New Songs for Mr Blake

Musician and songwriter Mick Stannard is 69 years old and has, in his words, “been doing music most of that time, in bands and solo”. Ever since an operation meant singing was no longer possible, he’s been recording instrumental albums, but when he recently came across his forgotten copy of Songs of Innocence and of Experience Mick wanted to set some of these poems to music — and asked Kate, his daughter, if she’d like to sing them. Their album, Visions of William Blake, was released earlier this year, and Mick and Kate Stannard now share their experience of working with Mr Blake.


Mick:

I think William Blake has been in my DNA for quite a long time. It feels as if Jerusalem has always been there. And of course it’s the same with The Tyger. Mind you, I’m only a beginner and don’t really know much about his ideas. My first musical influences were Vaughan Williams and traditional English folk; people like Shirley Collins and Sandy Denny. Finding out that artists like The Doors and Nick Drake were quoting him in their songs is probably what drew me to him. To be honest I never knew he was that big in ‘popular culture’.

I go mainly by instinct and to be honest I’ve taken a few liberties with the text of his poems (adding some words of my own and taking some of his out) so I’m not sure if a purist would necessarily approve!

Encounters with Blake

As far as Blake himself is concerned, I’m no expert or indeed scholar. Some years ago I went to an exhibition of his watercolours and it was like a kind of worship. The place was dark and each work shone out from its case like a little jewel. The detail in his paintings fascinated me. It was fantastic. That’s where I picked up Songs of Innocence and of Experience. This in turn (about thirty years later!) led me to the idea of setting these poems to music.

I guess it was pure chance. Kate and I had just finished an album, Welcome to Our World, and I was thinking about what to do next. I was looking in our bookcase for something (I can’t remember what it was) and just happened to come across the Songs of Innocence and of Experience. Bingo! The more I delved into it, certain poems leapt out at me from the pages and I could hear the music straight away. With Visions of William Blake, it all seemed to make perfect sense. 

Visions of William Blake, by Mick and Kate Stannard

To take one example, I was amazed at how prescient the words to Holy Thursday are, speaking of poor folk living “in a rich and fruitful land”. I almost re-named our track Holy Food Bank Thursday. It seems that nothing much had changed since Blake’s day! Also I found the words to Earth’s Answer particularly powerful and The Lamb appealed to my sense of pastoral England. That’s where I tried to write music in the style of my hero, Vaughan Williams. Lots of strings, a harp and an oboe. Always an oboe for bucolic stuff!

A creative process

I don’t normally talk much about the creative process but I’ll have a bash. I’m basically a songwriter (of sorts) and love the challenge of writing lyrics and fitting them to music. Obviously with the ‘lyrics’ already taken care of by Mr Blake the process was a bit easier but no less of a challenge. I wasn’t aware which of his poems are well known and which others less so, and I think I chose the ones to have a go at by some kind of instinct — and of course those which appealed to me emotionally. They also had to scan pretty well and have a rhythm I could work with.

I’ve been listening to music for a long time and my influences are very diverse, stretching from traditional English folk to 60’s psychedelia, punk, new wave, classical, thrash metal and avant garde. So I guess my selection was in part dictated by my broad musical taste, which allowed me to devise a particular setting for each poem. Earth’s Answer for instance is very much influenced by Pink Floyd, whilst The Echoing Green is (hopefully) pure Vaughan Williams and strange to say, some of the music in The Door of Death now reminds me (in retrospect) of the last scenes in 2001: A Space Odyssey … Where the hell did THAT come from?

Messing around with the texts may seem a bit sacrilegious but it was the only way I could make the finished songs work to my satisfaction. It was simply a case of composing the music and making the words fit even if I had to add or subtract some. I hope William wouldn’t have minded! The Garden of Love wasn’t long enough so I added quite a lot of extra lines, and in The Lamb I took Blake’s lead when he says in Auguries of Innocence “the lamb misused breeds public strife and yet forgives the butcher’s knife”, and wrote an additional verse with that in mind.

In Holy Thursday I saw a direct parallel between the times Blake talks about and today’s austerity Britain so I wrote a final verse about homelessness. I couldn’t possibly have done a different melody for Jerusalem as it already has the best ever tune so I just put in a bit of Brexit chaos at the end to reflect what’s currently happening in our green and pleasant land!

