Described as ‘Incandescent… a masterly display of skill and insight… as an apologist for contemporary music-making, you would search hard to find this clarinettist’s equal’ (The Age), Ashley William Smith performs as a clarinet soloist, recitalist, and chamber musician across Australia, the USA and Asia.
A laureate of major Australian awards, he has received the Music Council of Australia Freedman Fellowship, an ABC Symphony International Young Performer Award, a Churchill Fellowship, and the APRA Performance of the Year. He is recognised by leading instrument makers as a Backun and D’Addario Artist.
Committed to the creation and performance of new music, more than 30 major solo works have been written for him, including concertos by Lachlan Skipworth and James Ledger.
As a chamber musician, Ashley has appeared worldwide with ensembles including the Calder Quartet, Dover Quartet, the Australian String Quartet and the Southern Cross Soloists, and with organisations including Bang on a Can, the Chamber Music Society of Lincoln Centre, Chamber Music Northwest, the Kennedy Centre, and the Beijing Modern Music Festival.
Ashley is an Associate Professor at the University of Western Australia, where he is Chair of Woodwind and Deputy Head of School. A graduate of Yale University and the University of Western Australia, and a Fellow of the Australian National Academy of Music, he received prizes as the most outstanding performance graduate of each institution. In 2020, he completed a doctorate in music analysis.
Alongside performance, he works in artistic leadership as an artistic director and is a sought-after public speaker and music educator. He contributes to the Australian music sector through mentorship, programming, advisory work and board leadership.
In 1995, he won the Western Australian Citizen Of The Year (community services) award. He won the Premier’s Book Award in 1994 for an anthology of Western Australian writing.
In 2003, in the midst of National Nine News’ national dominance in the ratings, Holland left his role with local television station STW and took up a full-time teaching post with Edith Cowan University, having been a part-time member of staff since 2001.
Up-and-coming exponent of the tenor sax is 18-y-o Peter Clinch, who is heard a lot— and appreciated — in city dance combinations.
Biography
18 – year – old tenor exponent Peter Clinch, of Wembley commenced taking sax lessons at the age of 13 with noted Perth reed man, George Caro. His studies on this instrument commenced along the normal classical lines and later he moved about in amateur orchestral circles until early in 1947, when he joined a group of young musicians who were training under Ken Murdoch, the back-bone of, and stepping stone to, the majority of the city’s prospective dance band men.
During Peter’s stay with Ken’s group, he filled a casual role and played with a number of small outfits around the city until he received his first break, playing 2nd. tenor with Jackie Sue’s Seven Piece outfit at the Fremantle Town Hall in the 1947 season. He remained with this combination for one season, playing at the port and a number of city spots, before moving his stand across to the Chris Gosper combination, which was featured at Anzac House.
During the middle of 1948, Peter sat in with the Sammy Sharp outfit as 4th tenor and later accepted 2nd tenor when well known Johnny McCaughan vacated the position to go South in October, ’48. Since then he has remained with the Sharp outfit and has been heard in the Jazz Jamboree with this outfit, the Battle of the Bands with Jackie Sue and was prominent in Thursday’s Round-up over 6WF, once again with Sammy’s boys. He is a full-time dance musician , and is assured of a rosy path ahead.
Mirror (Perth, WA : 1921 – 1956), Saturday 25 June 1949, page 15
1950
Thursday, Oct. 5th – Capitol Theatre at 8pm – 1950’s GREATEST MUSICAL SHOW
Bruce Carroll presents – Symphony In Swing
With Harry Bluck’s Concert Orchestra and Dance Band, Over 50 Leading Musicians and Radio Artists, Wendy Nash — 12-year-old Virtuoso Pianiste, Jack Harrison — Clarinet Star of the West, Ossie Sanderson — 16-year old ‘London Fantasia’ Soloist, Phyllis Frost — International Broadcasting Vocaliste, Ronald Pollastrini — W.A.’s Outstanding Lyric Tenor, Tritoff’s Trio — First appearance of Radio Vocal Trio, Kath Bass — Star Rhythm Vocaliste, Alan Golding — Leading Exponent of Hammond Electric Organ, Peter Clinch trio — Wizards of Swing, Dave Howard — and His Golden Voiced Saxophone (By Courtesy A. B.C.), Keith Connolly — Sophisticated Humorist, Laurie Croissette — Tho ‘Different’ Western Entertainer ,Symphony and Swing Club’s Entertainment Unit with West Coast Dixielanders — State’s smartest Jazz Ensemble, John Todd — 14-year-old Star Piano Accordionist, Rhythm Spinners — State’s leading Male Modern Vocal Group, Robyn Harwood — Boogie Woogie Specialiste, Beverly Beckwith — Co-Compere of S. and S. Club Group. Compere: Geoff Manion. Stage Production: Dave Howard By Courtesy A. B.C. PRICES : 3/- 4/- 5/- (plus tax). Box Plan at Nicholsons Limited. The Daily News Monday 25 September 1950 page 12
1950 Symphony in Swing programJAZZ JAMBOREE TOMORROW The annual Jazz Jamboree will be held at the Capitol Theatre at 8.45 p.m. tomorrow. Almost 100 professional musicians will take part and play all types of modern music. The entire proceeds of the concert will go to the musicians’ benevolent fund. Sixteen dance-band leaders, all wellknown musicians, will take part, and the show comperes will be Geoff Manion and Peter Harrison.
West Australian (Perth, WA : 1879 – 1954), Saturday 28 October 1950, page 7
THE BIGGEST DANCE BAND SHOW of the YEAR — ALL YOUR FAVORITES
JAZZ JAMBOREE of 1950 – CAPITOL THEATRE – SUNDAY, OCTOBER 29th
NINE OF THE STATE’S LEADING DANCE BANDS
Bill Kirkham’s Embassy Band
Ken Murdoch’s Ensemble
Ron Jenkins Band
Peter Clinch Boptette
Merv Rowston’s Band
Colin Hicks and His Musk
Wayne Hendrick’s Modernaires
Norm Wrightson’s Band
Harry Bluck’s Music in the Modern Manner
ALL YOUR SWING, JAZZ AND BEBOP PAVORITES
500 Unreserved Seats on Sale at Doer
GFOFF MANION and PETER HARRISON. Comperes
JAZZ MUSIC: Nine dance bands combined to present the “Jazz Jamboree of 1950” in the Capitol Theatre on Sunday night to raise money for the W.A. Musician’s Benevolent Fund. Every seat was filled and the audience had an op portunity of comparing different styles. Warm applause greeted special efforts by the bands or their vocalists. The programme was produced by Harry Bluck and the comperes were Geoff Manion and Peter Harrison.
