Amy Horrocks

Amy Elise^[a] Horrocks (23 February 1867 – 4 December 1919), a life-long pacifist, was an English music educator, composer (particularly of songs) and pianist, born to English parents (Francis James Horrocks 8 July 1829 – 27 April 1913) and Hannah Horrocks (née Allen 1833 – 22 April 1913)^[1] in Rio Grande do Sul, Brazil, where it is suggested that Francis Horrocks was constructing tramways.^[2] Amy had an elder sister, Marian, also born in Brazil, but who died there in 1862 aged 1 year. Contrary to one report,^[3] she did not have a brother.

Early Life

The family (Francis, Hannah, Amy [aged 4] and their servant Mary Thompson) are recorded in the Scottish census of 1871, as lodgers in Edinburgh, so presumably they left Brazil between 1867 and 1871 and are possibly taking a holiday. When they return from Brazil the family settles initially in Cheshire. Francis had a loose family connection to the area with his elder brother Thomas having been born and died in Chester as an infant in 1827, during the time their father (also called Thomas) was stationed there while serving as a quartermaster in the Royal Fusiliers.

Amy’s early education from the age of about six is at Miss Frances Anne Gregson’s Highbury College in Bowdon, Cheshire, which opened in the 1870s and continued to operate into the early twentieth century. The school site is now occupied by Altrincham Preparatory School for Boys (Kendrick 1996).

Indeed it might be argued that Frances Buss did not consider music teaching to be very important. A letter of hers written in 1868 about establishing a school states that “I would rigidly and entirely omit all arrangements for teaching instrumental music, which I believe to be the bane of girls’ schools, in the time wasted and the expense entailed.”[8] However she does make an exception for musical harmony “… by which I mean the laws of musical construction, an interesting, and, in an educational point of view, a most useful subject for mental training. Instrumental music—the piano chiefly—might fairly be left to a private teacher, as might dancing also.” However, by 1872, thankfully, her views had moved on significantly: “I want to teach music grandly - thoroughly in classes - making each girl understand what she plays, as well as if she were reading some passage of poetry, teaching her to find out the musician’s thought; his [sic] mode of expressing it; other ways of expression of the same thought, viz. words. The grammar of music should be known to every musician.” She evidently began to understand the importance of musical education as after her death in 1894, a teacher at the school reflected that “I was afraid at first that she would not understand my point of view with respect to the study of music in high schools, but, instead of being misunderstood, she gave me her sympathy and help from the first in my endeavour to make music an earnest and educational part of school-work. … She was always so glad to find that the majority of girls who did well in music were just those who were doing well in other school-work. … She was never shocked at my hopes, mostly very wildly expressed, for the future of music in the education of girls. Music, above all studies, needs backing up with the advantage of a thoroughly good education. It has always been my endeavour to keep it from encroaching unfairly on the time and strength of the girls. Miss Buss understood this, and helped to make it understood.”

After Amy leaves, the school does record Amy’s successes at the

By the time of the 1881 census the family (Francis, Hannah, Amy [aged 14 and described as a scholar], a visitor, Alice Marland [described as a solicitor’s wife] and a new servant Susan Hood) have moved and are living at 17 Goldhurst Terrace in Hampstead. In the 1891 census the family are living at 163 Goldhurst Terrace which is actually the same house: According to Camden History Society,^[18] "in 1877 Goldhurst Road (as it was then) was approved from Finchley Road as far as Fairhazel Gardens. The name was officially changed to Goldhurst Terrace the following year when the extension from Fairhazel Gardens to Priory Road was agreed. For many years the houses were numbered and named in ‘East’ and ‘West’ sections on either side of Fairhazel Gardens which caused great confusion. Before all the houses were built, a renumbering order was issued in 1896". What is now 163 Goldhurst had already been constructed by 1894 and sits west of Fairhazel Gardens so would have been subject to renumbering as it seems it would have been labelled as the West section prior to 1896.

It is presumably shortly after this when Amy starts her musical career, studying piano and composition under the pianist Adolf Schlösser and musician Francis William Davenport at the Royal Academy which she enters in 1882 (Brown and Stratton 1897)^[19] at the tender age of 15.

Amy is referred to as a Professor of Music in the 1891 census, having been elected as an Associate of the Academy in 1890 and a Fellow in 1895. She wins various awards while a student, including the Potter Exhibition prize in 1888 and the Bennett Prize in 1889 (Brown and Stratton 1897).