So, many reasons for changing the texts, I guess, and I think it occurred to me as I was going through the poems, kind of spontaneously. The process of making words and music fit is indeed pretty mysterious. That’s why when you hit on something special, it’s really exciting. I’ve no idea where it comes from. A higher place?

Kate:

Dad has always been interested in poetry, so I’ve been aware of William Blake among others for some time. Dad even used to write silly poems for me when I was young to make me laugh, and has always been creative. However I wasn’t very familiar with William Blake’s poetry before we started the album, and I didn’t know about his artwork either! But it’s been a really interesting project to work on together, and fun exploring both the light-hearted and the more sinister.

The poems and songs are all so different. I feel like I take on a different persona for each song on Visions of William Blake, and in a way sing as a different person. I think of them in a very separate way.

Usually we sit down and Dad gives me the poem to read through. I try to visualise and interpret the words quietly on my own, and then Dad plays me the music he’s recorded so far in headphones. Whilst the music is playing, I carry on visualising scenes or images and think about the words and then we go from there. We talk about what kind of tone of voice will work. For example, on Earth’s Answer the inspiration for my reading of the words was Gandalf from Lord of the Rings!

For me, with A Poison Tree it’s the storytelling of the poem. The scene I picture by the end of the poem is both chilling and beautiful, and it’s interesting (to me anyway) how peaceful it is, despite the hatred.

Visions of William Blake for the 21st century

I’ve been surprised at how many people my age and younger know of Blake, and have relatives who have studied his work or have a real interest.

I found it very interesting on first looking at Finding Blake to discover that the website and its users want to ‘re-imagine William Blake for the 21st century’. This very much articulated to me what I felt like we had also been doing with the album, whilst unaware at first of the Finding Blake site. By putting Blake’s words to music in 2019, and particularly for myself as someone who didn’t know very much about him before, I felt like I was in a sense ‘finding’ Blake.

To me, some of his poems are still very relevant now in 2019. For instance, like Dad has mentioned, the ideas behind Holy Thursday are still an issue now and it very much feels like nothing has changed in all these years. That poem could have been written in the 21st century.

Mick:

Blake seems to have had a larger influence on people’s general way of thinking than I had ever imagined. I think this new Extinction Rebellion movement which is currently growing is something that Blake would have enthusiastically espoused. Also, areas of mysticism and spirituality, something I had never considered.


Notes

Mick Stannard and his daughter Kate have been recording music together for about a year. Mick has been playing for longer than he cares to remember and has many influences ranging from The Velvet Underground to Vaughan Williams. He has recorded ten solo albums and three with Kate, Visions of William Blake being one. Kate has a degree in photography and is currently working for a cancer charity in London. She also designed the cover art for all the albums.

Kate and Mick Stannard

Visions of William Blake by Mick and Kate Stannard features twelve of William Blake’s poems: The Garden of Love; A Poison Tree; Auguries of Innocence; The Tiger; The Echoing Green; The Sick Rose; The Lamb; Earth’s Answer; Holy Thursday; The Door of Death; The Angel; Jerusalem. It’s available on Spotify, where you can also find their previous albums, and also available at Amazon as a download. You can buy the CD of Visions of William Blake direct from Mick: email him at mstannm[at]ntlworld[dot]com for details.

You can also discover another version of A Poison Tree in A Pocketful of Riches: Adapting Blake to Song, Joseph Andrew Thompson’s post about Astralingua’s own adaptation of Blake’s poems. And Strange Mystery Flower from Roger Arias describes his own Blakean musical adaptation.

Expressing Blakean Interconnectedness

Finding Blake welcomes Yana Trevail, an artist preoccupied with interconnectedness. Last November — at the Blake Society’s evening entertainments in honour of Blake’s birthday — Yana gave a talk on recent artwork she’d produced. Here is her presentation, as part of a lively occasion of art, poetry, music, drama, wit and dancing held in a pub off the Strand.


I’m a painter and a printmaker and my work generally at the moment is concerned with the interconnectedness of all things and I’m particularly interested in expressions of energy.