West Australian (Perth, WA : 1879 – 1954), Tuesday 31 October 1950, page 9
1951
1951 Jazz Jamboree program cover
SUNDAY 28th OCTOBER 1951 – CAPITOL THEATRE – JAZZ JAMBOREE
Featuring 12 of Perth’s Leading Dance Bands
Jazzstars, Cliff Adams, Norm Wrightson, Merv Rowston, Ron Jenkins, Harry Bluck, Jimmy Beeson, Bill Kirkham, Peter Clinch, Ken Murdoch, Jack Harrison, Sammy Sharp.
Booking Opens at Nicholsons. Friday 19th October 1951.
A Hot Spot In The Old Town Last Night
Evidence of the increasing popularity of jazz with young and old Perth people was last night s Jazz Jamboree at the Capitol Theatre. Between. 500 and 600 fans were turned away. The theatre, which seats 2249 people, was filled by 7.55 p.m. — 10min. after 400 unreserved seats were offered at the theatre. And bodgies and widgies were far outnumbered by the “over-40” brigade. It was a record house for a jazz jamboree. The audience heard 12 of Perth and Fremantle’s best bands perform. All musicians gave their services free and the Musicians’ Benevolent Fund got the benefit— £501 was paid for tickets. Programme sales yielded more than £50 and, officials estimate that 600 more programmes would have sold “like hot music”.
Daily News (Perth, WA : 1882 – 1955), Monday 29 October 1951, page 3
1951 Jazz Jamboree – programme
1952
1953
Peter joined the RAAF Central Band as Principal Solo Clarinet and Senior NCO in 1953.
He married Joy Iolanthe in Victoria in 1953 and they had a daughter Robyn and son David together.
1967
1967 WASO: Peter Clinch augmenting on percussion
1971
1971 Peter Clinch article
Peter played in WASO, filling in for Jack Harrison who went overseas for 5 months on a Churchill Fellowship.
1972
Night of Russian Musical heritage – By John Meyer
Friday June 23 1972
In an evening of Russian music at the ABC orchestral subscription concert in Winthrop Hall last night three works illustrating different facets of that nations musical heritage were featured. The highlight was a controlled and well-defined performance of Tchaikovsky’s Fifth Symphony in E minor played by the West Australian Symphony Orchestra and conducted by Tibor Paul Mr. Paul’s total view of this symphony seem to be an admirable one. He did not emphasise only it’s obvious emotional qualities but gradually built up the drama from the sombre opening for clarinets to the triumphant climax of the final. In this last movement he was well supported by the Orchestra. The performance throughout was distinguished by some fine solo playing especially by Neil Pierson Horn and Jack Harrison and Peter Clinch clarinets.
The West Australian Saturday June 24 1972
1995
Peter Clinch died in Melbourne on 6th June 1995 aged 64.
Peter Clinch was an Australian saxophonist, clarinettist, composer and educator.
Dr. Peter Clinch was born in Geraldton, Western Australia in 1930.
He began his early career augmenting in the clarinet section of the Perth Symphony Orchestra in 1947 , the West Australian Symphony Orchestra and then joined the RAAF Central Band as Principal Solo Clarinet and Senior NCO in 1953. Subsequent to this he played clarinet and saxophone with every ABC Symphony Orchestra in Australia either as a member of the orchestra or as a soloist. Peter was the Head of the Music Department at the Melbourne College of Advanced Education and later the Reader, then Associate Dean (Music Education) at the Faculty of Music, University of Melbourne.
As well as producing a number of recordings, Peter toured extensively in Europe, Asia and the USA as a soloist, recitalist, a chamber music performer, and a conductor as well as giving lectures and masterclasses. The Peter Clinch Saxophone Quartet was the most exciting ensemble of the Australian music scene, certainly its most pertinent in contemporary significance. He won several awards for composition. He was widely respected as a conductor and his jazz performance. He was the founder and President of the Clarinet and Saxophone Society of Victoria, Vice President of the Comité International de Saxophone and has a citation in several “Who’s Who” guides including “Who’s Who in the Commonwealth” and “Who’s Who in the World”. He was the Head of the Department and Reader and Associate Dean of Music Education at the Melbourne CAE (University of Melbourne).
Peter’s international conference contributions included papers for several of the World Saxophone Congresses, the Australian National Clarinet Seminar in Sydney, several of the International Clarinet Congresses and the Australian National Saxophone Seminar in Melbourne (which he organised). He also presented papers at conferences in Western Australia, Sydney, London, Canberra and Yugoslavia. He died in 1995.
Peter’s published works included a Clarinet Tutor for Allan’s Music, the Tausch Concerto for Clarinet and Orchestra and several other clarinet and jazz studies tutors. His journal articles included articles for the international publication Studies in Music, music and book reviews for the Journal of Music Education, the Journal of Australian Music and Musicians, the National Association of Teachers of Singing, the International Journal of Music Education and The Clarinet.
Original compositions include Instruments of the Orchestra, Introduction and Fugue for 4 Percussion, Music for a Grand Tour, Variations for Clarinet and Electric Tape, Introspections for Saxophone and Tape, Saxophony for Voice, Flute, Clarinet and Percussion, Inventions for 7 Players, Clarion Call for Small Ensemble, Music for Clarinet and Small Ensemble, and Quartet for Clarinet, Viola, Piano and Percussion. Many of these works were performed overseas in London, West Berlin, Salzburg, Munich, Hamburg and Brussels.
Walter Percival Newton was born in 1897 and died 26.1.1947 aged 50.
Percy Newton arrived with his brother Harold and family from England in 1927. The Newton brothers were very involved in consolidating the new Perth Symphony Orchestra in the late 1920s.
Nicholson’s Limited was a music store situated in the heart of Perth and many of the players used to meet in its music hall to discuss a possible solution to their problems of finding work. Among this group were the Newton Brothers, Percy and Harold, who had immigrated from the United Kingdom in 1927. They played for the most part with the Prince of Wales Theatre Orchestra then, following its demise, moved to the Capitol Theatre Orchestra. Percy Newton was a fine clarinet player whose services had been sought by prestigious orchestral conductors in England and who later became a leader teacher of this instrument giving a good grounding to later clarinet stars like Donald Westlake and Jack Harrison.
Harrison, MarciaWEST AUSTRALIAN SYMPHONY ORCHESTRACelebrating 75 Years 2003 p.3
Percy was an appointed member of the professional Perth Symphony Orchestra formed in 1936 playing clarinet and was appointed deputy conductor in 1937. He remained Principal Clarinet until 1946.