Highlights of Amy’s student career at the Royal Academy are captured in various newspaper articles:-

• The Musical Times^[20] describes the annual distribution of prizes at the Royal Academy earlier that year on July 28 1883. Amy wins prizes for piano and French. And in 1885,^[21] describes that year’s prize ceremony in which Amy wins a silver medal for piano and a bronze medal for harmony. In 1886^[22] an article describes a chamber concert given by Royal Academy students at St James’s Hall “before a large audience. The excellent system of training pursued in the Academy was amply manifested … Miss Selina Quicke in a ‘Love Song’ by Amy Horrocks (student) deserve honorable mention.”
• The Era^[23] mentions Amy’s performance on the pianoforte in a concert at St James’s Hall on 1 April 1887.
• Mendelsohn in D major for pianoforte and violincello afforded Miss Amy Horrocks and Mr Allen Gill an opportunity for the display of considerable talent. Miss Amy Horrocks played the pianoforte part with refinement and capital execution, and the good tone and finished method of Mr Allen Gill certainly merited cordial recognition, which the audience did not fail to give in the measure deserved.” The Musical Times^[26]
  adds that: “high commendation is due to Miss Amy Horrocks and Mr. Allen Gill for their rendering of three movements of Mendelsohn’s sonata in D, for piano and violincello”.
• Another glowing report in The Musical Times[27] notes “At each final Concert of the term, it has been our pleasant duty to note a distinct advance in the average of merit displayed by the pupils, and under these circumstances it is not surprising to find that the numbers enrolled in [the] Academy are steadily increasing. … At a concert given in Steinway Hall … the choir was in a chorus by Amy Horrocks ‘The Return of May’”.
• The Lancashire Evening Post,^[28] The Queen^[29] and The Illustrated London News^[30] all report: “Royal Academy of Music. The competition for the Westmorland Scholarship took place on Saturday, when it was awarded to Marie Hooton. There were ten candidates. The Potter Exhibition was also competed for, and adjudged to Amy E. Horrocks. There were twenty-eight candidates.”
• The
  Grieg
  ’s ‘Sonata in F.’”
• Lloyds Weekly London Newspaper^[32] reports: “Royal Academy of Music. Some of the more advanced students at this institution appeared at a concert at St. James’s hall on Monday afternoon, directed by the Principal, Dr. A.C. MacKenzie … Some variations on an original theme by Miss Amy E. Horrocks, for piano (played by the composer), violin, viola and violincello, containing effective passages for each of the instruments, proved one of the chief successes of the afternoon.” However, The Era^[33] felt that “Among the most interesting of these efforts we may mention the original Variations for pianoforte, violin, viola and violincello by Miss Amy E. Horrocks. There was scope for much variety in a piece of this kind, and perhaps we cannot credit Miss Horrocks with having done all that was possible in affording the instrumentalists a chance for individual display, and this seemed rather a pity, when she had such talented interpreters associated with her as Mr Walenn (violin), Mr Dyson (viola), and Mr Allen Gill (violincello). Miss Horrocks played the pianoforte part extremely well. She had chosen a capital theme for the variations, an original melody, and her ideas were well worked out. All that we suggest respecting the solo portions is that, of course, additional interest is given to a movement when there is greater freedom and variety of style.” But The Musical Times^[34] adds “At a Chamber Concert given by the students of the Royal Academy of Music in St James’s Hall … the programme and the performance were alike excellent. … The programme also included … an extremely interesting set of Variations on a theme in F, for pianoforte, violin, viola and violincello, the work of Miss Amy Horrocks. The knowledge of the capabilities of the several instruments shown in the work, and the manner in which they are employed, are most creditable to the taste and musicianship of the composer.”^[d]
• The Bath Chronicle^[35] and Reading Mercury^[36] report “The Sterndale Bennett prize at the Royal Academy of Music has been awarded to Amy Horrocks. There were 29 candidates.” And The Western Daily Press^[37] and The Queen^[38] both report “The Sterndale Bennett prize (which consists of a purse of 10 guineas) at the Royal Academy of Music has been awarded to Miss Amy Horrocks. There were twenty-nine competitors.”
• The Musical Times
  Pall Mall Gazette^[40]
  considers that the concert “disclosed no fresh artist or composer likely to excite musical circles” and dismisses Amy’s sonata (despite her Potter prize success) as “essentially student music”.
• The Musical Times[41] presents a report of a seasonal concert, praising many performances by various students and mentions that “Talent and merit were made manifest in various degrees by every one of the soloists, these compromising Miss Amy Horrocks, Miss Maude Wilson, Miss Mabel Lyons, and Miss Plaistowe (pianoforte).” The concert is also reported in The Pall Mall Gazette.^[42] Equally The Weekly Dispatch^[43] reports that “words of encouragement may be bestowed especially on Miss Amy Horrocks”.