My connection with Blake is rather tenuous in a way. My husband joined the Blake Society about a year ago. He has a very deep interest in Blake. So I’ve been along to various Blake meetings and events. I particularly enjoyed going along to the Cardozo Kindersley workshop to see the stone that was created for Blake and subsequently I went to the very moving event of the unveiling of the stone at Bunhill Fields in August. I didn’t think that I was particularly interested in Blake, although there were certain things that I was drawn to. I found the event very moving event, though I wasn’t inspired to do anything about it until my husband expressed to me his feelings about his experience, which also moved me very much. So that, coupled with the fact that I’d been there, actually prompted me to create an etching.

A minute’s silence 

A minute's silence for William Blake, art by Yana Trevail
A minute’s silence for William Blake. Art © Yana Trevail 2018

This piece of work is an aquatint (a tonal variety of acid etching). I don’t like to talk too much in depth about what I produce; I would hope that people are able to respond in a more visceral, less intellectual way, without verbal prompts to what is a purely visual artwork. However, what I would say about this is that it is a very direct representation of the energy that my husband experienced and that I also experienced at the unveiling. It was entirely intuitive how I came to make this piece of work, as quite a bit of my work is now. This is how I expressed that very moving time and I feel it expresses entirely what I’m interested in: expressions of energy and all of us and the universe. So I’m just pleased to be able to share with you what I and my husband and probably many more of you experienced, in different ways perhaps, at that event.

Interconnectedness 

But this led on to other snippets I’d heard from my husband; for example, the ‘four zoas’. So although I can’t claim to know very much about the zoas I do have a certain understanding of them. This is a very intuitively produced aquatint etching. It came from my own experience which I had whilst doing some yoga overlooking the sea near Plymouth.

Urthona, art by Yana Trevail
Urthona. Art © Yana Trevail 2018

I live on the edge of Dartmoor and feel I have a very strong connection with nature. I spend a lot of time on the moor, running and cycling and swimming. It’s what nourishes my soul and keeps me sane. So this print can be regarded as representing spontaneous intuition and imagination and therefore can be connected to Blake’s zoa of Urthona. I don’t plan any of my work. It comes into me; I’m like a conduit. Years of experience of course; nothing comes of nothing.

Manifestations 

Urizen, art by Yana Trevail
Urizen. Art © Yana Trevail 2018

This is a study for a much larger plate that I’m working on at the moment. It’s a two-plate print; one plate is an aquatint and the other plate has a grid etched on it. So I had to put the paper through the press twice with the two different plates.

This image is rather evil, I think, in a way; and also a rather sad image. It’s provisionally titled ‘Urizen’. That is how I see the manifestation of Blake’s mind-forged manacles we are prone to, due to our overactive left brains. The grid is an expression of that rigidity.

The etching also reminds me of that awful image in Abu Ghraib, of that Iraqi prisoner standing on a box. That notion came to me after I’d made the etching; so that’s not what it’s about. Various things feed into the work: it’s very cross-referential. But that idea of being totally tied up, of being a prisoner, trapped in the world of the left brain, is essentially what this is about.

Previously I had said to my husband, “No I’m not interested in Blake, but I’ll go along to some of the meetings when we’re in London.” So from not having had any particular interest in Blake, subsequently I found I’d created these aquatints which are very directly concerned with him. I’m glad to have been able to share my work with you.


Notes

Yana Trevail is a painter, printmaker and performer preoccupied with the interconnectedness of all things and, through the exploration of internal and external topographical themes, developing idiosyncratic expressions of energy.

Yana won the Chairman’s Prize in 2000 and the Meynell Fenton Prize in 2002 at the Discerning Eye Exhibition, Mall Galleries, London for which she was also an Invited Artist in 2003 and 2008.

​Her work has been selected for numerous exhibitions including the BP Portrait Awards, National Portrait Gallery; The Hunting Art Prizes, Royal College of Art and the Royal Society of Portrait Painters. Her work is in many private collections in the UK and internationally.

In 1975 she met the painter Robert Lenkiewicz with whom she studied and sat for. She was his studio assistant from 1997 until his death in 2002. She lives and works on Dartmoor and you can find more of her work at yanatrevail.co.uk

You can read about the ceremony for William Blake’s new gravestone at Bunhill Fields in our post, The Unveiling — and see Finding Blake film footage of the event by James Murray-White: Apocalypse — Unveiling the Stone

Exhibiting Blake: The Prints of Serge Arnoux

Robert Campbell Henderson — who has already shared his intriguing discovery of an unexpected French connection with the legacy of William Blake in two previous posts for us at Finding Blake — brings us up to date with his project to print the Blakean plates created by Serge Arnoux.


