The Battle of Delville Wood

The entire Battle took place from 15 July – 3 September 1916, with the British ultimately victorious. It was a part of the larger ‘Battle of the Somme’, in the North-West of France..

The South Africans’ part in this battle lasted from 15 – 20 July – six days and five nights of horror.

From Wikipedia, some basic numbers:

“The most costly action that the South African forces on the Western Front fought was the Battle of Delville Wood in 1916 – of the 3,153 men from the brigade who entered the wood, only 780 were present at the roll call after their relief.”

The Wounded:

A Picture of my grandfather, Joseph Sparks Hand, while wounded, in ‘Blighty’.

1,735 were wounded and sent home to England, known as ‘Blighty’. My grandfather was one of the ‘lucky’ wounded, sent to England for treatment of a wrist injury and being gassed. He remained a member of the Wits Rifles until he was declared unfit for active duty during the Second World War – because of lung damage he suffered at Delville Wood.

A little history gleaned from my family, before telling of the Battle of Delville Wood:

My grandfather, in uniform during the 1914 fighting in German South West Africa (now Namibia).

After fighting in German South West Africa in 1914, then in Egypt to save the Suez Canal, the South African soldiers, among them the 3rd Battalion of the Wits Rifles, were sent to northern France. They spent three weeks ‘training’ in the trenches in Bailleul, a town in Northern France, on the north-western border with Belgium. Thereafter, the troops, as part of the 9th Division (mostly Scottish regiments), found themselves marching 107 kms south-south-east, across the French countryside, along winding lanes, past fields of growing crops, and on into destroyed villages where death surrounded them. Regiments from the 9th Division, were already fighting in villages south of their march. Our ‘boys’ – and they were boys of 18 and 19 – walked through Longueval which had been taken by the British, where men had died in droves, and shells were still falling. On the other side of Longueval they found a battalion of dead Scots in a sunken road, used as a ‘front line’. Ian Uys, in his book Delville Wood, wrote: “Men were standing in the firing position facing the wood. Not one of them would ever fire a shot again. They were all dead, hundreds of them – and everything seemed so quiet and peaceful. Only the movements of our regiment were to be heard, no shells or rifle fire, only dead silence…”

First sight of Delville Wood:

At 06:00 on 15th July 1916, the men first saw Delville Wood – or, as the French named it, ‘D’Elville’ Wood.

Ian Uys continues: “Our first glimpse of Delville Wood was one of great beauty – the stately trees and leafy undergrowth in the hazy dawn of a midsummer morning had such a peaceful look. Except for the quiet tramp of man and the periodical bursting of the German shells in Longueval all was still.” And then: “The enemy was believed not to have entirely vacated the wood – our orders were to clear a certain section and then to hold it until further orders.”

I heard a slightly different version of the South Africans’ orders – that they were to ‘hold the wood at all costs’

The Trenches:

The Clay-chalk-mud in which the troupes tried to dig their trenches.

You can be sure that the wood did not smell as good as it looked at first sight in that hazy dawn. It was definitely not welcoming. The German forces had held the wood and had mostly retreated, leaving their dead behind.  It was almost impossible for the men to ‘dig in’ with just their trenching tools. They were on low ground where the Germans could see them and pick them off at will, so they fell to their stomachs and had to dig through the trees roots which were entangled in the clay they grew in, while lying down and trying to counter the enemy’s fire. After many exhausting hours, they managed to dig themselves into one- and two-man holes, deep enough to sit in, while piling the diggings on either side of the holes for further cover from the German snipers.

As they moved further into the wood, they discovered that the Germans had nailed horseshoes, as ‘steps’, to the trees, after removing the lower branches, and used the upper canopy for snipers’ nests, not all of which were empty!

As the South Africans fought their way metre by metre into the wood, they began to shelter in trenches left by the retreating enemy – along with rotting bodies and rats … Which gave rise to horrid diseases such as Trench Foot, Trench Mouth and Trench Fever.

