Artshoot was founded in 2020 by Nik Babic with the idea of bringing photography, filmmaking and graphic design for the performing arts within a single creative hub.
Artshoot has since evolved to draw upon the experience and expertise of many local and international professionals from the creative arts industries most of whom have strong personal performing arts experience. This makes Artshoot very much in tune with the special requirements expected when working with professional artists and in performance environments.
Artshoot prides itself on intimately understanding the world of the stage.
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Nik Babic / founder /
As a musician Nik holds Bachelor and Master degrees in viola performance from the New England Conservatory of Music in Boston. He has performed with most Australian orchestras and has been a full time member of the West Australian Symphony Orchestra since 2002 where he still performs over 100 concerts per year.
As a photographer Nik has won a number of professional awards and was a runner-up for the West Australian Illustrative Photographer of the Year two years in a row. His images were published in the arts magazines including Gramophone (UK), Strad (UK) and Limelight (AU), have appeared in solo exhibitions at the Perth Concert Hall, His Majesty’s Theatre and Perth Town Hall and are on permanent display at the Perth Concert Hall Cafe.
As a videographer/filmmaker Nik is a visual content producer and editor for The West Australian Ballet, Co3 Dance, Freeze Frame Opera, Black Swan State Theatre Company, Choral Collective, West Australian Symphony Orchestra and other performing arts organisations.
As an educator Nik held workshops in videography and audio recording for professional musicians at the West Australian Academy of Performing Arts (WAAPA), dance photography at River Road Studios and the art of photography at the Hale School.
Nik started playing the violin at age nine and viola at fifteen in Belgrade, Serbia. He then continued his studies at the New England Conservatory in Boston where he earned his Bachelors (1996) and Masters (1998) degrees learning from Walter Trampler and Marcus Thompson.
While in Boston, Nik performed with various local ensembles including the Boston Philharmonic, New Hampshire and Maine Symphony Orchestras, Harvard University Modern Music Ensemble and in the chamber music program at MIT. Nik appeared at music festivals such as Scleswieg-Holstein (Germany), Sarasota (Florida), Apple Hill (New Hampshire), Sunflower (Kansas) and Maine Academy of the Arts. He toured with the Philharmonie Der Nationen throughout Germany and was chosen to participate in the Winter in Jerusalem Orchestral Academy associated with the Jerusalem Philharmonic in Israel.
Nik moved to Australia in 1998 where he worked with the Sydney Symphony, Adelaide Symphony and the Australian Opera and Ballet Orchestra before joining WASO.
Outside of music, Nik is also an accredited professional photographer, plays tennis and loves good coffee.
Nik’s Chair is supported by Maryllis and Paul Green-Armytage through the Duet program.
Norman Anzac Bourke (born on ANZAC Day) grew up in Wembley with musical siblings Marie, Bill and Walter who all played piano. Norman initially learnt violin from the nun Sister Mary Phillip at Victoria Park Convent on a borrowed instrument.
1939
MUSICAL FESTIVAL. Keen Choral Competition.
At last night’s session of the 14th West Australian Musical Festival, promoted by the W.A. Music Teachers’ Association, girls’ choirs and choirs from primary schools delighted a large audience in the Perth Town Hall. Public appreciation was shared by the festival adjudicator (Mr. Harold S. Elvins), who, at the close of the evening, said that he wished to congratulate Perth on having such a number of beautifully fresh young voices. The Victoria Square choir, which won ‘The Western Mail” shield for girls’ choirs, received high commendation from the adjudicator. “Their rendering was very delightfully clear in tone,” he said, “and the speed was nice and well sustained . . . it was a delightful performance. In ‘the Echo Song’ one could almost believe that the echo was outside the hall. The performance was technically faultless. The The songs which girls’ choirs were required to sing were Purcell’s “Nymphs and Shepherds” and “The Echo Song,” by Rowley. Eight school choirs competed, and such was the high standard that only ten marks separated the winning choir from the last on the list. The Victoria Square choir won with 92 marks and the Perth Girls’ School choir and Sacred Heart High School choir, with 88 and 87 marks respectively, were second and third. Six primary schools competed for the Levinson Centenary Shield for choirs of children under 13 years of age. This section was won by St. Joseph’s School with a performance which was. described by the adjudicator is “very delightful” The Kellerberrin State School choir and the East Victoria Park State School choir obtained the second and third places. During yesterday morning and afternoon several other sections. were decided. The’ pianoforte solo for children between 13 and 16 years of age provided an interesting contest. It was won by Mannix Gosper with 91 marks, with Stephanie James (90 marks) and’ Shirley Bowes Thompson (88 marks) closely following. The adjudicator said that the winner’s work was very good indeed and showed imagination and a sensitive touch. The festival will be continued today in the Assembly Hall. An important item of tonight’s programme will be the ladies’ solo championship, in which there are five finalists.
Other results of yesterday’s contests were as follows: Violin solo (under 14).-Helen Hookway (86 marks). Duet for two pianos-Stephanie James and Lois Harry (86 marks), 1; Terry Jeffers and Arthur Huck (84 marks), 2. Piano solo (over 13′ and under 16).Mannix Gosper (91 marks), 1; Stephanie James (90 marks), 2; Shirley Bowes Thompson (88. marks). 3. Piano quick study contest (under 15) Stephanie James (91 marks). Piano solo (over 15 and under 18).-John Hobley (88 marks); 1: Nancy Hemmant (87 marks), 2; Gwenyth Evans (85 marks). 3.. Piano solo (over 9 and under 12. final).Joy Edgar (91 marks). 1:. Margaret Carney (90 marks), 2; Walter Bourke (89 marks). 3. Piano solo (over 11 and under 13. final) Allison Linden (87 marks). 1: Walter Bourke (86 marks), 2; Mary Bernet and Valma Hoult (85 marks each). 3. Piano solo (over 12 and under 14. final) Barbara Webster (90 marks), I; Mlna Kooperman (89 marks). 2; Ted Bailey (88 marks), 3. Duet for two pianos (under 18):–Morna Graggs and Mannix Gosper
West Australian (Perth, WA : 1879 – 1954), Saturday 1 July 1939, page 15
1941
MUSIC. FESTIVAL – Concluding Sessions.
With a number of advanced contests, including the final of the ladies’ champion solo, the 16th West Australian Musical Festival ended on Saturday night at the Burt Memorial Hall. The day sessions had consisted mainly of finals of a number of junior sections which had been heard during the week. Tonight, in the same hall winners of prizes in many of the sections (over 60 contests were held during the week) will present a concert. The final of the ladies’ champion solo contest was one of the main events on Saturday night. Competitors had to sing an excerpt from oratorio or other sacred work. and an excerpt from opera or secular cantata, and the first prize of £1/1 carried also an engagement by the Australian Broadcasting Commission. “In an event like this,” the adjudicator (Mr. Claude Monteath) said after hearing five finalists, “we expect to find both voices and the ability to use them. In seeking a champion singer one thing to look for is consistency, and I think that in this connection the second appearance by the finalists has a definite value. One is entitled to consult one’s notes of the previous hearing to see if they agree. Of the winner I wrote a glowing report the other evening, and I find that I agree with it tonight. She reminded me of particularly beautiful playing on the A and E strings of a violin. I think you have a prize in this singer.” The section was won by Miss Margaret Jones, who sang “With Verdure Clad” (from “The Creation,” by Haydn, and “Care Selve,” from “Atalanta” (Handel). The vocal prize-winners’ section, for those who had won a first prize at any previous festival, was won by Miss Nancy Jacka. This contest carried a special gold medal donated by the trustees of Music Week, 1933, and a broadcasting engagement. The adjudicator said that the winner was the possessor of a very sweet,’ light soprano voice and that she excelled in a serene and pure style. In the open piano solo section (on which the adjudicator’s comments have already been published) Mannix Gosper was successful, gaining 94 points. The test piece was the Liszt arrangement of Schumann’s “Dedication.” Awards were as follows:
Violin solo (under 11). “Valse Mignonne” (Fontaine); Daphne Percival (88 points). 1: Norman Bourke (87). 2; Veronica Duignan (86 1/2).
West Australian (Perth, WA : 1879 – 1954), Monday 14 July 1941, page 4
1944
PRACTICAL MUSIC. EXAMINATION RESULTS. Complete Country Pass List. Results of the examinations in practical music conducted in country centres recently by the University and the Australian Music Examin ations Board have been made avail able as hereunder.
Violin Grade III: Norman Bourke, Perth
West Australian (Perth, WA : 1879 – 1954), Saturday 23 December 1944, page 9
1945
In about 1945 at the time he started with the youth orchestra, Norman was learning from Mr James, a friend of Vaughan Hanly who later joined the West Australian Symphony Orchestra.
Jack Harrison was the youngest member of the newly formed ABC amateur Orchestra formed in 1945 by Mr E.J. Roberts, as was Norman and they became close mates. The orchestra rehearsed at Perth Girls’ School in James Street.
Norman far right hand side in front of the gong
“Do it Yourself” – Amateur Orchestra is Opportunity (By “Althena”)
To a number of Perth’s amateur musicians, Mr E.J. Roberts and the ABC have offered a golden opportunity to “do it yourself” in unison by the formation of an amateur symphony orchestra. Mr Roberts selected only those whom he considered sufficiently conversant with their instruments to be able to give attention to the niceties of orchestral playing because, as he explained when I attended a recent rehearsal, his aim was to weld a miscellaneous collection of players into an orchestra, not to teach people how to play individual instruments. Although the majority of the players are of the teen age, ages range widely, from the diminutive Jack Harrison, the clarinettist, to elderly men and women who have joined forces with youth; linked by the ageless bonds of music.
The youngest member, Jack Harrison, comes from a musical family. He has been playing a clarinet for the past 18 months, but has played other instruments.
The Broadcaster Wednesday July 11 1945
YOUTH ORCHESTRA – INAUGURAL CONCERT – High Standard Achieved
Winthrop Hall on Wednesday night was the scene of the inaugural concert of the newly formed All-youth Orchestra. What latent talent existed was revealed as the programme unfolded…Norman Burke and Leslie Jenkins in solo numbers…Jack Harrison’s contribution on the harmonica…
The West Australian Friday 19 October 1945 page 9
1947
MUSIC FESTIVAL Adjudicator Praises Contestants
“I have enjoyed a splendid night and being one who did not pay to come in, wish I had,” said the visiting adjudicator (Mr. Herbert Davies) to the large audience towards the end of Saturday night’s session of the musical festival of the W.A. Music Teachers’ Association which is being conducted at the Burt Memorial Hall, Perth. Awarding the first prize for the mezzo soprano solo final to Alison Cairns, who secured 98 marks, Mr. Davies described that competitor’s singing as even better than on Friday. Ailsa Rae was placed second with 94, and Valerie Wynne third with 93 marks. The adjudicator paid a tribute to the accompanists for the final preliminary solo for those who had never won a first prize at a previous festival and said it had been a pleasure listening to the singers. The song was not easy and was a good test of the ability to summon up atmosphere. He considered that one of the competitors had a remarkably fine voice in the making. The prizes were awarded to Ailsa Rae (87 marks), Mary Buchan (86) and Iris Clifton (84). Only one competitor had been successful in “getting the brittle, crisp, sharp touch required, the adjudicator said, referring to the final piano solo under 18. The first prize was awarded to Margaret Carney (81 marks), and the second to Stephanie Tayler (75). The first prize only was awarded for the tenor solo. It went to Trevor Davey (73 marks). After the percussion bands competition at the afternoon session, contested by Nos. 1 and 2 bands from the Lesmurdie Ladies’ College, Mr. Davies expressed pleasure at the work done. He awarded first prize to the No. 2 band and an adjudicator’s prize to the other. Other results were: Final violin solo (under 17): Norman Bourke (91), 1; Daphne Percival (90), 2. Final piano solo (under 14): Thelma Barker (90), 1; Molly Moncrieff (88), 2; Janette Williams (87), 3. Violin sight reading (under – 16): Laurel Deverell (79), 1. The boys’ choir competition, held earlier in the festival, was won by the Aquinas College choir, the only other competitor being the Christ Church Grammar School choir. The choristers were complimented by the adjudicator. Among contests at tonight’s session, commencing at 7.30 o’clock, are those for the baritone solo, the final soprano solo, the final piano solo under 12, the final violin solo under 13, and for a concerted item for not less than five or more than eight singers.
West Australian (Perth, WA : 1879 – 1954), Monday 23 June 1947, page 10
MUSIC FESTIVAL – Further Competition Results
Further events in the music festival of the West Australian Music Teachers’ Association were decided in the Burt Memorial Hall yesterday and last night. Marjorie Osborne and Josie Metcalf, with 85 marks. were placed first and Josephine McKimmie and Eileen Negus, with 81 marks, second in the final of the piano duet (under 13). They played the “March of the Covenanters.” The set piece for the piano solo (under 13) was “Dance of the Dew Fairy.” Of 64 competitors only six were chosen for the final. The winner was Margaret Eddy, with 89 marks, and Josephine McKimmie. with 87 marks, was second. Six pairs faced the adjudicator in the sonata for violin and piano (under 17), a Mozart number. Norman Bourke and Veronica Carney, with 86 marks, were placed first and Jacqueline Bresland and Veronica O’Sullivan, with 82 marks, second. The adjudicator was Mr. Herbert Davis.
