The Ormond Chair of Music at The University of : An introduction to its origins. Peter Tregear

History is a most selective form of memory, and any community upon earth. Judged by music history is no exception. In , the every test, they are richer than any other problem of selective historical memory is height- known population or State of the same ened by music history's entrenched place to date e~tent.~ on the periphery of wider cultural and historical concerns. In particular, histories of the develop- One byproduct of this relative affluence and the ment of music education in this country are few in consequent high standard of living was a general number and narrow in scope. Yet the emergence increase in available leisure time. Recreation of music-teaching institutions and their develop- became an important part in the life of the Victo- ing educational philosophies have had a profound rian colonists.5 This is no doubt reflected in the impact on musical culture in this country. Their enormous popularity of spectator sports; perhaps it respective underlying educational philosophies also partly explains a smaller but no less marked also reflect and sometimes encapsulate wider growth in musical activity. The colony of Victo- societal values. It is the purpose of this essay to ria, more than any other in Australia, became home examine the origins of one such teaching institu- for literally thousands of amateur musical groups.6 tion, the Conservatorium of Music at The Univer- However, prior to the establishment of substan- sity of Melbourne, and the motives of the wealthy tial higher music education, general standards in grazier and patron, Francis Ormond MLC (1 829- the new colony were low and were the focus of 1889), who on 2 May 1887 handed over a sum of derision by visiting musician^.^ Before the 1880s, £20,000 to the university and thereby effectively many partial attempts had been made to regulate founded the present day Faculty of Music. Despite and control the music education that was available. its impact, the reasons behind Ormond's gift have There were institutions, such as the Musical Asso- remained largely unexplored. Moreover, his gift ciation of , and the Melbourne School of was to generate vigorous and far-reaching debate Music, which offered certificates and diplomas of as to the nature and purpose of music education in certain grades to those musical aspirants who a society. The outcome of this debate largely 'desired to have something tangible to show for determined the form of the new Conservatorium, years of st~dy'.~There were also many teachers which was at the time 'unique in the Universities who did not recognise the authority of such insti- of the British Em~ire'.~ tutions and simply issued certificates of their own The City of Melbourne in the 1880s, wherein invention to their pupils.9 these events take place, was indeed worthy of the Professional music making at the time of adjective 'marvellous'. In population, greater Ormond's benefaction was focused upon the two Melbourne had reached one million, making it major exhibitions held in Melbourne, in 1880 and about the thirtieth largest city in the world. It was 1888. For the latter exhibition, a major music 'fast catching Buenos Aires as the most populous festival was organised, an astonishing achieve- city of the Southern Hemisphere, was larger than ment including more than 260 concerts covering Birmingham, Boston and most European capitals, the standard repertory.1° Of more lasting signifi- and was the seventh city of the Empire behind cance, however, were the many forms of amateur , Bombay, Calcutta, Glasgow, music making which existed concurrently, par- and ManchesterY.3 An observer of Victorian ticularly choral. The Royal Melbourne Philhar- society writing as early as 1868 commented that monic Society, for instance, began in 1853. It grew the out of the tradition of English choral music, what Cove11 has called the 'true nucleus of formal music people of Victoria, in all worldly circum- making''' that had found its way to Victoria with stances, are perhaps the most favoured of

