George Butterworth is perhaps mostly remembered for the fact that his life was cut short at the Battle of the Somme. He left behind not only his own compositions, but a vast collection of folk songs and dances which he collected alongside his friends Ralph Vaughan Williams and Cecil Sharp.
Butterworth’s ‘The Banks of Green Willow’ is strongly linked to the loss of the composer and many of his generation in World War I and is seen by some as an anthem for all 'Unknown Soldiers'.
Image: photographer unknown - Photograph first published in the George Butterworth Memorial Volume, privately printed in the UK, 1918
George Butterworth
George Sainton Kaye Butterworth was born on 12th July 1885 in Paddington, London. His father, Alexander Kaye Butterworth was a solicitor for the Great Western Railway but his interest in music came from his mother, Julia Marguerite who had been a professional soprano before her marriage. When Butterworth was six years old, his family moved to York when his father was appointed as solicitor and then General Manager of the North Eastern Railway.
Julia supported Butterworth’s early interest in music, enrolling him for piano lessons and dance lessons. At Aysgarth Preparatory School, his talent was recognised and he began to play the organ as well as writing some hymns – his first steps in composition. Butterworth went on to win a scholarship to Eton College where his musical talent was also encouraged, however his father was keen for him to take up Law, and so he attended Trinity College, Oxford. Although he graduated with a third class degree, his time in Oxford expanded his musical interests and he became President of the University Music Society and become more involved with the growing movement to capture folk music.
After leaving Oxford, Butterworth became a music critic for The Times, writing under the name J. A Fuller Maitland and contributed to Grove's Dictionary of Music and Musicians (1904-1910) before teaching music at Radley College. In 1910, Butterworth considered studying for a BMus at Oxford, passing the first of the three required exams, however some of his songs have been published and were gaining popularity and this gained him entry to the Royal College of Music. His principal tutor was organist Walter Parratt and his harmony tutor was Charles Wood. During his time at the Royal College of Music, he completed his first orchestral rhapsody based on folk songs, the English Idyll Number 1.
Between 1911, Butterworth set six poems by A. E. Housman from his 1896 collection ‘A Shropshire Lad’. Although no known folk songs were used in the composition, the influence of folk music can be heard.
In November 1911, however, Butterworth left the College and had to move home. His mother had died earlier that year and his father, after initial misgivings gave him an allowance to support his musical career.
This period in London led to more compositions including works that are now his most famous ‘The Banks of Green Willow’ and ‘A Shropshire Lad Rhapsody’ which was premiered at the Leeds Festival in 1913.
When war broke out in July 1914, Butterworth was writing a Fantasia for Orchestra. At around this time, he helped recreate the score of Vaughan Williams’ London Symphony from orchestral parts as the original score had been sent to Germany and was lost. The composer later dedicated the work to Butterworth.
Butterworth joined up in August 1914 and was later commissioned in the 13th Durham Light Infantry. Military life seemed to suit him and he was recommended for the Military Cross three times for his bravery and was mentioned in dispatches on several occaions. On the first occasion the citation for the medal stated:
“For conspicuous gallantry in action. After his captain had been wounded, Butterworth commanded his company with great ability and coolness, and with his energy and utter disregard of danger he set a fine example on the front line. His name had previously been brought to notice for good and gallant work”
Sadly the second occasion was to honour his conduct during the first Battle of the Somme when on 5th August 1916, he was shot and died.
Butterworth’s contribution to composition was remembered in the George Butterworth Award, given annually to create a new work by Society for the Promotion of New Music between 1993 – 2008 and between 2013 – 2023 by Sound and Music.
Folk Music
It was at Oxford that Butterworth met Vaughan Williams who was already collecting the traditional music of England – music from the folk or oral tradition which had not been written down. Butterworth joined the Folk-Song Society in 1906 and over time collected more than 450 pieces including songs, dance tunes and dances, some of which were collated into publications in partnership with Cecil Sharp.
Many of Butterworth’s song manuscripts are now in the Vaughan Williams Memorial Library and it is from these that we can see the huge impact folk music had on his own compositions.
Alongside written transcripts of folk music, Butterworth was an early adopter of new technologies and he recorded performances using a portable phonograph, recording the music onto wax cylinders.
Butterworth was also very interested in dance, in 1911 becoming a founder member of the English Folk Dance Society. He was part of a dance group that performed dance demonstrations around the country. Some of these performances were captured on film and Butterworth can be seen demonstrating ‘Molly Oxford’ at the 1’ point in this film and dancing with fellow collector Cecil Sharp with Maud Karpeles and Helen Karpeles at 3’25’’.
Further Reading
George Butterworth - Documentary - All My Life's Buried Here - https://www.georgebutterworth.co.uk/
War Composers - George Butterworth - https://www.warcomposers.co.uk/butterworthbio
The Listeners Club - George Butterworth - https://thelistenersclub.com/2018/11/09/exploring-the-music-of-george-butterworth/
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