West Australian (Perth, WA : 1879 – 1954), Wednesday 25 June 1947, page 11
YOUTH ORCHESTRA – Excellent Playing By Juveniles (By “‘Tactus”)
The third concert of the Youth Orchestra, under the direction of Mr. O. G. Campbell Egan in the Winthrop Hail last night was a fine example of the work accomplished, and the promise for the future, in the musical branch of the cultural development of the younger generation. Numbering nearly 50 players, mostly in the string sections, but with a sprinkling of wood-wind, surprisingly good results were obtained. Not only to concerted numbers does that apply, but also to the members who stepped out and gave first-class entertainment with solos, a duet, a quintet, and vocal solos in which a voice of charming mezzo-soprano quality was revealed. There were many indications of capable and careful training in orchestral playing. The tone was rich, the bowing uniform and firm, a consistent observance was given in expression, phrasing, and accent, in addition to which the conductor secured a steady response to the effects he desired. The most notable success was the Ballet music from “Rosamunde” (Schubert). After prolonged applause, Mr. Egan remarked that he was gratified by the recognition by the audience the players’ achievement, for the work was actually for an adult orchestral rather than one composed of juveniles. The soloists were Violinists, Norman Bourke, Ray Nash, Colleen Harris, Don Gollangher and Lois Dear. Pianists, John Shure and Rosalind Du Rieu. Flautist, Jim Cartwrigbt. Oboist, Don Cartwright Saxophonist, Fay Sharp. Mezzo-soprano. Erica Warden. Quintet of strings, Colleen Harris Laurel Deverell, Roma Uren, Pat D’Arcy and Rene Harris. The Perth Boys’ High School Choir were deservedly well received in several unison and part songs conducted by Mr. C. L. Jenkins and accompanied by Miss Lois Harry. A ceremony which preceded the final number was the presentation on behalf of the orchestra by the leader, Don Gollangher of a baton each to Messrs. Egan and Jenkins in recognition of their work in the training.
West Australian (Perth, WA : 1879 – 1954), Thursday 16 October 1947, page 7
The Australian Broadcasting Commission said yesterday that in the Perth broadcast on December 16 in connection with the 1947 national radio eisteddfod, the A.B.C. judges’ prize and the listeners’ prize went to Master Norman Bourke of 6 Salvado-road, Wembley, who played the first and second movements of Handel’s ‘Sonata in E Major” in the Junior violin division of the music section. He was the first person in the series to win both prizes.
West Australian (Perth, WA : 1879 – 1954), Wednesday 24 December 1947, page 3
Norman left school after his Junior and started working aged 15 as a “Messenger” for the ABC which saw he and the Harrisons cross paths again several years later. Norman explained that and ABC “Messenger” was the bottom of the ABC food chain, required to pick up post and newspapers on a bicycle and deliver them back to Broadcast House. He initially got the job only for six weeks filling in behind someone who was sick, but then received an official telegram from the ABC offering him employment.
1948– brother – Walter
MUSIC AND ART OF SPEECH
Arising from the recent examinations in music and art of speech conducted under the scheme of the Australian Music Examinations Board, the following awards have been made for outstanding work: Music Scholarship of the University of W.A.: Walter George Bourke. This scholarship is valued at £100 per annum and is tenable for three years at an approved conservatorium or institution. Wendy Tyler was named proxime accesit. Medals for Pianoforte. Violin and Singing: Awarded to candidates of outstanding ability in Grades I or II. Pianoforte: Wendy Nash., honours in Grade L Violoncello: Wendy Tyler, honours in Grade I. Art of Speech Elocution Teachers’ Association Exhibition of £2/2/: Diane Hosking, honours in Grade V.
SPECIAL COMMENDATIONS. The following candidates, who obtained honours at the recent grade examinations, have been specially commended for their work: Pianoforte: Grade I, Wendy Nash, Julie Doust, Beryl Potter. Grade II. Ellane Siegrist, Carmel O’Meara. Pauline Callanan, Dawn Patman, Natalie Miolin. Grade III. Judith Watson, Lynette Jamieson, Desmond Kuhl, Pauline O’Connor, Robin Taylor. Grade IV, Allan Speer, Arthur Hennessey, Barbara Robinson Athol Higgins. Diane Nation, Alma Ridley. Grade V Michael Dean, Pauline Rowe, Joan O’Connell, Patricia Traynor, Beatrice Brooke, Marie Lanigan, Maureen Martin. Grade VI. Janet Cornwall, Margaret Stain, Norman Ryder, Barbara Kelly, Robyn Hatswell. Violin: Grade I. Bernice Cullity, Myrtle Tippett. Grade II. Patricia Rooney. Daniel Carney. Grade III,. John Eddington, Mary O’Neill. Grade IV. Glennis Paddon. Sheila Birch. Grade V, Jacqueline Anthony, Patricia Jones, Josephine McKimmie Ronald Barnett. Grade VI Angelina Ruggera, Vivienne Tole. John Ovens. Pauline Kenna. Violoncello: Grade I. Wendy Tyler. Grade 1,. Allan Bean. Grade IV. Ethna Edwards. Singing: Grade I, Laurensen Russell. Grade II. Betty Hamilton. Grade III, lulie Heath. Grade IV, Gwenyth Morris. Art of Speech: Grade I. Lynette Vincent, Caroline Darbyshire. Grade II. Brenda Bice, Phyllis Mather. Grade III Barbara Grebg. Sandra McNab. Grade IV. Judith Leveson Gower. Grade V, Diane Hosking, Mavis Warburton. Grade VI. Clare Massam. DIPLOMA HOLDERS. The following candidates obtained their diplomas in 1948: Licentiate: Pianoforte (perform er): Michael Maurice Barrington Martin, Pamela Kott, Verna Nelmes. Pianoforte (teacher): Irma Claire Hamilton. Associate: Pianoforte: Gwenneth Joan Ball, Yvonne Vallma Brand, Veronica Carney. Phyllis Eva Chick. Nola Margaret Connolly, Laurel May Devine, Margaret Gerard Goerke, Imelda Hayes. Shella Joy Hines. Kathleen Patricia McDonald. Joy Elizabeth Nicol, Ailsa Elsie O’Neill, Shirley Beatrice Owston, Jean Doris Payne, Edith Helen Priestner, Dorothy May Roscoe, Anne Elizabeth Thomas. Singing: Robert Barry Damon. Laurel June Drummond, Pamela Joy Flower. Brenda Howarth, Margaret Elizabeth Stewart. Art of Speech: Licentiate: Joyce Isabella Beurteaux Hall. Muriel Jessie Mackenzie. Associate: Joseph Claude Johnson.
West Australian (Perth, WA : 1879 – 1954), Wednesday 15 December 1948, page 28
1949
In 1949 Jack formed a recording group for the A.B.C. called Jack Harrison and His Music that was broadcast Australia wide. It was usually recorded on a Sunday with his father William Harrison producing many of the music arrangements and Norman Bourke was the A.B.C. sound producer.
1950
Norman Bourke explained that the main responsibility of the ABC at this time was to broadcast, which included not only from the studios in Broadcast House, but also to tour with artists to the country and broadcast live. There were seven studios in Broadcast House which housed the newsroom, 6WF (broadcasting lighter programs) and 6WN (classical and heavier programs). Studio 1 was the biggest and had the best sound in which “Music for Pleasure” was broadcasted on Wednesday evenings.
When required to tour, all the recording gear and instruments went on either the train if it was available, but mostly by bus. The Post Master General (P.M.G.) provided one technician to set up the broadcast equipment and the ABC provided a producer to broadcast the sound. Often the local town members would assist in the set up and usually provided enthusiastic hospitality and sumptuous food, even though sometimes the audiences were sparse.
COUNTRY MUSIC TOUR
Three well-known local artists will leave on Monday on a tour of country towns under the auspices of the Adult Education Board. They are Miss Stephanie James, pianist, Miss Pamela Flower, soprano, and Mr. Jack Harrison, clarinettist. The assistant-director of Adult Education (Mr. John Birman) said yesterday that towns to be visited would include Harvey, Balingup, Donnybrook, Busselton, Boyup Brook, Kojonup, Katanning and Pingelly. This would be the last of a series of concerts in country districts presented by the board during this year. Afternoon, performances for children would be given, in conformity with the board’s policy to arrange concerts for schoolchildren whenever possible, Mr. Birman said.
The West Australian Saturday 21 October 1950 page 8
1951
On tour: Jack and Norman Bourke
During a WASO country tour, Norman Bourke remembered attending a post performance country reception with Jack, only to discover that the WASO train had left without them. The Mayor of the town drove them like the clappers to the next train station, woke the station manager who came out pulling up his trousers, shouting “stop the next train”. The train was stopped and those musicians left behind gratefully boarded. The carriage they got into was the catering carriage and isolated from the rest of the train, so they cooked up a meal of eggs and sat the rest of the journey out.
1953
BOY VIOLINIST GETS HIGH PRAISE
“Yours is talent that you only get once in a generation and Perth has every reason to be proud of it,” said Mr. James A. Steele, the adjudicator for the Musical Festival, when awarding nine-year-old Geoffrey Michaels second place in the open violin solo section last night. Norman Bourke, who gained one point more than Michaels, was first. Miss Lynette Howieson won the ladies open championship solo with 90 points, Miss Margaret Jones being second with 89 points. Mr. Steele told the winner: “You have caught the mood of the song excellently and have given as good coloratura work as we would get from any professional singer. Of the final of the men’s champion solo, Mr. Steele said that the winner, Mr. Douglas Glendinning had a fine voice with great possibilities. Mr. Neil Garland was second. Other results were: Girls’ High School Choir: Coolgardie High School, 1; Perth Girls’ School Choir. 2. Final Soprano Solo: Miss Margery Walwyn, 1; Miss Alice Plant. 2. Final Baritone Solo: Mr. Gordon Freeman. 1; Mr. Vernon Wardrop. 2. Final Contralto Solo: Miss Irene Gilligan, 1; Miss Millicent Evans, 2. Final Open Piano Solo: Mr. Donald Thornton. 1; Miss Angela Travia and Miss Dawn Baldwin. 2.
West Australian (Perth, WA : 1879 – 1954), Saturday 11 July 1953, page 15
Norman continued to produce many of Jack’s radio programs.
1954 John Mowson, Jack Harrison, Norman Bourke & Don Sanders. Jill Harrison back left.Marcia, Norman Bourke and Jill
1966 Thomas Mayer recording playback with Norman Bourke and Ron Richmond (oboe) Norman (right)
Norman was eventually promoted to Music Supervisor and moved to the Eastern States and the lads lost touch.
Later in life, after Jack was widowed, they enjoyed travelling together.
Before leaving Australia for the US in 1965, he was soloist with the ABC orchestras of Perth, Sydney, Melbourne and Hobart as a result of winning the ABC concerto competition.
He is Professor Emeritus of violin and chamber orchestra at the University of Wyoming, and he has also taught previously at the Interlochen Arts Academy in Michigan and Peabody Preparatory in Baltimore. Some of Professor Hanly’s former violin students include William Preucil, former Concertmaster of the Cleveland Orchestra; Andres Cardenes, former Concertmaster of the Pittsburgh Symphony; Michelle Makarski, 1989 winner of the Carnegie Hall International Competition for Violinists; Miho Hashizume (1991 National Winner of the MTNA Wurlitzer Collegiate Artist Competition) who is now a member of the Cleveland Orchestra, and Akemi Takayama who is Concertmaster of the Roanoke Symphony and Professor of Violin at Shenandoah University.
Hanly’s former teachers include Josef Gingold, Ivan Galamian, and Dorothy Delay.
Professor Hanly has appeared as a soloist and in chamber music numerous times throughout the US, Europe, Latin America, and Australia. As a member of the Western Arts Trio for sixteen years, he was extremely active particularly in contemporary music and was involved in commissioning, giving first performances, and recording five albums for Laurel Record of Los Angeles. For the US State Department, he has performed embassy concerts in Poland, Spain, Colombia, Panama, and Guatemala. The New York Times has called his performances “strong and assured, full of zest and vitality.”
Hanly has served as concertmaster of the Indiana University Philharmonic in Bloomington, as guest concertmaster of the West Australian Symphony Orchestra and as concertmaster in Anchorage for the Alaska Summer Festival Orchestra, Robert Shaw, Music Director. In a lighter vein, he made concert tours of the U.S. with Henry Mancini and Andy Williams. He now lives in Colorado, sharing his time between the high desert community of Grand Junction and the Rocky Mountain town of Dillon.
Miller, Vicki, The Sixties, (West Australian Newspapers Limited).p.13
Antoni Szalowski was a composer born in Warsaw and died in Paris. He began his music education studying the violin with his father, who was a distinguished violinist and teacher.