Early Career as a Composer and Performer

One of her Princes’ Hall concerts is advertised in The Morning Post^[44] and The Standard^[45] and is favourably reviewed in The Weekly Dispatch,^[46] describing the music as “agreeable” including “a well-written and effective sonata in G, for piano and violincello”. While The Northern Whig^[47] describes Amy as “a talented composer as well as an able pianist” and later goes on to say she is “making a name as a composer as well as a pianist”.^[48] The Musical Times^[49] goes into a lot more detail: “Miss Amy Horrocks’s Concert. Several examples of the skill of Miss Amy Horrocks as a pianoforte player and composer were presented on Thursday afternoon … at Princes’ Hall, when, besides executing Chopin’s Fantasia in F minor (Op. 49) and joining Miss Winifred Robinson (violin) in Brahms’s Duo Sonata in A (Op. 100), she had an important share in a second part formed entirely of materials from her own pen. Naturally special interest attached to the latter. First in this list came a Sonata in G, for pianoforte and violincello, containing some excellent workmanship in the opening Allegro and the final movement, and having for its middle section a theme with variations ingeniously worked out. Altogether the work shows much promise, more especially as the composer does not seem afraid to express her ideas in the manner she deems most suitable to the purpose. It was capitally played by Miss Horrocks and Mr. Whitehouse, and was cordially approved. Of the ‘Eight Variations on an Original Theme,’ for pianoforte, violin, viola and violincello, it is scarcely possible to enter into particulars, for the reason that Mr. Arthur Dyson was an involuntary absentee. His place was taken by Mr. Wayland, with Miss Horrocks at the pianoforte; Miss Winifred Robinson, violin; and Mr. Whitehouse, violincello. The young composer played a Berceuse and Waltz, also by herself; and between the various pieces in the second part some of her songs were sung by Miss Marian McKenzie [of whom more later], Miss Edith Tulloch and Mr. Fred. King. The first-named sang the plaintive ‘Ashes of Roses’ and the joyous ‘Bonnie wee thing’ and Miss Tulloch, the fanciful ‘A Midsummer Song.’”

Amy’s career as a composer can be shown by reviews of several of her compositions in a variety of contemporary newspapers and periodicals. For instance, Amy’s music is reported as being performed by members of the Lyric Club Orchestral Society in 1889.^[50] Four of her songs are reviewed (mainly favourably) in the Crotchets and Quavers column of The Gentlewoman in 1890:^[51] “And now I want to say something about a young lady composer, Miss Amy Horrocks. I have been sent four songs composed by her, and I am quite delighted by all of them except one. ‘Ashes of Roses’ is really beautiful, though only slight. It breathes the very spirit of romantic sorrow, and is highly original also. ‘A Love Song of the 17th Century’ is not quite so good. It seems to me more ambitious but less effective. The other two, ‘With a Primrose,’ and ‘A Cradle Hymn,’ are very much above the average, especially the former, in which at the end Miss Horrocks makes the voice drop a tenth, a rather daring thing to do, but very admirable here. Grieg, by whose compositions I should fancy Miss Horrooks [sic] [is] inspired, in one of his songs takes the voice down from G natural to G sharp below, in a very merciless but very delightful manner. I strongly recommend these four songs to all capable singers and shall look forward with interest to fresh work from this clever young composer, who evidently looks upon song writing as a worthy vehicle for refined art, and not as a mere swift and easy means of making money.”

Other pieces by Amy are listed or reported on several occasions:-

The Return of May

• The Morning Post, December 27 1886:^[52] “’The Return of May,’ choral trio for female voices with pianoforte accompaniment, by Amy Elise Horrocks, is very pretty and melodious and if well sung would doubtless be effective. Originality is more prominent in the treatment than in the melody.”
• The Queen, The Lady’s Newspaper, January 15 1887:^[53] “The Return of May, choral trio by Amy E. Horrocks”.
• The Graphic, January 29 1887:^[54] “’The Return of May,’ a choral trio for female voices, words by Mrs Hemans, music by Amy Elise Horrocks, is well adapted for the schoolroom.”

Bonnie Wee Thing

• The Queen, The Lady’s Newspaper, 24 November 1888:^[55] “Bonnie Wee Thing, song, by Amy Elsie [sic] Horrocks.”
• The Graphic, 12 January 1889:^[56] “’Bonnie Wee Thing,’ Robert Burns’ tender little poem has been set to music by Amy Elise Horrocks with a fair amount of success.”

An Idyll of New Years Eve

• The Morning Post, 30 December 1889:^[57] Amy composed the incidental music for this piece performed in aid of the poor of Chelsea in 1890, also reported by The Globe (1 February 1890).^[58]

A Midsummer Song

• The Daily Telegraph, 1 April 1890:^[59] “A Midsummer Song (Amy Elise Horrocks) – Miss Dorothy Pole will sing this pretty new song today at Edinburgh. Stanley Lucas, Weber, and Co., 34 New Bond Street. W.”

