australian

societa y

fo r s music

educationm e What Would Peggy Do? i ncorporated

14th Annual Peggy Glanville-Hicks Address 2012

Michael Kieran Harvey

The New Music Network established the Peggy Glanville-Hicks Address in 1999 in honour of one of ’s great international composers. It is an annual forum for ideas relating to the creation and performance of Australian music. In the spirit of the great Australian composer Peggy Glanville-Hicks, an outstanding advocate of Australian music delivers the address each year, challenging the status quo and raising issues of importance in new music. In 2012, was guest speaker presenting his Address entitled What Would Peggy Do? at the Conservatorium on 22 October and BMW Edge Fed Square in on 2 November 2012. The transcripts are reproduced with permission by Michael Kieran Harvey and the New Music Network. http://www.newmusicnetwork.com.au/index.html Australian Journal of Music Education 2012:2,59-70

Just in case some of you are wondering about I did read an absolutely awe-inspiring Peggy what to expect from the original blurb for this Glanville-Hicks Address by Jon Rose however, address: the pie-graphs didn’t quite work out, and and I guess my views are known to the address powerpoint is so boring, don’t you agree? organisers, so, therefore, I will proceed, certain For reasons of a rare dysfunctional condition in the knowledge that I will offend many and I have called (quote) “industry allergy”, and for encourage, I hope, a valuable few. everyone’s sanity, I promise I will mention only In preparing this address I would like to one statistic, one… HORRIFYING …statistic, acknowledge the indispensable help of the during this entire speech. eminent poet and psychiatrist Professor Saxby Pridmore, the composer and my inspiring What would Peggy do? friend Dr , the imperturbable and dignified Sally Howland of APRA, the phenomenal Before I properly begin, I must admit that I am at CEO of the AMC John Davis and the virtuosic odds with many of my artmusic colleagues on musicologist/mandolinist Dr Michael Hooper. I a range of issues. I note also that many of them would like to especially thank the AMC Advisory have far too much “common-sense” to agree to Committee for putting up with my outrageous give this address, apart from those squealing for outbursts of outrage at their various meetings... yet more cash for their grand opera of course, but when I found out the truth about AMC funding. that’s hardly surprising. One need only read their Now, what would Peggy say about the state of opera plot summaries. [Circular finger-motion at classical music in Australia? (Here I am referring temple].

Australian Journal of Music Education 59 Harvey to notated music primarily, but the definition I’m is based in Melbourne. Astra has managed sure can embrace all artmusic). for over 60 years to present new Australian 1. I think she would notice immediately how compositions and nurture new performers well women are doing as performers and despite capricious and insufficient funding, composers - a quick glance through a which recently has been cut to zero, I’m wonderful recent publication, Women of ashamed to say! In my reckoning, Astra’s work Note, by Rosalind Appleby confirms this under the extraordinary John McCaughey (and I strongly recommend this publication has premiered more Australian compositions to you all); Peggy would then wryly observe than any group, and many performers, how women are now just as equally ignored myself included, continue to be developed by and discriminated against by our taxpayer- this wonderful, cash-strapped organisation. I subsidised orchestras and opera companies would like to know who it was at the Australia as their male counterparts WARNING: Council who knocked back their meagre STATISTIC ALERT!!! - only 7 percent – 7 percent funding this year, and for what reason? - [show 7 fingers for photo opportunity!] of This is especially galling in the light of the our orchestral programs and even less of gluttonous triennial funding of the orchestras our opera season is Australian music; (this and opera which together produce the includes old music by wannabe Poms such as pathetic aforementioned statistic of Australian Percy Grainger and wannabe Elgars, wannabe work. [Again show 7 fingers]. Ravels, wannabe Brahms, Poots and Parrys 4. Peggy Glanville-Hicks would be astonished etc etc). at the diversity of recordings of Australian 2. Peggy would rejoice that there is still an art music by self-funded, independent labels Australian Music Centre representing like Tall Poppies and Move despite the unfair Australian composers, and performers, to the advantage of extravagantly taxpayer-funded world. This, in spite of the efforts of certain labels which produce mainly old-fashioned hostile funding bodies to starve it of funds. pap in comparison; do we really need obscure Why, she would ask, is this amazing resource, French operas, another boxed set of dreary under the dogged and inspired leadership and expensive Mahler symphonies? Is this the of John Davis, not directly federally funded apex of Australian ? Or Wagner Spin like the National Film and Sound Archives cycles?? Gimme a break! or indeed the National Library, such that its 5. Peggy would be outraged that no Australian important work is not constantly impeded by conductor laureates are leading our endless funding applications and mystifying orchestras, or championing our composers, movements of the goalposts? Why is the AMC as Challender and Patrick Thomas briefly did at a crisis point and facingeviction?! Peggy with the SSO, giving left-field composers like would wonder, as do I. an opportunity to develop their skills 3. She would marvel at how well groups like with orchestral music. In the case of Carl, I ASTRA have done (a group I mention simply must also mention the support he received because I can speak from long experience from the wonderful and with them; I know there are many others the Sydney Dance Company, and ASTRA, struggling to survive). The Astra Chamber particularly John McCaughey without whose music society, for those of you unfamiliar with house and bathroom accessories Carl’s string our musical equivalent of La Mama Theatre, quartet, the “Brunswick”, would not have been written.