In 1930, he completed, with the highest honours, the Konserwatorium Warszawskie (Warsaw Conservatory), where he studied composition with Kazimierz Sikorski, conducting with Grzegorz Fitelberg and piano with Paweł Lewiecki. He continued his studies between 1931 and 1936 with Nadia Boulanger in Paris, where he settled permanently.
He served as president of the Stowarzyszenie Młodych Polskich Muzyków (Association of Young Polish Musicians) in Paris between 1936 and 1948.
Szałowski won numerous prizes at composition competitions, e.g. in 1960 he was awarded the First Prize of the Radiodiffusion-Television Française in Paris for his ballet La femme têtue (1958).
Source: www.polmic.pl.
SONATINA FOR CLARINET
Szalowski’s Sonatina for clarinet and piano, was composed in 1936, the year he became president of the Association of Young Polish Musicians in Paris.
Music – By Peter HellstromSeptember 1976A visit by clarinettist Jack Harrison to the Eastern States this week raises the point again of how some fine Western Australian musicians need more recognition. Mr Harrison, who was granted a Churchill Fellowship in 1971, was invited recently to take part in the official opening concert of the Canberra School of Music next Tuesday. As principal clarinet of the W.A. Symphony Orchestra and a brilliant soloist, he will play a Sonata written by Antoni Szalowski with piano accompaniment. News of this invitation resulted in two more invitations… to perform with the Australian Contemporary Music Ensemble in a Schoenberg suite for seven instruments including three clarinets – and to give a performance in Brisbane for the Chalumeau Society, the Queensland equivalent of the W.A. Flute Society. Monday night’s performance will be at the Canberra School of Music and the other two clarinettists will be Don Westlake the Principal Clarinettist of the Sydney Symphony Orchestra and Murray Khouri, Professor of the clarinet at the new school in Canberra. Mr. Harrison will not be able to give the Brisbane performance because of lack of time. He pointed out this week before leaving Perth that with this brief Leave of Absence from the W.A. Symphony Orchestra he was getting a rare opportunity to hear and perform with leading instrumentalists from other states. And this is my point: such travels by distinguished W.A. executants are essential for them to assess and reassess their own standards, to refresh themselves and interstate performers and to absorb atmosphere which will benefit themselves and thus general performance standards when they return. Sabbatical leave is granted after seven years to academics and generally we profit by it. The Churchill Trust which enabled Mr Harrison to travel before and is doing so this time, has helped many performers as well as people in other spheres. However, it cannot finance everything and everybody. If universities can grant sabbaticals, why cannot some similar system be created for the best full-time performing musicians? If the Federal Government, Liberal and Labor, can spend millions of dollars on buying artworks and such items as travelling Chinese art as well as helping to finance or partially finance some of the so-called creators and creations that pass for art in the broad sense, it could help in such a scheme. It could do so by reappraising the merits and priorities. No wonder we lose some of our best performers when their geographical isolation is aggravated by lack of opportunity for the equivalent of financed sabbaticals. A lot end up by trying their luck interstate or overseas finding success and staying there. Others are left lamenting or stay on, depending either on their employment in orchestras, any work that the University of W.A. can give them, a few ABC broadcasts and teaching. There may not be any geniuses in W.A… I don’t know… but there are some performers worthy of more opportunities than they can hope to get here. Who knows if some reallocation of obviously limited funds was made, we might find many more potentially noteworthy executants. Perhaps the State Government as well as the Commonwealth could look at the matter. (Sir Charles Court please note). The only proviso is that high standards should apply. I think that quite a number would measure up.The West Australian Saturday September 25 1976A light interlude of mixed Australian talent8.15pm Tuesday 28th September 1976As part of the opening festival of the new School of Music building, and to celebrate at the same time the 10th anniversary of the Winston Churchill Memorial Trust, a special concert on Tuesday night brought 11 former Churchill fellows from all parts of Australia to appear in a concert of great variety and interest. With so many individual artists each presenting one or two short items, it was not the sort of concert which could or should be reviewed in depth. But it did make a very pleasant evening which demonstrated the talents of some of the Australian performers who have received fellowships over the past 10 years. The program ranged from early harpsichord music played by Rhonda Vickers to Donald Hollier playing his own “Sonatina for Piano”, as wider contrast as any program could offer. Two violinists were featured, Kerry Smith in pieces by Bloch and Wieniaski, and Pamela Bryce who played Ravel’s “Tzigane”. Two clarinets were also included, Phillip Miechel playing two movements from the “Grand Duo Concertante” for clarinet and piano by Weber, and Jack Harrison with a very attractive “Sonatina for clarinet and piano” by the contemporary Polish composer Antoni Szalowski. The other instrumentalists were French hornist Victor Grieve and cellist Christian Wojtowicz, the latter making a welcome return to Canberra having taught from 1971 to 1973 at the School of Music. Finally, there were a brace of singers, mezzo Sylvia Wade and baritone Ronal Jackson. The accompanists were Ailsa McCristal and Rhonda Vickers. The Canberra Times Thursday September 30 1976 page 23
Arthur Fiedler (born December 17, 1894, Boston, Massachusetts, U.S.—died July 10, 1979, Brookline, Massachusetts) was an American conductor who was maestro of the Boston Pops Orchestra for 50 seasons and the best-selling classical conductor of all time; his recordings with the Pops sold some 50,000,000 discs. (The Boston Pops Orchestra is the Boston Symphony minus its principal players.) Fiedler, whose principal aim was “to give audiences a good time,” led the Pops in performances of popular tunes, show music, and classics.
From 1911 to 1915 Fiedler studied violin, piano, and conducting at the Royal Academy of Music in Berlin before joining the Boston Symphony as a member of the second violin section. He played in the viola section from 1918 to 1930. He also was proficient on the celesta, piano, and organ. Fiedler organized the Arthur Fiedler Sinfonietta (1924), a chamber symphony, when he was refused the conductorship of the Pops. In 1929 he organized the Esplanade concerts, in which symphonic music was played outdoors in Boston for the first time. In 1930 he became conductor of the Pops, a post he held until his death in 1979.
Fiedler, Arthur Arthur Fiedler conducting the Yomiuri Nippon Symphony Orchestra, 1967.
As conductor of the Boston Pops, Fiedler developed a varied and light-hearted repertoire that struck a responsive chord with the public. He excelled at adapting popular dance music and other songs to performance by a symphonic orchestra. Fiedler was viewed by many critics as a highly able technician and a superb showman rather than as a first-rate interpreter of classical music, however.
FESTIVAL OF PERTH – ARTHUR FIEDLER – TUESDAY FEBRUARY 16 1971
Arthur Fiedler the internationally famous conductor of the Boston Pops concerts will conduct the West Australian Symphony Orchestra for two concerts during the Festival. The concerts should be known as Fiedler concerts, will be held at Winthrop Hall on Saturday, February 13 and Tuesday, February 16. Mr Fiedler’s connection with the Boston Symphony Orchestra goes back to 1915 when he joined it as a violinist. In 1930 he was appointed the 18th conductor of the Boston Pops concerts a feature of Boston musical life since 1885. Record sales which have helped to make the Boston Pops Orchestra famous now total more than 47 million. Mr Fiedler will be appearing by arrangement with the Australian Broadcasting Commission. Soloists at the Fiedler concerts will be David Bollard and clarinet and harmonica player Jack Harrison who is a Churchill fellowship winner for 1971.
Alexander “Alec” Carl Black was born in January 1912 in Northam and had a brother Edward and sister Hilda who were both prominent pianists in Perth’s music scene.
Alec married Rona Wedgwood in 1941 and they had four sons, Geoffrey (who was a violinist int the WASO), Russell, Douglas and Neville.
Alec played viola in the very early days of the Perth Symphony Orchestra, later WASO. He was also an accomplished pianist and doubled on celeste when necessary. He was also a professional music copiest.
1933
KYLIE MUSIC CLUB – October’s Varied Programme
The first part of the programme at the October meeting of the Kylie Music Club on Saturday afternoon was devoted to Brahms, but works by Dvorak, Liszt, Leschetisky and some Hungarian folk songs gave variety after the interval. The most important work performed was the fine piano quintet in F minor (Opus. 34), The four movements snow Brahms in his strongest and most challenging moods, rather than in his gentler moments, and even the beautiful slow movement is remarkable more for strength than for delicacy. The players were Mr. Lio Chase and Miss Margaret Sharp (first and second violin), Mr. Alec Black (viola), Mr. Val Robertson (‘cello) and Mr. Edward Black (piano), the last named giving a brilliant performance throughout, and the ensemble work being admirably maintained. The concluding number was a Dvorak Sonatina in G major, played by Mr. Leo Chase, with Mr. Edward Black at the piano, and was also very interesting.
Daily News (Perth, WA : 1882 – 1955), Monday 23 October 1933, page 8
1934
Music Club at Home.
The president (Mrs. Cecil Mason) and members of the L.A.B. Music Club entertained at an at home at the Karrakatta Club Hall on Saturday night. It was the club’s first social function this season, and proved most enjoyable. The president received the guests wearing a frock of parchment satin with iridescent sequin trim ming, and a scarlet pleated satin shoulder cape. She was assisted in entertaining by the newly-appointed secretary, Miss Marjory Southwood, and some of the members. Madame Madalah Masson and Miss Mona Nugent, who are at present in Perth from the Eastern States, were among the guests of the evening. Madame Masson wore a charming frock of Wedgwood blue georgette, and Miss Nugent chose white silk marocain patterned in a rich red floral design. Mrs. Mason, in a brief speech, extended a cordial welcome to the guests and also to Dr. Crisp, the newly-elected vice president, and expressed pleasure at the number of friends from kindred organisations present. In the course of her remarks she gave a short resume of the club’s activities during the past year, among them being the entertainment of distinguished visitors from the musical world overseas and examiners from London. The hall was arranged with a gay floral decorative scheme, including dahlias, roses, tecomas, carnations, grasses and palms, which produced a galaxy of colour. The programme of music presented was keenly appreciated. Among those contributing items were: — Miss Margaret Sharp. Mr. David Powell, and Miss Hilda Black (a trio by Bach), Miss Edna Curtis (song), Miss June Epstein (piano), Mrs. Dorothy Arnold, and Miss Ivy Stevenson (vocal duet), Messrs. Edward Black, Lio Chase, Alec Black, and Sid Morley (string quartet, Brahms), Miss Marcia Hodges (songs), Miss Gwen Greaves (piano), and the L.A.B. Music Club Choir, who, under the conductorship of Miss Gladys Cunliffe, sang several part songs. In a short interlude in the programme a scene from a Period play (arranged by Mrs. Le Tessier), presented by Misses Sylvia George, Gertrude Cowell, Marjorie Knight, Phyllis Caporn. Anita Fitzgerald, and Mr. Arthur Hardman added to the pleasure of the evening. Supper, handed round in pleasant informal fashion by members of the L.A.B. Club, and en oyed to a babel of cheery conversation, brought the evening’s entertainment to a close. The guests included: — Madame Madalah Masson and Miss Mona Nugent, Mr. and Mrs. Alfred Sandover, Mr. and Mrs Basil Kirke, Rabbi and Mrs. Freedman, Mr. and Mrs. C. P. Smith, Mr. and Mrs. A. J. Leckie, Dr. and Mrs. Boyd. Dr. and Mrs. Ralph Crisp, Mr. and Mrs. A. Knapp. Mr. and Mrs. G. Reid, Mr. and Mrs. W. E. Southwood, Mr and Mrs. Frank Robertson, Mr. E. J. and Miss G. Watkin. Mr. and Mrs. Fordham, Mr. and Mrs. A. Raphael, Mr. and Mrs. F. M. Binney, Mr. and Mrs. E. Dodd, Mr. and Mrs Frank Davies. Mr. and Mrs. Cecil Treadgold, Mr. and Mrs. Leslie Austin, Mr. and Mrs. K. Raphael. Mr. and Mrs. 6. J. Paterson. Mr. and Mrs. Ottaway; Mesdames W. H. Vincent, Dudley Ward, Howard Birt, Dean, Westcott, Le Tessier, J. H. Main, Clear, A. Arnold. Gilles and Miss Kitty Gilles. Cooper, James Withnell, J. Price, Ick, Pellam Webb; Misses E. Hamilton, Zoe Lenegan, J. L. Young, Molly Ick, Gertrude Wal ton, Kitty Gillies, Gertrude Hutton, Ida Geddes. Flora Bunning, Robson, Anderson, Willets, Meta Pickering, A. Thomas, Skinner, Cranfield. Low den. O’Halloran, Sylvia George, Gertrude Cowell, Marjorie Knight, Phyllis Caporn, Alnwick, L. Howell, Ida Roberts, B. Mitchell, F. Hodd. D. Main, T. Rees, E. Egan, M. Humphry, N. Jack son, M. Cunningham, B. Bockelberg G. Carey. G. Donovan, A. Urquhart. G. Greaves, W. Hamilton, E. and F. Purselove, N. Cullen, J. Rossiter, M. Southwood, V. Kenniwell, Joy Fordham K. Sherlock. M. Hudleston. B. Gravenall, M Millar E. Johns, J. Kennedy. M. Narrett, E. Carmichael, M. Devine. E. Arnold, K. Wilson. P Tweedie, Ida Roberts, I. Parker, G. Cunliffe, E. Curtis, H. Black, P Brennan, J. Tullidge, L. Culligan, Ethel Ewins; Messrs. Cecil Mason, Lio Chase, Arthur Hardman, Edward Black, G Clifton T C. Miller. K. Devenish, Bill and Eric Southwood, Alec Black, and S. Morley.