Berceuse in F. Waltz in C

• The Queen, 1 November 1890:^[60] “An eminently artistic manner and an elegant style pervade these agreeable pianoforte pieces, the ‘Berceuse’ being distinguished by grace and tenderness, and the Valse by delicate piquancy.”

Four Songs in Two Books

• The Musical Times, 1 February 1891^[61] and 1 March 1891.^[62] “Four Songs in Two Books. Amy Elise Horrocks” appears in an advertisement for the publisher Robert Cocks.

When Mortals are at Rest

• This arrangement is favourably reviewed in the
  Birmingham Daily Post where Amy is described as “not the least distinguished of the large number of lady composers of the present day” (Birmingham Daily Post, 1 January 1894).^[63]

• The Crotchets and Quavers column of The Gentlewoman[64] comments on Amy’s student career at the Academy and mentions that she is now employed there as a teacher. The column goes on to sing Amy’s praises as a “rising talent” in very generous terms: “She ought to have a bright future before her, because she has a quite unusual talent.” The column describes the Six Songs as being “slight enough, not elaborate nor highly dramatic, nor wildly fervent. Miss Horrocks’ art is essentially restrained art. But in each of these songs there is charm, melody, means cleverly employed, unity of purpose.” The Fairy Songs are “rather more ambitious” and the article also touches on Amy’s Eight Variations and Six Pieces for Piano, concluding “I advise cultivated amateurs to lose not time in making the acquaintance of Miss Horrocks’ compositions”.

The Skylark’s Wooing, Hill Tops

• The Queen, 14 March 1896:^[65] “Like unto everything proceeding from the pen of this accomplished lady, these two duets, for equal voices, are full of grace and betray the artistic nature of their composer in every bar. ‘The skylark’s wooing’ is remarkable for the free use made of the chords of the fundamental seventh; The ‘Hill Tops’ is remarkable for nothing but its melodic charm.”

On a Nankin Plate

• The Queen, 12 December 1896:^[66] Amy’s song is included in a Chappell and Co. Dance Album, described in the New Music column as “a suitable setting of humorous words by Austin Dobson”^[67] and rather more verbosely in the Gentlewoman^[68] as “a delightful little piece of nonsense, wherein dainty verse and dainty air go hand in hand with a species of alacrious [sic] pathos. It is an unpretentious and quite taking song for the drawing room, and cannot fail to amuse if clearly enunciated.”

The Bird and The Rose

If Amy can be said to have had a ‘hit’ then it is her song, The Bird and the Rose with words by writer and satirist

The Bird and The Rose

A rose that bloomed in a desert land
Sighed in her loneliness;
A little bird that was singing near
Was touched by her distress.

“Why are you sad, sweet rose?” he said,
“Why do you weep and sigh?”
“Ah!” said the rose “if I had wings
To other lands I’d fly.”

“Why do you linger here, dear bird,
When you might fly away?”
“Because I love your scent, sweet rose,
In this lone land I stay.

I linger in this solitude,
To cheer you with my song.”
“Ah! little bird, bear me away,
Your spreading wings are strong.”

The little bird raised the sweet rose
And spread his pinions^[f] fair;
He flew away across the sea
Through the bright summer air.

But when he reached his nest at last
He sang a sadder lay^[g];
His joy was hushed. The lovely rose
Was faded quite away.

Arno Lücker writing in online Van magazine, analyses the song: “In a leisurely, narrative Andante, the song often goes from harmony to harmony, with a few connecting lines, in the style of lovely folk art songs of the 19th century, which also - only with biblical text - found their way into various hymnals of (free) church groups (primarily in the USA and Canada). Subtle chromaticism is at work here in the middle voices and the text almost always appears syllable for syllable, each on its own note value. Only when the direct speech of the questioning bird finds its way does more movement enter the music, gently interpreting the text. Syncopated chords vibrate in the comforting middle of the piano. And at the end of this beautiful song there is a reluctant conclusion full of homeliness.”^[69]

