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Cyril
Scott: 'The Father of British Modern Music'
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By David Tame
The Secret Power of Music (Rochester, VT: Destiny
Books, 1984), pp. 263-271
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Cyril Scott: 'The Father of British Modern Music'
Cyril Scott, whose writings we have had occasion to
quote from several times in earlier pages, was another
multi-talented composer who may have drawn his inspiration
from the great body of Adepts known as the Great White
Brotherhood. Certainly Scott himself believed that
he did. His 1933 publication, The Influence of
Music on History and Morals (Rider & Co.,
1933) was an important and pioneering venture in its
study of the inner power of music and was one of the
first books in modern times to renew people's thinking
and awareness on the subject. Yet what is perhaps
even more fascinating than the book itself is the
background and life out of which it was written. For
the life-story of Cyril Scott serves well to show
us just to what great a degree esoteric sources have
influenced the art and artists of our day. Cyril Scott
was born at Oxton in Cheshire on 27 September, 1879.
We are told that by the age of two and a half he was
able to pick up tunes by ear and perform them on piano,
and could also improvise. Not, however, until he arrived
at the ripe old age of seven did he receive instruction
in how to read and write musical notation. Perhaps
not surprisingly, by the time he had matured Scott
had developed into a virtuoso pianist. A. Eaglefield
Hull, the musicologist and general editor of the Waverley
Music Lover's Library, once wrote of him:
Last night I was spellbound at the nonchalant
ease with which he played through his superb
Piano Concerto from the full score
MS., rippling along (as I flung the pages
over almost continuously) with truly astonishing
gifts of technique, touch and reading; whistling
the while flute and violin melodies, and vocalizing
horn parts in a peculiar nasal tone, like
horn notes forced through mutes. Where and
how did he attain such tremendous powers?
(Cyril Scott: The Man and His Works, Waverly
Book Co., n.d.)
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More than for his playing, however, it was as a composer
that Cyril Scott gained a wide reputation in Great
Britain and on the Continent during the early twentieth
century. His works included symphonies and other orchestral
pieces, choral compositions, a number of pieces of
chamber music, and a very large number of songs and
works for solo piano. Strangely though, his music
is little known today strangely so, since during
his day he was mentioned in the same breath as artists
such as Vaughan Williams, Arnold Bax, Percy Grainger
and Claude Debussy. A. Eaglefield Hull said
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around 1920 that Cyril Scott was, 'undoubtedly the
richest harmonist we [the British] possess'. (Ibid.)
In Debussy's estimate, Scott was, 'one of the rarest
artists of the present generation'.
Besides possessing the aforementioned talents, Cyril
Scott was also an accomplished conductor, a lecturer,
a translator, and a writer on music. In addition to
this, at the age of 21 he began writing verse, and
became well known thereafter as a poet. His first
published collection of verse, The Shadows of Silence
and the Songs of Yesterday, (Liverpool: Donald
Fraser, n.d.) came out during his early twenties,
and reflected what was then his rather pessimistic
outlook of agnosticism. The second, The Grave of
Eros and the Book of Mournful Melodies, (Liverpool:
Donald Fraser, n.d.) was written during what he later
called, not altogether seriously, his 'decadent' phase.
However, he went through this phase only half-heartedly,
and without conviction. This phase was to end abruptly
upon his discovery of Theosophy and Indian philosophy.
Indeed, it would be difficult to conceive of a more
graphic example than the life of Cyril Scott following
his finding of the ancient wisdom in order to demonstrate
the close relationship that has often prevailed in
modern times between esotericism and music.
According to Scott himself, he was eventually contacted
directly by the Great White Brotherhood, and intimately
sponsored and guided by them in the production of
much of his mature musical and literary works. Already
hailed by Eugene Goosens as the 'father of British
modern music', Scott now turned also to the writing
of books; books on esotericism and alternative medicine.