Battle in the Rain

It rained heavily for much of the battle. The men’s boots filled with mud and sludge and their legs were soaked, as their waterproof capes only kept the rain off their shoulders and upper bodies. There was nowhere to lie down or even sit comfortably, and also no chance of sleep: the Germans constantly bombarded the South Africans with shells, with the tearing roar of gun and canon fire, with billowing yellow-green and dark, massed gas clouds that contained every deadly chemical other than mere mustard gas, as they called it. If a soldier was caught by a gas cloud before donning his mask, the effects were dreadful – blistering and burning of mouth, nose and lungs, leading to internal bleeding and death. Wearing the gasmasks was awful but saved lives. It was difficult to see through the eye holes, the protective-chemical-infused canvas scratched the skin, and stuck to the eyebrows if Vaseline was not applied to them before donning the ‘bag’. It was hard to breathe, and if anyone were to vomit while wearing it, they would drown, so they were taught to lift the canvas mask to just above their mouths if necessary.

The Sounds of War

The noise was incessant – the crack of rifle fire and rebounds off the trees, the crump of shells destroying trees and men, the screams and moans of the wounded, the roar of officers trying to control the action, the whistling of the ‘whizz-bangs’, the hiss of the gas.

Here is another quote from Delville Wood by Ian Uys: “The wood was often lit up by the rapid succession of explosions. Whole groups of men disappeared in the fire and smoke. Later, a heavy rain turned the shell-holes and trenches into mud-holes and ponds.”

Our men were often ordered ‘over the top’ of the trenches to attack the Germans, running over ‘no-man’s-land’ littered with barbed wire and bodies, the Germans rising from their trenches to meet them, firing from the hip with their rifles and then fighting on with bayonets at close quarter, and with fists when bayonets were lost.

A unit of South Africans became cut off from the rest, for three days without food or water, stranded with their wounded, their dead and their dying, before General Thackeray and his South African First Battalion managed to fight his way through to relieve them on 18th July.

The wounded who couldn’t walk:

The wounded were carried by the ‘coloured’ stretcher-bearers on canvas stretchers filled with rainwater and blood, across the sticky mud and blood that used to be undulating woodland, in and out of bomb craters and deserted trenches, often thrown to the ground if one of the bearers was hit or they had to duck for cover from the German snipers waiting for them near the infirmary that was set up near Longueval. (The term ‘coloured’ in those days of the first world war, was used for anyone who wasn’t of full European descent, I believe. These brave men of colour saved many of our white South African lives, something very few people know of or acknowledge.)

Bill’s knowledge:

Me, with Bill Russell, January 1995.

A very dear – sadly departed – friend of mine, Bill Russell – helped me with a lot of my research for the book I wrote, finishing in 1995, which was specifically about my grandfather’s time in Delville Wood.

Bill had fought in the Second World War as a sniper, with older men who had fought in the First War. He said to me once, “The Germans were the superior soldiers in both wars!” Of course, I asked, “So why did we (the British and South Africans among them) win two wars against them?” After cleaning out his pipe bowl and refilling and lighting it, dear Bill puffed out some blue-grey perfumed smoke and replied, “The German soldiers fought like a machine. We were thinking!”

Bill also taught me to fight with a bayonet and how to fire a rifle – a one-hour course, of which I remember virtually nothing, other than that it would have been horrific having to do it personally and as automatically as was necessary during any war. I do remember that the yelling that the troops are taught during bayonet-training acts on the adrenaline as did the war-cries before gunpowder was invented, and probably after, rousing aggression in the fighter and fear in the attacked…

Visiting Delville Wood Memorial and Museum

 Me, on the path to the Delville Wood Memorial and  Commemorative Museum at Longueval – 11th April 1995

In early May of 1995, I visited the South African Delville Wood Memorial at Longueval in France. This is South African property, bought by Sir Percy Fitzpatrick and given to the South African Government, along with Delville Wood itself, after World War I.