1928 William Harrison performed with the Newton brothers
Joy Boys – A Talented Company
The Joy Boys gave a bright and varied entertainment in the Town Hal Dalwallinu on Wednesday night. The programme included singing, step-dancing, and musical items. Mr Sydney Clarke, on the violin, was much appreciated. Mr Clark rendered an imitation of the bagpipes on the violin, which was very good indeed, as were his old-time melodies and step dancing. Mr Cass Mahomet’s singing was greatly enjoyed. Mr Irwin Lawrances’s cornet solo and Mr Percy Newton‘s saxophone number brought forth great applause. Mr Les Dixon delighted his hearers by his playing the piano, and Mr Townley was splendid on the sousaphone and trombone. The company was worthy of a larger audience.
North-Eastern Courier (Perth, WA), Saturday 6 September 1930, page 3
Saturday, January 9th 1932 – 6WF, PERTH.
8.0: The first revue of 1932 by the Radioptomists, produced by Harry Graham. Artists: Dorothy Manning, Billy Edwards, David Lyle, Harold Newton, Malcolm Dick, Paul Daly, Eileen Hart, Lulu Potter, Edna Waterman and Percy Newton; accompanist, Phyllis Blott. The 6WF Revue Orchestra and the A.B.C. Mixed Quartet will assist.
Western Mail (Perth, WA : 1885 – 1954), Thursday 24 December 1931, page 3
SYMPHONY ORCHESTRA – Last Sunday’s Concert
Before a moderately large audience, the Perth Symphony Orchestra offered another first class concert at His Majesty’s Theatre last Sunday evening. The music was of a lighter type than usual and, though it may not have suited sonic of the high-brow critics, appealed to the major section of the crowd.
Two dance numbers, Ponchielli’s popular ‘Dance of the Hours’ and Puccini’s ‘Witches’ Dance’ from ‘Le Villi,’ were both well rendered, except that the cold weather mitigated against the tone of the strings and affected the wood wind, where one or two weak links sometimes TEND TO SPOIL the excellent playing of the principal clarinet (Mr. Percy Newton). A suite of ballet music, ‘Hiawatha,’ by Coleridge-Taylor was a delight, and selections from ‘Rigoletto’ — one of Verdi’s best -known operas — proved popular with the audience. Mr. George Mellor (cornet) was, as usual, responsible for some fine solo work in the ‘Paraphrase’ which preceded the famous quartette that closed the number, and incidentally Mr. Reid had to respond with an encore to this item. Two overtures, ‘The Barber of Seville’ (Rossini) and ‘Zampa’ (Herold) completed the orchestral section of the programme. Signor Ugo Mina (tenor) offered pleasing selections from Italian operas.
Mirror (Perth, WA : 1921 – 1956), Saturday 22 July 1933, page 12
‘JOHN O’LONDON’S’ CIRCLE – An Evening of Music
The concluding session of the year of the ‘John O’ London’s’ Literary Circle was held last night at Lyric House, Murray Street. A programme of music was contributed to by Perth musicians. A quintet conducted by Mr. Harold Newton, and consisting of Messrs. Ron Brearley (cello), Fred Murphy (clarionet), Percy Newton (clarionet), Norbert Coulehan (oboe), and Mrs. Wilson (pianoforte) provided several of the items. Solos were given by Mr. Brearley and Mrs. Wilson, and songs by Mr. Austin Coulehan and Miss June Fiore. In addition, a musical monologue and elocutionary items were contributed by Miss May Downes and Miss Mary Ward. The musical part of the entertainment was organised by Mr. Norbert Coulehan. The circle will resume its meetings in March.
West Australian (Perth, WA : 1879 – 1954), Friday 15 December 1933, page 12
SUNDAY BROADCASTS – New 6IX Feature.
NEXT Sunday evening at 6.15 o’clock the first of a new series of broadcast will take place from the Ambassadors Theatre over station 6IX. Ron Brearley and his Merrymakers and a novelty orchestra will present a session of popular and classical vocal and instrumental numbers, which is being sponsored by General Theatres Corporation, Ltd., as a regular weekly feature. Among the artists who are to be heard are Harold Newton, Rita Hawse, Will Talbot Anthony Northe, Teddy Phillips, Percy Newton, and a feature of the first programme will be the novel way of introducing the items. Among the items to be played on the first night will be the ever-popular “Mikado” selection, rendered by the Merrymakers Orchestra. Rita Hawse will be heard in three numbers, “Bird Songs at Eventide,” “Ballad Memories” and “Everything I Have Is Yours,” accompanied by the orchestra and organ. Will Talbot, monologuist, will present “Sitting on a Log” and there will be an unusual organ and piano duet by Messrs. Northe and Phillips.
Western Mail (Perth, WA : 1885 – 1954), Thursday 23 August 1934, page 39
State Symphony Orchestra.
The West Australian State Symphony Orchestra will give another concert at the Prince of Wales Theatre, Perth, on Sunday night. An Algerian march by Mr. de Laeter (a member of the orchestra) will be the opening number and will be followed by “Capriccio Espagnol” (Rimsky-Korsakov), “Komarinskaja” (Glinka) and a repetition by request of Rimsky Korskov’s “The Flight of the Bumble Bee,” played at the last concert. Assisting artists include Paul Daly, May Webster and her eight mascots, Percy Newton and Ruth Cranfield.
West Australian (Perth, WA : 1879 – 1954), Friday 24 August 1934, page 8
FAMOUS CONDUCTOR – Coaxes Great Music From Perth Orchestra
Thursday night was a momentous one in Perth musical circles, when the fruits of Professor Schneevoigt’s (the eminent Finnish conductor) work with the Perth Symphony Orchestra of 65 players were revealed to the public at His Majesty’s Theatre. A Tchaikowsky Symphony occupied the whole of the first half, and right from the first bar of the supremely delicate, wistful pianissimo opening it was apparent that a genius was wielding the baton. Indeed, never before had local music-lovers been regaled with such appetising fare, and while the four movements were being played, one might have heard the proverbial pin drop during the soft passages or the brief pause between each section. Even at the conclusion of the Symphony there was an impressive silence before a STORM OF APPLAUSE which lasted for several minutes, swept through the theatre. Professor Schneevoigt was recalled several times and eventually he also joined in the applause as a gesture to the magnificent work of the orchestra. Indeed, unstinted praise must be given the musicians, especially to the leader of the clarionets, Mr. Percy Newton, on whose capable shoulders rested the initial responsibility for introducing the symphonic theme. Later in the evening the conductor shook hands with Mr. W. Glassford, whose interpretation of a pleading melody in one of the other numbers was to his liking. A delicate suite for strings, Sibelius’ ‘Rakastava.’ was the first item of the second half. This, as was the case with rest of the offerings, suffered a few blemishes by minor false entries and, at times, a decided uncertainty on the part of some of the key players, but were overshadowed by the grand concerted climax that were obtained throughout the evening. Of special merit was the performance, with lovely orchestral accompaniment, of Perth’s gifted soprano, Miss Lorna Sydney Smith, whose DELIGHTFUL RENDERINGS of Wagner’s ‘Schmergen’ and ‘Traume’ were well received.