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6. Peggy would be further outraged that the 9. Peggy would wonder why there is not a very same operas by Bellini, Mozart, Verdi magnificent Stuart and Sons piano in every and Wagner which she heard as a girl are concert hall and school in Australia - and still being presented now at Australian bemoan the fact that once again Australian taxpayer’s expense, while her own operas and ingenuity and superior design, such as that of symphonic works are ignored. As are most these NSW instrument makers are struggling other Australian composers. As an aside, to survive against the cultural cringe, and these ancient Bellinis, Mozarts, Verdis and against monopolistic and reactionary foreign Wagners must inevitably be pale imitations brands. And no, I am not a Stuart and Sons of superior overseas productions. We could artist (although I wish I was, Wayne if you’re never hope to match overseas cultural listening!). budgets, and neither should we try. Personally 10. Despite the lack of funding encouragement, I think the money’s better spent on original Peggy would be delighted at the emergence work. Instead of spending 10 million on an of young Australian advocates of new individual sporting gold medal why not music such as , Clare Edwardes, create a decent Australian opera or symphony Anthony Pateras, Aura Go, James Nightingale with this amount? It would provide jobs for and all the folk at the New Music Network, untold numbers of Australian musicians into Eugene Ughetti, , Ian the distant future, and maybe even give Grandage, Vanessa Tomlinson, Ekki Waldheim, audiences some pleasure and self-respect. It The Australian Art Orchestra, Kate Neal, Ashley would certainly justify the existence of these Smith, Natsuko Yoshimoto, Elliott Gyger, my “gas-guzzling” organisations to the taxpayer siblings Dom, Bern and Rowan, Peter DeJager, more than their current programming. the astonishing brothers Dean and Grigoryan, 7. Peggy would be deeply distressed at the Annie Hsieh, Mathew Hindson, Jane Stanley Foxification (pron. Fuxification) of our and Damian Barbeler, to name but a few of culture, I refer here to the monopolisation the many who have flown through my narrow of entertainment. I believe this would make orbit. Peggyeven more determined to produce 11. Peggy would be frustrated by the failure of independent work, more determined to classical music around the globe to adapt to resist the awful competition philosophy this new world full of technology. Everything triumphantly promoted by certain powerful is miniaturizing, and being made more local individuals. efficient, smarter, doing more with less. And 8. Peggy would note that in the area of classical I believe it is in this light that she would music the Australian cultural cringe definitely carefully examine the current persisting remains. There is no problem with the arrangement of opera companies, orchestras number or quality of Australian composers or and the conservatoria. I do not think she performers; we punch well above our weight would be desperate to preserve the “golden for such a population. There is a problem, age” of classical music, at least I don’t believe however, and it is that Australian classical she would want to preserve the “golden music audiences still regard Australian music age” of classical music, AT ANY COST. There and performers as inferior. I’m sure she would is a very good reason why the grand opera think the persistence of this false belief to companies and orchestras worldwide are indicate abject failure on the part of our arts closing down. That is because their time is administration and management cartels. past, and no amount of taxpayer funding