He was, too, the author of the series of three 'Initiate'
books, which are still very well-known among esoteric
circles. These were penned anonymously by Scott, using
autobiographical material given to him by an unnamed
poet. The first of the three, The Initiate, Some
Impressions of a Great Soul (London: Routledge,
1920) describes the poet's encounters in England
with a high initiate of the Brotherhood who accepted
the poet as his disciple. The second book, The
Initiate in the New World, (London: Routledge,
1927) follows the spiritual career and teachings
of the initiate in the United States, and in the third
volume this initiate of the Great White Brotherhood
again returns to the British Isles, after many years
of absence.
Some have doubted the veracity of these three immensely
readable and steadily popular books, considering them
to be fiction. But certainly Scott himself maintained
that the books are factual accounts of episodes in
the life and teachings of the great soul about whom
they were written. Before continuing, what attitude
should we take in regard to Scott's belief that he
received direct contacts
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from the Great White Brotherhood? Though the original
material upon which the 'Initiate' books were based
was not Scott's, nevertheless he revealed later in
life, when the anonymity of the books had been seen
through, that he too had been a disciple of the initiate;
indeed, that he was also a protagonist in the second
and third books. And, he said, after the events described
in the books he still continued to receive contacts
from Masters of the Brotherhood. Did it, then, all
happen just as Scott said that it did?
Ultimately, each of us must decide for ourselves
on that point. It does seem impossible to believe
that Scott would have been deliberately untruthful:
throughout his life, his absolute sincerity and needle-sharp
sanity were plainly evident. It is on the question
of whether or not he was ever misled that we must
at this point suspend judgement either way. On the
one hand, it is not unknown for individuals who have
received some contact from the Masters to later
get carried away or misled by others into believing
that these contacts are continuing when they are not.
Yet on the other hand, there is no doubt but that
at least some of Cyril Scott's beliefs were founded
on solid ground. (And I do not say that they all were
not.) For example, several of the disguised characters
portrayed within the 'Initiate' books now stand revealed,
and all recounted by Scott concerning them has proved
genuine. 'David Anrias', for one, an astrologer and
Theosophist in the books, was Brian Ross, who at one
time worked for Annie Besant in India during her time
as President of the Theosophical Society.
But to return to Scott's experiences themselves.
The initiate, according to Scott's account, was as
impressive an individual as one could imagine. Even
as Voltaire described Saint Germain, the 'wonderman
of Europe', the initiate of Scott's books also seemed
to be 'a man who never dies, and who knows everything'.
Though he rarely demonstrated them, his spiritual
powers by which he could influence the material world
around himself are said to have been quite superhuman.
But the most important aspect of the Initiate books
from the point of view of our present line of investigation
is that in the States this individual called
Justin Moreward Haig, or "JMH", in the books
was conducting regular meetings of his chelas,
many of whom were prominent people in their various
lines of work, and who included among their ranks,
musicians, poets, artists and writers. The point
being that most among mankind are unable or unwilling
to accept the reality and existence of the Brotherhood,
and are in any case not infrequently incapable of
absorbing the Masters' pure
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teachings in the form that they are given out. Therefore,
besides the giving forth of their pure and undiluted
words, the Masters have often taken the course of
training disciples to step-down their message and
vibration. In the broadest sense, this is literally
a stage in the stepping-down of the frequencies of
the Word. The disciples then promulgate through their
line of service the principles of ethics, morality
and spirituality, as well as any more specific concepts
which the times might demand for the betterment of
the race. But they do so without usually ever revealing
the Source of their initial inspiration. In this way,
many chelas of the Brotherhood have worked throughout
history in the arts, the sciences, and also
as politicians and as the great, moral leaders of
men. Many a famous and important episode of history
such as the American Revolution, which we discussed
earlier, to name but one has an entirely different
and unrevealed story behind it if the truth were but
known: the story of the causes behind the effects;
the story of the Adepts of the Great White Brotherhood
and those historical figures who were, unbeknownst
to the world, their chelas. This has a most important
bearing upon our study of the secret power of music.
