc265abee8228c3d961c2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Letter from A. E. Housman to the Honorary Secretary of the South Place Ethical Society, 30 March 1926
Description
An account of the resource
A letter from A. E. Houseman to the Honorary Secretary of the South Place Ethical Society saying that he does not wish his name to be included in the appeal committee.
Creator
An entity primarily responsible for making the resource
Housman, A. E. (Alfred Edward), 1859-1936
Date
A point or period of time associated with an event in the lifecycle of the resource
1926
Rights
Information about rights held in and over the resource
<p>© The Society of Authors as the Literary Representative of the Estate of A E Housman. Digitised with their kind permission.</p>
<p>Absolutely no commercial use without consent from the Society of Authors. Please credit the Society of Authors if making non-commercial use of the letter for educational purposes.</p>
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/5
Subject
The topic of the resource
Conway Hall (London, England)
Fund raising
Buildings
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
-
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ba651a22a8f8717341237562b0126dc6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Ephemera
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Letter from Harley Granville-Barker to "my dear sir," 8 April 1926
Description
An account of the resource
A letter from Harley Granville-Barker to "my dear sir" saying that he does not wish to have his name included with the list of supporters for the building funding appeal.
Creator
An entity primarily responsible for making the resource
Granville-Barker, Harley, 1877-1946
Date
A point or period of time associated with an event in the lifecycle of the resource
1926
Rights
Information about rights held in and over the resource
<p>© The Society of Authors as the Literary Representative of the Estate of H Granville-Barker. Digitised with their kind permission.</p>
<p>Absolutely no commercial use without consent from the Society of Authors. Please credit the Society of Authors if making non-commercial use of the letter for educational purposes.</p>
Identifier
An unambiguous reference to the resource within a given context
SPES/3/2/1/6
Subject
The topic of the resource
Conway Hall (London, England)
Fund raising
Buildings
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Language
A language of the resource
English
Conway Hall
-
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e2c638744eba0e618bca63321838f0ee
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture and Place
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Description
An account of the resource
A collection of digitised items from the Humanist Library and Archives telling the story of buildings and spaces occupied by the Conway Hall Ethical Society (formerly the South Place Ethical Society). Also includes several born digital items.
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Subject
The topic of the resource
Architecture
Conway Hall (London, England)
South Place Chapel, Finsbury
Mansford, Frederick Herbert (1871-1946)
Language
A language of the resource
English
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Printed drawing
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Red Lion Square from "The Municipal Parks Gardens, and Open Spaces of London: their history and associations ... Illustrated, etc"
Description
An account of the resource
This image has been taken from scan 000540 from "The Municipal Parks Gardens, and Open Spaces of London: their history and associations ... Illustrated, etc". The title and subject terms of this image have been generated from tags, created by users of the British Library's flickr photostream.
Creator
An entity primarily responsible for making the resource
Sexby, J. J. (John James)
Publisher
An entity responsible for making the resource available
E. Stock
Date
A point or period of time associated with an event in the lifecycle of the resource
1898
Rights
Information about rights held in and over the resource
<p><a href="http://creativecommons.org/publicdomain/mark/1.0/"> <img style="border-style:none;" src="http://i.creativecommons.org/p/mark/1.0/88x31.png" alt="Public Domain Mark" /></a> <br /> This work (Red Lion Square from "The Municipal Parks Gardens, and Open Spaces of London: their history and associations ... Illustrated, etc", by <span><span>John James Sexby</span></span>), identified by the <a href="http://www.bl.uk/"><span>British Library</span></a>, is free of known copyright restrictions.</p>
Identifier
An unambiguous reference to the resource within a given context
<a href="http://europeana.eu/portal/record/9200387/BibliographicResource_3000117253123.html">http://europeana.eu/portal/record/9200387/BibliographicResource_3000117253123.html</a>
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Oral Histories
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A collection of oral histories relating to Conway Hall and the Conway Hall Ethical Society
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Humanist Library and Archives
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Conway Hall Ethical Society
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2016
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Vilbr, Rosa
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Honey, Gordon
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Humanist Library and Archives, Conway Hall
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<a href="http://conwayhallcollections.omeka.net/items/show/20">Gordon Honey interview summary</a>
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Interview with Gordon Honey by Rosa Vilbr, 9 May 2016
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Honey, Gordon
Vilbr, Rosa
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Conway Hall Ethical Society
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2016
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<p><a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width:0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License" /></a><br />This work by <span>Conway Hall Ethical Society</span> is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.</p>
<p>For permission to create a derivative work please contact the <a href="mailto:library@ethicalsoc.org.uk?Subject=Omeka%20query">Humanist Library and Archives</a>.</p>
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Honey, Gordon
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Conway Hall
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Oral Histories
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A collection of oral histories relating to Conway Hall and the Conway Hall Ethical Society
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Humanist Library and Archives
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2016
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Gordon Honey, tenor
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Vilbr, Rosa
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Conway Hall Ethical Society
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2016
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BD-AP0023
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PDF Text
Text
INTERVIEW SUMMARY FORM
Interviewee: Gordon Honey
Interviewer: Rosa Vilbr
Date of Recording: 9/5/2016
Length of Recording: 02:04:41
Time Code
0:00:00
Summary
Date of birth16.02.1926. Was born in Bolton, Lancashire. Spent a few
years there as a child, but spent most of his childhood in Manchester,
in Higher Crumpsall.