The wood, as my tour guide and I approached by car from Longueval, looked as beautiful, though not as green or as full, as it had on that morning in 1916 when the South African battalion moved towards it. Mist covered the ground, and the large trees, planted by South Africa to replace the awful battlefield it had become, rose high into the air, their branches shimmering with the pale green of spring.

I spent time in the museum and at the Monument – designed by Sir Herbert Baker, and now memorializing the South African fallen of both the First and Second World Wars. And I walked to the edge of the wood, where the single tree that survived the battle still stands. Blue crocuses were in bloom on the ground of the wood, blessing the dead who could not be retrieved, and covering the horrors of unexploded ordinance still there today.

Originally, the wood was mostly beech and hornbeam. It was replanted with a mix of beech and oak.

The Graveyard

The Cemetery at Delville Wood – a haunted place in the spring mists.

The South African dead – only 151 of them, the others being buried in the ground of the wood during the battle, and irretrievable – are buried in an amazingly beautiful, though stark, cemetery, opposite the wood. Most of the plain white tablets that stand in long rows, commemorating the dead of the Somme region, are inscribed with the words, ‘Known only to God’.

Seeing that tree brought about the following poem:

Delville Wood’s Last Tree

Alone in springtime,

On shores of blue-flowered wood,

It stands.

Gazing towards once-decimated,

new-planted,

regimented ranks,

Where flying shells shrieked death –

In cool, blue shade it stands.

Deep are the scars

Of this fragile survivor.

Alone it stands,

Misty as the morning –

A glimpse,

A promise –

Of peace.

 

I’m sure we all wish that Peace could reign and all the weapons of war on display in military history museums, and all those currently in use and those being developed, would never again be necessary…

The Battle of Delville Wood, presented without pictures as a short speech to the Johannesburg Probus Club on 29th October 2024, by Isabel Bradley, at the Johannesburg Military History Museum.

                            Copyright, Isabel Bradley© 28th October 2024

Ode to the Bushveld

There,

Where setting sun

Paints trees and grass in gold and green;

There,

Where skies are high and big

And dapple the rolling hills with purple shadow;

Where elephant walks tall on cushioned feet

And kudu stand proud –

Curling horns reaching for the sky;

Where black-faced vervets

Dance in the trees,

And baboons bark and impala skip;

There,

Where owl glides,

Silent in the moonlight,

Or sits on skeletal tree,

Surveying all in mysterious monochrome;

Where rocks are rhinos

And giraffe hide, tall and gangly,

Behind feathery-leafed trees;

Where wind whips up waves

On the grass-covered plains,

And warthog strut and grovel and turn and run –

Antennae-tails high;

Where lion cough and roar

And leopard slinks, graceful,

unseen;

Where cheetah glides into whirlwind chase

And lands on kudu’s back –

Or stirs up dust-storms of wildebeest –

Then chirrups to her cubs

Who chirp back,

Sounding,

for all the world,

like tiny birds;

There,

Where the air is bright

And the bushveld gives off scents

Of herbs and musth…

There, the heart soars free

With eagles and darting-blue kingfisher;

There, heart and soul

Truly find peace.

© Isabel Bradley, 2017

Syrinx and Pan – an introduction to Debussy’s ‘Syrinx’

pan-and-syrinx

In the spring-time of our world,

In sunshine pure and golden,

There lolled the satyr,

Pan,

Beside a stream

Upon the greenest, softest bank.

He sat and dreamed alone…

Nearby, the wood-nymph,

Syrinx,

Unaware of horned and hoofed half-man,

Sang her song of joy.

Pan heard her silver sounds,

Sat up,

Shook pointed ears,

Yawned

And stretched,

Put cloven foot upon the ground.

All unaware,

Sweet Syrinx went her dainty way.

Half-beast, half-man,

Pan

Followed.

Spying his shadowed form

Stalking through leafy glade,

Poor wood-nymph, trembling and afraid,

Ran –

She ran from Pan,

Who followed, fleet of foot,

Stretched out his hand –

He almost had her –

“Save me, dear gods of the river,”

she cried in despair.