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to prop them up will hide the fact of their education reform, but they will be replaced by cultural superfluousness, WHICH THEY HAVE younger people, who will subscribe for longer, BROUGHT UPON THEMSELVES. If the wealthy anyway. wish to have such entertainments free of 16. She would also ask, why is classical music so “incomprehensible” new works then they can conservative in Australia? Where, she would surely pay for them in toto without ransacking want to know, is the Venice Biennale of the taxpayer. Australian classical music? I note even in class- 12. Peggy would be quizzical about the smugness obsessed the thriving figures for new of those musicians who have “made it”. “Made music concerts and theatre at the expense it” here refers to being parked in a salaried of classical mainstream concerts and now position with a classical music organization. even musicals, according to a Guardian article This accepted and celebrated pinnacle earlier this year. of success…is a numbingly low level of 17. Peggy would see that the real action is no aspiration for young musicians. It requires no longer in grand opera, symphony orchestras creativity, no imagination, no originality or or any of the standard dinosaur models which innovation on behalf of the musician, yet is ape Old Europe, but in our brave independent still handsomely and artificially remunerated. artists and theatre and bands and she would In general these are the very sort of musicians be heavily involved with them, encouraging most antagonistic to new music, possibly their content. because it requires extra practise. 18. And then she might ask me about some of my 13. She would be surprised at the dumbed-down Australian favourites. So refreshing to be able conservatism of the dribble of Australian to premiere, here tonight, Australian stuff that and international contemporary music that still sounds spiky, full of life, powerful, modern is actually heard. Particularly that provided and interesting like Helen Gifford’s Siva, by public-subsidised public radio, which written this year. It was not commissioned is peculiarly sensitive to the opinion of with funds from the Australia Council, but old fogeys like The Hecklers (a remarkably was a generous gift from Helen to me, and successful conservative pressure group in the proves once again the unquenchable spirit of 1990s). our independent musicians in the face of the 14. She would recoil at the failure of our major poltroons who mismanage our classical music Arts Organizations to educate FULL STOP. organisations. In particular, she would be rankled by the 19. Peggy Glanville-Hicks would no doubt failure of our major Arts Organizations to observe that in the arena of Artmusic we educate the wider community. It is this failure are still very much a nation of “followers”. to educate and challenge the public which We are still led by the tastes of the overseas leaves new music struggling to be heard in market, particularly as dictated by the likes this country. of Gramophone magazine and its pisspoor, 15. She would not tolerate the excuse by inbred Australian cousins, who shamelessly the accountants that we cannot perform promote the likes of André Rieu. I think new music because people are unfamiliar Charlie Chaplin and Buster Keaton had it with it and don’t come, and HORROR OF exactly right in their send-up of classical HORRORS, we lose money. Yes, we might lose music in the film Limelight. a few subscribers in the early stages of the Gramophone critics and their toadies are still