He had an older brother who was born out of wedlock in 1922. “I had
a mother who was quite special. She was a wonderful mother, I don’t
think she was such a good wife but she was a wonderful mother and
that’s the best thing for a child”. His mother refused to marry his
brother’s father, who had fought in the First World War with his
uncles. She also refused to “get rid of it” (the baby).
After his brother was born his mother travelled steerage to America
to join her older sister. While she was there she met his father,
Ernest Honey, who was American. When she was pregnant with
Gordon she came back to Bolton to nurse her father. Gordon’s father
continued to send money until 1934, although his mother had made
no attempt to return to America. She never went back. His father
never came to England.
0:04:27
His mother lived off the money his father sent until that stopped in
1934. His father was a mining engineer. After 1934 his mother was
forced to go out to work.
She sold ‘Dolly Blues’ which were made by Ricketts Blue which made
your washing whiter. His mother used to go door to door selling them
for a penny each on commission. His mother was a wonderful
mother, with a wonderful sense of humour.
His brother died in 1932, and she then went into Spiritualism. In 1939
they moved to Morecambe, where they spent the war years.
07:17:00
Interest in music stemmed from school: “I had a pretty voice at
school”.
He left school at 13 because when they moved to Morecambe his
�mother thought he may as well get a job a year early. He worked as
an errand boy and did different jobs.
His mother during the war got very much into Spiritualism: reading
palms, tea leaves. As he had a good singing voice his mother would
send him under the stairs. She said “when I cough my dear I want
you to sing Ave Maria”. “The distance of this child’s voice coming
from under the stairs enhanced her spiritualist activities.” His mother
met a woman called Martha who was a medium and, unlike his
mother, could go into trances. They joined forces. During the war
many people needed reassurance and his mother would make them
feel better. Martha told his mother that Ave Maria was not a good
song, that Danny Boy would be better “because the Protestant spirit
connections in heaven had objected to the Catholic Ave Maria”. By
then he was working on Heysham Docks and his friends used to
come and sit on the top of the stairs and laugh at what was going on.
His mother sincerely believed in Spiritualism, influenced by having
lost a child. She used to set a place at the table for his brother long
after he had died.
0:13:30
He joined the army in 1944 at 18 but because he had had rheumatic
fever he only did the training (in Ireland) and was stationed in Leeds.
After the war his mother decided they would go back to America to
stay with his aunt and so they travelled to London: although there
were no ships available for civilian travel after the war so they had to
wait.
0:14:35
He got a job at the London College of Music in Great Marlborough
Street later run by Dr Lloyd Webber. He got a job as an office boy
and had free singing lessons there. Then he got a scholarship from
London County Council to the Guildhall School of Music and Drama,
then in John Carpenter Street.
He was living in the YMCA in Tottenham Court Road. There was a
music publisher living there, and he recommended a job at Schotts,
the music publishers. Next door he noticed the London College of
Music and wondered if they give singing lessons. He was sent in to
speak to the director, Dr Bromley Derry, a “very eccentric chap”. He
asked what he could sing and he said Ave Maria, and asked what
version? Gordon said “oh, is there more than one?” which made
Derry smile. Dr Derry offered him a job as an office boy, to write
certificates and make tea, so he never made it to Schotts. Later he
would go back to the London College of Music to teach. He won a
bursary, which paid for his singing lessons.
0:20:30
He had a natural singing voice. That’s quite a controversial subject!
Singing is one of the most difficult things to teach. Everyone can sing
and to put over a song you don’t have to have a fantastic voice.
Anecdote about an actor, Rex Harrison, singing a song by speaking
to the music, which brings a tear to his eye.