West Australian (Perth, WA : 1879 – 1954), Monday 12 March 1934, page 8
SUNDAY AFTERNOON CONCERT – Anzac House Fund to Benefit.
The third of a series of ‘Pleasant Sunday afternoon’ concerts arranged by Mr. W. L. Menkens, was held at the North Perth Town Hall yesterday. The Ven. Archdeacon C.L. Riley gave an address on some phases of the Returned Soldiers’ League. He was supported by the State Secretary of the league (Mr. D. M. Benson). The collection was in aid of the Anzac House building fund. Among those present were Senator H. B. Collett and Mr. William Watson, M.H.R. Mr. R. E. Clothier, M.L.A., was in the chair. An enjoyable programme of community singing (conducted by Mr. E. R. Berry), and musical and elocutionary items were given. Mrs. Florence Dain’s speaking choir presented a number of items, including ‘The Welcome’ (Nettie Palmer), ‘The Slip-rails and the Spur’ (Henry Lawson), ‘Frogs in Chorus’ (A. B. Patterson), ‘Sea Fever’ (John Masefield). ‘Car-goes’ (John Masefield) and ‘An Unfinished Picture’ (Norman Gale). A vocal duet, ‘Break, Diviner Light’ (Allitsen), was sung by Air. and Mrs. Jack Trethowan. Solos were given by Mrs. Jack Trethowan, Misses Mary Batey and Rhoda Ash, and Messrs. C. B. Sims, E. J. Brickhill and Jack Trethowan. A violin solo was played by Mr. Alec Black and an instrumental duet (piano and violin), ‘Sonata’ (Mozart), was given by Miss Hilda Black and Mr. Alec Black. Miss Elsie McCallum recited ‘Roses in Rain’ (W. Greaves). A pianoforte solo, ‘Etude’ (Chopin) was played by Miss Thelma E. Berry, who also acted as accompanist. The next ‘pleasant Sunday afternoon’ of the series will be held at the North Perth Town Hall on June 3, at 3 o’clock.
West Australian (Perth, WA : 1879 – 1954), Monday 21 May 1934, page 4
1935
The Kylie Music Club.
A Delightful musical programme was arranged by Mr. David Powell for the monthly meeting of the Kylie Music Club, which took place at the Karrakatta Club hall on Saturday afternoon. The president, Mrs. W. H. Vincent, received the guests at the entrance to the hall wearing a becoming frock of navy blue marocain patterned in white. There was a good attendance and members much enjoyed the programme presented. The following artists contributed items: Nora Coalstad, piano solos by Bach Busoni, Debussy and Ravel; (Mr.) E. N. Moran songs by Bach, Godard, and Coleridge Taylor; Horace Dean, violin solos by Bach and Veracini (accompanied by N. E. Moran); Marcia Hodges, songs by Bach and Brahms; and Flora Bunning and Nora Coalstad, compositions by Bach-Phillip on two pianos. Among those present were:
Mr. and Mrs. T. Meugens, Mr. and Mrs. E. Black, Mrs. N. Balaton and Misses Mary and Dorothy Balston; Mesdames H.C F. Keall, Noel Cuthbert, N. Cowan, Russell-Smith, Raphael, A. Sherwood, Despciessis, C. L. Clifton, Walton. Robert Bunning, R. P. Vincent, E. H. B. Lefroy, K. Hodge, Vine, G. B. Brown, Percy White, Muir, Abbott, R. Crisp; Misses G. Rennie, C. Shenton, H. Coalstad, Hilda Black, Gladys Cunliffe, Gertrude Hutton, Ida Geddes, Joy Fordham, Meta Pickering, Lucy Howell, Gladys Pendred, Veronica Kenniwell, Madge King, Flora Bunning, G. Bunning, Lefroy, V. Lake, Marcia Hodges; Messrs. Rietze, Horace Dean, David Powell, Alec Black and N. E. Meran.
Western Mail (Perth, WA : 1885 – 1954), Thursday 21 February 1935, page 30
1936
In 1936 auditions, overseen by Ernest J. Roberts, were held in order to establish a nucleus of Perth musicians to augment the 6.W.F. Studio Orchestra for public concerts given by the Perth Symphony Orchestra.
1930s Perth Studio Orchestra in front of old ABC building.
BACK L-R: Fred Flint, Tony Federici, Harry Singleton, Rima Swain, Lazar Sverdloff, Ivan Nylander, Alec Black, Vera Rees, Percy Newton, William Glassford, George Davies, Bob Trew, George Mellor.
FRONT: ?, Vaughan Hanly, Dave Kember, Harold Thornton, ?.
Music Teachers Gather In Force
THE W.A. Music Teachers Association held its monthly meeting in the Assembly Hall last Saturday night. Despite the cold and wet weather, a large gathering of members and friends was present. They were received by Mr. R. J. Bastian President) and Miss J. L.nYoung (honorary secretary). The hall was prettily decorated with wattle and palms, and on the small supper tables were vases of yellow and white daisies and gold and orange marigolds. Varied Music A delightful programme of choral and instrumental music was presented by members of the association, those taking part being: Mr Frank Robertson’s Ladies’ Choir, in part songs, by Sweeting, Harrison, Pery Buck, Walter Davies and Dr. Rigby; Madame Layton Gaubert, two Brahms’ songs with viola accompaniment by Mr. David Powell; Miss Olga Willson, pianoforte solo, ‘The Lark’ (Glinka); Messrs. A. Black, A. Gamba and S. T. Morley, string trio, ‘Serenade’ (Dohnanyi); Mrs. W. McRostie, two monologues, accompanied by Mr. H. Black; Messrs. A. Gamba’and E. S. Craft, viola and piano duet, ‘Sonate’ (Gorke Bowen): Miss Evelyn Shotter and Mr. David Powell, violin and viola, Mozart Sonata. At the conclusion of the programme a hearty vote of thanks’to the performers was moved by Mr. Dean and seconded by Mr. A. R. Wood. An enjoyable supper concluded the evening. Among The Assembly Those present included Mr. R.J. Bastian (president), Mr. and Mrs. A. J. Leckie, Mr. and Mrs. Cecil Mason, Mr. and Mrs. E. S. Craft, Mr. and Mrs. A. R. Wood, Mr. and Mrs. H. Dean, Professor P. H. and Mrs. Fraenkel. Mr. and Mrs. N. E. Moran, Mr. and Mrs. R. H. Hamilton, Mr. and Mrs. F. Tate, Mr. and Mrs. R. Robinson, Mr. and Mrs. R. Mooney, Mr. J. Clifton, Mesdames Layton Gaubert, Howard Birt, E. M. McRostie, M. Nicholas, M. Ferres, J. Sheppard. L. Richardson, P. Boesser, E. J. McMonagle and B. N. Hinewood; Misses Trixie Shephard, Meta Pickering, Joy Fordham, Barbara Leckie, G. Thornbury, E. J. Purcell, D. S. Gray, M. Frape, A. P. Ringer, L. Howell, Adela Harris, Evelyn Robson, Jean Hamilton, M. Grigg, Ella Peterson, Joy Saunders, P. Willows, M. and D. Boesser, D. Warrick, L.. L.. Shenton, N. . Henfrey, Ena Corser, W. Seddon, A. MacAndrew, J. Hord, R. Birkhead. Phyllis Daly, Edna Warren; Messrs. J. Clifton, Frank L. Robertson, S. T. Morley. David Powell, A. R. Wood. Alec Black, C. Warren, C. Gamba and Keith Devenish.
Daily News (Perth, WA : 1882 – 1955), Wednesday 8 July 1936, page 8
1939
Royal Schools Music Club. LARGE bowls of poinsettias, tinted banksia, chrysanthemums and roses made an attractive decorative scheme at the Karrakatta Club Hall when the Royal Schools’ Music Club entertained many guests and members on Saturday evening. The president (Mrs. Cecil Mason) received at the entrance to the hall, and chose for the occasion a frock of jade green chiffon with touches of silver. She was assisted by the secretary (Miss Gwenyth Greaves), who wore a frock of eau de nil georgette with corsage spray in violet tonings, and the assistant secretary (Miss Marjorie Wyndham), who chose a frock of delphinium blue taffeta patterned in gold and silver. Mrs. Mason extended a cordial welcome to the guests, and in doing so referred to the fact that Miss Wyndham had been notified that as a result of the recent examinations she had been successful in gaining the diploma of Fellowship of the Trinity College of Music, London, and took the opportunity of extending to Miss Wyndham and her teacher, Miss Ida Roberts (who is also a member), the club’s congratulations on this achievement. The programme of entertainment arranged by Miss Wyndham opened with an interesting paper on “Sir James Barrie,” by Miss Dorothy Mark. This was followed by one of Sir James Barrie’s plays, “Seven Women,” which was presented by the following cast:~Misses Joyce Mortlock and Dorothy Mark, and Messrs. Harold Harvey and Frank O’Grady. A musical programme was also enjoyed, to which the following artists contributed:-Miss Jean Robinson (piano solo), Miss Hilda Black and Mr. Alec Black (sonata for violin and piano), Miss Dorothy Arnold (vocal soli, accompanied by Miss Margaret Cunningham), Miss Joyce Glasson (piano sol), Misses Elvie Arnold and Elvie Rodstedd (vocal duets accompanied by Miss Yvonne Rees), and Misses Mina Chapman and Jean Robinson (sonata for violin and piano). Supper served by the committee brought the evening to a close.
West Australian (Perth, WA : 1879 – 1954), Tuesday 16 May 1939, page 3
1941
Mr. and Mrs. W. H. Black entertained on Wednesday evening at their home in West Leederville, in honour of Miss Rona Wedgwood’s approaching marriage to Mr. Alec Black. The party took the form of a miscellaneous tea, and many attractive gifts were received. Competitions and games helped to pass the evening.
Among the guests were Mr. and Mrs. Tregoweth, Mr. and Mrs. Maschmedt, Mrs. Noel Pros-er; Misses Beryl Wedgwood, Lexie Wigmore, Kathleen Slapp, May Haigh, Gwen Gamble, Ottilie and Amanda Strempel, Tess McCaul, Edith Doel, Bid Bounsell, Amy Tunstall, Eileen Tregoweth, Freda Stevens, Messrs. John Townsend and Roy Collinson.
Sunday Times (Perth, WA : 1902 – 1955), Sunday 18 May 1941, page 18
Evening of Music.
MEMBERS of the W.A. Music Teachers’ Association and many friends met last Saturday night at the Burt Memorial Hall and listened to a programme of music by local composers. The programme was arranged by Mr. Edward Black. The president, Mr. F. L. Robertson, with Mrs. Robertson, and the hon. secretary, Miss J. L. Young, received the guests. Mr. Edward Black gave an introductory paper on “The Guild of Australian Composers.” This was followed by songs by Mrs. Carroll, Paul Buddee, Edward Black, and Otto Kaye, sung by Miss Lorna McKean; four sketches for violin and cello, composed by Lazar Sverdloff were played by Madame Zlata Kalmikoff and the composer; song by Miss Lorna Ford. sung by Miss Boesser; songs by Roy Wood, sung by Mr. Frank Robertson: piano solos by Alec and Edward Black played by Edward Black; and songs by Miss Florence Hcdd. sung by Miss Gertrude Hutton. At the conclusion of the music supper was served on tables gay with yellow and orange tinted flowers.
West Australian (Perth, WA : 1879 – 1954), Wednesday 2 July 1941, page 8
Music Club Entertains. Members of the Royal Schools Music Club entertained last Saturday evening at the Karrakatta Club hall. The president (Mrs. Cecil Mason), who received the guests, wore a black satin figured skirt with white satin bodice and coral accessories. The programme was arranged by Miss Marjorie Wyndham and assisting artists included Mr. and Mrs. Alec Black (violin and piano), Myrel Frape (songs accompanied by Marjorie Wyndham), Joyce Glasson (piano) and Lottie Dean (songs, accompanied by Mr. Dean). Misses Joyce Marshall and Mina Chapman were the winners of a competition arranged by Marjorie Wyndham.