Mirror (Perth, WA : 1921 – 1956), Saturday 12 June 1937, page 17
DUAL BIRTHDAY PARTY – WEST PERTH FUNCTION
With a flesh-and-blood orchestra playing the opening overture, scenes from ‘Romeo and Juliet,’ musical travesties and acting ad lib, quite a gay party took place at the home of Mrs. Craze, Havelock-street, West Perth, on Tuesday night. The occasion was the anniversary of the birthdays of Misses Roma Craze and Edna Waterman, and was marked by the attendance of many musicians and their friends. Some of the culminating scenes were real rollicking gems, when instead of cellos and double basses, Alf Shute sang a declamatory ditty and danced a fandango amid the wreckage of a travelling gipsy’s caboose. Harold Newton as guest conductor and brother Percy as temperamental pianist saw these maestros in lighter vein and provided much entertainment to their friends, who developed sore throats cheering them on or shrieking at their carefree antics. In addition to Mrs. Craze and her three daughters, those present were Mr. and Mrs. Harold Newton, Mr. and Mrs. Percy Newton, Mr. and Mrs. Dan Chaloner, Mr. and Mrs. Alf Shute, Mrs. Jones (Tasmania), Mrs. Waterman, Mrs. R. Rees, Miss Frankie Woodhouse, Miss Nina Gobi, T. Bennett and Cyril Huntley. During the partaking of supper Mr. Harold Newton, supported by many other speakers, proposed the toast of the celebrants, referring eulogistically to Miss Roma Craze, who is leaving for England shortly to continue her studies as a linguist and other professional attainments.
Mirror (Perth, WA : 1921 – 1956), Saturday 10 September 1938, page 23
HER REWARD FOR PLUCKY RESCUE
THIS IS THE SIDE OF LAST WEEK’S HEROIC RESCUE STORY THAT WASN’T TOLD
When little 14-year-old Nylsalie Newton, daughter of well-known clarinettist and A.B.C. deputy conductor Percy Newton, dragged two drowning women to safety in the Claremont Baths, she subsequently received unstinted admiration of praise from her schoolmates and the many others who heard about her noble deed. Scores of people stood watching the two women drown, were even laughing at their antics, not dreaming they were in difficulties. Nylsalie Newton did. Her young brain did a piece of quick thinking and she jumped into split-second action of which any veteran would have been proud. So much everyone knows, although at the time she unobtrusively slipped away from the Baths soon as she had informed the attendant of the two ladies’ plight. But what the public doesn’t know is how the brave youngster was rewarded for her plucky effort. She put down her bathing cap while she changed into her street clothes and returned to find it missing. It had been stolen.
Mirror (Perth, WA : 1921 – 1956), Saturday 22 April 1939, page 10
MINIATURE RECITAL – Mozart Trio and Songs
A Mozart trio in E flat major for piano, viola and clarinet was played by Phyllis Blott, William Glassford and Percy Newton at the thirteenth of this seasons series of miniature recitals at the Karrakatta Club Hall yesterday afternoon. It was a pleasing experience, having for a Perth audience not only the attraction of a masterly composition well presented but also the element of novelty for the work has had but few public performances in this city.
West Australian (Perth, WA : 1879 – 1954), Friday 5 November 1943, page 3
EVERYMAN’S MUSIC – Recital Tonight
An unusually varied programme is offered by the Adult Education Board in the third of the current Everyman’s Music series to be given in Winthrop Hall this evening at 8.15 o’clock. Chamber music will include the Divertimento in B Flat for two clarinets and bassoon (Mozart) with Percy Newton, Robert Trew and Jock Good and the Mozart Trio in E Flat for piano, clarinet and viola with Edward Black, Percy Newton and William Glassford.
West Australian (Perth, WA : 1879 – 1954), Thursday 25 April 1946, page 6
Goodman music album coverGoodman biography from album
Benny Goodman (born May 30, 1909, Chicago, Illinois; died June 13, 1986)
Benny Goodman’s reign as “King of Swing,” “Patriarch of the Clarinet,” and “Swing’s Senior Statesman” began when he helped many Americans see the silver lining around that cloud known as the Depression. The optimism and grace of swing music brought the nation through some of its darkest days.
Goodman was the ninth of 12 children born to Russian-Jewish immigrants. Although many boys at that time followed in their father’s footsteps in terms of profession, Goodman followed his heart and pursued a career in music. His first clarinet was borrowed from Chicago’s Kehelah Jacob Synagogue in order to play in the boys’ band there. The synagogue provided instruments and lessons to young boys who wished to play in the band. As jazz spread like wildfire through the Chicago music scene in the 1920s, the teenage Goodman became inspired by such jazz pioneers as King Oliver and Louis Armstrong.
At the age of 14, Goodman was already making money playing the clarinet in Chicago’s South Side speakeasies and dance halls. Goodman later met drummer Ben Pollack and headed off to New York with his orchestra. Not long afterwards, Goodman formed his own band to work for singer Russ Columbo. The band included Gene Krupa on drums, Joe Sullivan on piano, and Babe Russin on tenor sax. Goodman and his band worked for Columbo for a summer, then they got a job on a national New York-based radio show, “Let’s Dance” in a 10:30 PM to 1:30 AM time slot. The band was able to make its first extended tour because of the popularity of the radio show. However, Goodman’s segment was on too late for most New Yorkers so he was not well known in New York. Consequently, the turn-out for the band’s opening night was very disappointing. On opening night at Elitch’s Garden, in Denver, nightclubbers demanded a refund unless the band played waltzes. When the band got to California, though, crowds of people were lining up waiting to hear Goodman and his band. Being in a time zone three hours earlier than New York, the Californians had been listening to th on the radio show.