0:22:00
He got a British Council scholarship to study in Germany which is
where he learnt German Leider which he performed at Conway Hall.
�He studied there with a famous baritone and coach called Gerhard
Hüsch.
0:22:50
Got basic training at London College of Music. He learnt from a
teacher who was in the BBC chorus and learnt many English songs.
That was a good grounding for his singing. He learnt Vaughn
Williams, early English songs, George Butterworth.
0:24:08
He later met Vaughn Williams. When he came back from Germany
he did a lot of broadcasting, live recitals at 9 am. He chose to do a
song by Vaughn Williams so he wrote to him to ask if he would hear
the songs and give him some idea of the tempo. He said yes, asked
him to bring a pianist to play as he was too old to play. Vaughn
Williams asked him to recite the poem before he sang the song,
which flabbergasted him: singers are not necessarily good actors! He
got through it. Vaughn Williams’ tempo was very slow, Gordon had it
timed at the BBC for 3 minutes, but at that pace it would have taken
6. When you’re young you sing quicker!
0:27:27
He didn’t have particular ambitions. He had an agent, who got him
into the open air theatre in 1956 to sing the Shakespeare songs. He
got the job as a singer in As You Like It. There were famous actors
like Robert Thorndike on the stage. He realized when he heard the
speech all the world’s a stage that he was in a famous play: “What
would my mother and my auntie Ethel in Bolton say?” It was
wonderful training listening to the actors, now he loves poetry more
than singing.
0:30:40
He wrote, later on, a one man show: Gilbert and Sullivan a la carte
and toured the world with it. He went on the QEII with it. It was
extremely popular. In 1970 he toured South Africa with the Cape
Performing Arts Board.
0:31:55
He was a full time student at the Guildhall. He had a grant as well as
a scholarship from the LCC. His first teacher was nothing special but
later on he had Walter Gruda, a Jewish German refugee, who ran a
Lieder class. There was a famous Russian singer Oda Slobodskaya,
at the Guildhall but everyone wanted to learn German songs instead,
even though it was right after the war, Schubert and Schumann etc.
He continued lessons privately with Gruda afterwards.
He wrote to Peter Pears (tenor who worked with Benjamin Britten) to
ask advice for who he should study with in Germany. Peter Pears
recommended Gerhard Hüsch. Hüsch knew a lot about vocal technique
and gave him advice about the human voice and the value of related
vowel sounds and how they change as the notes you are singing get
higher. The vowel sounds need to change as you sing or you might
break your voice. He had difficulty with his high notes before this
training. Sings some examples of vowel sounds changing.
He didn’t know Peter Pears personally but he’d been to hear him sing
and there was something about him performing with Britten. He had
listened to him and so wrote to him and met him for half an hour. Many
years later he spoke to Peter Pears and said he was lucky to live with
Britten as you’d have lots of rehearsal time. But Pears told him he was
�lucky if he got 20 minutes! The reason was Britten adored jazz and he
thought you could over rehearse. Talks about importance of leaving
something to chance. Being trained you lose the ability to sing jazz – he
tried to rehearse an Ella Fitzgerald song but it was all wrong. As a
trained signer you lose something natural jazz singers have.
0:47:00
Going out in London as a young person: when he worked at the
London College of Music as an office boy he had free tickets to go to
the Wigmore Hall so he went 3 or 4 times a week for concerts.
Vaughn Williams was often in the audience listening and he used to
see him there. He heard all the great musicians. Talks about how
badly paid the teachers at the music schools were and how the law
was changed to put them onto the teaching pay scale. Even Oda
Slobodskaya was living in poverty.
Was enthusiastic about all kinds of music. Before he was trained he
would “croon”, and has always had feeling for light music. When he
lived in Morecambe there were talent competitions in the Winter
Gardens. Sings ‘There’s a Cowboy Riding in the Sky’. He sang that in
a vocal competition and won the talent show – he thinks because he
was more local than the competition!
If you have a natural singing voice you just copy what other people
do.
0:55:05
How came to perform at Conway Hall: probably through his agent.
He thinks Conway Hall used to contact artists to see if you would
appear. Mostly they didn’t have singers, they only had quartets. One
singer per season, according to the program he has. He was
fortunate enough to be asked to do that. “The money wasn’t that
great”. Can’t remember how much he was paid.
Talks about the other performers at the April Fools Concert he
performed at – all sorts of well-known people on the list. John Amis,
who had a television show “a very flamboyant gentleman”.