62 2012, No. 2 14th Annual Peggy Glanville-Hicks Address operating as arbiters of taste, even after being some early music apologists. One should simply utterly exposed as pompous fakes by the Joyce not believe what one hears on recordings. Glenn Hatto affair. Gould was far ahead of his time in this regard, as Maybe the mag should be renamed Gramo- in so many other things. phoney. Let me remind you of this Milli-Vanilli 20. THIS IS A MAJOR PLANK OF THIS ADDRESS of the classical world. Joyce Hatto was a British - The consequence of surrendering to whose husband (Barry) kept up the a single authority (like Gramo-phoney) pretence of her recording career by passing off is: homogenous interpretations and other pianist’s work as her own - Barry could performances, that is, success depends on do this as he owned a recording studio. Many . This is especially worrying for prominent critics were fooled, most notably the influence such magazines still have those working for Gramophone magazine - they on Australian classical music audiences, praised Joyce’s recordings with comments like and therefore our composers and young “the greatest pianist noone’s ever heard”. The musicians. embarrassing fact was that Gramo-phoney For example, look at recent programs described the same recording (before it was presented by our Youth Music (German accent) stolen, and when played by the true pianist) as organisations. I can’t think of anything less ‘not being quite up to scratch’ (forgive the pun). inspiring as a young Australian, than to play It took the then new iTunes database Gracenote Mendelssohn with an English conductor in a to unmask the fraud. No human music critic was small recital hall in Melbourne. But hang on, clever enough apparently. By the time the hoax yes, I can: about a year ago the Australian Youth was exposed Joyce’s recordings had covered Orchestra toured Germany, and what did they most of the main virtuoso repertoire available display of their home country? German repertoire on CD! (An impossible feat, which should have with a German conductor. Next season, at the raised early questions, instead of which received professional level, we have wall to wall Verdi fawning admiration.) courtesy of . I’m sure Peggy would have cottoned on As an Australian tax-payer drowning in debt immediately! If for no other reason than the courtesy of the ATO’s Pay-As-You-Go catastrophe, hilariously fictitious orchestras that Ms Hatto it is doubly frustrating to know that my tax is performed with!! René Köhler and the National funding all this Dead White European Male Music Philharmonic-Symphony Orchestra indeed!! for the diverting entertainment of the well- Thus, Gramo-phony is not infallible, in fact heeled (with inflated ticket prices excluding the far from it. Decisions by its critics regarding poor), and so little of it is funding new Australian the quality and value of a piece of work are composition. determined, clearly, NOT by any objective standard, but by 1) artist’s name (and influence 21. Classical music generally is becoming so and ethnicity), 2) record label status, and 3) conformist, that Disclavier music (i.e., pianos advertising revenue for the journal which must linked to computers) is indistinguishable from exert influence. humanmade music. Thanks to the recording This hoax blew away the lie of “meritocracy” in “industry”, this conformity is present in opera, classical music, which is sold to the young in the symphonic music and now especially the form of competitions, eisteddfods and exams. It more popular forms of music. also exposed the lie of “definitive interpretations” 22. It gets worse. So monochrome is the and any claims of “authenticity” in classical music repertoire and interpretation required of recording, in spite of the precious justifications of

