The book ‘Tarka the Otter‘, written Harry’s father, inspires the music. Simon Heyworth produced and engineered the recording. This is the story of the creation of Tarka Music
In 1975 Harry Williamson and Anthony Phillips composed music on open tuned guitars, piano and whatever else was available. This project became Tarka.
They created a collection of new-classical guitar and keyboard pieces using different ‘open’ tunings. This resulted in the writing and scoring of two works, which were both episodic and harmonically and rhythmically complex.
Open tunings
Guitars in different open tuning create compositions by ear rather than by intellect. The unusual collaboration made conventional composition difficult. The results remain striking and quite novel.
One of the tuning combinations was, for Harry, Open G Drop D. For Ant on 12 string the corresponding tuning was C#minor! Those with a knowledge of music will realise there are not too many common chords using open strings in these tunings.
Tarka Music in the country of the two rivers
Much of the early composition occurred at Ants parents’ home in Send, Surrey. When the project became more serious, Harry invited Ant down to stay in North Devon.
The very new house at Ox’s Cross was incomplete, due to a misunderstanding with the builder. Undaunted by raw cement floors, Anthony and Harry spent days exploring the moors.
Always searching for places known to the spirit of the otter.
Each days journey contributed to the musical picture. In the large empty house Harry and Ant played into the evenings by candle light. conjuring landscapes, action and moods.
One particularly memorable walk was through the grounds of Castle Hill near Shallowford, where HW had lived.
Close encounter
Climbing the steep hill they came to a disused railway viaduct with sheer 30 Meter drop to the valley below. While hesitantly exploring the dark dripping tunnel , they heard a loud echoing from the dimly lit mouth. As they emerged into the light, a full grown stag leapt onto the parapet from the thicket beside.
With just a glance at the two petrified composers, down it charged following the way they had previously climbed. Harry and Ant watched from above as the powerful animal ran through a large white marquee. The caterers flew in all directions as the stag rushed through.
Forward and backward he ran among the tables and staff, creating a veritable maze of conflicting scents. Then he leapt into the river and floated off, suddenly quite quiet, downstream. He was all but submerged, with his antlers still showing, in an effort to lose the pack.
Minutes later, the hunt arrived, with 20 or so large hounds, baying ferociously. A similar number of men on horseback rushed down in turn through the heavily wooded hillside.
They crashed through the thickets as the hounds coursed up and down the bank. To the consternation of the staff, they rode all through the tent, cutlery and tablecloths flying. They sought in vain for a trace of the stag. There was little doubt where the sentiments of the two amazed onlookers lay.
That day was etched in our minds. It became a source of further inspiration for some of Ant’s later work.
Scoring at Sandridge
Fast forward to 1977. Film-maker David Cobham was preparing to shoot Tarka the Otter. Harry had encouraged his father to sign the contract a year earlier. Henry had previously refused good offers from Disney and others, for many years. Sitting in Henry’s Cottage in Ilfracombe, father and son talked through the pros and cons of signing away his best known masterpiece.
David Cobham was at least a known factor, as he had previously worked with Henry on ‘The Vanishing Hedgerows’ a popular documentary for the BBC, slated as ‘the first full length nature film’, which was narrated by Henry. David’s sensitivity, cinematic imagination and love of nature won Henry over.
During 1976 and early77, Cobham encouraged Harry and Ant to continue writing their orchestral treatment for his film. Unknown to the two enthusiastic musicians, David already had a composer, an old friend, who had already been assigned the music contract.
Genesis management kindly supported Ant’s contribution to the work and financed the recording on the basis of a gentleman’s agreement. They understood, as we did, from conversations, that our music would be used for the film.
Scoring for Orchestra
With help from friends of Simon Heyworth, Harry and Anthony completed orchestral scores for ‘Tarka’, (PRT, Voiceprint) in 1977, the year of Henry Williamson’s death. Simon kindly arranged accommodation during the spring and long hot summer at Sandridge House, near Melksham, Wiltshire.
Their hosts were Susan Alfrey and Dave Thurstone who kindly contributed to the project, and remain dear friends.
Thanks to generous support from Genesis Management, Anthony and Harry were able to record the Orchestral scores in 1978 at Wembly (CTS) studios. The producers then shelved the project due to contractual misunderstandings with David Cobham.
Harry recalls weeping in joy when he first heard the recording Orchestra, made up of members of the Philharmonic and National, sight read their score. Great waves of emotion swept again and again through the control room on playback. It was certainly a once in a lifetime experience!
Henry Williamson passed away on August the 13th 1977, at about the same time that the final scene of the film Tarka the Otter was shot in Instow, North Devon. He was 82.
Completing the recording 1988
After 11 years of effort, Simon found the funds to complete the recording and mixing of Tarka in 1988. Movie producers Susan George and Simon McCorkindale financed the completion of the work, reserving the film rights.
Ten years later, when the project was complete, it was released by PRT in London and shipped across the EU. Harry remembers visiting the record company as a container full of CD’s was leaving for Italy.
Tarka stayed in the Classical/New Music charts in Britain for several months and sold well. Then inexplicably the record company went into liquidation and royalties vanished.
In 2010, 35 years after it was written, Tarka was finally performed live at Melbourne Town Hall by Harry, with Doug de Vries playing Anthony’s 12 string parts.
The music stands on its own merit and continues to be popular. A new release in surround sound with a lavish photo album and very special bonus recordings is currently (2023) in production.