We have just been to a performance of music and words based on the life of Clara Schumann. It had been written by Gawn Grainger based on the various lives of Robert and Clara Schumann, particularly Clara, a novel by Janice Galloway. The role of Clara was taken by Zoë Wanamaker, the singing by the great tenor, Keith Lewis, accompanied by Melvyn Tan. Nothing could have been more intense than the lives of the two Schumanns played out in their own music and the music of Brahms.
My post on Hackney mysteriously disappeared.
It began with the 1930s town hall, a grand piece of municipal classicism:
I’ve always loved the Regent’s Canal, the artery which connects the Thames to the Midlands. It looked particularly beautiful this morning with more barges than usual because they’re dredging the stretch north of Limehouse Basin:
I popped in to St. Dunstan’s, our local parish church, because I wanted to have a look at the wall monuments. The church is a relic of a time when Stepney was the first parish east of London and Stepney Green was truly a village green. It is now heavily Victorianised, repaired by Benjamin Ferrey in the 1840s, gutted by fire in 1901, damaged in the war. I was pleased to discover a monument to John Charrington, the local brewer:
And a rather wonderful piece of seventeenth-century verse:
I have been somewhat perplexed by the gateway which survives in amongst the undergrowth alongside the large Crossrail site just south of Stepney Green. It turns out that it is all that survives of a chapel which was designed by James Savage and opened in 1831 by Stepney College for the training of Baptist ministers. It occupies the site of a Tudor mansion which was known as King John’s Court, was moated, acquired by the Marquis of Worcester in 1597, seized during the civil war as a headquarters for the parliamentarians, was the birthplace of Richard Mead, the great eighteenth-century physician, and is currently being excavated:
There is some lettering on the pediment which may once have said GOD:
Both Jeremy Dixon and Ed Jones resist any reminder that both of them, in different ways, went through a postmodern phase, Jeremy in his housing scheme at St. Mark’s Road and his 1986 building for Clifton Nurseries, and Ed in his project for Missisauga Town Hall in Canada. But what could be more ostentatiously postmodern than their reference to the mausoleum of Halicarnassus, half ironic, half playful (and, in turn, to the tower of St. George’s, Bloomsbury) which greets the arriving visitor on arrival at Oxford railway station ?