Context 7 (Winter 1994) the British colonists. In its founding year, forty members gave a performance of Handel's Mes- The announcement quickly spread and awak- siah. By 1860 the society had given 200 concerts, ened a lively interest in the city, particularly in the a sign of its phenomenal success in fulfilling the press. The Age speculated as to Ormond's mo- demands of the local populace.12 By 1884, the tives: Royal Melbourne Philharmonic Society could The value of music as a regenerating se I number amongst its patrons the Hon. Francis cia1 influence has evidently impressed the Ormond ML C, a man who was soon to be pivotal Hon. FRANCISORMOND. It can scarcely be, in shaping the future character of music education that for the purpose of increasing idle in Melbourne.13 pleasure or mere enjoyment, he was In most of the standard texts on the history of tempted to announce his generous inten- tion of assisting liberally in founding a Victoria, the name of Francis Ormond is rarely college of music in Victoria, should his mentioned, even in passing.14 Yet he was a observations encourage him to believe the philanthropist the like of whom Australia has results from such an institution are worthy rarely seen, both in terms of sheer generosity and of striving for. Mr. ORMOND,in common vision. Before directing his attention to music, with most thoughtful persons, looks for- 1 ward to occupation to divert the minds of Ormond had been hard at work bringing forth the younger generation from evil. He and the Working Mens' College considers, as they do, the successful cadet (later RMIT). He brought to these and other system as an antidote to larrikinism, and projects a traditionally Scottish belief in the utili- his mention, in almost the same breath, of tarian value of accessible education. It seems that the sentiment that increased attention should be paid tomusic, shows that healso what first attracted him to music education in looks to that divine art to accomplish a particular was the common Victorian opinion that measure of social reform. In the an appreciation of good music was of moral ben- fact is receiving distinguished recogni- efit. In Britain at least, music education had been tion, and numerous attempts have been viewed for some time as something which made by ladies and gentlemen having the welfare of the people at heart to draw the lower and, as has been tried in some cases, weaned the mind from vicious and sensual even thecriminal classes, within the magic indulgences;and if properly directed, [had] circle of pure artistic enjoyment" a tendency to incline the heart to kindly feelings,andjustand generousem~tions.'~ On the invitation of Ormond, a meeting of Ormond formed a plan to found a school of interested parties was held on 29 January 1885 in music in Melbourne at the same time as similar the Melbourne Town Hal1.18 During this meeting, institutions emerged in Britain; he had taken a it was generally agreed that the colony was not yet close personal interest in the foundation of the ripe for the establishment of a college of music, Royal College of Music, London, in 1882. Two and would be better served by founding a Chair of years later, on 17 December 1884, at the annual Music at the university, with scholarships at- speech day gathering of Scotch College in the tached.lg Ormond supported the change for sev- Atheneum theatre: eral reasons. He was not prepared to give more than £20,000 to the project, while the minimum Mr F. Ormond, M. L. C., intimated that he cost of founding a school of music had been intended, when he next visited , to estimated at beginning at around £40,000. The inspect, if possible, some colleges or public support necessary to raise the difference conservatoires of music, and, if his obser- was not forthcoming. That support was necessary vations sufficiently encouraged him to do because Ormond was not prepared to create an so, he would be pleased to aid in the establishment of a college of music here. institution that could not capture the public's im- He thinks that such an institution ought to agination, demonstrated by the procurement of be provided for £20.000 or £30,000, and generous subscriptions. A Chair of Music operat- he intimated that he would be prepared to ing through the university also presented a more contribute no small share of that amount if efficient means of raising the standard of music the idea finds acceptance with the peo- ple.I6 education than would have been possible through