At this point, everything began to change. The band’s luck changed in a major way when they performed at Hollywood’s Palomar Ballroom. The crowd even stopped dancing to stand around the bandstand when Goodman played “King Porter Stomp” and “When Buddha Smiles.” By the time the band reached Chicago for what turned into an eight-month engagement at the Urban Room of the Congress Hotel, Goodman was being called “The King of Swing.” The band also started a new radio series and began a series of Sunday afternoon concerts at the Congress Hotel while they were in Chicago.
It was at the Congress that Goodman made an important breakthrough in race relations when he hired two black musicians, Teddy Wilson and Lionel Hampton. Goodman refused to appear without them, even in the deep south.
Goodman became the first jazzman to also achieve prominence in the genre of classical music, but it was swing music that brought the crowds out at dawn to line up at the entrances of dance halls such as the Manhattan Room of the Pennsylvania Hotel and even had people dancing in the aisles of New York’s Paramount Theater. Goodman received numerous awards during his 60 year-long career including an honorary doctorate from Yale University and the Peabody Medal from the Peabody Conservatory. He died in 1986 at the age of 77.
With Harry Bluck’s Concert Orchestra and Dance Band
Over 50 Leading Musicians and Radio Artists
Wendy Nash — 12-year-old Virtuoso Pianiste
Jack Harrison — Clarinet Star of the West
Ossie Sanderson — 16-year old ‘London Fantasia’ Soloist
Phyllis Frost — International Broadcasting Vocaliste
Ronald Pollastrini — W.A.’s Outstanding Lyric Tenor.
Tritoff’s Trio — First appearance of Radio Vocal Trio
Kath Bass — Star Rhythm Vocaliste
Alan Golding — Leading Exponent of Hammond Electric Organ
Peter Clinch trio — Wizards of Swing
Dave Howard — and His Golden Voiced Saxophone (By Courtesy A. B.C.)
Keith Connolly — Sophisticated Humorist
Laurie Croissette — Tho ‘Different’ Western Entertainer
Symphony and Swing Club’s Entertainment Unit with West Coast Dixielanders — State’s smartest Jazz Ensemble
John Todd — 14-year-old Star Piano Accordionist
Rhythm Spinners — State’s leading Male Modern Vocal Group
Robyn Harwood — Boogie Woogie Specialiste
Beverly Beckwith — Co-Compere of S. and S. Club Group
Compere: Geoff Manion
Stage Production: Dave Howard By Courtesy A. B.C. – PRICES : 3/- 4/- 5/- (plus tax) – Box Plan at Nicholsons Limited.
The Daily News Monday 25 September 1950 page 12
Symphony In Swing – October 5 1950
On October 5, a concert entitled “Symphony in Swing” will be presented in the Capitol Theatre. Produced by Harry Bluck, whose concert orchestra and dance band will give a number of items, the programme will include varied numbers by local artists, many of whom are under 20 years of age. The 12-year-old pianist, Wendy Nash, will give a classical group, Jack Harrison, the young clarinettist will give the first West Australian performance of a number entitled “Clarinet a la King,” and the 16-year-old pianist Ossie Sanderson, will present “London Fantasia.” Other artists will be Ronald Pollastrini, tenor, and a new vocal group, the Tritoffs, who will be making their first public appearance. They will be associated with Phyllis Frost, the blind vocalist. There will be many other singers and instrumentalists.
Western Mail Thursday 28 September 1950 page 23
5.10.1950
Benny Goodman Clarinet a la King W.A. PREMIERE AUSTRALIAN PREMIERE?
Jack Harrison (clarinet) Harry Bluck and his Concert Orchestra and Dance band
Capitol Theatre Perth, Western Australia Bruce Carroll presents “Symphony in Swing”
Clarinet a la King “as performed by Benny Goodman”Clarinet a la King parts
Composed by Iain Grandage, libretto by Kevin Gillam. Commissioned for and performed by Sara Macliver (soprano), Allan Meyer (clarinet) and Graeme Gilling (piano). Paintings by Brendon Darby (courtesy of Janet Holmes a Court). Commissioned and acquitted by Jody Harrison (Director, Solo to Symphony) through funds by the Australia Council.
In 2005 Blackwood was commissioned by Jody Harrison assisted by a grant through the Australia Council.
Growing up listening to her father Jack perform Schubert’s Shepherd on the Rock gave the initial inspiration for Jody’s desire to add to the limited repertoire for clarinet, soprano and piano. This genesis of an idea grew into the inclusion of a broader inclusion of artists to create this uniquely West Australian project.
Iain Grandage said “These are structurally formal poems, yet they contain deeply expressive language. In setting them to music I have attempted to reflect this duality – syllabic structures of the poems are reflected formally in the metres of the musical settings while the melodic lines inhabit a far more lyrical domain. Similarly, the expansion inherent in both the river’s growth and our own personal journey is reflected in a gradual expansion of musical intervals through the course of the work from 2nds in arterials through to octaves in then sea.
Clarinettist Allan Meyer, soprano Sara Macliver and pianist Graeme Gilling were the selected artists. Composer Iain Grandage envisaged a song cycle and accepted the commission as did poet, Kevin Gillam.
Iain and Kevin discussed a life and love story entwined with the journey of the Blackwood River from the South West to the ocean, linking with the black wood of the clarinet.
Kevin said “I see major value in a work such as this in fusing the art forms of music and poetry with the more general theme of landscape.” Knowing that West Australian artist Brendon Darby built a studio on the banks of the Blackwood River and had spent many hours painting “that beautiful river” Jody approached Brendon to contribute paintings as a backdrop to the performance. Darby said he felt “great affinity” with the Blackwood River and was the ultimate addition to the Blackwood team.
The clarinet (the woodwind family’s own black wood) alternatively plays the roles of lover and landscape – Messiaen-like birdsong and watery figurations on occasion make way for duets with the voice, most notably in the two love songs that delineate the work’s tripartite structure.
The first of these love songs (some nights there are no words) marks the end of the first section of the work and the second (Seine) occurs at the beginning of the final section. Throughout the central section of the cycle, an ever-darkening series of settings incorporate expanding musical means (including a quote from Schoenberg’s Pierrot Lunaire) and end with a clarinet solo – a reflection on the text ‘how great the diameter of solitude’.
Blackwood was premiered on Sunday 13th February 2011 at Government House Ballroom presented by the Perth International Arts Festival and Tura New Music. Janet Holmes à Court added to her art collection Brendon Darby’s diptych Blackwood Song during the interval of this performance and generously allows the art to be included in all performances. Brendon meticulously incorporated parts of Kevin’s poetry into the paintings.