For the story of the great music of ancient times,
and also that of the Western classical tradition
of what actually inspired it and of where much of
it really came from is one which goes completely
unsuspected by all but the few.
And yet, a hint of this story of the ages can perhaps
be gathered from the life and writings of Cyril Scott.
Following his encounter with esotericism, Scott was
never the same person again. Oriental philosophy,
Theosophy and the practice of yoga and meditation
became his absorbing interest in life. Immediately,
from this moment on, succeeding compositions entered
into the realms of mysticism and Orientalism. From
his pen there now came musical works such as the Hindu-style
Jungle Book, the darkly magical Sphinx,
Lotus-land, the Chinese Songs, and many
more. His third volume of verse, The Voice of the
Ancient, (n.p.: J.M. Watkins, 1910) displayed
a radical change in subject matter and emotional effect,
as did succeeding volumes. Scott's raison d'être
as an artist in any medium was now absolutely
goal-oriented towards the highest purpose and aim
in life the spiritual path.
Where would Scott have taken his stand in relation
to the subjects we have discussed in this book, about
the use and misuse of the power of music? With regard
to the artistic directions of the fellow- composers
of his generation, Scott made his position quite clear.
In a hard-hitting but well-argued criticism of the
avant-garde,
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The Philosophy of Modernism in its Connection
with Music, (n.p.: Paul, trench, Trubner &
Co., 1920) Cyril Scott compared the Modernists to
a man who sets out on a walking tour with the intention
of never, under any circumstances, setting foot upon
an established road. In keeping to such a rigid doctrine,
the Modernist thereby finds not freedom, but the ultimate
bondage, since he is not free to retain these well-tried
and proved principles which are the very foundation
of beauty and sublimity in music. (The Modernists
Scott often, in fact, preferred to call 'Monsterists'!)
True freedom, Cyril Scott argued, lies with the composer
of the Romantic class, who is able to keep to the
established paths, or not, as he chooses.
Now it is evident from the second Initiate book that
'JMH' 's circle of chelas included literary and other
artists of world repute. The individual who supplied
his own autobiographical material to Scott as a foundation
for the books, is himself described as both a poet
and a composer. (In the books this is the first-person
narrator, disguised under the name of 'Charles Broadbent'.)
Then, at least two other composers are referred to,
one of whom we now know to have been Cyril Scott.
This fact, that Scott himself was one of the circle
of chelas in America for a time, is confirmed in an
addendum on the subject of the Initiate books which
is to be found in the 1935 edition of Scott's An
Outline of Modern Occultism (London: Routledge,
1935). It seems that Scott must have been the
individual referred to as 'Lyall Herbert', since this
is the only composer who turns up in both the second
and the third Initiate chronicles; and according to
Scott's own addendum referred to above, he himself
does appear in these volumes.
The various artist-chelas of 'JMH' are said to have
been under the guidance of the Brotherhood of Adepts
of East and West, the role of the composers being
to bring forth a God-aligned music for the furthering
of the evolution of the race. It can be seen therefore,
should we choose to accept the account, just how direct
an influence on the music of the world the secret
guiding hand of the Brotherhood can prove to be.
As for the individual named in the books as 'Lyall
Herbert', probably identifiable as Scott himself,
it is worth noting that at one point during the final
volume, The Initiate in the Dark Cycle (London:
Routledge, 1932), a Master says to him: 'And you,
you will write a new kind of music as well
as a book on the subject for which you will
receive special preparatory training at a Master's
hands.' This calls to remembrance Scott's path-breaking
book, Music, Its Secret Influences Throughout the
Ages (n.p.: Aquarian Press, 1958).
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Yet regardless of who 'Lyall Herbert' really was,
there is one passage involving him which never ceases
to fascinate. For at one stage this well-known English
composer is taken, as is 'Charles Broadbent' the poet,
to the abode of a Master in the English countryside.
