A large archive of letters, signed "HJR" or pseudonymously "Fitzjohn" or "F" (as of Fitzjohn Avenue, Hampstead), to his mistress, Brunhild 'Brynnie' Granger, with a body of printed and manuscript material relating to his life and career.

An unusual survival, the letters of a composer, Harold Jervis-Read, to his lover illustrating the growth of a relationship (and an ability to express his feelings) against the backcloth (sometimes foreground) of his musical activities, and his marriage. Total of letters circa 350 (three hundred and fifty) Autograph Letters, 118 (one hundred and eighteen) apparently complete letters (many start and end abruptly), dated, 432 (four hundred and thirty two) pages, with some APCSs, mainly 12mo, 1-8pp. each, 55 of these letters dated 1933 and 30 dated 1934, 1926-1928 comprising one letter only. There are more than 140 undated letters and a similar quantity of apparently incomplete letters, no. of pages c.150. Subjects and quotes: (1926) his one night a week flatmate found him unconscious; a lot to do; her birthday; (1928) "can't write about 'intimate things'"; (1927) asking how he should react to something she's written (hot or cold, etc.); (1929) lost coat; health; illness; suggestion that relationship is on the edge; social life; compliments her ("fine"); dinner invitation; "My piece for [Oulston?] went well"; quotes to illustrate attitude to her, "If of herself she will not love thee ..."; she has obviously complained that he doesn't show enthusiasm (recurrent theme); "joy of creation" but not the "joy of human communication"; his human shortcomings; she cannot appreciate the "Marcia Buffa" because of lack of appreciation of satire in her; his company described; leaving flat for good; moving to 29 High Street, NW3; his obsession with her, perhaps only soluble legally (marriage); nature of love and their relationship (recurrent theme); movements; reference to Margery - his wife (see below); he'd sacrifice all for his children; Margery has no money, "I earn at an artistic profession enough for six of them"; £160 per annum private income; he describes "the littleness of her perceptions" (on family finances); (6 Oct. 1929) he's been writing a lot - "a violin sonata"; suggests she book a ticket for the Royal Academy of Music where a Recital of some of his work is to be given finishing with his "6tet by professional players"; she shies away; says he'll never write a quartet; busy; "Everything here is called a 'Practice' Concert unless the Principal is personally responsible for it"; Margery (wife) happy for him to see Brynnie - she's had a lover for more than two years, "a rich doctor"; (25 Nov. 1929) "The Concert was a good success" (Malvern); literary reference (recurrent) - part of his not being comfortable writing about emotions. Note: Subjects from now on avoiding the personal, or the ups and downs and insecurities of a relationship, unless very revealing of character. Subjects continued: (1930) invitation to the Norwich Festival; too much work at the Academy; asked to give lectures where he was asked to play some of his music; lecture is being printed; asks about her progress at work (Are you an Almoner yet?)(he doesn't ask her about her work much); lecturing in Bristol, then the Wigmore; (1931) "written lots of good stuff"; "I write incessantly - music, lectures, letters of all sorts"; "controversy with Percy Scholes on Musical Appreciation ... I love fighting these doctrinaire writers"; "various new things"; Academy Lecture; "I do not follow Mac P or anyone in my method of grouping! Feste [underlined; Trinity Dublin catalogue guesses published in 1933] is out ..."; his pupils; Elkin & Co.; Murdoch's about to publish "other things" (beside Feste); would she type a lecture of his, "wanted for publication"; received a proof of a piano sonata; at studio with private pupils; getting on with his "Elegiac Symphony", discussed at length; ex-pupil, Robin Tucker "starting music publishing company, a most daring and novel proposition"; he advises, outlines problems, discusses the works he has provided them with; (1932) glad she likes the "sonatina. I love playing for you: I feel you get inside the music. You know men always like my music more than women: I wonder why this is" - theory follows about "feminine (not effeminate) content"; asks her of she really wants a piano - which he will provide; Troubadours book; accuses her of game-playing - adding "the sett is now finished"; "I am mezzoforte only today"; "two lines in Fioretta" misunderstood by most; pays two rents, c.£200 pa; his wife wrote to Brynnie's mother; "3 new private pupils at £2.2.0 per hour!"; recalls the Wagner Brunhilda; recalls meeting her at a concert; a bit of musical notation (two others in other parts of correspondence); going to the Academy for a concert; received proofs of the new song (31 March); examining at the RC; numerous literary allusions, some quotes; their options (secret marriage etc); she is his "musical" inspiration; his reading; going to a concert, expecting a violinist in the evening, and commenting on proofs ("the cover of Winter Tree"); someone commenting on his writings; reminiscences; temptations; several references to George Moore as if strong influence; recurrently cruel words; meets the singer of his sonatas (Marjorie Grant); thinks of them as Heloise and Abelard (repeated theme, involving learned discussion); angry report on poor candidate, not just playing but her smell; another was the opposite; his itinerary; compares his situation to Peter Warlock's - near suicide (25 July); two new songs; enjoyment of Welsh tour; (1934) "Ethel Smythe's music is an example of what happens to a woman when she seeks inspiration of man rather that [sic] of God ... It is insufferably dull, monotonous ..." (6 March); encounter with policeman while loitering at night near her flat; [he gets more expressive as time goes on - inhibition goes somewhat]; jealous thoughts; planning to see her father (marriage?), though his wife is capable of "any subterfuge" including private detectives; he writes as if she's wants to break up, driving him to pleading; misery; the odd meeting referred to; his misery has interfered when he's working well, and he's worried about becoming "a 'hack' conventional musician - which I am not"; only his "writing" is more important than her; finds northerners "sallow and ill-featured"; shown two articles about himself in musical periodicals (3 July); he's "finished his final movement" (8 Aug.); he's hardly ever discussed or referred to her work; proofs of his book [?] arrive, but he's not able to deal with them because of her and other factors; he quotes himself on the nature of music ("music never discloses her ultimate secret"); last dated letter, 9 Sept. 1934. WITH: A large quantity of typed and two autograph notes and letters, drafts, duplicates (indicating second thoughts), some or many abruptly ended or unfinished from Brynhild Granger to Jervis-Read, which mirror Jervis-Read adding her own thoughts, accusations, words of love, attendance at musical events, responses to his music, and information about her life. She gives reasons for not marrying at one point. AND: 10 ALSs (two incomplete and/or damaged, undated, from Margery Jervis-Read, wife of Harold Jervis-Read to Brynnie, attempting to undermine the relationship between Harold and Brynnie, discussing the situation and Harold's character (he has "good points" but..., "numerous love affairs he had had and always will have", her own affair, etc), suggesting that she should marry (but not Harold), and including references to meetings. NOTE: Brunhild Granger was a member of the "Ferguson Gang" [see Wikipedia - a group of women raised money for the National Trust before the War, characterised by masks and mystery and, recently published, Anna Hutton-North's book, "Ferguson's Gang: the Maidens behind the Masks"]. She was "Sister Agatha".