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orchestras these days that, if you have the these events. I will now quote from my money, Sony is now able to provide you with own chapter in Martin Comte’s recent book a robot conductor. Australian : “The competition industry 23. Talking of robots, “SIPCA” ... “SIPCA” is an is ubiquitous and is as fatally connected and acronym which would sound to Peggy like a indomitable as are the fossil-fuel industries. particularly nasty venereal disease involving I feel I have earned the right to criticize the death by hiccups. I’m sure she would refer to received wisdom by achieving significant this as the Sydney Idiotic Piano Convulsion success in competitions. But this does not Association for its target audience and token mean I condone them… support of decorative and safe Australian I CONTINUE: ‘… I (needed) an environment composition, mercifully kept well clear of (outside Australia) where who I learned from contaminating the orchestral finals however. didn’t matter, and where I could neutrally judge “SIPCA”, Peggy would observe, appears to my abilities... be having the same effect on Australian youth I GO ON: ‘…This appalling state of affairs, that as the designation of some kids as potentially one could only perform if one paid [an entry fee], elite athletes i.e. turning all the other kids off (a) I soon discovered pretty much summed up the classical music and (b) exercise for life. Kids detect entire classical music scene. (Just take a peek at the futility of striving in such unfair and corrupt the gigantic publication Musical America, where arenas. If you doubt this, check out the figures for desperate performers pay unbelievable sums for childhood obesity, and the numbers for pianists ad space to be totally ignored by booking agents.) admitted to our music academies (to say nothing I quickly realized that in competitions there were of their level of competency). no criteria apart from the obvious requirements Here’s an idea - Why don’t we just register for note-perfect readings …and an ability to stay Rachmaninov piano concertos as a Winter within an inoffensive interpretation… Olympic sport and forget any notions of the AND ALSO, IN THAT CHAPTER, ‘…I think it is music as an artform? You could have the judges impossible to be engaged with society as an holding up scorecards and a world record artist, if that’s what one thinks one is, without a timeline tickling the first violins to keep them broader view of your artform. My broader view awake. Might have the added bonus of killing off then is that when competition is the dominant those piano concertos in one season. philosophy of society, cheating, selfishness, greed, apathy, exploitation, stupidity and 24. The Hungarian film Mephisto deals with the murderous conflict are inevitable.’ Faustian bargain an actor makes by staying in Hitler’s Germany for work as Adolf’s favourite 26. But, what does science have to tell us about actor whilst his more conscience-stricken competition? Darwin’s Origin of Species and colleagues give up their careers and flee as Dawkins’s Selfish Gene lead logically to the penniless refugees. I think this film is a great conclusion that if the human species is to allegory for the way the fanatical religion of survive at all it must be intelligent enough to capitalism has turned art music, which I think recognize that competitive and aggressive should be accessible for everyone, into a genes cause destruction in a civilized society, competition only for the elite and connected, to say nothing of the insane vandalism totally corrupting them in the process. inflicted on the irretrievable biosphere. Those who think a society uncivilised without its 25. On the topic of competitions – although grand opera and expensive orchestras should I have been successful, I am opposed to carefully re-consider their embrace of a

64 2012, No. 2 14th Annual Peggy Glanville-Hicks Address

philosophy “red in tooth and claw” such as 28. I delight in Liszt’s words, his desire to (quote) competition philosophy and its demented “hurl my lance into the boundless realms of handmaiden, growth economics. As musicians the future” – here his lance was a metaphor we should be smart enough to realize that for music, and he believed music should soar perpetuating competition philosophy does unimpeded into the future. While we are not allow for diversity. As evidence your dealing with this visionary, I should mention honour: Exhibit A: the piano [cover ears]. his other famous quote that “musicians Exhibit B: the car [cover eyes]. Exhibit C: Fox should stop being oarsmen and instead News [cover mouth]. Instead, it makes us seize the rudder”. Not for him any simpering fellow travellers in this destruction, like the capitulation to the opinions of accountants, protagonist in the film Mephisto. I’m sure merchants, kings or clergy - and certainly Peggy would be desperately sticking up for not to “statistical callibrations of audience the planet and encouraging all her colleagues demographics”, “strategic outcomes”, to do the same, rather than meekly accepting “subscriber accessibility” or any of the inane the fate engineered for us by the druids of “management-ese” spouted by our music competition philosophy. “industry” guardians. Here I’m reminded of ’s paraphrase 29. Further support for my position comes from of science-fiction writer Harlan Ellison: “The most another legendary musical figure, Béla Bartók. plentiful element in the universe is not hydrogen, When asked about competitions, he famously but stupidity”. dismissed them as (quote) “for horses”. We 27. What does history have to tell us about should remember that this genius was also competition in music? Liszt was the instigator a man of deep moral convictions. With the and populariser of the piano recital as THE rise of Nazism, he left his lucrative career experimental music arena in the 1840s. and escaped from his beloved Hungary for a He drove the evolution of pianos because “glorious” life of spectacular neglect in New he kept busting the fragile little things. York. Apart from his astounding generosity, I like 30. Due to competitions currently the piano most of all his relishing of risk and lack of recital apparently has nothing new to offer preciousness. On one occasion in 1856 he music and is therefore moribund (e.g., the found himself presented with a gravity-fed- complete lack of any modernist music in the action monstrosity by the King of Bohemia. 2010 Carnegie Hall piano series. I haven’t He calmly gave a two and a half hour recital bothered to check recently, it’s far too on it without turning a hair (but turning depressing). plenty of hairs on the ladies present). Liszt completely rejected the fashion of the time 31. As an aside, so great is the need of performers of referring to “first-class” and “second-class” to impress, one French pianist I came pianists. He thought it both too difficult and across - a veteran of over 70 international pointless to grade keyboard performers. competitions, was capable of playing so Franz, along with Peggy I believe would be loudly that in the words of one reviewer he spinning in their graves every time there could induce “nosebleed” (Daniel Cariaga, LA are play-offs between not just keyboard Times 1993). But he was so monomaniacally instruments, but even vastly differing limited in repertoire that he had not even instrument species in the ABC Young heard of , perhaps the Performers Competition. greatest French 20th Century composer. At