(And we should note that in his addendum Cyril Scott,
writing as Cyril Scott, refers to this Master
and his estate in the South West of England in such
a way as to indicate first-hand knowledge.) Here,
'Herbert' and 'Broadbent' are specially prepared to
clairaudiently hear a celestial music from superphysical
realms of existence. And then:
From far away I heard the strains
of an organ with which was mingled the sound
of voices so pure and ethereal as to suggest
the chanting of a celestial choir, wafted
on a peaceful evening breeze. The music was
unlike any music I had heard before; it was
subtle, yet melodious, sweet, yet devoid of
all sentimental lusciousness; at one moment
powerful and awe-awakening, at another soft
and tender as the caress of an angel's hand.
'My Brother Koot Hoomi playing on His organ
... and the voices you hear are those of the
Gandharvas ... Listen well, and remember,
for one day you shall give forth such music
to the world ...'
It was Sir Thomas who had spoken, and his
words were addressed to Lyall. The music continued
for a while, then gradually faded away, and
there was another silence.
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This passage is by no means quoted here for the mere
purpose of recounting a thrilling or controversial
tale. Rather, the account serves well to indicate
just how strongly guided many great musicians may
have been, though the world has not known it, and
how close to our everyday life these guiding powers
have at times approached. Though there would not be
room to include them all here, there exist quite a
number of such accounts, in which mortals appear to
have been the beneficiaries of a parting of the veil,
during which they heard a celestial music of indescribable
sublimity. Sometimes the individuals concerned have
been spiritual seekers; sometimes they have been known
composers of acknowledged stature. To refer briefly
to two of the more widely-quoted episodes: Robert
Schumann wrote music at a late stage in his life which
he said was dictated to him by angels, a claim which
his wife believed, stating after his death that, 'It
is in the music of Robert Schumann that the
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angels sing.' Though the critic could also point
to Schumann's mental instability, the same can in
no way be said of Handel, who felt that his Messiah,
one of the greatest pieces of music ever written,
had likewise been revealed to him. During its composition
he felt the very gates of heaven had been opened to
him, and he was able to see and hear the other-worldly
chorusing of superphysical and divine beings. As he
later declared: 'I think I did see all Heaven before
me and the great God Himself.' It is recorded that
the experience of penning the work moved him so greatly
that tears flowed with and blotted the ink. Considering
both the towering stature and timeless perfection
of the work, as well as its length, weight is added
to the claim that it was revealed to him, and that
he did not have to strive painstakingly to put it
together himself, by the startling fact that it was
written in but three short weeks, and during one of
the most trying periods of his life. The concept of
'revealed music' is not often given consideration
during our present materialistic age, yet, whatever
its explanation, it seems to be a very definite phenomenon,
and one deserving of further study. In this respect,
we must not forget either that in both traditional
religious and modern esoteric literature there is
also the concept of there being two sides. That
is, the good and the evil. Suppressing a slight shudder,
we can recall again those mysterious words of Stravinsky
about The Rite of Spring: 'I heard, and I wrote
what I heard. I was the vessel through which Le
Sacre du Printemps passed.' As for our
own day, more than one esoteric authority has claimed
that virtually all of the lyrics of the more heavy
rock bands are unconsciously received as dictations
from malicious discarnate entities a claim
which becomes not quite so unbelievable when one pays
close attention to these lyrics, to see just what
exactly it is that is being said. For example:
UghAhhh. [A poetic start! D.T.]
Can't help feeling strange.
The moon is up I think I'm gonna change.
You're so smooth and tender.
A livin' breathin' dream.
I'm listen' for your scream.
I'm almost human; I'm almost a man,
I'm almost human.
'Almost Human' Kiss
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The male rock star, Alice Cooper, says that he took
the name after contacting a discarnate called Alice
Cooper during a seance, and that it is the discarnate
who partly takes over his actions and singing on stage.