The song features in many contemporary reports:-

• The Queen, The Lady’s Newspaper, June 4 1887:^[70] “The Bird and the Rose, song, by Amy Elise Horrocks.”
• The Daily Chronicle, September 2 1887:^[71]
  “… simple grace marks the song in F, ‘The Bird and the Rose,’ words by Robert S. Hichens, music by Amy Elise Horrocks.”
• The Queen, The Lady’s Newspaper:[72] “Vocal Music ‘The Bird and the Rose’. Song. Poetry by Robert S. Hichens, music by Amy Elise Horrocks. (London Publishing Company). – This is an extremely pretty and neatly written song for mezzo soprano – compass C below to F fifth line – the natural unaffected style of which, and its artistic merits, should insure it for a wide acceptance”, but is only described as having “average merit” by The Era.^[73] The song is advertised in Music Trade Review who say the “composer evinces a serious aim in this creditable song”^[74] and in The London Evening Standard.^[75]
• A “capital rendering” of ‘The Bird and the Rose’ by Lillian Henschel is reported in The Daily News.^[76] The song also features as part of the entertainment for a “Conversazione” of the Liverpool Geographical Society in 1893,^[77] is on the programme of Benefit Concerts for the “Relief of Distressed Foreign Artists” held in Queen’s Hall^[78] and for “a local association” in Wimbledon,^[79] concerts in Huddersfield,^[80][81] Derby,^[82] Norfolk,^[83][84] Sunningdale (performed by Bertha Moore),^[85] another charitable concert in London (where the piece is somewhat prosaically mistitled ‘The Bird and the Flower’), this time in aid of the North Argyll Nursing Association,^[86] a concert in Kent^[87] and in Devon^[88] in 1897. The song features in the 1896^{[89] [90] [91] [92]} and 1897^[93] Boosey-sponsored London Ballad Concerts and draws the comment that “the poetry of music and idea was not lost” during a performance by Georgina Delmar (of whom more later) which held the audience in the Montgomery Hall, Sheffield.^[94] The song features in a concert in Blackburn in 1898,^[95] a charity event in Bourton-on-the-Water^[96] and concerts by the American contralto Antoinette Sterling in Bury St Edmunds^{[97] [98]} and Dereham.^[99] The song features again in a concert in Norwich,^[100] Maidenhead^[101] and in Eastbourne^[102] in February of 1899. In February 1900, the song features at a concert raising money for the Dunstable War Funds^[103] and is recorded on a 78 record by Herbert Witherspoon in 1917.

Developing professional success and career at the Royal Academy

Two of Amy’s songs, ‘An Idle Poet’ (later performed at the Proms) and ‘Constant Love’ (both described as “charming”) are performed by Frances Morris at an Orchestral Union concert at Temperance Hall in Derby in 1891.^[104] Another song is performed by a cold-affected Miss Waite at Croydon’s Small Public Hall in 1892.^[105]

A performance of her Eight Variations features at another St James’s Hall concert, conducted by Royal Academy principal Alexander MacKenzie on 27 February 1893 with the piece described as a “very clever composition”

After completing her studies, she continues to perform as a pianist and retains strong links with the Academy, where she becomes a teacher. As well as teaching, Amy acts as one of the Academy’s examiners for the 1893 and 1897 Hine Exhibition Prize for composition[110] ^{[111] [112] [113] [114]} and the 1896 Robert Cocks Prize for piano playing.^[115] And one of her songs (‘To Music To Becalm His Fever’) features at the Academy’s annual prize giving in 1894^{[116] [117]} and two of her “fresh and pretty”^[118] duets, ‘April Showers’ and ‘The Skylark’s Wooing’, at another Academy concert in 1898.^[119]

Amy performs Dvorak and one of her own piano compositions at a concert in Westerham, Kent, publicised in the Westerham Herald^[120] and also features as soloist and composer at a Birmingham Chamber Concert.^[121][122] She contributes to a collection of Artistic Songs, published by Robert Cocks & Co.^{[123] [124]} where she is referred to as Elise Horrocks. And this is followed up by a letter mentioning Amy, from the publisher lamenting the lack of public interest in “high class songs” and the limitations this placed on music publishers, stating that until things change, “the publishers of ‘artistic’ work must content themselves with the thought that they are devoting energy and capital towards bringing about this much desired improvement, for that is all the compensation they are likely to get at present.”^[125]

Amy’s song ‘Holly’ is “heard to great advantage” at a charitable concert in Nottingham.

Amy composes two songs, ‘Garden Voices’ and ‘Lullaby’ for a performance by the singer Marian McKenzie in Plymouth (her birthplace) in 1895.[129] An article in the Newark Advertiser^[130] goes into more detail about Marian McKenzie’s career ahead of a concert in 1896, highlighting her ballad-singing abilities and mentions Amy as being one “of the best ballad writers the [Royal] Academy has produced” who contributes two songs (actually the same two songs, ‘Garden Voices’ and ‘Lullaby’) especially for the performance which “were listened to with evident delight by the audience” as reported the following week.^[131] Amy’s accompaniment of the Russian pianist Wassily Sapellnikoff in a performance at the Steinway Hall of two of her duets, ‘The Night Has a Thousand Eyes’ and ‘A Flower’ is advertised in the Morning Post^[132] and London Evening Standard.^[133]