Iain said “My joy in writing this work was that it was in fact not an act of solitude. I was writing for dear friends and colleagues – musicians of the highest order whom I have had the pleasure of making music with for many years. I would like to thanks Sara, Allan and Graeme for their patience, facility and unfailing generosity whilst the piece emerged, Jody Harrison for commissioning it (with assistance from the Music Board of the Australia Council) and of course Kevin for his wonderful words that help transport us all to our own places of calm and deep contentment.”
Iain Grandage 2010
Iain Grandage programme notes (2011):
Text:
The texts of the song cycle Blackwood track the course of the Blackwood River in the South-West of Western Australia from its head to the Indian Ocean. However on another, more personal level they track a very human tale of birth, love and transcendence. The tension between the expanse of landscape and the intimacy of the human being within it is, for me, integrally connected to our sense of Australian identity. It has long been an inspiration to me, as it has many Australian composers.
Reviews:
“This is a uniquely West Australian project inspired by the Blackwood River. It is a beautiful work for voice, clarinet and piano, the unique combinations of which produce several wonderful moments during the work. It is a very engaging piece with great unity from movement to movement leaving the listener often unaware of the change until later.”
Born in Perth, Australia, Nicola is one of the most sought after historical clarinet players of her generation. She obtained her Bachelor of Music with first class honours from the University of Western Australia studying with Allan Meyer. During her studies she began to play with the Australian Chamber Orchestra both on modern and historical clarinet. She then completed her Masters in historical performance at the Royal Conservatory in the Hague with Eric Hoeprich.
Based in Gent, Belgium, she tours and records extensively, and is principal clarinet with Ensemble Pygmalion (R Pichon) l’Orchestre des Champs Élysées (Ph.Herreweghe), Constellation Orchestra (J.E.Gardiner), Orchestre Révolutionnaire et Romantique / English Baroque Soloists, and she has recently been appointed as principal clarinet with the Orchestra of the 18th Century.
Nicola is regularly invited as guest principal with many other orchestras and ensembles including Freiburger Barockorchester, Australian Chamber Orchestra, Orchestra of the Age of Enlightenment, Concerto Copenhagen and Il Pomo d’Oro.
As a chamber musician, Nicola collaborates with Kristian Bezuidenhout, Anthony Romaniuk, Consone, Cambini and Edding Quartets, and Ensemble Marsyas amongst others.
She has performed in recital at many prestigious festivals including Edinburgh International Festival, Bruges Musica Antiqua Festival, Boston Early Music Festival, Accademia delle Crete Senesi, and at venues such as BOZAR Brussels, Amsterdam Concertgebouw Kleine Zaal, and Wigmore Hall.
In 2025 she did a national recital tour for Musica Viva Australia.
Nicola has recorded the Mozart clarinet quintet with the Edding Quartet and the Schubert Octet with Northernlight both to critical acclaim. More recently she released an album of the Brahms Clarinet Sonatas with pianist Anthony Romaniuk. Forthcoming releases include the Mozart Clarinet concerto with Gli Angeli Geneva.
As soloist she has performed concerti in Europe and Asia with the l’Orchestre des Champs Eysées, Academy of Ancient Music, Concerto Copenhagen, and Il Gardellino in venues such as the Theatre Des Champs Elysées in Paris, The Megaron in Athens, Auditorio Nacional Madrid, Palau de la Music Barcelona, and at the Barbican Centre in London. In May 2026, Nicola will toured the Mozart Clarinet concerto in Spain and Germany under the direction of Sir John Eliot Gardiner.
A dedicated educator, Nicola was professor of historical clarinet at the Paris Conservatoire (CNSMDP) from 2021-2024 and is currently professor of historical clarinet at the Royal Conservatoire in The Hague.
When she was 11 years old, Nicola wrote to Jack Harrison:
In 1960, clarinettist Jack Harrison recorded “Dizzy Fingers” by Zez Confrey playing all ten clarinet parts. The recordings were played at different speeds, backwards, and superimposed onto the master tape by ABC technician Garry Matthews at Broadcast House.
The Sunday Times, 13 March 1960: “Versatile musician Jack Harrison recently made a recording playing ten parts on clarinet. The finished work will be broadcast on Peter Harrison’s 6WN programme Saturday Roundabout.”
Dizzy Fingers by Zez Confrey was published in New York in 1923. In 1960, clarinettist Jack Harrison recorded “Dizzy Fingers” by Zez Confrey playing all ten clarinet parts. The recordings were played at different speeds, backwards, and superimposed onto the master tape by ABC technician Garry Matthews at Broadcast House. The Sunday Times, 13 March 1960: “Versatile musician Jack Harrison recently made a recording playing ten parts on clarinet. The finished work will be broadcast on Peter Harrison’s 6WN programme Saturday Roundabout.”
Allan Wilfred Rule (Allan in electoral roll; Alan in printed material) was born in Melbourne on the 22nd July 1907 to Albert Carlos (1873 – 1955) and Gertrude Mary (nee Samblebe 1880 – 1961) Rule.
In 1929 he married divorcee Beryl Jean Brook (nee Brandon) who died in Melbourne in 1982.
Allan Rule enlisted 23rd February 1942 in the Royal Australian Navy as a Seaman (#25683) and a member of the Marine Corps Band in Melbourne (N.O.K. Beryl Rule). He was a huge man whose naval career ended when he suffered a back injury as a result of a fall down the metal stairs of a ship. He was discharged on 14th March 1946.
Allan Rule came to Perth from Melbourne in 1947 and played Principal Clarinet with the West Australian Symphony Orchestra until 1966 when he stepped down to second clarinet due to ill health, retiring in 1971 and Jack Harrison moved to the Principal Clarinet position.
Allan Rule was taught clarinet by his father who was in one of the theatre orchestras.
Music is an integral part of the Harrison family, as veteran pianist Bill Harrison is Jack Harrison‘s proud poppa, a sister plays piano in Jack’s outfit while a brother wields the drumsticks. Jack is being ably coached in his sax work by Ken Murdoch, while he is also studying “legit” clarinet with A.B.C. woodwindist Alan Rule. Apart from these few activities, plus his harmonica appearances, plus his home rehearsals, plus his rehearsals with the A.B.C. Amateur Symphony Group, plus his private practice – Jack still finds time to be a modest 15 year old Aussie. All his many friends in local musical circles predict quite a musical future for young Jack – so we wish him the best of luck!!
Music Maker July 21 1947
MUSIC and THEATRE By “FIDELIO”
Noted for listening: Tomorrow, 8.45 p.m.: Perth String Quartet and Allan Rule in Mozart’s Clarinet Quintet. At this afternoon’s meeting of the Kylie Club the Moongana Singers will be heard, and Mozart’s Clarinet Quintet will be played.