0:58:37
First performance at CH was the song cycle, Schubert with Paul
Hamburger. Did about 3 concerts at CH. First was in 1964. Was 28
(RV wrongly says 32) at the performance. Says male voices develop
later, compared to female voices which mature younger.
Anecdote about difficulty of teaching singers without natural talent.
You get this attitude with singing rather than other instruments “its
such a natural part of you and everyone can do it to a point”.
Details of the night: “I was terribly, terribly nervous. I always suffered
dreadfully with nerves.” That’s why he was happy to do other things
than perform and take on other work.
Talks about how he was given translation work when he came back
from Germany, first accompanying Romanian musicians to hear
Peter Pears and Benjamin Britten perform. Because of his personal
connection he was able to arrange for the Romanians to run into
Britten ‘by accident’.
�There’s no rational explanation about why some performers are
nervous and others are not. Singers have to worry about getting
colds which can make it impossible to sing. “If someone breathes
over you you run a mile … so we are a difficult lot”.
1:10:54
Had come to 1 or 2 of the CH concerts before but not a lot. CH was a
wonderful experience. First impression: thank goodness it’s not the
Albert Hall because it’s a much smaller hall to work in. How nice to
be getting up to sing and to be paid for it – but that increases your
nerves “because you are only as good as your last concert”.
As a classical singer you have to stand stock still: “if you’re a male
singer you are stuck with only one or two positions, you can’t put your
hands in your pockets”. Women can make more movements but men
must stay still.
1:14:34
Has no memories of the architecture/building because he was
nervous before the concert. Singers are obsessed with themselves
and their performance “it’s a question of me, me, me”. Singers are
neurotic, anxious about their voices.
The hall acoustics were very good. Friends who came to hear him
said it had gone alright.
It depends what you are singing – he was most nervous during
‘auditorio’ [phonetic] when you had to sit on display the whole time.
The concert at CH was different because he was performing alone
and could get into the song cycle.
The song cycle lasts about an hour. Because you are continually
singing its better than sitting and waiting on view. Talks about how
difficult he thinks dancing is – tougher than being a singer, although
classical singing is not easy.
1:19:32
At the point he performed at CH his voice still had to develop
although he had already had his training in Germany (1958-1960).
He gave Leider recitals on the BBC quite a lot, which is why he was
invited to CH.
The other quartets and ensembles on the bill were very distinguished
and he was very honored to be asked to sing with these musicians:
Melos ensemble, Amici string quartet and the London string quartet.
“It didn’t pay the rent for a year like a pop singer, nonetheless I didn’t
mind fitting in, doing other jobs”. Anecdote about one of his
translation jobs where he was asked to use technical German which
he did not know – he only had conversational German.
1:24:25
He always arrived at least an hour before a concert because he was
neurotic about central heating. He would arrive with a set of keys to
turn the radiators off. “and while the audience would be feeling a bit
chilly, Mr Honey’s voice would be feeling very comfortable because
the heating wouldn’t make him sing out of tune, because an
overheated place is fatal for a singer”. But he didn’t have to use his
�keys at CH because the temperature was already good.
There was an artists’ room to change in. It wasn’t evening dress or
tuxedo. You wore a suit or dark clothes.
1:26:32
The audiences were always very good at CH. “There was a lot of
polite clapping. You didn’t get cheered on unless you were a famous
carouser or something.” There was always a good crowd in so you
didn’t just sing to half a dozen people. Sometimes if you booked
Wigmore Hall you’d sing to 20 people. CH had their own subscribers
and they circulated to their own audiences. However, not all those
who liked quartets would like singers, but perhaps it was a different
audience. CH probably advertised in musical magazines and then
you’d hopefully have friends who would come and support you.
He didn’t know anyone who worked at CH. He had an agent and they
may have been in touch with him.
The audience were distinguished: they were interested in the arts.
Anecdote about Kenneth Williams being outside one of his concerts
at Wigmore Hall. He was a distinguished audience member!
1:32:06
The other concerts he did were the April Fools Concert and he did
Winterreise at CH. But he only sang 2 or 3 times at CH. “but CH
concerts always had a great prestige because they only employed
the very finest of artistes! I have to say that don’t I?” [laughs] The
quartets were world famous, he wasn’t.
Most audience members would pay on the door. Does not know if CH
had subscription concerts. The price on the program says 3 shillings.
Very low compared to today’s prices. People didn’t earn very much
so it was all relative. He remembers paying £1.25 a week for a room.
When he came to London in the forties there were lots of old ladies
with large houses in Kensington and Chelsea who let rooms.