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the 1993 Pogorelich competition he asked rendered speechless at the tremendous me, an Australian (!) for advice on where to insecurity lack of international competition start with Messiaen, simply because it looked success had wrought on this sad individual, like a good competition strategy. This is the as if such success was more important to him default competition-winner type: a belting than music itself. ignoramus. Within the competition circuit, 35. Similarly a notorious cherry-picker of and increasingly in the “profession”, players promising young Australian talent was with such a limited mindset and narrow band spreading the barefaced lie around New York of music proliferate, altering the artform very that he was the teacher of the winner of this much for the worse. Pogorelich competition i.e. yours truly (this 32. So great is the need of these competition to cement his employment and reputation chairmen and juries to regard themselves as as a teacher of competition winners at a New important to the careers of participants that York music school itself in competition with in the case of “SIPCA” it was claimed a past other New York music schools). The level of prizewinner was making a lucrative South desperation is comical and reminds me of an American career … though he had been dead Escher lithograph of futile staircases. 10 years. This same unscrupulous competition 36. Do competitions do any good? Judging by accepted its start-up funding from a huge the conservative state of classical music and tobacco company, yet its spokesman at the rapidly diminishing audiences, one would the time (1977 - 40 years after scientists have to say, resoundingly, no. Unfortunately, had proved smoking caused cancer), its the whole “industry” (the Newspeak of spokesman said its primary aim was to [clasp capitalism reduces everything to this crude hands under chin, cherub face] “look after input/output paradigm) the whole “industry” young pianists”. Yeah right. is built on this philosophy - audiences/ 33. Many European piano competition judges music consumers/customers cannot seem to hold “summer courses” specifically advertised make up their minds about the quality of a as (very expensive) intensive training sessions performer without a list of competition wins on “how to win piano competitions”. This and ditto for every level of middlemen. must be the musical equivalent of painting by 37. The only winners in all this of course are the numbers! One shudders to think what favours competitions themselves and their junketing desperate students must shower on such juries. Check out the self-congratulatory conceited reptiles. SIPCA website for instance. Music itself I 34. One boastful pianist claimed for decades that believe is lost in the histrionics of egotistical he had won a leading international Chopin fops. Some of them now even travel the competition although there is no evidence world spreading the «good news» about he even entered one (and since the internet, competitions, like brain-dead priests in some I notice this has gradually been dropped flaky cult. (You won›t of course find these from his biography). After my unexpected priests helping out the Occupy Movement!) success in the 1993 Pogorelich competition In hindsight it is axiomatic that the truly he accosted me backstage in Sydney and innovative music of last century was served thought it necessary to tell all within earshot better by contemporary dance companies - that he too was the “1st prize winner in the Rite of Spring, Billy the Kid and Vine’s first several international competitions”. I was piano spring immediately to mind.