West Australian (Perth, WA : 1879 – 1954), Thursday 14 August 1941, page 3
1950
1950 Symphony in Swing program cover
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 program
October 5 1950 Symphony In Swing
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
A West Australian composer, James Penberthy, offered us last night what in some ways the most adventurous Australian composition so far heard in the Art Gallery programmes. This includes, notably, his medium of expression; a wind quintet consisting of flute, oboe, clarinet, horn and two bassoons. For this unusual combination Mr Penberthy had produce a work in short, linked movements, based on the music and life of Australian aborigines. He obtained interesting effects in the way of atmosphere and drastic colourings, but his score sounded very fragmentary. It seemed often to be hovering uncertainly between outright imitative realism and the freer imaginative flight which, we felt, should not convincingly emerge. Another unusual inclusion was a set of three nicely fanciful songs for soprano and flute (no piano) by John Gordon, the words being taken from Chinese. The rest was chiefly light music, generally pretty in a conventional style. There were two pieces for flute and piano by A.C. Black (a West Australian), clarinet and piano pieces by Dulcie Holland and Moneta Eagles, songs by Horace Keats and Elizabeth Mills. The performers were Sylvia Biddle (soprano), Owen Fisenden (flute), Jack Harrison (clarinet), Neil Pierson (horn), Ron Richmond (oboe), George Dreyfus and Claude Welling (bassoons) and Phyllis Allen (accompanist).
1967
1967 WASO viola section
Alec played in the viola section of WASO for over 40 years up until at least 1976.
Alec died in December 2000 aged 88.
Alec Black obituary: The West Australian by Neville Cohn
“For his outstanding contribution to music, his achievements as a musician, composer, conductor and teacher, for inspiring young musicians and for contributing to the professional standard of the West Australian Symphony Orchestra.”
Vaughan Hanly was born in 1916 in Sydney. After initial violin tuition with Sister Mary Acquin at the Golden Grove Convent of Mercy, he won a scholarship enabling him to study with Florent Hoogstoel at the New South Wales Conservatorium of Music. In 1936 he graduated with both the Performer’s and Teacher’s Diplomas, winning the A.E. Smith Violin Prize. Two years later he made his debut performing the Wieniawski Concerto in D minor with the Sydney Symphony Orchestra. His out- standing performance led to other engagements, including a tour of Australia as solo violinist with Richard Tauber.
On 9 August 1938 at the district registrar’s office, Rockdale, soprano Lorna McKean married Leo Denis Vaughan Hanly, a 21-year-old violinist and a fellow student at the conservatorium; they were to have three children, one of whom is violinist Brian Hanly.
Lorna soon became active in music circles in the city. When World War II broke out she undertook extensive touring and concert work throughout the State to assist the war effort.
In 1939 Vaughan was appointed leader of the ABC’s Perth Orchestra, making his debut as soloist with the orchestra in Mozart’s Concerto in D K218, conducted by Sir Malcolm Sargent. As Madame Alice Carrard recalls, “The ABC was having only 25 people in the orchestra and they were all half amateurs. When Vaughan Hanly arrived then it was something out of the world.”
Between 1942 and 1945 Vaughan served in the Army Education Service in the area of music and drama. After the war he became very active as a teacher and as an examiner for the Australian Music Examinations Board. In 1947 he became Deputy Conductor of the ABC’s Perth Orchestra. He also appeared as soloist in the Tchaikovsky Concerto for Violin conducted by the visiting conductor Walter Suskind.
Vaughan Hanly spent 1948 in England studying conducting with Sir John Barbirolli and violin with the renowned teacher, Max Rostal. During his year abroad Vaughan was invited to join the first violin section of the London Symphony Orchestra affording him the opportunity of playing under many internationally famous conductors. He recalls with great joy playing in a performance of A London Symphony conducted by the composer Ralph Vaughan Williams.
1951 Broadcaster article: cost of a symphony orchestra
Returning to the Perth Orchestra in 1949 Vaughan was very active as a soloist. He visited Adelaide to play the Sibelius Concerto for Violin and followed this with the first performance in Perth of the Delius Violin Concerto. On the same program was Rimsky-Korsakov’s Scheherazade which made it a very busy occasion for Vaughan.
This varied and demanding schedule became typical and was maintained through to his retirement in 1976.
Vaughan Hanly, WASO Concertmaster 1967
Throughout the formative years of the West Australian Symphony Orchestra (WASO) as Concertmaster and Deputy Conductor, Vaughan Hanly, through his dedication and persistence, did much to raise the professional standard of the Orchestra, contributing to the fine reputation it has today.
In addition to his work as Concertmaster and frequent solo appearances Vaughan also conducted studio broadcasts and concerts.
For the 1956 Festival of Perth he was invited to conduct an all Mozart program to mark the bi-centenary of Mozart’s birth. His capacity to interpret works of a larger and more complex nature was demonstrated in 1961 when the resident conductor became too ill to continue after the first rehearsal for a subscription concert. The program consisted of Le Corsair Overture by Berlioz, The Pines of Rome by Respighi and Elgar’s Symphony No 1 in Ab major.
Vaughan Hanly and David Measham
The soloist, Larry Adler, was playing the first Australian performance of a concerto written for him by French composer Serge Lancen. Stepping in at such short notice and successfully conducting such a formidable program greatly enhanced Vaughan Hanly’s reputation as a conductor. Other engagements followed, including concerts with European visitors such as Daniel Barenboim and Gyorgy Pauk.
1967 WASO violin section
For the 1966 Festival of Perth he was invited to conduct four concerts by the WASO devoted to British and Australian composers. These programs included many works new to Perth including the first Western Australian performance of Symphony No 8 by Vaughan Williams and the first Australian performance of Little Symphony by Alexander Goehr.
Vaughan was especially fond of conducting the ABC schools concerts where he was able to make use of educational ideas he had developed during his Army years. These included short pieces based on well known tunes including pop songs to illustrate various musical forms, stylistic differences and individual characteristics of particular composers; presented with a touch of humour, the emphasis was on entertainment with learning as a by-product.
In spite of his heavy commitments to orchestral music Vaughan found time for chamber music. With Stephen Dornan, one of Perth’s leading pianists, he formed a long standing sonata combination giving recitals for almost forty years. Vaughan and Stephen also helped foster music in Perth through their involvement in the Kylie Music Club which began in the thirties and provided a unique platform for local musicians to regularly meet and perform.
Teaching practice is yet another string to Vaughan Hanly’s long musical bow. His exemplary teaching skills are recognised in Australia and overseas through his pupils who have achieved national and international success. When he retiring from the WASO, Vaughan devoted more time to teaching. He has also published music for beginners which aims at providing teaching material oriented towards contemporary violin technique.
Vaughan Hanly’s extensive career in music brought pleasure to students and audiences all over Australia. For almost fifty years, he generously gave of his time and been an unfailing activist for music. In particular, Vaughan’s committee work resulted in a recommendation that a college of the performing arts be established in Perth. More recently he helped raise funds to purchase a grand piano for Notre Dame University. In 1973 Vaughan Hanly was awarded the MBE for service to music and was a past recipient of the Western Australian Citizen of the Year Award.
Western Australian State Living Treasure – Vaughan Hanly
Bob Gibson was a Perth musician who began his career on violin, then learning clarinet and saxophone with Harold Moschetti. In Perth he initially played with the Doreen D’Arcy’s Orchestra, a six piece dance band, and then in Ron Moyle’s seven piece band at the Embassy Ballroom. Moyle toured to Melbourne and Gibson auditioned successfully in 1935 for the “Good Companions”.
1933
LOCAL BAND HONOURED – Engagements in Eastern States.
For the first time in broadcasting history a West Australian band has been engaged through the Australian Broadcasting Commission to give performances- over the air in the Eastern States. Ron Moyle and his ‘Westralians,’ a combination of local performers, will leave ‘ for Adelaide by the Great Western express on Saturday, night, and will be absent for about six weeks. The ‘Westralians’ will be heard over the air from 5CL, Adelaide, on December 21 and 22, and from South Australia they will go to Melbourne, where they will broadcast from 3LO- between January 6 and 27. It is possible that the band will; also visit Sydney. Ron Moyle himself is well-known to listeners in Western Australia, having been connected with broadcasting in this State for many years. His band, which is composed of the following players, was heard from 6WF during last dancing season: — Ron Moyle, A.T.C.L. (pianist); Bob. Gibson, L.A.B. (alto saxophone, clarinet and violin) ; George Caro, A.T.C.L. (tenor saxophone, clarinet and violin); Allan Gough, A.T.CJj. (alto saxophone, clarinet and violin); Viv. Nylander (trumpet and trombone); Kem. Fimmel (trumpet); Charles Thompson (trombone and trumpet);. Wally Hadley (banjo, flute and guitar); Cliff Adams (guitar, tap dancer and vocalist); Eddy Roberts (drums and vocalist); and Tom Bennett (bass). The band will give a final concert at the Ambassadors Theatre on Friday night. West Australian (Perth, WA : 1879 – 1954), Wednesday 13 December 1933, page 5
In 1935 the band the “Good Companions” was formed by Ern Pettifer at the Palais de Danse, St Kilda. “The formation of the “Good Companions” set music at the Palais on a forward-looking path, because Pettifer gave some talented young players a break. Auditions were held on a hot summer day and in the line of hopeful stretching around the corner was a gifted alto saxophonist from Perth, Bob Gibson. The audition piece was a tough arrangement of “Bugle Call Rag” by Frank Coughlan who was then with Pettifer. Gibson sailed through it because he had had a thorough classical training and had won many scholarships for his ability, and he knew dance work too. Gifted young players never appear out of nothing and Gibson was no exception. Perth had its own thriving dance bands.” Andrew Bisset, Black Roots White Flowers, 1987 Globe Press. page 55
1941
Talking Shop By “Finn” Westralian Wonder. From farther and farther afield come the stars of 3Aws “Youth Show” and the latest on the list is an amazing young man from Nedlands, Western Australia. He is nine year old Jack Harrison who surprised everyone by winning the first prize in the big 150 pound “Search for Talent”. He competed against allcomers and won by popular vote, although listeners had no knowledge of his age or identity. Jack started playing the mouth organ …he will feature in the broadcast from 3AW. The Listener In Complete Radio Newspaper February 22-28 1941 And 4BH. Teleradio Saturday March 1, 1941
Jack’s father tells me (per the P.M.G.) that he has met at least 14 W.A. people n Melbourne and Sydney who are tops in the eastern entertainment world. He cut out newspaper references to some of the W.A. people which have appeared during the few weeks he has been in the East and forwarded them to me. One about “Duffy” Newton (who used to act in 6WF plays) made about ten inches of type, had a double column heading and carried a photo. Other cuttings contained photographs of David Samuel (deputy-leader of Bert Howell’s Band and leader of last year’s “Youth Sow” band), Chester Bond (who is at present featured in a big radio serial), Bob Gibson and George Watson (a principal of the Drum Club). The Broadcaster February 1 – 8 1941
1949
19 February 1949 – PERTH JAZZ MEN ARE TOPS IN EAST
Recent news about WA dance musicians who have sought to establish national reputations is good news. At least 4 who have been questing after the big-time in the Eastern States have made it, some of them ranking amongst the top-salaried musicians of the day. Currently occupying press space in musical magazines and feeling the for and, against quips of critics in Sydney is Ray Hartley, onetime popular pianist at radio lunch-hour concerts in Perth. General gossip has it that Ray is sow in the high salary range although it is rumoured that the road has been long and very rough. At present Ray is featured with Paul Lombard’s outfit at the Celebrity Club which used to be Rose’s and spare time, as little as he may have, L being turned towards arranging and holding down a couple of radio spots. In addition to this Ray contributes to the Music Maker, the Australian Dance Band Editorial and his articles on prominent keyboard men are a worth while contribution to that magazine. Although his name is usually associated with lunch hour concerts, Ray’s success was first assured in renditions of the Ray Hartley Trio; a combination which he has reformed in Sydney.