And,

As Pan’s hand clasped her waist,

She vanished.

He held,

In her place,

A handful of reeds…

Poor Pan,

Poor lonely half-beast half-man,

In his grief

Snapped the reeds,

And bound the pieces together.

Sad and sweet,

On silvery pipes,

His heartbroken sobs

Echo

Through misty, mysterious time.

Copyright © Isabel Bradley

pan_39

Marvelous Music

 

Music is a treasure-trove –

Of sound, rhythm, emotion;

Of history and stories told…

Music – a treasure-trove –

Of marvel, mystery and magic,

Creating forms and shapes,

And conjuring hopes, fears,

Disappointments and delights.

Music – a treasure-trove –

Of  joy, and grief,

Ambition, determination –

And triumph.

Music – a treasure-trove –

Of respite and relaxation,

Drawing tension from the soul,

Instilling serenity, calm, peace and tranquility.

Music – marvelous music!

Copyright © Isabel Bradley


	

Me, My Dad and Music

ieb-dad-about-1992

 

Me and Dad – around 1992

 

 

Young girl
On my father’s arm,
Dressed in my best,
Lifting long skirts to rise,
To float,
Up the winding wide staircase;

Watching glamorous concert-goers,
Breathing in perfume,
Admiring lace and silk,
It’s swish and swirl,
Exquisite evening bags
Dangling, tantalising,
From elegant, bejewelled wrists;
Envying them their ease of conversation
With men,
Suave in suits and glossy ties.

Anticipation –
It feels like butterflies in my chest.
We take our seats,
Red-velvet, soft,
High in the balcony,
Where I can see and hear
The giddy excitement:
And here they come –
The Orchestra,
Musicians in glittering black
With gleaming instruments,
And there’s the conductor,
He bows, lifts his baton,
And the Music soars,
Up to our ears in glory…

And oh, the fun,
watching:
the flautist floating his sound high and pure
and silver and sobbing,
sitting crouched like a bad-tempered toad in his chair;
The trumpet’s bright and brilliant sound
Ripping through the ponderous strings,
The trumpeter’s face red
and glowing,
and bright with sweat;
and the percussionist,
swinging his hammer back and forth
between gong and base-drum,
“Bonggggg”, “Boom”, “Bonnngggg,” “Boom”,
“Boooonnnnnggggg”
And missing a beat
As he catches and rights
The falling, reverberating gong.

Interval –
We go downstairs
And fight our way through the crowd,
Heading backstage.
We find and talk to
The red-faced trumpeter,
The ‘grumpy toad’ flautist –
My much-loved teacher,
And some of the young cadets –
Flirt with them behind Dad’s back…

Sleeping with my head on his shoulder
Through the second half;
Roused by a roll on the timps.
Edging our way downstairs,
Through the tunnel,
To the car in the parking lot,
Discussing in detail
Every note,
Every musician,
And –
Just being together:
Me, my Dad, and music.

Copyright © Isabel Bradley

Musical Jewels

I recently performed a programme of some of my favourite works for flute and piano at the Theatre on the Square in Sandton, during one of their Friday lunch-hour concerts. Here are the prose and poetry that I used as introductions to the works I performed with my friend and accomopanist, Susan van der Wat, that day:

Recently, Leon and I saw the marvelous production of The Magic Flute, recorded and broadcast from the New York Metropolitan Opera. Hearing the libretto in modern American-English was a treat; learning of the attributes given to the instrument, the ‘magic flute’ resonated deeply with me:

“A flute … is worth more than gold or crowns, For by its power will human joy and contentment be increased.”

SONY DSC
Isabel and Susan

The flute is my magical instrument – playing it brings me not only joy and contentment, but fun, laughter and communication with other musicians, and my audience.

The first ‘jewel’ that we performed was the exquisite Romance by Camille Saint-Saëns, a work that I love performing, which certainly brings:

The Joy of Music

The promise of beauty resonates,

Deep in my soul,

Ripples through me,

Pours forth in joy and gleaming light,

Floating,

On a magic-carpet-ride.

