Nowadays, one might think, few would even know that. But that’s where Christopher Andrew – Emeritus Professor of Modern and Contemporary History, and late President of Corpus Christi, Cambridge (Marlowe’s old haunt) – begins his compendious survey, with the story of the twelve Israelite spies sent out by Moses into Canaan, then stricken with plague for coming back with intel that displeased their overlords.

At approx. one word per long, footnoted page, it seems hopeless, almost impertinent, to try to summarise The Secret World: a list of just the ‘firsts’ would take up half this magazine. What’s more, ‘intelligence’ includes a multitude of sins. But pulling together, variously, the threads of deception, subversion, image analysis, psychological operations, covert operations, propaganda, espionage, signals intelligence (Andrew’s chief hobby-horse) and what the KGB called ‘active measures’ (that is, killing) – or, in Clausewitz’s characteristically straightforward wording: ‘every sort of information about the enemy and his country – the basis, in short, of our own plans and operations’ – Andrew’s brightly-coloured tapestry depicts the following:

Egyptian-Hittite diplomatic correspondence (intercepted); the presence of seers in Classical militaries (ridiculous); Caesar’s early use of ‘substitution ciphers’; China’s 2000-year-long insularity; Mauryan India’s enthusiasm for assassination; the formative ‘Secret Stage’ of Islam; the 13th-century internal crusades of Christianity; the commercial intelligence of Renaissance Venice (‘the custodian of the archives was illiterate to prevent his reading their contents’); Ivan the Terrible; the intelligence partnership between Elizabeth I and the ruthless Walsingham; Richelieu’s Cabinet Noir; the original Special Relationship, between the English and the Dutch … [we’re approaching p200 now] … and so on, up to the grotesque return of holy warfare in our own supposedly enlightened era.

This is not simply by way of a completist stratagem. Israeli security services, Andrew points out, take their mottoes – and their remit – from religious scripture. Likewise Sun Tzu, the Indian Arthashastra, and the Hadiths all actively feed into contemporary, real-world conceptions of what intelligence is for, and even how to go about it. Andrew’s avowed intent is ‘to recover some of the lost history of global intelligence over the last three millennia, to show how it modifies current historiography, and to demonstrate its continuing relevance to intelligence in the twenty-first century.’

Straightening out the ‘non-linear’ history of intelligence is one thing: peaks and troughs occur, nations scale back intelligence activities in peacetime, and official secrets legislation hinders research. Few people had heard of Bletchley Park for decades after WWII; and Cold War history to date remains misshapen by the Kremlin’s ability to better keep a secret than the CIA.

But Andrew is determined to correct the ‘long-term historical amnesia’ not only for the purpose of tweedy, collegiate assessment, but also for the sake of ongoing intelligence. Wars, not surprisingly, routinely prove a hasty turning point. But Xenophon suggested it was probably a good idea to give some thought to spies before hostilities (a lesson repeatedly unlearned over the intervening ages) – and yet for most of the hundred years between Waterloo and WWI, Britain essentially had no intelligence infrastructure. It is absurd to have to reflect of Bletchley Park (e.g.), that ‘no other wartime profession was as ignorant of its own past.’ Andrew fairly grinds his teeth at the thought of Allied cryptanalysts busy reinventing the wheel (or many spokes of it), completely unaware their predecessors had helped repel the Armada and defeat Napoleon doing just this sort of work.

‘The value of even the best intelligence,’ of course, ‘is only as great as the use made of it.’ The Secret World, inevitably, contains a litany of ‘intelligence failures’ which are, often as not, in fact broader political ones. The burning of the English fleet in the Medway (no budget); Pearl Harbour (inherent racism); Stalin before Operation Barbarossa (Trotsky mania); the Soviet invasion of Afghanistan (missed by CIA; but ill-considered by the KGB). Andrew admits it’s possible to get away with these: at its height, the Roman Empire had so many soldiers that there were essentially no rebellions, and no need for much intelligence. But the same cannot be said of our ‘Forever Wars’.

A lifelong academic, bestseller of intelligence scoops like the Mitrokhin archive, and official historian of MI5 (in which role, if in no other, he is enrolled in the Security Service), Professor Andrew knows whereof he speaks – and, no doubt, from time to time, whereof he must keep silence.

Though not shy to repeat himself to make a point (he laments, as scholars will, that other historians fail to note the vital issues in his field), this magisterial result is highly readable, if barely portable. Needless to say, it’s packed with fascinating characters. And with 200 pages of notes and bibliography that are an absolute trove for the intelligencer (not to mention raw material for several dozen novels), The Secret World looks certain to become a standard reference work for graduate intelligence-type courses, and beyond.

—
For The Oldie

An avowed and much-loved masterpiece from its earliest performances – Vienna, 1798 – ‘whose appeal [I read from A Peter Brown’s DECCA sleeve-notes] was irresistible to the noble and leisured classes, amateurs and connoisseurs of different nationalities’, Die Schöpfung tells the story of (duh) the first week or so of the creation myth, in three parts.

It opens simply, in the humming potential of the void, moves to the first, dramatic, sunrise, and then gradually builds in complexity, as the forces of darkness are cast out and the cosmological items, flora and fauna, are created, one by one, until finally Adam and Eve walk hand-in-hand in the Garden of Eden (which is Kent, right?), Man- and indeed Womankind enjoying a somewhat brief respite before the Fall.

The whole thing runs to 1h45 – which given the amount of ground it has to cover (no pun), is quite efficient, really.

It is said that, inspired by (the success of?) Handel’s oratorios, Haydn asked a friend for ideas for something he could set to music. The friend picked up a Bible and suggested that he “Take that, and begin at the beginning.”