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38. But what about exams? Surely kids need question of interpretation - in Indian classical goals? Well, do they in an artform? What are music, for instance, it is the opening up of they studying music for? Do exams foster interpretation of the various jatis and ragas more understanding of music than the and the innovations in improvisation which guidance of an enlightened teacher? With are prized by Indian audiences. If western kids now expected to live until age 120, what art music is to remain part of contemporary is the point of having to race through grades culture and not be simply relegated to the and competitions, tiger moms and dads? What museum, then it must continuously re- is the end-point of this dubious and frankly invent and catalyze itself. Competitions and creepy fascination with younger and younger exams block this process by reinforcing the performers? Foetuses with placental grands?? status quo. And we know where that ends - Surely we should be equipping kids instead advertisements for supermarkets. with a genuine love of, and curiosity about 40. Even chamber music is now infected with music that will sustain them for this increased competitions!! Chamber Music! It is called lifespan? How is this achieved through the Chamber Music because it is intended for competition and examination mentality and a chamber, that is, a small room. This small its stultifying conformity and conservatism, room is unable to seat a large audience, its mindless celebration of immaturity, and for very good reason - chamber music superiority complexes and insensitivity? is intended as an intimate exchange of the Our education systems are designed to musical experience between friends. The produce ideal students. But surely what we notion that it should be heard in concert need are thinking musicians. How many people halls, and competitions, is simply absurd. have you come across who lament the fact that This approach leads to the destruction of the they gave up music in their teens because they intimate nature of the music as it is distorted were not passing exams or winning prizes or for show. pieces of paper? Their teachers were simply I mean, perhaps we should admit defeat too unimaginative or harassed by finances to altogether and go even further with this suggest alternatives to these cookie-cutter exams competition mentality by setting various to keep their student’s interest alive. Luckily chamber groups against each other, playing for us, fantastic musicians like , simultaneously, exactly the same as a footie , Tony Gould and Mike Nock struck game or a Rollerderby. I bet there would be no enlightened teachers who encouraged their shortage of groups desperate and stupid enough uniqueness. I wonder what society would look to participate! like if we adopted the same attitude to reading and writing? Does it matter how long it takes 41. Thanks to the influence of competitions, the individuals to learn to speak or to read? Pity piano recital is, in most instances, a museum Einstein would not have made the grade! piece. It is more and more bereft of recent music, as is the symphony orchestra concert 39. What are the alternatives for performance and opera. I’m certain would be training? Well, I would like to see the utterly appalled. This is a direct result of the emphasis in teaching shift from the performer timid capitulation of music management to the three elements necessary for satisfying to audience pressure for the familiar (a.k.a. music-making: the composer/ improvisor, the blind leading the blind) and the vicious audience and player. I would also like to see churn of uninspired competition musicians the intelligent, inspired exploration of the becoming jurors when they are too old to

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compete at age 32 or whatever. Any modern 4. Competition philosophy is crippling operas and symphonies that do get up are Australian-made artmusic. carefully composed to mimic old familiar 5. The major music organisations are not templates so that the musicians aren’t too fulfilling their responsibilities towards uncomfortable and the audiences aren’t too Australian music. terrified. So, I imagine Peggy Glanville-Hicks would have given up writing for these expiring 6. There is blatant misdirection of funding, mediums, as so many composers have already, amounting to corruption of the funding to concentrate on the small screen, on film, on process. dance, or on smaller ensembles of enlightened 7. There is grossly inadequate musical education and energised individuals like Astra and those of the public. part of the New Music Network such as IHOS 8. If the young only learn to hear familiar opera (Oh whoops, sorry they’ve had their artmusic they will only seek familiar funding cut). artmusic… and if they only ever hear 42. Finally, an important question for Peggy imported artmusic they will never truly value would be why, in this century of catastrophic the artmusic of their own country. global warming, why is the lifestyle of all 9. Hypocrisy is rife, but is the glue that holds this musicians not being examined and modified mess together. accordingly? Why is globetrotting still accepted and even glorified as a responsible attitude to maintaining a career? Why is such Solutions activity not ridiculed as the profligate, selfish, What rehabilitation would Peggy recommend. I and outmoded carbon footprint that it actually can’t be certain, of course, but I am fairly sure she is?And, why are not more efforts being made would endorse most of the following 11 points: to use technology to alleviate this problem? 1. Only Australians to be appointed Conductor Why are we still impressed with, and why do Laureates of Australian orchestras, with the we agree to pay for jetsetting conductors or responsibility of deciding repertoire. The bands of narcissistic musicians stuffing up current arrangement of imported conductors the planet in the pursuit of their egomaniacal has resulted in an alarming decrease of careers? Are classical musicians simply more Australian musical content. bovine, immodest and thoughtless now than in Peggy’s day? It certainly appears so, with the 2. Fifty percent Australian repertoire mandatory possible exception of her spectacularly self- on radio, other media and in concerts. seeking husband Stanley Bate. 3. Music education to form the core of the school curriculum so that everyone has a Please allow me to summarise basic grasp of music fundamentals. Also, more importantly, so that kids will grow up with 1. Australia can be very proud of its musicians greater intelligence due to the indisputable, and composers. scientifically supported beneficial effects of 2. Australian artmusic is not as healthy as it is acoustic musicmaking on the white matter of claimed by some. their brains. 3. Classical music conformity is a major problem 4. Music education, particularly of in Australia. the disadvantaged, to be a priority for all