Sounds pour through me,

Sparkle, soar and shine,

Passing in golden chains from me, to you, to me…

Carried through air and time and space:

Precious jewels of sound,

Living on,

into forever.

An Arpeggione
An Arpeggione

Our next offering – a jewel, perhaps ‘stolen’ from other instruments – was the beautiful Arpeggione Sonata by Frans Schubert. This sonata was written for an instrument by that name – the Arpeggione: it was somewhat rounder of body than a cello, but was held between the knees like a bass viola da gamba; similar to a guitar, its neck was fretted and it had 6 strings, but it was played with a bow, as is a cello. Invented in 1823 by Viennese guitar maker Johann Georg Stauffer, it was fairly popular for about 10 years, but never became widely played. The only work ever written for it was this sonata by Schubert, and it was first published in 1871, long after his death. Schubert also arranged this work for viola and piano. ‘Cellists, clarinettists and flautists, of course ‘steal’ it from the viola and perform it regularly! Though one wonders if this music can truly be ‘stolen’, as the instrument for which it was written no longer exists. No matter which instrument plays it, it remains glorious music.

My last teacher, Lucien Grujon, believed that the first duty of a musician is to respect the wishes of the composer, to try to understand the inner meaning of their works. “What you play,” he would say, “must be understood by the audience… The rhythm is what gives life to the music – the music must be interpreted through the rhythm. Playing in time is one thing – playing rhythmically is another, entirely. Say something through the notes, give your message to the audience.”

The sonata is in three movements, the first entirely separate, the second moving without a break into the third.

Here are the thoughts that pass through my mind as I play the Arpeggione Sonata:

Music – The Heartbeat of Life

My friend and companion –

Music talks straight to my heart,

Wakes joy, delight, sorrow and grief,

Invites laughter, tears

And bliss.

My friend and companion –

Music awakes my imagination,

Paints pictures in my mind, And, re-visited,

is as welcome as a well-loved friend:

Familiar, yet – each time, somehow more,

somehow new;

Comforting,

Invigorating,

Soothing.

Music is the heartbeat of life.

I was privileged to have three wonderful flute teachers. When I was a small child, I listened, delighted, to the musical jewels that poured through the night as Dad played wonderful recordings of renowned flautist, Marcel Moyse, or practised his own flute. When I was eight years old, my father taught me to play the piccolo – my arms and fingers were too small to hold a flute. A year later, Chippy Yutar took over from him. Under her, I advanced to playing the full-sized concert flute, earned distinctions in music exams, learnt to perform in public, and enjoyed my first years as a member of an orchestra. Chippy instilled in me my love for music, and the joy that comes through playing with other musicians. When Chippy moved away from Johannesburg, Lucien Grujon, who studied at the Paris Conservatoire under the great Marcel Moyse, became my teacher. He often said to his pupils: “your flute is just a piece of metal – you have to make it live, vibrating with your own soul and feelings, through the inspiration of the composer.” Lucien Grujon taught me mastery of the instrument.

Our last jewel of the afternoon was the Hungarian Pastoral Fantasy by Albert Franz Doppler. Doppler was a virtuoso flautist and composer. The fantasy comprises several sections linked by piano passages, and is a favourite ‘show-piece’ for the flute, vivid and exciting.

I imagine that, when I join with it to make music, this is how my flute feels:

Soul of a Flute

Another’s breath

Breathes life

Into my long, smooth body;

I quiver in anticipation,

As warmth flows through me.

Ripples of light move inside me

As fingers move my keys;

Vibrations of air,

Of round, dark sound,

Thrill from my lowest notes.

Sorrow pours its tears into me.

The light moves,

Changes,

Gleams silver inside me.

Joy flies and dances from my keys,

Jumps in starbursts of light and singing

Inside me –

In the air around me.

Sound courses, vibrating, through me –

Silver and gold,

Velvet and silk,

And sparkling jewels.