Less romantically, its genesis was in a Handel hand-me-down, an English poem called The Creation of the World (author unknown), which the crowd-pleasing Georgian didn’t care for on the grounds that setting it would have meant a piece that lasted four hours.

The eventual libretto, abridged and translated by the Esterházy’s Imperial librarian/diplomat/musician/Everything Else, Gottfried van Swieten, comprises bits of Genesis, the Psalms, and Milton’s Paradise Lost (the angels, mostly). It was officially published, in simultaneous translation, as twere, in 1800; but with Handel-worshipping English audiences in mind, both texts incline peculiarly towards the Anglican, especially where Biblical quotations are concerned. Metrical considerations have left us with some more-or-less irremediable ‘English’, and surely nothing has ever been so translated-from-ze-German as the line ‘In long dimension / Creeps with sinuous trace the worm.’

Musically, the word-painting is less than subtle, but perfectly in keeping with the standards of an oratorio (un-acted operas for Lent, essentially). And it achieved a trick of ‘universal’ synthesis: French-style overtures, Italian dramatic structure, English verses/religious formulae from the KJV, and psalm-based choral numbers with which the Germans would have been conceptually familiar.

Certainly it captured the zeitgeist (or whatever they call that in Germany). With 45 performances in Vienna alone in the ten years following its composition, and in capital cities throughout Europe, by ensembles routinely measuring in the hundreds, The Creation was the stadium-seller of its day.

My own introduction to it was, predictably, as a chorister in the Church of England (Maidstone, actually), singing the only stand-alone anthem to have emerged from the complete work, ‘The Heavens are Telling (the Glory of God)’. As a classically-inclined young fellow (read: ‘squit’), I would have been one of the younger kids to be aware that Gabriel was not the only archangel; but I also acutely recall one Sunday morning, autopiloting my way through its uncomplicated joy, and brassily attempting to ‘Display the firmament’ one time more than everybody else in the rehearsal room.

By secondary school I’d twigged that there was more to The Creation than just one anthem – i.e. solos, for would-be soloists – and I proposed it for our Choral Union concert. Seeing through this, no doubt, the choir director said he couldn’t be doing with all those Adam-and-Eve arias (‘This world so great, so wonderful’) which, it is widely held, are some of the best music Haydn ever wrote. He was a wise man, that director, and a first-class teacher: but he was wrong on that occasion. Wrong and a spoilsport.

I auditioned for a university choral scholarship with the Raphael ‘rage’ aria about the waters ‘Rolling in foaming billows’, but I don’t recollect our ever performing it while I was there. No doubt such things were thought crass. See also: ‘enjoyable to sing or listen to’.

So I think the first time I ever sang the whole Creation was with the Oxford Spezzati, a group of a few dozen of us who go back, at a music festival in West Kensington – my good friend Al playing the flatulent bass notes of the ‘immense leviathan’ with ill-disguised bassoonist’s gusto.

And the last time I sang ‘The Heavens are Telling’ was in the Chapel Royal, at Hampton Court. I had the bass ‘verse’ part, which I now suspect means, over time, that I’ve sung all the parts of that particular movement. (Aled Jones, eat yer heart out.)

The German is the lesser-trodden path these days (what even is a ‘Finsternis‘?). There’s something a bit uncomfortable about the opening tenor aria’s repetitive insistence on ‘Ordnung‘… But for all its sober origins, the English text is pretty silly. ‘Finny tribes’; ‘flexible tigers’; and I’ve heard at least one soloist word-paint the hell out of the ‘fleecy, meek and ble-e-eee-eating flock’. A note to nature writers: if I find ‘purling’ and/or ‘limpid brooks’ in your work, we will not be going home together.

I assume it sounds quite foolish to the Germans, also. But for all that, it is usually quite fun. (Or it had better be. I’m about to miss the first match of the cricket season.)

Per Prof. Brown, though, the romping tunes and memorable – or, perhaps more accurately, ‘easily- learned’ – choruses make this also a fairly sensible choice for choral societies, whose concerts are, in the majority of cases, a pragmatic combination of the amateur and the professional. The choruses are repetitive (both internally and externally), often interrupted by long solos, duets, trios, etc. (there’s only one that isn’t, in fact), and relatively few and far between. I’m not suggesting that the idea of a choral society is to keep the dues-paying members as quiet as possible… but it helps to know one’s limitations.

In 1808, amid the blast of the Napoleonic Wars, an ageing Haydn made his last public appearance at a gala do of The Creation, attended by royalty and, allegedly, Beethoven. At the creation of light, the audience broke into spontaneous applause, causing Haydn to deflect the adulation heavenwards – but by the time they reached ‘The Heavens are Telling’ his ill-health and emotions had got the better of him, and he was carried out. Fifteen months later, the French entered Vienna, and the last rendition of his music Haydn heard came from the mouth of a French officer:

In native worth and honour clad,
With beauty, courage, strength adorn’d,
To heav’n erect and tall he stands
A man, the Lord and King of nature all.

—
For The Oldie, in a different edit

— The Nelson Evening Mail, June 22 1912

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In English maritime law a ship is not ‘wrecked’ if the cat survives.

Ezra Pound heard many performances of the Bellringers’ Guild.

Kale is a winter vegetable.

Napoleon’s troops shot the nose off the Egyptian sphinx for target practice.

If you put a chameleon on tartan it will explode.

You are twice as likely to crash while texting than drink-driving. (So if you need to send an urgent text, put an inebriated friend behind the wheel, instead.)

1% of marmalade sales are to people under 28.

Beauty and the Beast isn’t the first Disney movie for LGBT audiences.

The Welsh character is an interesting study.

John Travolta is 63 years old.

Turtles find it very difficult to look happy.

You never know with clowns.

Canadian passports have images of ice hockey in them.