The Ormond Chair of Music the creation of yet another separate music-teach- of the Metropolitan Liedertafel in December 1886 ing institution. raised the required sum in one extraordinary effort. For the subsequent two years, a controversy The Liedertafel obviously did not believe as raged between various individuals and factions of strongly as others that the creation of the Chair the Melbourne music scene. The public corre- would be prejudicial to the pre-existing music spondence published in the leading newspapers of establishment. the time gives a wonderful insight into the motives His conditions fulfilled, bondannounced in and ideals that were at work in the musical life of April 1887 that he would soon hand over to the the colony. Time and time again, an increasingly University the promised sum of money. The Argus exasperated Ormond had to justify his actions to was quick to respond: what must have seemed at times an ungrateful, if not hostile, public. Mr. ORMONDhas handed over £20,000 and Following the publication of a letter by Mr E. the responsibility for the musical culture Hartung, who proposed using the money for a of the future to the University. The gift was gladly accepted; the condition is evi- 'grand orchestra for Melbourne', the editorial dently embarrassing.= view of one leading Melbourne newspaper, the Argus, swung dramatically from support for Repeating an age-old argument that musical bond's project to veiled hostility. Hartung 's studies do not belong in a University, the article letter supported arguments for .an orchestra by continued: implying that musical studies through the univer- sity would be necessarily elitist, an appeal to colonial egalitarian values that no doubt would Mr. ORMONDhas willed that music shall be added to the arts of the University, and have found support in a readership which was draped in the sombre cap and gown. Un- known to be suspicious of intellectual acti~ity.~' der the circumstances, the council could The subsequent extraordinary partiality of the not well refuse, though it is almost the last Argus, whilst perhaps not unusual for the time, body that an expert would ask to stand suggests that it had been influenced by 'certain sponsor for the musical education for the colony music teachers' who evidently thought that the endowment of a professorship of music, with its The unease the University Council felt in deal- corollary interests, would prejudice their own.22 ing with the prospect of music studies at the Much of the opposition to the Chair seems to have university is reflected in the inordinate time it took arisen from teachers who assumed their interests to fill the newly created Chair; the matter only would have been better served by a school of came to a rest when, at a council meeting on 1 music. This is not surprising, since a school of September 1890, George William Louis Marshall- music would have seen the addition of several new Hall was appointed the first Ormond Professor in and well-paid teaching positions. A Chair of Ormond, however, did not live to see his Music, on the other hand, created a position of last great project come to fruition. In failing great influence for the benefit of one individual. It health, he had left Australia on 28 December 1888 necessarily upset the status quo and undermined for , and died in Pau on 5 May 1889. the comfortable and well-entrenched positions of Perhaps it is just as well, for further controversy, local musicians. and of a kind that Ormond may well have found It was always Ormond's aim that the foundation much more disturbing, was soon to torment the of the Chair should be at least partially indebted to Chair of Music's first occupant.25 some broad-scale manifestation of public support. Because he refused to patronise the interests of To this end, he made the gift of £20,000 condi- the musical establishment, Ormond'sproposal was tional on the Victorian public raising another easily attacked. He always viewed the Chair, and £3,000, which was to be used for music scholar- musical education generally, in a wider context. ships to the university. Continued public squab- Perhaps his educational idealism bordered on the bling among the existing music institution de- ndive, but in the end, it enabled him to implement stroyed any hope of any united effort to raise the his vision despite entrenched opposition. Ormond money, but a fundraising bazaar held by the Ladies was fully aware of the then exceptional nature of

36 Context 7 (Winter 1994) the position he was creating; he was to ensure, for College of Organists, 5 January 1894. Reprinted in the instance, that the position was to be tenured for Argus, 17 March 1894; Liedertafel Collection, Grainger Museum, . periods of only five years. This was in case the C. S. ROSS,Francis Ormond: Pioneer, Patriot, Philan- professor did not demonstrate 'great ability and thropist (London: Melville & Mullen, 1913). p. 123. teaching power', or, became 'out of touch with. the Source: Letter dated April 9 [1884], signed J. A. S., and higher musical culture of Europe'.26 Little was he published in the Argus, Chair of Music Scrapbook, Ormond to know that this covenant would precipitate the College (hereafter CMSB), p. 1. lo Serle, The Rush to be Rich, p. 287. unceremonious undoing of Marshall-Hall. l1 Roger Covell, Australia's Music: Themes of a New The subsequent influence of the Orrnond Chair Society (Melbourne: Sun Books, 1967). p. 17. on the educational development of music in Victo- l2 W. A. A. Came, A Century of Harmony: The Oficial ria has been decisive and extensive. Through it Centenary History of the Royal Melbourne Philharmonic musical studies gained the permanence, the acces- Society (Melbourne: Royal Melbourne Philharmonic Soci- ety, 1954), p. 13. sibility and the respectability of association with l3 The others being the Rev Dr Moorhouse, Bishop of the University that they might not have otherwise Melbourne, and Sir W. J. Clark, Baronet. Report in Argus achieved. When Marshall-Hall arrived at the Uni- detailing the society's prospectus for 1884; CMSB, p. 2. versity in 1891, he found that the Chair itself was l4 There is no mention at all in Blainey's OwSide of the all that a reluctant University had been willing to Country,or Garden's Victoria:A History. Ormond does rate a mention in Manning Clark's A History ofAustralia, vol. 5. provide in the way of a music department. Marshall- and Frank Crowley's A Documentary ; Hall had to recruit students and staff and acquire a however he is listed in the index as Sir Francis Ormond. The building, opening the Melbourne University sad irony is that, worthy as he may have been, Ormond was Conservatorium on the comer of Rathdowne and never to receive a knighthood. Victoria Streets, Carlton on 28 February 1895.27 Is From a lecture delivered before the London Mechanics' Institute in 1837 by W. E. Hickson, the 'father of English Thus this precursor of the present-day Faculty school music'; E. D. Mackerness, A Social History of owed its peculiar existence and infrastructure to English Music (London: Routledge & Kegan Paul, 1964). p. the bondProfessorship and thevision of its first 154. occupant. Ormond's gift and the University's l6 Extract from Editorial, 18 December, 1984; CMSB, p. initial reticence ensured that standards of musical 3. l7 Editorial, The Age, January 1885; CMSB, p. 3. achievement became subject to the personalities of l8 'Musical Professorship & Scholarship', Argus, 28 such figures who were subsequently appointed.28 January 1885; CMSB, p. 3. l9 Daily Telegraph, 28 January 1885. CMSB. p. 3. Letter to the editor of the Argus, 12 March 1886. NOTES 21 See, for instance, the early history of the University of Melboume in Blainey, A Centenary History ,pp. 1-10. This article draws on material from my B.Mus (Hons) Ernest Scott, A History of the University of Melbourne thesis. 'The Foundation of the Ormond Chair of Music', (Parkville: Melbourne University Press, 1936). p. 140. diss., University of Melbourne, 1991. Leader in the Argus, 21 April 1887; CMSB, p. 1la In Geoffrey Blainey,A Centenary History of the University the Scrap Book this cutting hasbeen mistakenly dated 'Argus ofMelbourne (Parkville: Melbourne University Press, 1957). 1886'. The cutting appears on page lla @age numbers p. 114. The Faculty was unique in that it combined both which have been added to the Scrap-Book), suggesting that academic and practical (conservatorium) studies within a it was incorrectly inserted at a later date. University framework. " Minute Book of the Council of the University of Mel- Victorian Year Book, 1892, p. 131; Geoffrey Serle, The bourne, 1890-92. p. 131. Ormond strenuously opposed the Rush to be Rich: A History of the Colony of Victoria 1883- naming of the Chair after himself, but the Council was 1889 (Parkville: Melbourne University Press, 1971), pp. unmoved. No doubt they hoped to attract like benefactors 272-273. who wished to save their name for posterity. Original reference lost; from Don Garden, Victoria: A ThCrhse Radic, G. W. L. Marshall-Hall: Portrait of a History (Melbourne: Nelson, 1984), p. 189. Lost Crusader (Nedlands: University of Western Australia, Garden, Victoria: A History, p. 183. 1982). Geoffrey Blainey, Our Side of the Country: The Story of 26 Report of the Meeting of the University Council, Mon- Victoria (Melbourne: Methuen Haynes, 1984), p. 81. day 16 July 1888, and published in the Argus, Tuesday 17 For instance: Hamilton-Clark, 'Two Years' Music in July 1888. Australia: A personal narrative by one of the survivors.' Radic, G. W. L. Marshall-Hall, p. 20. Transcript of lecture given in London before the Royal ThC&se Radic, 'Some Aspects of Musical Associations in Melbourne 1888-1915'. diss., University of Melbourne, 1983, p. 150.

The Ormond Chair of Music