1983-88  Third Station – Gospel ‘Musicking’ and frustrated Fiddling

In 1983 Harvey was stationed as Superintendent minister in the Shooters Hill Circuit. I was packed up with the whole family – Harvey, Carol, Daniel (7), Emily (3) and Thomas(9mo) – and we settled into the Manse in Welling, Kent.

(Welling Methodist Church)

It was unusual at that time for a minister with only 8 years’ experience to take on Circuit Superintendency, and although Harvey was delighted by this apparent ‘promotion’, he seemed reluctant to leave the exciting and pioneering ecumenical appointment in Medway to work in a solely Methodist situation.

I sensed a continuing element of frustration in his body!

Two musical themes emerge from these years:

1. Music and Worship

Harvey arranged, and conducted, three special musical events which energised many church members – ‘Daybreak’ by Paul Field, ‘The Witness’ by Jimmy & Carol Owens, and ‘The Vine’ (words and music written by Welling church members). These events highlighted the importance of inclusivity and acceptance in the whole church family and the joy in everyone’s creative abilities.  They brought to the fore an awareness of the importance of music-making in worship, and I’m sure Harvey’s conducting was intricately linked to his commitment as a preacher and worship leader.

•  Another attempt to gain a musical qualification.

I was delighted that Harvey took more interest in me!  So much so, that he took regular violin lessons again and attempted to pass the LRAM diploma (which he failed back in his RAM days in 1965, you may remember).  There was so much hope as we again entered the familiar hallowed halls of the Academy building in Marylebone Road, London, after all these 20 years, but Harvey was just ‘not up to it’.  He ‘attacked’ the first movement of Max Bruch’s Violin Concerto with so much tension, and his attempts at playing the prescribed scales and arpeggios only served to produce another ‘resounding’ failure!

(Painting of Queens College sculpture superimposed on RAM – Music or Ministry?)

Was Harvey still undergoing a serious psychological/theological struggle?  Was his ordination and calling to the Methodist ministry so tied up with his musical self that his life, his hopes, his purpose, had emerging overtones of uncertainty, doubt and failure?

There is no doubt in my mind that Harvey’s body was far from relaxed, most notably when we played together.  I was hoping for more joy and bodily resonance which I had perceived during his conducting performances of ‘Daybreak’, ‘The Witness’ and ‘The Vine’!