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ONE
Bloomsbury and Music
Rosemary Lloyd
LOOKING BACK ON THE HEADY DAYS IN CAMBRIDGE WHEN MANY of those who would come to be known as the Bloomsbury Group first met, Leonard Woolf recognized how important music had been for himself and his friends. He affirms in his biography that they were “intellectuals, intellectuals with three genuine and, I think, profound passions: a passion for friendship, a passion for literature and music (it is significant that the plastic arts came a good deal later), a passion for what we called the truth” (S 173). If the heyday of Bloomsbury can be seen as starting in March 1905, when the four young Stephens – Vanessa, Thoby, Virginia, and Adrian – opened their home in Gordon Square for Thursday evening gatherings, and continuing until the end of World War I, a calamity that, according to Vanessa Bell at least, also killed Bloomsbury (Selected Letters 364), its origins date back to 1899, when Lytton Strachey, Thoby Stephen, and Leonard Woolf first met at Cambridge University, and it continued in an altered form until 1939, when the dark days of World War II loomed.1 Clever, witty, and sexually unconventional, the Bloomsberries, as they called themselves, were associated above all with new movements in art and literature. As a group, they reveled in free and open discussions, attempting to reach a less stuffy, less hypocritical form of ethics than the previous generation and to shape their lives and their thinking around love and beauty, giving value to what Leonard Woolf termed the “passion for friendship” (S 173). Rebelling against the stuffiness of their parents’ generation, they turned to forms of art that exalted the sensual. For many of them, the family home had had little of aesthetic interest and the family ethos had been driven by a scornful rejection of aesthetic values. Although Virginia Woolf would later assert that her father had “no feeling for pictures; no ear for music; no sense of the sound of words” (MB 68), the other members of the Stephen family were to some extent an exception to this position, with Virginia’s mother and her half sister, Stella, revealing a lively interest in music. The passion for photography revealed by her great-aunt, Julia Margaret Cameron, no doubt influenced her own practice of that art,2 and both Virginia and Vanessa, like most young women of their class, were given music and ballet lessons from an early age. For most of the Bloomsbury Group, however, the discovery of visual and aural beauty during their Cambridge years, passed on to the women through brothers at the university, became a formative experience that would shape their later aesthetics. The early passion for music that Leonard Woolf reveals may have faded for many of them in comparison with the discovery of the plastic arts, especially under the guidance of Roger Fry, but