West Australian (Perth, WA : 1879 – 1954), Saturday 19 July 1947, page 5
CHILDREN HEAR ORCHESTRA
Children from State and private schools filled the Midland Junction Town Hall on Wednesday afternoon and the Fremantle Town Hall yesterday afternoon to listen to music. On each occasion the Perth Symphony Orchestra, conducted by Henry Krips, played a programme comprising the “Fingal’s Cave” overture (Mendelssohn), “Finlandia” (Sibelius). Scherzo and Finale from Beethoven’s Fifth Symphony, and Concertino for Clarinet and Orchestra (Weber), in which Alan Rule was soloist. The Superintendent of Music in State Schools (Mr. O. G. Campbell Egan) spoke to the children about the orchestra and led them in songs. The concerts were given by the Australian Broadcasting Commission.
West Australian (Perth, WA : 1879 – 1954), Friday 4 June 1948, page 12
RECITAL BY SOPRANO (By “Fidelio.”)
At her best, Betty Hatfield achieved some musical effects of prettiness and charm in the vocal recital she gave last night, conspicuously so in Schubert’s “The Shepherd on the Rock” (Alan Rule‘s clarinet part contributing to the success). In the early part of Mozart’s “Non Mi Dir” also she was happily effective. On the other hand there was evident rather often in her ambitious programme the need for sustained firmness and “body” in tones and phrases, for the want of which her performances were apt to lack convincing character. Miss Hatfield sang opera excerpts from Gluck (two), Mozart and Leoncavallo, Caccini’s “Amarilli,” three Schubert songs and two each by Armstrong Gibbs and Roger Quilter. She was accompanied by Keith Carter, who also played solos by Schumann and Scriabin. The recital was given in the rooms of the Women’s Service Guilds, Sherwood Court.
West Australian (Perth, WA : 1879 – 1954), Saturday 27 November 1948, page 11
Works to be heard at tomorrow’s meeting of the Minnawarra Chamber Music Club are Beethoven’s Trio, Op. 11, for piano (Nora Coalstad), ‘cello (Zlata Kalmikoff) and clarinet (Alan Rule); Debussy’s “Fetes Galantes” sung by Merle Arundale, and Goossens’s “Five Impressions of a Holiday,” for piano, ‘cello and flute (Douglas Whittaker).
West Australian (Perth, WA : 1879 – 1954), Saturday 6 August 1949, page 19
MUSIC AND THEATRE – By T.C.M.
At this afternoon’s meeting of the Kylie Music Club the approach of Christmas will be heralded by the Ladies’ Odeon Choir, conducted by Mrs. N. E. Moran, which has included carols and other Christmas songs in its programme. Allan Rule and Robert Trew will be heard in clarinet duets by A. Frank and Poulenc. The programme has been arranged by Vaughan Hanly.
West Australian (Perth, WA : 1879 – 1954), Saturday 17 December 1949, page 19
Alan Rule and Robert Trew in the 1949 Perth Symphony Orchestra clarinet section
Music Club Resuming
The beautiful music room of “Minnawarra,” lovely old Peppermint Grove home, will be decorated with roses and poinsettias picked from the spacious gardens tonight when the Minnawarra Music Club hold the first of four winter meetings. Members will be welcomed in the entrance hall by the honorary organiser, Mr. Marshall Sumner and charming Club patroness, Mrs. Helen Watson-Williams. Guest artists will be Elisabeth Munro-George (pianist), Alice Malton (soprano), Kathleen Moore (oboe), Alan Rule and Robert Trew (clarinets), William Cathcart (bassoon) and Harold Thornton, (French horn).
Sunday Times (Perth, WA : 1902 – 1955), Sunday 11 June 1950, page 9
1950
When Allan’s student Jack Harrison was asked to fill the second clarinet position in the South Australian Symphony Orchestra in October 1950, Allan gave him these:
1951
1951 Broadcaster article: cost of a symphony orchestraAlan Rule and Jack Harrison1952 WASO wind section:Jack Harrison, Allan Rule (clarinets); John Cran, Jill Harrison (bassoons); Robert Wyvil, Thelma Moore, David McCullouch (horns)
The Chamber Music Society of W.A. will hold an open air concert for members and guests in the garden of Mr. and Mrs. W. Evans, 3a View-street, Peppermint Grove, tomorrow evening. The programme will be presented by Alan Rule (clarinet), Don Cartwright (oboe), John Cran (bassoon), Stephanie James (piano). The works performed will be trios for oboe, clarinet and bassoon by Ibert, Milhaud and Flegier; a piano and bassoon sonata by Hurlstone; and a clarinet and bassoon sonata by Poulenc.
West Australian (Perth, WA : 1879 – 1954), Saturday 21 March 1953, page 21
Karl Berent, Allan Rule, John Cran and Jack playing the 2nd bassoon part on bass clarinet
PEOPLE YOU LISTEN TO – ALAN RULE
Alan Rule has done very little teaching since he began work with the W.A. Symphony Orchestra. Before he taught at the Melbourne Conservatorium of Music. He has three pupils in W.A.. They are Jack Harrison, Peter Clinch and Don Westlake. Of Jack Harrison, Alan says “he’s the best pupil I’ve ever taught and ever hope to teach. He’s the cleverist and the slickest.” Alan said he was quite proud of all three pupils. withPHOTO
The Broadcaster 1953 page 16 – from Jack Harrison’s scrap book
1955 WASO: Jack Harrison, Allan Rule, John Cran, Claude Wellings1956 Supreme Court Gardens Orchestral Shell
MELBOURNE – ON THE GRAPEVINE – With Geoff Brooke
BOON WILL BOOM WITH HIS BOOP-BOOP-A-DOO
One night last week I had the pleasure of working with a young musician who has just arrived here from Perth, and I have no hesitation in naming him as one of the most promising clarinettists in town today. He is 19 year old Neil Boon and his very easy style (which shows a distinct Goodman influence) and excellent tone, had the boys in the Joe Marchesani trio very enthusiastic indeed concerning his future prospects in the music game. The boy’s playing was full of ideas and his technique is a tribute to the thorough teaching of Alan Rule in Perth. Rule was well known to Melbourne theatre audiences as a member of the Regent orchestra for years and built an excellent reputation here as a teacher, before returning to home in the West. He is a big husky fellow and a fine player himself. Another of his prize pupils who is frequently mentioned when swing musicians are discussing the country’s top clarinet men is Jack Harrison of Perth, whose sister Jill was recently appointed to the Melbourne Symphony Orchestra in the bassoon chair.