To recap, back in September 2018 Robert was rummaging in a scrap yard in the south of France for metal to make printing plates and stumbled across a bundle of paper-wrapped copper. On opening the first parcel Robert glimpsed what turned out to be a lost body of works by French artist Serge Arnoux. The plates depicted Arnoux’s interpretation of William Blake’s ‘Proverbs of Hell’ from The Marriage of Heaven and Hell. Finding Blake has been following the progress of the gradual reprinting of the plates and his research to try and establish why and how they were made. Robert has now reprinted all of the plates and has featured the full series of prints on his website along with the corresponding translation of the text.

Box set of The Proverbs of Hell' interprétations by Serge Arnoux
Box set of ‘The Proverbs of Hell’ interprétations by Serge Arnoux

Blakean plates 

Robert explained the technical aspects as follows: “The prints were etched on thick copper plates size 33cm x 24cm. They were made using the intaglio technique of hard ground and acid, whereby the ground is applied to a plate to protect it from the action of the mordant and drawn through with a fine needle. The longer the hard ground plate is exposed to the acid, the deeper and wider the line becomes. Everything has to be done in reverse and there is little room for error. This is particularly the case when working with text. A lot of the engravings contain some very fine lines and Arnoux when printing them actually adopted a technique to ink known as ‘a la poupee’ – a French term literally translated as ‘by the dolly’. It is usually more associated with dabbing and wiping different colours on different parts of a plate. Having now re-printed them, I can see why it could be effective. Based on the pristine condition of the plates, I also think that, for whatever reason, many of them never actually made it to the etching press — that is, until now!”

Detail of the copper plates with engravings by Arnoux.
Detail of the copper plates with engravings by Arnoux.

You can also see the prints until June 29th as part of the exhibition ‘Temporal Traces – Magical Manuscripts’ at L’Atelier Melusine, La Trimouille 86290, France.

'Resurrection' 25 prints based of 'The Proverbs of Hell' William Blake engravings by Serge Arnoux. Salvaged, re-printed and hand coloured by Robert Campbell Henderson
‘Resurrection’ 25 prints based of ‘The Proverbs of Hell’ William Blake engravings by Serge Arnoux. Salvaged, re-printed and hand coloured by Robert Campbell Henderson

Temporal Traces – Magical Manuscripts

Below is an extract from the press release for the exhibition:

“The exhibition is replete with history and magic, and follows an elegantly traced timeline spanning two millennia, and comprises a rich mix of visual and sound-based works which include tracings of original ancient Coptic and Greek papyri made by The Coptic Magical Papyri (University of Wurzburg) and Raquel Martín Hernández, alongside the original copper etchings made in the mid-twentieth century by Serge Arnoux, inspired by William Blake’s Proverbs of Hell, and re-printed by Robert Campbell Henderson in 2019.

These prints and tracings occupy the first two floors of L’atelier Melusine, alongside an antique colour catalogue of plates by William Blake, in an eerie dialogue which demonstrates the similarity of the images despite the enormous temporal breach between their creation dates ……. “

Poster for the exhibition
Poster for the exhibition

You can view the prints and read more about the exhibition on Robert’s website at www.photokennel.com.

He tells us that the story still has a long way to run with connections to America and further exhibitions planned. He has also used the plates as the basis of some new work, creating a series of colour interpretations of all the engravings using computer painting techniques. Finding Blake plans to cover the development of the project in future posts.


Notes

Robert Campbell Henderson is involved in printmaking and photography, just for the fun of it. Before 2000 he never really made any art as he was, in his own words, busy with the “day job.” At the age of fifty he did an MA Photography, followed by a burst of activity participating in exhibitions and setting up an art gallery in Norwich, UK. He retired to the South of France in 2006 where he taught himself printmaking and set up his own darkroom and print studio. You can explore his work at www.photokennel.com.

You can read Robert’s previous posts for Finding Blake: Serge Arnoux, Surrealism and William Blake and William Blake and Serge Arnoux.