And the singer, Rosa Leo performs Amy’s ‘Lullaby’, demonstrating “expressive style and rare intelligence” at a vocal recital at the Steinway Hall.^[134] Amy’s songs feature at three more of Rosa Leo concerts in 1896. The first Steinway Hall event on 3 March includes ‘The Night Has a Thousand Eyes’ and ‘A Flower’ described as “effective airs, ably contrasted”^[135] and also as “clever and pleasing duets”.^[136] These “charming”,^[137] “new and clever vocal duets”^[138] afforded “a delightful finale”.^[139] At later concerts in the series, advertised in The Morning Post and London Evening Standard,^[140][141] “‘Forget-me-not’ by Amy Horrocks, is a perfect gem, and ‘The Answer,’ by the same composer, is a sweet little ditty, which was deliciously sung by Miss Leo”^[142] and she is counted as one “of the best of our lady English writers of songs”.^[143] This 1896 series of Rosa Leo’s Steinway Hall concerts featuring Amy’s songs are also mentioned in The London Evening Standard,^[144] The Weekly Dispatch,^[145] The Queen^[146] and The Musical Times.^[147]

The London Ballad Concerts

Amy is performed at a concert in Clifton in 1896^[148] and her song, ‘A Romany Spring Song’ features in the annual Wilhelm Ganz concert.^[149] Ganz was a German-born English pianist, violinist, and conductor. The song is described “pleasing”^[150] and as carrying “with it a delightful little breeze, straight from the heather”.^[151]

Two more of Amy’s songs (‘The Bird and the Rose’ and ‘My Pretty Jane’) are performed by Jack Robertson as part of a 1896 London Ballad Concert, sponsored by one of Amy’s publishers, Boosey & Co.^[152] These Ballad concerts began in the 1860s and consisted mainly of newly composed songs and were sponsored by sheet music publishers as a way to drive sales of music that would be bought by members of the public to perform at home. Remember this was before recorded music and at a time when many households would possess a piano for domestic entertainment. Esther Palliser performs Amy’s “pretty”,^[153] “piquant”^[154] ‘Romany Spring Song’ at a Queen’s Hall Ballad Concert in January 1897. ‘The Bird and the Rose’ features again in another Queen’s Hall Ballad Concert in October 1897^{[155] [156]} performed by Edwardian actress, Georgina Delmar. And the song makes yet another appearance at the Ballad Concert in March 1898.^{[157][158][159]}

The Lady of Shalott

Amy herself makes an appearance at the 1898 Ballad Concert

She eventually married Nicholas Paramythioti (1871–1943) a businessman from Corfu, on 22 August 1903,^[178] one of many lodgers at the house in Hampstead (17 Goldhurst Terrace) ^[179] that the family used to let rooms to. Around this time, she and Nicholas moved to France (where her two children were born, John in 1904 and Pamela in 1906), and she divided her time between France and Margate (where her parents had retired to and where they are both buried, having succumbed to the influenza epidemic, dying within a few days of each other in 1913).

She kept a diary spanning the years 1907 to 1918,^[180] which she wrote as a sort of 'life-guidance manual' for her two children. These few entries give an insight into her opinions about music and composition.

24 October 1907

“I’m afraid my composing days are practically over. I worked too hard once upon a time, & now I can only do very little without feeling my head spin round. And as regards the opera it really does not matter; these light things are usually written & composed by half a dozen different people; they have no consistency whatever, but nobody minds.”

21 March 1908

“I have been filling up my time with composition I have from past songs in hand; because expenses are heavy & I want to help. I hope neither of my dears will want to take up music as a profession, by the way! Their Mummy should serve them as an awful warning. If you put aside prima donas, infant prodigies, & a very few composers who happen to be momentarily the sage, there is no profession worse paid; & certainly there are very few more injurious to the health.”

23 May 1908

“All those things – hysterical religion, sentimental poetry, sad music – (of which I myself have written far too much!) all, as Ruskin says “waste your strength in artificial sorrow” – that strength which God gave you to bear your real troubles, to control your own nature, & to fight the battle of life.”