1:38:16
How did he prepare for a concert? He was always in training, like an
athlete. “That’s why a singer’s life is absolute hell” - because if you
catch a cold you can’t perform. He didn’t do a lot of warming up.
Some musicians never practice at all.
Important to keep fit. Not as physically taxing to sing as to dance or
play sport. But you did feel tired after a concert “when you sing you
sing with your whole body, you are giving everything you’ve got.”
Would not go out with friends after a concert. Was always an early to
bedder and early riser. Loves early mornings and doesn’t like night
life.
Singers have to be careful about their diets. In the 1970s he had
health problems and he went to a doctor who recommended he go
vegetarian and he became fit again.
1:44:00
Favourite memory of Conway Hall? Just of being invited to be with
these well-known people, it was an honour.
�1:44:45
He wrote his Gilbert and Sullivan show in the late 1960s. He still
adores Gilbert and Sullivan.
He performed at a summer season at Cromer with Ronnie Corbett in
the 1950s. It was Ronnie Corbett’s first job. He was always very easy
to get along with. He had a marvelous personality.
1:48:31
Break in recording
How did the lighter music he did compare to performing at CH? “It
was easier in a sense.” Although he was still nervous but at Cromer
he had to introduce people and he found it terrifying. Children should
be taught drama so they don’t get nervous speaking in public.
He sang a song called ‘Seafever’ at Cromer and Ronnie Corbett used
to send him a Christmas card with the lyrics in. Ronnie Corbett was
really good at remembering what other people did and got on with
everyone, which he thinks is the secret to his success.
He was never nervous when doing comedy. He did a summer
season in Blackpool with Thora Hird and Freddie Hinton which he did
and he wasn’t nervous, it was a speaking role. He was glad to do it
because it was well paid. It was only where serious recitals are
concerned that he’d get really nervous. It’s not the same tension as
standing alone in front of a piano and singing for an hour.
Asked if he was more comfortable performing back in Lancashire:
depends what the concert is and who was in the audience, would be
more nervous performing in front of the Queen then Mr and Mrs
Smith in Blackpool.
1:54:04
Where did his confidence come from? When his mother was selling
Dolly Blues she would take him out of school and put him in a brand
new white shirt. She’d get him to twirl in front of the customers to
show how white the Dolly Blues made his shirt. “My mother gave me
confidence if anything … and you also get your humour”.
His mother used to say it was important just to do my best and that
gave him confidence. That will leave any child feeling happier,
knowing he’s made his parents happy. He never had pressure to
succeed.
He loves speaking to strangers: “I was very much in love with the
ordinary way of life, I was never blinkered to step onto a stage, it
never worried me”. He was happy when he was working elsewhere
and didn’t have to perform.
1:57:53
His mother was proud of his singing.She died in the early sixties so
she didn’t see him do a lot of things.
His Auntie Ethel and Uncle Howard in Bolton would listen to his
Lieder recitals on the BBC and his aunt would call and say “Why
can’t you sing something in English with a nice melody to it” which
would make him smile.
�“Being healthy and having a sense of humour are the most important
things in life”.
2:01:06
Has not been back to Conway Hall much over the years. Not free on
Sundays. Some of his friends at Charterhouse come regularly to
listen to the trios. He only lives 3 bus stops away.
What he thinks of the hall more recently: has just been out and seen
the size of the balcony and its much bigger than he thought it was.
Especially upstairs, there are a lot of seats. “Of course if I had known
that I would have been 4 times as nervous!”
2:02:49
If he could change CH in some way: he would like a Gilbert and
Sullivan concert. They are still very popular.
“That’s how I would like to change Conway Hall, but don’t tell too
many people, Gilbert and Sullivan: they are still wonderful, wonderful
songs”.
Sings a snatch of a song.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Oral Histories
Description
An account of the resource
A collection of oral histories relating to Conway Hall and the Conway Hall Ethical Society
Creator
An entity primarily responsible for making the resource
Humanist Library and Archives
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Subject
The topic of the resource
Oral history
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Word document
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Gordon Honey interview summary
Description
An account of the resource
A time-stamped summary of an interview with Gordon Honey.
Creator
An entity primarily responsible for making the resource
Vilbr, Rosa
Contributor
An entity responsible for making contributions to the resource
Honey, Gordon
Publisher
An entity responsible for making the resource available
Conway Hall Ethical Society
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Rights
Information about rights held in and over the resource
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width:0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License" /></a><br />This work by <span>Conway Hall Ethical Society</span> is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.
Subject
The topic of the resource
Honey, Gordon
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
BD-AP0022