One Of The Best Recognised as being one of the best musicians in Australia was Bob Gibson. Since leaving Australia some months ago to further his knowledge in England, little news has been heard of him. He is another W. A. man and at the age of 9 was a winner of eisteddfods and a gold medalist, but his future career was not restricted to his ability as a violinist alone, for at the age of 14-15, Bob commenced taking sax and clarinet lessons from Harry Moschetti, and very soon established himself on these instruments. In the early 1930’s, Bob took over the leading alto sax seat in the Ron Moyle outfit, a combination through which passed some of the finest musicians of the State, and when this outfit went on tour through the Eastern States, Bob Gibson still occupied alto seat but he never returned to W. A. With hard work and perseverance he finally cracked the ice in Melbourne and had occasion to look back. Just prior to the last war, he organised his own band and hit St. Kilda night spots which proved to be his first top liners. His subsequent success such as the Shell Show are now history and it is hoped that his success overseas will continue. Mirror (Perth, WA : 1921 – 1956), Saturday 19 February 1949, page 11
1950
April 1949 – Outstanding alto and clarinet man with the Sharp combination, George Caro, has had a colourful career in the game. At 15 he commenced the sax, and as George maintains, was completely self-taught. He first came to the public notice in 1930 when he was one of 18 who competed in the saxophone competition conducted by the Brass Band Association of WA. Winner was Cas Mitchell, now of the ABC Melbourne, second George Caro, Bob Gibson (now in England) was third, and fourth position was filled by Bob Trew (Perth ABC). In 1934, when the exodus was on, George made the Eastern States tour with the Ron Movie outfit, and when this orch. returned to WA, George decided to hit out for the overseas spots. His first working port o’ call was Colombo, where he played at the Mount Lavinia Hotel. From here he went to the Grand Hotel at Calcutta, before making the Malayan Peninsula in 1936, where he played in Singapore cabarets and the Eastern and Oriental Hotel in Penang. On his return to Australia, George linked up with pit work, played for the American Marcus ‘Show, North China Troupe, Dante, and various other visiting shows. During the war he played second cornet with the 28th Battalion Band, and at a later stage, while serving in Darwin conducted a Sunday night Swing Show featuring a 5piece outfit. Returning to civvy street, he joined Chris Gosper’s eight playing at St. Mary’s, Mt. Hawthorn. When Sammy Sharp returned from England, George moved in with Sammy and remained with him ever since. —’QUAIL.’Mirror (Perth, WA : 1921 – 1956), Saturday 23 April 1949, page 14
1950
On The Home Range – BOB GIBSON
Ask the boys in the strings and the winds about Bob Gibson. Gibson! they say with awe. He lives, eats, and drinks music. He has no other interests, only music, in which he strives for perfection. And in hushed tones they say, ” What an ‘ear’ that man’s got!” ASK “Melbourne’s thousands of dance fans. “Bob Gibson,” they say. “He’s more than a band leader. He is the perfect dance tempo!” To us Bob appears to be just an ordinary bloke, unassuming, dark, rather short, with a pleasant fluency. Local dance fans were desolate when Bob sailed for England in 1948. Now he’s back, after London successes, wondering whether to re-form his band in Sydney or in Melbourne. Few, if any, Australian band leaders have had a bigger personal following than Gibson. Before his London trip his band, then the only big-time, freelance combination in the country, was nationally famous for its work in hit radio – programmes such as The Shell Show, All Australian Hit Parade, Popularity Parade, and A.B.C. Shows. In addition, the Bob Gibson band, which incidentally was then costing about £500 a week to run, was in demand for Vice-Regal evenings and the top society balls of the season. Bob was something of a child prodigy. At 12 years of age, he was playing the violin in the newly-formed Perth Symphony Orchestra. In his early teens he was awarded his violin degree in Perth by the travelling examiner of the Royal Academy of Music. As a youth of 17 he stepped off the Overland in Melbourne into the St. Kilda Palais orchestra, the Palais being one of the biggest dance halls in the Commonwealth. He was lugging four cases — three for his violin, saxophone, and clarinet, and one for clothes. He fiddled and “doubled” on the sax and clarinet to such purpose that within a few years he was promoted to be Palais Orchestra arranger, probably the youngest in the Commonwealth. Then in 1939, only 25 years old, he formed his own orchestra. Bob went overseas to study entertainment trends in radio, television. and on the stage. He warns Australian musicians and theatricals that the competition over there is terrific. For every musician here there are at least 100 in London, competing for a limited amount of work. When a band vacancy occurs a dozen first-class players apply. for the position before it can be advertised. Only the fittest survive. Working conditions are much tougher than here, and the pay is not as good. There are many English musician anxious to migrate here. English artists and players are beginning to take a “dim view” of the increasing number of Australians reaching the top. But, Bob says, for every Dick Bentley, Kittys Bluett, and. Joy Nicholls at the top there are a score of Australians hovering on the breadline, many of them good artists. “Great talent is not enough in London,” he says, “You must have” luck too.” Gibson had his share. After doing a “study” tour with Tommy Trinder’s show, Bob was asked to form an orchestra of 25 players for the B.B.C. He also spent seven weeks in Paris and conducted a light orchestra which did the background”, music in a French film. Bob advises young theatricals and musicians to go to England for study, but to buy a return ticket before leaving! Gibson plans to return to London in 1951. In the meantime, he aims to. satisfy those dancing feet in Melbourne, or Sydney, perhaps! Smith’s Weekly (Sydney, NSW : 1919 – 1950), Saturday 18 February 1950, page 15
1953
Local Acts Compete for Record Prizes in Talent Final – Sixteen local acts will contest the grand final of Talent Hour, Australia’s most richly endowed talent quest, to be relayed from Melbourne Town Hall through UZ at 8 p.m., Tuesday, November 10. Each of the four section winners will receive £500, with minor placegetters receiving £250, £40 and £15. The best act of the night will be awarded an additional £1000. Awards will be made at the conclusion of the programme. Regular adjudicators, Dr. Herman Schildberger and Mr. Harry Sutcliffe; have been joined by Mr.-Garnet H. Carroll. Recorded semi-final performances of all artists will be featured in Talent Hour Preview, at 3 p.m. Sunday, November 8. Recorded grand final performances will be repeated, in Talent Hour Review, at 3 p.m. Sunday, November 15. Sydney orchestra leader, Bob Gibson will direct a 20-piece orchestra. The stage setting will include the appearance of leading Melbourne mannequins. Competitors are as follows;— Vocal: Joan Reed, soprano; Kenneth Sullivan, tenor; Theodor Sartory, bass-baritone; Leonard Delany, baritone. Instrumental: Roger Holmes, piano; Ian King, tuba; Eugene Danilov, clarinet; Mary Nevmet, violin. Pop Vocal: Reg Gray; Jack Bowkett; Margot Carroll, John Oldham. Novelty: Alfred Smith, monologuist; Don Harper Quartet; John Shingler and Kelvin McMillian, flute and saxophone duo; D.D.H. instrumental trio. Age (Melbourne, Vic. : 1854 – 1954), Thursday 5 November 1953, page 19
RED CARPET FOR MUSIC VIPs GET WELL WORN
Perth musicians are finding their red carpet (for rolling to welcome local members who have become VIP’s in the musical world) is wearing pretty thin. Latest to tramp across it will be Bob Gibson, on Monday night. He arrives from the Eastern States by ‘plane, will be an honoured guest at the Musicians’ Ball at the Embassy on Tuesday night. He has made his name not only as a musician and band leader, but also as an ‘ arranger. His work has been praised by ‘big name’ clarinettist Artie Shaw. Bob studied violin in Perth at an early age. While still in short pants he played at the old Prince of Wales Theatre. He turned to the saxophone later, left here in that capacity with Ron Moyle’s orchestra in 1933 for. what is believed to be! the first tour of a dance band under the ABC banner. He stayed in Melbourne, where he ‘saxed’ with Ern Pettifer’s orchestra at St. Kilda’s Palais de Dance, which was later taken over by Hal Moschetti, another West Australian. Later engagements included seasons with Bert Howell, of Capitol Theatre, and Shell Radio Show fame, Jay Whidden, Roy Fox and Dick Freeman. Bob formed his own combination at Melbourne’s Palm Grove, with a wealth of experience behind him. During the war he organised a band and toured forward areas as director of a US entertainment unit. After the war he returned to England as musical director of the Tommy Trinder Show (a job now held by Hal Moschetti). But the climate and ill-health (he developed pneumonia) sent him back to Australia, where he has carved himself a new niche. Mirror (Perth, WA : 1921 – 1956), Saturday 24 October 1953, page 12
SUNDAY, NOVEMBER 1st, 1953 – Jazz Festival Week Part Two: CAPITOL THEATRE – THE BOB GIBSON SHOW
Box Plans for both these attractions now open at Nicholsons. TICKETS 5/ The West Australian Saturday 17 October 1952 page 35
LISTENERS WILL HEAR GIBSON An agreement reached between the W.A. Musicians’ Association and the ABC resulted in last Sunday’s Jazz Jamboree (featuring The Bob Gibson Show) being recorded for broadcasting from 6WF. When the ABC heard that ace band leader Gibson would be the guest artist for the second part of Jazz Jamboree, it came to an agreement with organisers Sam Sharp and Harry Bluck for Gibson’s show to be recorded, and also agreed to pay the W.A. Musicians’ Association a fee for the right to record the show. The date of the broadcast will be published shortly. Gibson is now musical director for 2UW. Recently Gibson signed an agreement with the Columbia Recording Company. The first of his releases to be heard in Perth will probably be “Wild Horses” and “My One and Only Heart”. Gibson, who went to England in 1948 and returned in 1950, now favours big band. He records with a 28-piece band, and for concert and radio work he uses anything from 16 to 20 musicians. Two of his most popular programmes, heard from 2UW and Sportsman’s Parade and Musically Yours. Gibson said that any young musicians who hoped to go abroad needed plenty of capital and lucky breaks. He said that there were too many instances of a bandleader casually approaching a popular tune without having any idea of presentation.
Of the orchestra he conducted at the Jazz Jamboree on Sunday night, Gibson commented “They are a first class bunch of musicians. Considering they had such short notice to get together they gave a truly remarkable performance.” The band leader also praised individual performances. He believes that 17 year old Neil Boon could develop into a top line artist. Jack Harrison displayed plenty of versatility and gave a smooth performance, he said. Gibson also praised the responsiveness of the audience. “In modern music there is no greater encouragement” he said. The Broadcaster Saturday November 7 1953 Vol .20 No. 1023
BAND HAS BIG NAMES IN EVERY SECTION – When Harry (‘Powerhouse’) Phillips takes up his trumpet on the stage it is usually a signal for wild enthusiasm from rhythm fans who see in him a combination of Louis Armstrong, Harry James and a dozen other trumpet idols. Harry, who has been to WA for nearly 5 years, is from an English musical family which has been associated with big-name bands in England and on the Continent for many years. His brother Syd will always be remembered for his compositions and arrangements with the famous Ambrose. Another brother, Woolf, is equally well known. Before coming here Harry played in most of the capital cities of Europe and speaks several languages fluently. He has played lead trumpet with brother Syd’s band, with Ambrose, Mantovani and Harry Roy, as well as with his own groups. He can play a sweet trumpet, but is usually associated with the forceful style which gives him his name of ‘Powerhouse.’ Although this looks to be a difficult style, he achieves his effects from the modern non-pressure method, with which there is no great physical effort, despite the seemingly strained attitude of the player. Harry claims to be able to te ich this style easily. Associated with Harry in his band are a number of promising young musicians, notably saxophonist Neil Boon, a 17-y-o Dutch boy who literally stopped the show at last Sunday night’s Jazz Jamboree, when Bob Gibson was guest conductor. A great future is predicted for this boy, who has been playing saxophone for less than a year, but has played the clarinet for 4 years. His alto sax solo ‘I’m In the Mood for Love’ received such an ovation that compere Wally Hadley had to ask Harry to bring him forward and introduce him to the audience. Band’s guitarist Sid Vandervelde, also from London, was with the late Felix Mendilsohn’s Hawaiian Ensemble and the late Freddie Gardner, the great sax stylist. Sid works a6 a motor-mechanic in Perth and has been here for 2 years. Fans like the drive he gives the band with his solid rhythm on an amplified Spanish guitar. Brothers Don and Gordon Bates, who play piano and drums with the outfit, are local boys who have been well-known in the music game here since they had ‘their own band some years ago. Don is a saddler with his father and Gordon is with a City leather firm. Harry works as a planning engineer for a Perth firm.
The popular Harry Phillips combination which has delighted Perth rhythm fans: (PHOTO) From left: Syd Vanderveldt, guitar; Don Bates, drums; trumpeter Harry, Gordon Bates, piano; Neil Boon, sax and clarinet. Mirror (Perth, WA : 1921 – 1956), Saturday 7 November 1953, page 12
The youngest of the four children of Archibald Charles Callaway, an electrical engineer, Frank Adams Callaway was born in Timaru, New Zealand, on 16 May 1919.
When war broke out he enlisted for overseas service. He was rejected because of his poor eyesight, but the Royal New Zealand Air Force recognised his musical potential – he joined its Central Band as a bassoonist and arranger.
The Pied Piper Towards the end of his long life, his colleagues at the International Society for Music Education had this to say about Sir Frank Callaway: ‘It is probably true that Sir Frank Callaway must know, and be known by, more people in music education throughout the world than anyone else. The list of countries he has visited is staggering: at a modest estimate he must have covered well over a million miles – a feat which these days is only surpassed by astronauts. His vision for music education in its broadest sense is respected internationally.
It is unlikely that anyone else has devoted as much time and energy to the cause of music education and given such support and encouragement to musicians, music educators, composers and many others, as Sir Frank Callaway. His generosity of spirit and his seemingly endless vitality – despite his age – is still an inspiration to music educators regardless of the sphere in which they work or the generation to which they belong.’
The youngest of the four children of Archibald Charles Callaway, an electrical engineer, Frank Adams Callaway was born in Timaru, New Zealand, on 16 May 1919. His uncle, Sidney Callaway, played cricket for Australia in the 1890s, and passed on his passion for the game to young Frank, but it was music that the boy loved best. His parents had him taught the violin.
‘As a child, I simply loved being involved in music-making’, he recalled, ‘and after first experiencing the thrill of music-making as leader of an early children’s orchestra, this sort of activity became central to my life.’