Daughter

Her daughter, Pamela described Amy as a committed pacifist and the obituaries in The Stage and The Vote announcing her death both report that "shortly before her death a jury of musicians and literary men in Paris had awarded her the prize, open to the world, for a song in honour of the 'Drapeau Bleu' - the ensign of the League of Nations" (forerunner to the United Nations).^[181] The book, 'The Blind Horse of Corfu' a memoir of Amy's daughter, Pamela Morris (née Paramythioti) told to Anne Norrington, refers to Amy's composition "of a 'Song for Peace' which had apparently won an important prize."^[182]

Works

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Horrocks composed music for orchestra, chamber ensemble, choral and solo voice. Some of her works have been recorded and issued on CD, including:

• Catherine Wilmers, Simon Marlow - A Cello Century Of British Women Composers Audio CD (22 August 2000) Quicksilva Records, ASIN: B00004U5FS

Copies of many of her compositions are held at the British Library. Selected works include (dates are dates of publication unless better dates are available):

Amoret. Song, the words by M. Byron, 1898

Another Spring. [Two-part song.] Words by C. Rossetti. Op. 18. No. 5, 1896

April Showers. [Two-part song.] Words by M. C. Gillington ... Op. 23. No. 2, 1895

Ashes of Roses (words by E. Goodall) and a Love Song of the 17th Century (words by Austin Dobson) ... With a Primrose (words by T. Carew ... ) and a Cradle Hymn (words from Kingsley's ♯Waterbabies'). [In 2 keys.], 1890

At Peep of Dawn. [Three-part song.] Words by C. Scollard, 1891

The Baby Child of Mary. Spanish Lullaby, etc., 1914

Berceuse. Op. 4. No. 1. [P. F.], 1890

The Bird and the Rose. Song, words by R. S. Hichens, 1895

• The bird and the rose for bass voice and orchestra, 1917

Bitter for sweet. [Two-part song.] Words by C. Rossetti. Op. 18. No. 3, 1895

The Blackbird. Two-Part Song for female voices, with Pianoforte accompaniment, the words by M. C. Gillington, 1905

Bloom, O my Rose. [Two-part song.] Words by W. S. Landor. Op. 18. No. 1, 1894

Blow, blow, thou Winter Wind. [Three-part song.] Words by Shakespeare, 1891

Bonnie wee Thing. Song, words by R. Burns, 1895

Child's Talk in April. [Duet for female voices.] Words by C. Rossetti, 1908

Christmas Carol. Words by J. Milton, 1893

Constant Love. Song, etc., 1890

Cottage Cradle Song. [Two-part song.] Words by M. Byron, 1908

• Country Dance, for cello & piano, Op. 17/2

Cradle Song and Scherzo à la Mazurka for violin and piano. Op. 12, 1893

The Cuckoo. [Duet for female voices.] Words by M. C. Gillington, 1905

The Daisy. Two-Part Song for female voices, with Pianoforte accompaniment, the words by Wordsworth, 1900

Dead Hope. [Two-part song.] Words by C. Rossetti, 1913

The Daisy Lullaby. [Two-part song.] Words by M. Byron, 1908

The Dancers. Two-Part Song for female voices, with Pianoforte accompaniment, the words by M. C. Gillington, 1905

A Dirge for the Year. Words by P. B. Shelley, 1893

The Discontented Bunny. Action Song, words by M. C. Gillington, 1911

The Dustman. Song, the words by M. Byron, 1904

Eight Variations on an original Theme for pianoforte, violin, viola and cello. Op. 11, 1893

Elfin Sleep Song [Three- part song], etc., 1899

The Fairy Cobbler. Two-Part Song for female voices, words by M. C. Gillington, 1898

The Fairy Thrall [Four-part song], etc., 1899

Forest Slumber Song. [Duet for female voices.] Words by M. C. Gillington, 1908

A Garden. Words by P. B. Shelley, 1893

Golden Eyes ... [Song.] The Words by A. Lang, 1899

Harebell Curfew. [Duet for female voices.] Words by M. Byron, 1899

Hill-Tops. [Two-part song.] Words by M. C. Gillington ... Op. 23. No. 3, 1895

The Hotspur. Song, the words by M. Byron, 1900

If I had a Court and Castle. Irish Love Song, words by M. C. Gillington, 1913

An Indian Lullaby. Song, words by M. Gillington, etc., 1899

An Indian Lullaby, etc., 1904

Irish Melody and Country Dance for violoncello and piano. Op. 17/1, 1894

July the Pedlar. Vocal Duet. Words by N. Hopper, 1899

Lady Moon. Song, the words by M. Byron, 1900

The Lady of Shalott, - Tennyson - ... with pianoforte accompaniment, 1899

The Lady of Shalott. Tennyson ... With musical accompaniment for Violin, Violoncello and Pianoforte, 1899

Love's Requiem. [Song.] Words by M. C. Gillington. [With violoncello obbligato.], 1894