The Argus Melbourne Saturday March 31 1956
1959 WASO ready for tour:Jay, Jack Harrison, Marcia Harrison, Jill Mowson, Jo and Allan Rule1959 WASO tour departure: Jill Mowson, Jay Harrison, Jack Harrison, Jo and Allan Rule
1961 photo of WASO on TV with Allan Rule and Peter Randall – “eat more rabbit”1967 WASO Wind Section
Allan Rule retired in 1971.
Allan Rule died on 2nd February 1990.
Sad Loss for WA music
W.A. lost a much loved elder statesman of music last week with the death at age 82 of clarinettist Alan Rule.
Alan Rule came to Perth from Melbourne in 1949 to serve as Principal Clarinet with a W.A. Symphony Orchestra a position he held until 1967 when he was replaced by Jack Harrison.
He remained a member of the Orchestra until 1971.
Throughout his career, Alan Rule was a dedicated teacher – he continued to teach up to his death – and was regarded as a “father figure” in the Orchestra. His pupils have gone onto principal positions elsewhere: Don Westlake with the Sydney Symphony and Duncan Abercrombie with the Tasmanian Symphony.
W.A. Symphony spokesperson Lyn Schwan said yesterday Mr. Rule was highly praised in 1954 by Sir John Barbarolli and one of the many highlights of his career was performing Schubert’s Shepherd on the Rock with American Negro soprano Leotyne Price.
The West Australian Wednesday February 14 1990
“The last of the outstanding teachers was Alan Rule. He was taught by his father, who played in one of Melbourne’s theatre orchestras. Alan was Principal in the West Australian Symphony Orchestra at Perth from 1947 to 1967. He was the teacher in their early formative years of Peter Clinch, Jack Harrison and Don Westlake.”
“Don was born in Perth on 5 June 1931…Don’s first teacher was Percy Newton, then followed with lessons from Alan Rule, Stockigt and Simson”.
“Having almost identical beginnings with Don Westlake is Jack Harrison. Like Don, he was born at Perth in 1931 and like him was taught first by Percy Newton and then Alan Rule. Unlike Don, he has spent practically all his life in Perth and since 1951 has been a member (Principal since 1967) of the ABCs West Australian Symphony Orchestra.
“The renowned jazz clarinetist Benny Goodman asked Copland to compose a work for him. The result was a two-movement concerto: the first section is one of Copland’s most lyrical and melodious creations; the second is in an all-out jazzy style replete with a glissando or jazz “smear” at the end. The movements are connected by a cadenza for the soloist. Benny Goodman said in an interview, “I always felt good about that commission and about playing the Concerto with Aaron conducting.” Since then, many of the foremost clarinetists worldwide have performed the piece.” https://www.aaroncopland.com/works/clarinet-concerto/
There will be an interesting programme at the W.A. Symphony Orchestra’s free concert in the Fremantle Town Hall at 3pm tomorrow. The orchestra and clarinettist Jack Harrison will perform a concerto by Aaron Copland and the orchestra programme will include Rossini’s “Thieving Magpie” Overture, and arrangement of Bach choral prelude and Mussorgsky’s “A Night on the Bare Mountain”. The West Australian Saturday March 10 1962
MARCH 14th 1963
An outstanding programme by the Perth Sinfonietta will be given in Winthrop Hall at 1.10pm next Thursday under the baton of Verdon Williams. This free recital is being presented by the A.B.C. as the first in a weekly series being sponsored by the University during the year. The Sinfonietta will play works by Berger, Copland, Delius and Vaughan Williams. The soloists will be Allyne Tilsed (flute) and Jack Harrison (clarinet).
Those attending the concert include Russian violinist Nelli Schkolniskova and W.A. resident conductor John Farnsworth Hall, who will be soloists and conductor in the first A.B.C. Youth Concert on March 19.
LUNCH MUSIC IS PROMISING – By Sally Trethowan – MARCH 14th 1963
The programme for this year’s free lunch-hour concert series held on Thursdays in Winthrop Hall is even more interesting and varied in type of music and number of performers than last year’s.
If the first concert given yesterday to a large audience by the Perth Sinfonietta, is any indication of the quality, the weekly programmes will be exciting musical experiences and a major contribution to musical life in W.A.
The Perth Sinfonietta always gives us an entertaining, thought-provoking programme. Conductor Verdon William’s introductory comments are instructive, to the point, and do not offend by being too technical or too long. The choice of composers in yesterday’s concert – Berger, Vivaldi, Copland, Delius and Vaughan Williams – leaned heavily towards the moderate, making the Vivaldi Flute Concerto (“The Goldfinch”) a pertinent, pleasant comment on, and exposition of, a more elegant and graceful age. The young flautist, Allyne Tilsed, who has just joined the W.A. Symphony Orchestra has a sureness of tone control which allows the most delicate innuendos without over or under emphasis. In Vivaldi’s “Goldfinch”, flute and strings chattered and trilled in animated conversation, whereas in the Copland Clarinet Concerto, a different symphonic relationship exists between orchestra and clarinet.
Clarinettist Jack Harrison interwove the sure mellowness of tone and bell-like clarity of his instrument into the orchestral texture of the work.
The brief overture of Jean Berger that began the programme and a Delius “Serenade” and Vaughan Williams “Fantasia on Greensleeves” which closed it, are works typical of the individuality of their composers, but have in common the fact that they make light and easy listening.
The West Australian March 15 1963
Allan Meyer performed the Copland in 2013, just after Jack Harrison passed away.
The clarinet (the woodwind family’s own black wood) alternatively plays the roles of lover and landscape – Messiaen-like birdsong and watery figurations on occasion make way for duets with the voice, most notably in the two love songs that delineate the work’s tripartite structure.
The first of these love songs (some nights there are no words) marks the end of the first section of the work and the second (Seine) occurs at the beginning of the final section. Throughout the central section of the cycle, an ever-darkening series of settings incorporate expanding musical means (including a quote from Schoenberg’s Pierrot Lunaire) and end with a clarinet solo – a reflection on the text ‘how great the diameter of solitude’.
Iain said “My joy in writing this work was that it was in fact not an act of solitude. I was writing for dear friends and colleagues – musicians of the highest order whom I have had the pleasure of making music with for many years. I would like to thanks Sara, Allan and Graeme for their patience, facility and unfailing generosity whilst the piece emerged, Jody Harrison for commissioning it (with assistance from the Music Board of the Australia Council) and of course Kevin for his wonderful words that help transport us all to our own places of calm and deep contentment.”
MARCH 14th 1963