Because of the depression, Callaway left school when he was 15. He started his working life with a firm of commercial stationers, eventually becoming a travelling salesman. Evening studies at Christchurch Technical College led to Otago University at Dunedin, where he set his sights on a Bachelor of Commerce degree. In 1939 he abandoned this and entered the Dunedin Teachers’ Training College. When war broke out he enlisted for overseas service. He was rejected because of his poor eyesight, but the Royal New Zealand Air Force recognised his musical potential – he joined its Central Band as a bassoonist and arranger.
In 1942 the Air Force gave Callaway leave so that he could succeed the inspirational Vernon Griffiths as Head of Music at King Edward Technical College in Dunedin. At the same time, Callaway played viola and bassoon in the New Zealand Broadcasting Services’ Orchestra, and continued his music studies music part-time at the University of Otago. He eventually gained his Bachelor of Music degree, plus sundry prizes, including the Phillip Neil Prize for New Zealand composers. In 1947 the university’s Fanny Evans Travelling Scholarship financed his trip to London – but the funds would not stretch to allow Callaway to take his young wife, the brilliant pianist Kathleen Allan.
At the Royal Academy of Music he studied conducting, general musicianship and composition, forwhich he won the Battiston Haynes and Cuthbert Nunn prizes. A Carnegie Travel Grant enabled him to explore music education in the United States, where he met people who shared and shaped his international vision for music education. In 1949 he resumed his work with King Edward Technical College, and also directed a regular series of orchestral concerts and large scale music festivals in Dunedin.
In 1953 Callaway accepted the post of Reader in Music within the Faculty of Education at the University of Western Australia. Six years later he became the university’s Foundation Professor of Music.
Starting with a staff of one (himself), a desk, an upright piano, and a small pile of music, Callaway built up a thriving Department of Music. When he retired at the end of 1984, he was farewelled by 14 full-time staff-members and a large team of part-time teachers. On the way he had developed what is widely regarded as Australia’s finest Music Library – the Wigmore.
Outside his university commitments, Callaway had created and edited Australia’s leading musicological journal, Studies in Music, and other scholarly publications. In association with the West Australian Symphony Orchestra he had organised a series of Composers’ Workshops that attracted many young forward-looking composers.
He had been appointed by the prime minister to serve with Bernard Heinze and John Hopkins on the first Advisory Board of the Commonwealth Assistance to Australian Composers scheme, organising national seminars and workshops for young composers. He had been the foundation president of the Australian Society for Music Education, and had edited its journal. He had served for many years on the Festival of Perth committee.
For a quarter of a century he had conducted the University Choral Society, making it one of Australia’s finest large choirs. He led it in many memorable performances with the West Australian Symphony Orchestra and visiting soloists, and he had been guest conductor for ABC orchestras in Western Australia and other states. In 1979 and 1984 he was organising chairman of the Indian Ocean Arts Festival in Perth.
Internationally, Callaway had been a member of the International Society for Music Education since it was founded in 1953 by many of the people he had met on his visit to the United States in 1949. He was its president from 1968 to 1972, then its treasurer and, in 1988, was elected honorary president, succeeding the celebrated composers Zoltán Kodály and Dimitri Kabelevsky. He was also founding editor of its journal.
As a member of the Australian Commission for UNESCO, Callaway represented Australia on the International Music Council; in 1980 he followed violinist Yehudi Menuhin as its president, establishing a close and lasting friendship with him. He was elected a life member in 1985. His UNESCO work took him to General Assemblies and Congresses in Moscow, Lausanne, Toronto, Montreal, Bratislava, Prague, Melbourne, Budapest, Stockholm and Dresden. In 1995 he received the UNESCO Medal, which rewards musicians who have contributed to the enrichment and development of music and who have promoted peace and understanding between peoples.
Other recipients have included Yehudi Menuhin and Russian composer Dmitri Shostakovich and Indian musician Ravi Shankar. At the time, Callaway was only the second person to be awarded this prize for music education (the other was Nadia Boulanger, in 1979). The organisation’s director-general hailed Callaway as ‘one of the great pioneers and ambassadors of music education in our time’.
Callaway was the dedicatee for Australian composer Peter Sculthorpe’s short orchestral piece Sun Song (1984), and for Dmitri Kabalevsky’s Fanfare for Brass Ensemble. Incredibly, in so full a life, Callaway found time to indulge his passions for gardening, and, all too rarely, composing. His Theme and Diversions for Strings, Theme and Variations for Strings and Prelude and Fugue for Violin and Organ won awards and were publicly performed, but in his later years Callaway preferred to forget them.
Callaway retired from the University of Western Australia in 1984. In his honour the university established the Frank Callaway Foundation for Music, with contributions from Callaway’s friends and admirers. The foundation supports musical activities at the university and works to enhance the strong community and professional associations of the School of Music. Its patrons include Lord Menuhin, Sir Charles Court and Janet Holmes a Court.
The foundation organises the annual Callaway Lecture and stimulates music and music education in Australia and internationally through the non-commercial and co-operative Callaway Centre for Research in Music and Music Education. The centre houses a number of significant collections including those of Callaway himself (including a number of autographed letters and scores by composers such as Liszt, Elgar and Delius), ethnomusicologist John Blacking, Percy Grainger (whom Callaway met during his first overseas study tour and whose ideas on music’s universality impressed him deeply), conductor Verdon Williams, pianist Eileen Joyce (a personal friend of Callaway’s), and music historian Peter Burgis. The Burgis Collection includes significant holdings of Dame Nellie Melba and Peter Dawson memorabilia.
Many of Callaway’s former students and colleagues participated in a joyous gala concert in the Perth Concert Hall on 16 May 1999 to celebrate their mentor’s 80th birthday. After a long period of ill health, Sir Frank Adams Callaway died in Perth on 22 February 2003. He was survived by his wife, Kathleen, who had accompanied him to many overseas conferences, and had a notable career of her own: she was an acclaimed pianist and harpsichordist, and a fine accompanist, particularly for lieder. She was active for many years in concerts and radio broadcasts.
Tricia and Adrian Wood; Jill and Peter Mowson – born the same day – 2nd May 1962
Peter Mowson, son of Jill and John Mowson, was born in the same hospital on the same day as Adrian Wood, son of violinist WASO colleague Graham Wood and his wife, Tricia.
Different People, Same Path
Mrs. Graham Wood of Stubbs Terrace Daglish, and her friend Mrs. John Mowson of Marine Parade Cottesloe have a lot in common besides their babies Adrian Michael and Peter John. The women met after they had each married members of the W.A. Symphony Orchestra. Mr Wood is a violinist and Mr. Mowson plays the bassoon (!) Each played with the Melbourne Symphony Orchestra six years ago. Mrs Wood and Mrs Mowson found out at about the same time that they were going to have babies and they went to the same doctor. They did the same prenatal exercise exercises and were confined in adjoining rooms in St John of God Hospital Subiaco at the same time. Their babies were born early on the same morning and both, as their names suggest are boys. Adrian is the sixth grandchild of Mrs Wood’s mother, Mrs Mary Hodgkin of Princess Street, Mosman Park, who gained her Master of Arts degree on the same day the baby was born.
The West Australian June 14 1962
MUSICIANS TO TOUR IN NORTH
The A.B.C. and MacRobertson Miller Airlines Ltd. Will send seven musicians through the North-West for a series of concerts between August 28 and September 8. The A.B.C. artists will fly 4000 miles in 12 days to give concerts in Carnarvon, Port Hedland, Broome, Derby, Wyndham, Kununurra and Darwin. The group is to be led by Verdon Williams, will include Shirley Fresfader, Peter Piccini (accordion), Jack Harrison (clarinet and harmonica), Graham Wood (violin), Laslo Vidak (violin and viola) and Brian Meddeman (cello and violin). A small TV film unit will tour with the group. The film they make will be shown in the Eastern States as a part of an A.B.C. project to focus attention on the North.
The West Australian August 8 1962
The “Southern Serenaders”
From August 28 – September 8th 1962 the A.B.C. sent a small group of musicians, led by Verdon Williams, on a tour of the north west of the state. Apart from Verdon, the ensemble which we called “The Southern Serenaders” included Graham Wood on violin, Laslo Vidak on violin and viola, Brian Meddemmen on cello, Jack Harrison on clarinet and harmonica, Peter Piccini on accordion and soprano Shirley Flesfader.
Graham Wood wrote: “ We travelled by DC3 aircraft, giving concerts in Carnarvon, Port Hedland, Derby, Broome, Darwin, Wyndham and Kununurra. Verdon had arranged all the music, which was of a pretty light nature and we all had a solo spot. We were paid £8 per concert and received a living allowance of £3/3/0 a day. We had a happy time, enjoying each other’s company. Peter Piccini was a natural comic and poor Shirley was the butt of many a practical joke, which she took in good part. One thing I remember vividly was the night when a huge stick insect landed on my violin while I was playing “The Flight of the Bumblebee”!
Most of the towns were still remote and largely undeveloped at that time, so people really appreciated our efforts. The aborigines were shy about coming to our concerts, so in Derby a few of us were taken out to a camp late at night after our performance. In a moonlit clearing we played to the people, some of whom produced a couple of digeridoos and played them for us. A magical moment ensued, as Jack Harrison quietly joined in with some gentle improvisations on his clarinet. We were entranced as were all the people there, dogs included. A genuine fusion of cultures.”
RECORD AUDIENCE CHEERS 1962 CULTURAL TOUR
The A.B.C. “Southern Serenaders” played to an estimated audience of 6000 people during their 4000 mile tour of seven North West ports including Darwin and Kununurra.
Darwin gave the orchestra its largest reception. About 4000 people crowded the Darwin oval sitting on available chairs provided, on rugs on the ground and in hundreds of motor cars parked around the perimeter of the ground. Darwin’s town Clerk (Bill Sullivan), who estimated the size of the audience, remarked that in all his experience it was the largest crowd he had seen in Darwin at such a presentation. Everywhere they went the “Southern Serenaders” earned cheering ovations and goodwill for M.M.A. and the A.B.C.
Departing from Derby around 4am, Jack Harrison (clarinet) and Peter Piccini (accordion) decided to hold an impromptu jam session in the air terminal. When M.M.A.’s chartered F.27 arrived, they moved out onto the tarmac, serenading the sleepy-eyed passengers that emerged from the aircraft in the small hours. The previous night, six members of the orchestra, augmented by four aborigine musicians, improvised what was probably the most unique combination of sounds heard in the North in a long time. The only bachelor in the orchestra, cellist Brian Meddemmen, was the only member of the group game enough to bring home an aboriginal wife beater. Violinist Laszlo Vidak fell victim to “fiddler’s peril” when the top string on his violin broke during a solo. He finished the item without a break and few people realised what had happened until Verdon Williams mentioned it to the audience.
On arrival at Wyndham, Peter Piccini discovered that the precision mechanism on one key on his £500 accordion had broken. A technician from Wyndham Aeradio was located who did a superb welding job at short notice and a scant hour before the concert there. Mr Piccini was still replacing bits and pieces of springs, levers and keys with the able assistance of Graham Wood and Jack Harrison.
In their off-duty moments, most members of the group took the opportunity to see the surrounding countryside of the towns they visited. Mr. E.K. Sholl, A.B.C. Manager, Fred Combs, A.B.C.2 cameraman and cellist Brian Meddermmen earned top honours for vim, vigour and vitality by climbing the Bastion at Wyndham and Kelly’s Knob at Kununurra. Shirley Flesfader was the only member of the touring group to return to Perth with genuine Nor’-West influenza. Well on the road to recovery as Jetstream went to press, Miss Flesfader enjoyed the joke on herself remarking “Trust the soprano to be the only one in the company to catch the ‘flu’”. To Verdon Williams, the North-West was a paradise. He collected seeds and minute cuttings of different varieties of Western Australian plants, shrubs and flowers. Some are already established in the large garden of his south Perth home.
PRAISE FROM A.B.C.
At every port-of-call, the Manager for Western Australia of the Australian Broadcasting Commission, Mr. E.K. Sholl, told audiences at the “Southern Serenaders” concerts how greatly he admired the work being done by M.M.A. to bring culture programmes into the North. He went on to assure audiences that by next March the A.B.C.’s two short wave stations, VLX and VLW, would increase their signals from 10 to 50 kilowatts and from 2 to 10 kilowatts respectively. “You will then be able to receive Perth short wave broadcasts with approximately the same clarity as you now receive Melbourne’s transmission through Radio Australia”, Mr Sholl said. This, he anticipated, would enhance the listening pleasure of almost everyone in the North from Carnarvon to Wyndham. Jetstream Official Publication of Mac.Robertson Miller Airlines Ltd. Vol 1. No. 20 September 1962
Within a week of our arrival I was ensconced in the first violin section of the WA Symphony Orchestra. The ABC had just moved into a brand new building in Adelaide Terrace and the orchestra’s studio [the Basil Kirke Studio] was claimed to be the latest state of the art broadcasting studio in the country. It certainly suited the small 50-piece band, which I discovered on my first day. By 2005, the ABC had moved out and the building was to be demolished!