All said for the sake of publicity? Our answer probably
depends on just how real, or else how non-existent,
we consider the non-physical dimensions to be. Certainly
the idea of evil entities bringing forth new and disruptive
forms of music through their human channels receives
a number of mentions in early Christian literature.
St Chrysostom, for one, said that: 'lest demons introducing
lascivious songs should overthrow everything, God
established the psalms'. Rarely, however, has the
process of musical revelation (from one 'side' or
the other) been so candidly described as in Scott's
book.
Meanwhile, concurrent with the episode of the musical
revelation, Cyril Scott was at work upon the book
which was first released in 1933 under the title,
The Influence of Music on History and Morals. Unlike
the Initiate books, this one was released under Cyril
Scott's own name. In 1958 an updated edition came
out, being the still-available Music, Its Secret
Influence Throughout the Ages. Only in this second
edition did Scott reveal his belief that both editions
of the book had been inspired upon him by numerous
and detailed discussions with Koot Hoomi Lal Singh,
one of the great Adepts who had also been behind the
formation of the Theosophical Society in the last
quarter of the nineteenth century.
After a long and fruitful life during which he truly
pioneered the reawakening of man's awareness of the
secret power inherent in all music, Cyril Scott passed
from this world in 1971. And yet, after all, to quote
his own lines:
What are the world's foolish toys, and death 's
ephemeral sorrows,
Seeming endless, yet by the Endless, fleeter than
lightning's flashes. (The Voice of the Ancient)
Needless to say, many among the mainstream of the
music world looked askance at these 'eccentricities'
of Scott's; his talk of 'Masters', his books on alternative
medicine, esotericism and the like. Further, it has
been suggested that his decline in popularity after
the heady days of his young maturity, when some felt
him to be the father of British modern music, must
be directly related to this 'dissipation' of his talents.
But in an autobiography published at the age of ninety
(Bone of Contention, Aquarian Press, 1969),
Scott discounted this, and claimed that esotericism,
and in particular the Masters who guided
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him, had been one of the major inspiring factors
behind his creative output. Indeed, at the age of
sixty-five he had made his own personal decision to
bring his years of composing to an end; but the Masters,
he says, had urged him to continue, which he did until
the end of his life. (At the Masters' own request,
Scott recounted, the first work he next completed
was his third opera, Maureen O'Mara.)
Certainly it must be said that whatever the source
of his inspiration, these revelations of Scott's are
of major importance in again demonstrating the reality
of the influence of esotericism upon music. Whatever
our own standpoint with regard to Scott's unusual
claims, that he believed them makes the great
influence of esotericism upon his music undeniable.
That a modern composer of such significance should
have felt himself to be in rapport with the legendary
Great White Brotherhood is a quite extraordinary fact.
And who can say that among Cyril Scott's many compositions
there are not those which are indeed his transcriptions,
to the best of his ability, of the music inspired
upon him by the Master Koot Hoomi, and which are the
direct reflections of the music of the spheres?
It was once said of Scott that he was a hundred years
in advance of his generation. Perhaps this gives a
hint as to the meaning of the later decades of his
life. For while the critics, music publishers and
performers generally ignored both his early and later
work, and while he more than once felt discouraged
and ready to throw in the towel, he was prevailed
upon by those he believed to be his Guides to continue
composing up until the last. This, even though the
works went largely unpublished and unperformed.
In the autobiography Scott states that from the Masters'
point of view 'the first thing is to get the work
written; the rest if needs be can wait sometimes
even as long as till after the composer's death'.
True it is that many of the most famous works of today's
concert hall repetoire were almost totally unknown
during the lives of those who brought them forth.
Take most of the works of J.S. Bach (revived in the
1800s) or the 'Unfinished' Symphony of Schubert (discovered
as a discarded manuscript after his death) for example.
If Scott's work was indeed, as it came forth from
his pen, a hundred years in advance of his generation,
it may therefore be most interesting to observe the
course of events concerning it in years to come.
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[Republished on Alpheus with permission of the author]
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