A Lullaby, words by Mrs. G. Byron, 1895

Mayday Morn. [Duet for female voices.] Words by M. C. Gillington, 1905

A Midsummer Song. Words by M. Gillington. [In C minor and D minor.], 1891

My little House. Song, words by M. Byron, 1914

My Love is a slumb'ring Flower. Song, words by M. C. Gillington, 1913

My Love will ne'er forsake me. Irish Love Song, words by Mrs. G. Byron, 1895

The Night has a Thousand Eyes. Canon, words by F. W. Bourdillon, 1899

The Nightingale. Song. The Words by F. E. Weatherly, 1897

On a Nankin Plate. Song, words by A. Dobson, 1896

On the Pond. [Two-part song.] Words by F. Schloesser. Op. 18. No. 6, 1896

Philomel and the Aloe Flower. [Song.] Words by A. Webster, 1902

• Piano Trio in B♭, 1897

Picture Story Books. Action Song, words by M. C. Gillington, 1911

Prithee, Maiden. Song, words by S. Lever, 1896

Ragged Robin. [Two-part song.] Words by M. Byron, 1897

The Recompense. Song, the words by M. Byron. With Violoncello accompaniment, 1898

The Return of May. Choral Trio for female voices, with Pianoforte accompaniment. Words by Mrs. Hemans, 1886

The Return of May. Choral Trio for female voices, with Pianoforte accompaniment, etc., 1901

The Rigadoon. Song, words by M. Byron. [In D and F.], 1901

Rigaudon for Violin with Pianoforte accompaniment, 1900

A Romany Spring Song. The words by M. Byron, 1896

Rose-Song. Words by P. B. Marston, 1893

Says the Nightingale. [Duet for female voices.] Words by M. C. Gillington, 1905

The Season for Wooing. Song. Words by G. S. Aspinall, 1899

A Serenade. [Three-part song.] Words by H. M. Waithman, 1891

Sing Heigh-ho! Song. The words by C. Kingsley, etc., 1898

Six (Nine) Action Songs. Words and Actions by M. C. Gillington ... No. 1. A Birdie's Plans. No. 2. The Fan Folk. No. 3. The Sleep Fairy. No. 4. Dolly's Distress. No. 5. Impecunious. No. 6. The Beetle and the Dormouse. No. 7. The Flower Circus. No. 8. The Town Mouse and the Country Mouse. No. 9. The Butterfly's Wedding, 1902–04

Six Greek Love Songs, 1899

Six Pieces for piano ... (Op. 14.) No. 1. Boat-Song. No. 2. Minuet. No. 3. Romance. No. 4. Spinning-Song. No. 5. Waltz. No. 6. Mazurka, 1893

Six Songs. Op. 10, 1892

The Skylark's Wooing. [Two-part song.] Words by M. C. Gillington ... Op. 23. No. 1, 1895

Slumber Song of the Year. [Two-part song.] Words by M. Byron, 1897

• Sonata for cello and pianoforte, 1889

Sonata in G for Pianoforte and Violoncello. Op. 7, 1896

A Spanish Pastoral. Spanisches Schäferlied. [Song.] Words by M. Byron. Deutsche Uebersetzung von O. L. Sturm. [With flute obbligato.], 1899

A Spring Day. Words by Wordsworth, 1893

Spring in the Forest. Two-Part Song for female voices, with Pianoforte accompaniment, the words by M. Byron, 1899

Summer Changes. Words by P. B. Marston, 1895

A Summer Wish. [Two-part song.] Words by C. Rossetti, 1913

The Sun's the Heart of the Sky. [Song.] Words by A. Webster, 1902

Sweet Dreams. - Cradle Song. - [Duet for female voices.] The words by W. Blake, 1900

The Sweet Spring. [Duet for female voices.] Words by T. Nash, etc., 1904

A Tale of the Sea, and Valse. Two light pieces for the pianoforte, 1915

To Althea, from Prison ... [Song.] English words by R. Lovelace ... Deutsch von W. A. Kastner, 1900

To Music, to becalm his Fever. Words by R. Herrick, 1893

To Violets. Vocal Duet. Words by M. Byron, 1899

Tragedy. Two-Part Song for female voices, the words by M. C. Gillington, etc., 1898

Travellers' Tales. Action Song, words by M. C. Gillington, 1911

Trois Pièces faciles pour violon avec accompagnement de piano. Op. 34. 1. Barcarolle. 2. Élégie. 3. Masjurka, 1900

Twilight, - Rêverie - for Violoncello and Pianoforte ... Taken from ♯Songs for Children', 1901

Two Fairy Songs, for ... treble voices. 1. Elfin Sleep Song. 2. The Fairy Thrall. Words by M. C. Gillington. Op. 13, 1892

Two Lyrics ... No. 1. Forget-me-not ... No. 2. An Idle Poet. Words by H. Robertson, 1903

• Undine, Op. 16 for orchestra, Performed at
  The Proms, 6 February 1897^[183]

References