The quality of the playing in 1960 left much to be desired. The ABC employed the WASO and we were all superannuated public servants, so it was difficult to sack a player who was not up to scratch! I sat on the outside of the second desk, behind the leader, Vaughan Hanly and Barbara Tyler. My desk partner was Margaret Poole-Johnson. I could fill volumes with details of some of the extraordinary characters who inhabited the ranks of the orchestra at this time. Space however limits me to mentioning just a few.
1967 WASO in Basil Kirke Studio
The resident conductor was John Farnsworth Hall. I had experienced some rotten conductors already, but Farnsworth really took the cake! An irascible charlatan of a fellow, he would fly into a rage at imagined slights or blame players when some mishap occurred, usually of his own doing. Fortunately he was also lazy and we could depend on days finishing early and calls being cancelled or cut short! This was a blessing in that we had time for our own individual pursuits, such as teaching and chamber music playing. Vaughan Hanly was a highly competent violinist with much experience and a high reputation as a teacher.
1965 John Farnsworth Hall conducting WASO in Winthrop Hall
Barbara Tyler was also competent, but rather neurotic, with a tendency to talk non-stop, to such an extent that she would froth at the mouth! Most of the others violinists were either ageing or young and inexperienced. John Dean led the viola section. I had met him at the University Conservatorium in Melbourne when we were both violin students there. He took to the viola when the principal position became vacant in Perth. We have been lifelong friends.
The front desk of the cello section was a hoot! Two mad Hungarians sat together there. Principal was Louis Moyser, a middle aged expatriate in the process of decay. He had the remains of a fine technique, but alcohol had infiltrated it. His desk partner was another alcoholic, Zoltan Barna, a plump clown of a fellow who had a large collection of musical tricks, amusing at first. The two of them caused our conductor a lot of strife. He called them “Buda” and “Pest”, which was about the only thing I admired him for.
1968
The Australian premiere performance of Till Eulenspiegels lustige Streiche, Op. 28 by Richard Strauss arranged for five instruments by Austrian composer Franz Hasenöhrl in 1954 was performed by Graham Wood (Violin) Jack Harrison (Clarinet) Jill Harrison (Bassoon) Patrick Brislan (Horn) John Mowson (Double Bass) on Sunday February 29 1968 in the A.B.C. Basil Kirke Studio as part of the Festival of Perth.
FEW HEAR FINE RECITAL – By Sally Trethowan – Sunday February 29 1968
Fewer than 30 people attended yesterday’s free Sunday afternoon recital in the Basil Kirke Memorial Studio to hear what must have been one of the finest given this year by Perth artists. The oboe playing of Peter Randall in Mozart’s Quartet for oboe and strings was so good that an unchartered listener might’ve thought it was a simple piece. Mr. Randall gave such purity and accuracy to the naturally sharp clear tone of the oboe as to make even the accompanying strings in this piece seem cloudy in effect. It was duly wistful in the doleful minor keyed slow movement and cheerful in the finale where the virtuosic double-tongued passages were given within incisiveness, clarity and extreme rapidity. Violinist Graham Wood led seven other instrumentalists Stanislaw Kowarski (violin) John Dean (Viola) Brian Meddemmen (cello) John Mowson (bass) Patrick Brislan (Horn) Jack Harrison (clarinet) and Jill Harrison (bassoon) in the four movement Octet for Wind and Strings by the modern English composer Howard Ferguson. Mr. Ferguson seems to have a particular affection for clarinet and horn, and the success of the performance to some extent pivoted on Patrick Brislan’s horn playing which allowed no imperfection of tone to mar its richness. The program ended with a reduced version of Richard Strauss’s tone poem “Till Eulenspiegel’s Merry Pranks”. Originally scored for an orchestra of Wagnerian proportions of over 100 players, it was here rendered by five. Though without the percussion and heavy brass that in the full score are so graphic in describing the grotesque adventures of the mediaeval vagabond Till, it was a happy even witty performance. The final concert in the free Sunday afternoon series will be given in a fortnight.
The West Australian premiere was performed on Sunday September 29th 1968 in a free concert put on by the A.B.C. in the Basic Kirke Studio. Directed by Verdon Williams, the performers were Graham Wood (violin), John Mowson (bass), Jack Harrison (clarinet), Jill Harrison (bassoon), Donald Johnson (trumpet), Alan Mewitt (trombone) and Brian Sadique (percussion).
Free A.B.C. ConcertSunday September 29th 1968
The free concert in the A.B.C.s Basil Kirke Studio tomorrow beginning at 3 o’clock is one of a series of six in which distinguished artists are performing a wide variety of works. The program will be Bartok’s outstanding and complicated “Sonata for two pianos and percussion” played by Wendy Nash and Stephen Dornan and percussionists John Reece and Brian Sadique directed by Verdon Williams and Stravinsky’s “Soldiers Tale” concert suite conducted by Verdon Williams. The performers will be Graham Wood (violin), John Mowson (bass), Jack Harrison (clarinet), Jill Harrison (bassoon), Donald Johnson (trumpet), Alan Mewitt (trombone) and Brian Sadique (percussion).
The West Australian Saturday September 28 1968
1972
Graham Wood was appointed Lecturer in Violin and Viola at the University of Western Australia Music Department in 1972 and was on the staff until he took early retirement in 1988 to pursue his performing and teaching career. He was active as the conductor of the University Orchestra and then the University Training Orchestra which developed into the Western Australian Youth Orchestra in 1981.
1975
The first Master of Music degree in performance was awarded to the clarinet player Peter Clinch in 1974 and the next two such degrees were obtained by Graham Wood in 1975 and David Bollard in 1978.
Meyer, John, Touches of Sweet Harmony: Music in The University of Western Australia 1953 – 1998, (The University of Western Australia, 1999).
1977
1977 NMCA Perth May Camp at MLC – Graham Wood third row, far rightMay Camp at M.L.C.: Sonia Tunley, Catherine Hewgill, Graham and son Adrian
1979
Graham Wood led the Wigmore Ensemble a flexible chamber group comprising members of staff as well as other leading local and visiting instrumentalists.
Wigmore Ensemble
Chamber Group off to a Good Start – By Derek Moore Morgan – 23rd April 1979The recently formed Wigmore Ensemble made its first public appearance last night with a delightfully varied program at the Octagon Theatre. A flexible group with no fixed numbers, it has the practical advantage of being able to present music of widely different genres some of which inevitably gets left on the shelf because it doesn’t quite fit a specific mould such as the string quartet or Trio. This was a University of W.A. music Society recital. The performers were Graham Wood and Ashley Arbuckle (violins), John Dean (viola), Jill Cole (cello), Neil Fisenden (flute), Jack Harrison (clarinet) and Anthony Maydwell (harp). The final item, Ravel’s atmospheric and beautifully crafted “Introduction and Allegro” brought all the players together to produce a nice degree of sonority and delicacy capturing much of the subtlety of the masterpiece. Starting with the Mozart Quartet for Flute and Strings in D major a mellifluous example of the composer’s earliest style, the players gave us a bright indication of the bubbling and effervescent Gatty of the Rondo finale. The British composer Frank Bridge, himself a viola player, wrote a whole body of telling string music. His little known Trio (Rhapsody) from 1928 proved to be a forward looking piece for the difficult unless usual combination of two violins and viola, with mysterious opening and closing sections surrounding an energetic central portion. The Italian composer Malpiero’s “Sonata a cinque” (1936) is an appealing piece of writing which hangs on the air like a haunting elergy. Anthony Maydwell’s expressive harp playing came to the fore here. The Quartet for clarinet and strings by Rawsthorne is another piece of chamber music which is deftly written and manipulates varying moods. Jack Harrison’s neatly inflected clarinet tone was well handled.
Graham Wood was the leader of the Oriel String Quartet and the University of Western Australian String Trio.
Also the Arensky String Quartet which changed its name to the Western Australian String Quartet in 1982.
Graham Wood, Alan Bonds, Berian Evans and Gregory Baron.Musica Antiqua in period costume; Lyn Tilsed on harpsichord
Graham served as National Music Camp Director in 1979 and 1980 and was a tutor at many other National Music Camps. He was conferred as an AYO Life Member in 2006 in recognition of his dedication to music education.
Graham spent 24 years as the WASO’s associate concertmaster. The orchestra said of his passing:
’Graham will be remembered for his extraordinary artistry, beautiful tone, and wonderful sense of humour. Beyond the stage, Graham helped to shape WA’s music community through his dedication to teaching and mentoring, inspiring generations of violinists, including members of our Orchestra today.’
In 1974, Wood co-founded the Western Australian Youth Orchestra, for which he was most recently vice patron. The orchestra wrote on the social media: ’His enduring legacy has profoundly influenced the orchestral and artistic communities of Western Australia across multiple generations.’
Graham Wood participated in the Australian Youth Orchestra’s (AYO) original National Music Camps from 1949 to 1954. He later served as National Music Camp Director in 1979 and 1980 and was a tutor at many other National Music Camps. He was conferred as an AYO Life Member in 2006 in recognition of his dedication to music education.
The CEO of the AYO said of Wood: ‘His impact on music and music education will continue to inspire and benefit future generations.’ He reminisces:
I was involved in the annual National Music Camps. My further drives east were usually to attend a Music Camp, now as a violin tutor. At this time the Camps were still held at Geelong Grammar School or St. Peters College in Adelaide. The founders of the organisation were still going strong. Ruth Alexander, John Bishop and Percy Jones, with Ron Maslyn Williams had established a tradition, which lasted for many years. The organization grew, evolving in the 21st century into the highly renowned Youth Music Australia. In the sixties students still slept in dormitories, assembled all together in the school refectory and sang grace at meals. There were strict lights out times and tight codes of behaviour. But everyone had [and still do have] a wonderful time. The staff received a tiny stipend, which only partly paid one’s drink bill, but we didn’t mind. These days they are paid professional rates for their time. One of the principal pleasures for us staff members was meeting with other musicians from all over the country, hearing the latest gossip and playing chamber music together. I continued my involvement with Music Camps for many years and in many differing roles – as conductor, Camp Director, member of the Board etc. My enthusiasm for the Music Camp movement stemmed from my own experience as a student, an experience which I’ve seen mirrored in hundreds of later Campers, an excitement and stimulation about music making which led me to the decision that being a musician was exactly what I wanted to do with the rest of my life.
His pivotal role as an educator also included his work as an examiner for the Australian Music Examinations Board, where he continued to work until 2022. He also adjudicated many of WA’s string competitions for young players.
Graham composed a clarinet quintet which was premiered by Jack Harrison.
QUINTET FOR CLARINET AND STRINGS – 1966 MUSIC LOVER’S DIARY
The Oriel String Quartet, of which Ashley Arbuckle is a member, will combine with clarinettist Jack Harrison to give a recital for the Kylie Music Club in the Skinner Galleries at 8.15pm on May 8. The programme will include Graham Wood’s Quintet for Clarinet and Strings. Proceeds will go to the W.A. Music Bursary Trust Fund.
The Chamber Music Society and the Kylie Music Club will hold a combined recital in the Skinner Galleries at 8.15 tomorrow. The Oriel String Quartet, of which Ashley Arbuckle is a new member, will be joined by clarinettist Jack Harrison in a concert. The proceeds will go to the W.A. Music Bursary Trust Fund. The programme will include Graham Wood’s Quintet for Clarinet and Strings. Mr Wood and Mr Arbuckle are beginning to make their marks as composers. Both are new Bachelors of Music. The Chamber Music Society welcomes guests at it s musical evenings and aims to have 150 to 200 members this year. The Kylie Club is also seeking new members.
May 8th 1966 – RECITAL WILL AID FUND – By Sally Trethowan
The Kylie Music Club and the Chamber Music Society combined their monthly meetings last night in a special program in the Skinner Galleries to aid the W A. Music Bursary Trust Fund. The Oriel String Quartet played works by Haydn and Brahms and with clarinettist Jack Harrison performed a quintet for clarinet and strings by the Oriel’s leader Graham Wood. Mr. Wood has much to say in his music and he communicates it in an idiom easily comprehended by even the conservative in the audience. His quintet is tightly constructed and the music, even in the scherzo’s taut rhythms, is romantic and appeals strongly to the listener’s emotions. The clarinet role is conceived as a solo song threading the string texture. Jack Harrison last night gave this part an eloquent reading especially in the wistful soliloquy that opens and concludes the work.
8.5.1966
Graham Wood
Quintet for Clarinet and Strings WORLD PREMIERE
Jack Harrison (clarinet)
Oriel String Quartet
Skinner Galleries Kylie Music Club Western Australia
Graham continued tutoring, composing, and studying music well into his eighties.
On 24 September 2005, Australian violinist and educator Graham Wood OAM died at age 95. Throughout his career, he was a highly influential and dedicated member of the Australian musical community, not only as a violinist but also as a passionate educator who shaped the development of string playing and teaching in Western Australia (WA).