Through shifting kaleidoscopes

Of light and dark

I laugh,

I sing,

I sob.

Sometimes I sing alone…

Sometimes my voice blends,

in bliss,

with the songs of others –

the same, but different.

I am – but I live only

Through the breath,

The touch,

The life,

The passion – of another.

As an encore, we played a piece of simple, glorious music – the Morceau de Concours by Gabriel Fauré:

A Morsel of Music

Music soothes my soul,

Brings peace,

That flows around and through me.

 

Getting to Know Me

Isabel - profile pic.Let me introduce myself. My name is Isabel Bradley. I was born in Johannesburg, South Africa, far too many years ago, during the days when South Africa was still a Union, a colony of England. There have been changes: for bad, and more recently, for good.

Through all the bad and good years in South Africa, I have been privileged in the life that I’ve led.

As a child I was loved and pampered by musical parents. My earliest memories are of one or oth1957-07The Hand Familyer of my parents sitting at the piano to learn another song, another duet; or of Dad playing the flute. Dad was a baritone, Mum a soprano. They met as members of the Johannesburg Operatic and Dramatic Society, and spent their lives putting together musical evenings at home, concert parties to entertain at the many ‘old age homes’ around the city and ensuring that my brother and I both learnt to love music, laughter, and the English Language in all its many forms.
My brother, Roger, took piano lessons, and was soon good enough to accompany both Mum and Dad in their singing.

Flautist Clarry 2 - emailAt the age of eight, I asked Dad to teach me to play the flute. The piece he played that I loved best was by an obscure composer, Paul Wetzger; a rippling bit of flute music called ‘Am Waldesbach’ (By a Stream in the Woods). It was years before I could play that piece, but it’s still part of my repertoire.

Sitting side by side with Dad on the old green couch, my first music lessons were on his ebony piccolo, that shrill, small version of the flute. My fingers were far too small to reach the keys on Dad’s silver Boosey and Hawkes hand-made flute!
Within a year my little fingers had grown just enough, and Dad bought me my own flute. I took lessons with the best teachers in Johannesburg: Mrs. Cecilia (Chippy) Yutar, who instilled in m081105 - solo & with Chippy_0002 re-sizede a love for making music, then later Monsieur Lucien Grujon. They were my ‘fluting parents’.

Apart from my musical education, I spent twelve years at school learning all the usual things. My favourite subject at school was English. I passed all my school-leaving subjects adequately, but in English I received a distinction. Along with the distinction came a love of poetry, reading and writing. Any kind of writing.

After leaving school, I chose the path of the amateur musician, an ‘amateur’ being one who does something for the love of it. I took a secretarial course at a business college, and worked as a secretary for many years, while remaining a member of various amateur orchestras and chamber-music groups. When I found myself working mornings-only as a school secretary, I took on flute students after hours, teaching adults for at least twenty years.

I currently perform mainly as a soloist and as a member of the Rand Symphony Orchestra, http://www.randsymphony.co.za, and rarely teach. Writing and reading my own poetry as introductions or connections to the music I’m about to perform creates a special atmosphere and enjoyable and unusual programmes.

After the distractions of marriage, child-bearing, divorce, re-marriage and more child-bearing, came a time of relative peace in my life when I studied again, earning a flute teacher’s licentiate from Trinity College in London, and a diploma from The Writing School in South Africa. On a shelf, awaiting the effort of re-writing and finding a publisher, is my novel.

Until now, my written musings have appeared in the FLUFSA Newsletter (Flute Federation of South Africa), The Write Stuff, newsletter of the Johannesburg-based writing circle, Writers 2000, a short-story and poetry magazine called Gentle Reader, and in a now-dormant web magazine, Openwriting.com under my by-line, ‘Here Comes Treble’, http://www.openwriting.com/archives/here_comes_treble/. This post is adapted from my first posting in Openwriting.com.

I look forward to sharing the musings of a musician on many and varied subjects, as the fancy takes me over the next weeks, months, and perhaps even years! I hope you will enjoy my musical and other meanderings.