68 2012, No. 2 14th Annual Peggy Glanville-Hicks Address

music aligned bodies – there is a pressing Stuart and Sons - much as the Finns did with need to expand the musical palate of all Nokia phones - and public ridicule for the audiences. naysayers and snobs! 5. At the moment, the orchestras and opera In closing, I hope Peggy Glanville-Hicks would receive the lion’s share of tax-payer dollars, approve these observations. leaving other artists in desperate straits. The From my personal perspective: I have chosen to solution is that tax payer funding to orchestras spend my time encouraging especially Australian and the opera needs to be dependent on composers to continue to create new work for the percentage of Australian content. As the piano. I do this not because I think that the that content is now only 7% that would piano is the cutting-edge technology it was in free up 93% of the current triennial funding Liszt’s day. I do this because I cannot see the for distribution amongst the Australian point in agreeing to management pressure to composers and performers who are not perform a more and more limited repertoire of connected with those “august” bodies, and antique covers. I don’t think classical music has who quite frankly offer far better “bang for the stopped evolving, even if some older audiences buck” as far as original, exportable content is do. More urgently, I want to limit my carbon concerned. footprint as much as possible by working with my 6. The Australian Music Centre is our main local community of struggling artists. The days of dedicated resource of Australian fine musical travelling the globe to service a music career at content and intellectual property. It should the expense of our planet have come to an end. not have to go begging to the Australia The creation of original intellectual capital for Council for its funding along with the very export (via technological means preferably) and artists it represents, but should be directly for our self-respect I see as the only way forward funded by the federal government. for Australian classical music. The one-way, so- 7. We should all be aware that classical music called “free” market philosophy pursued by our competitions produce conformity and stultify major Arts Organizations has been a disaster for innovation, so Australian Music. I site the case of the Australian Music Centre and its current tenuous position. All 8. Boycott all classical music competitions. We that this free-market profiteering has achieved don’t need them, they are an unnecessary evil. is to increase the global circuit (or should I say While we’re at it: circus) of classical music snobbery and cultural 9. Ban the use of Australian taxpayer’s dollars imperialism to exploit Australian arts resources, to fund music and opera beloved of white but at the same time to exclude Australian supremacists. performers and composers, (or in the case of one venue ghettoise them in a patronising series 10. Ban Australian tax dollars being used to fund called “Local Heroes”). If you doubt this, take a International Artist Management Groups and swift survey of our Australian conductor laureates their conservative artists who peddle such for starters. [make “zero” sign]. inegalitarian musical philosophy. Australia We have a new generation used to getting no longer has a White Australia Policy, in case their music free of charge - what prospects are some opera lovers haven’t noticed. there for our young musicians, hoodwinked 11. Finally, garner from the Australian public into learning orchestral excerpts and opera enthusiastic support for Australian instrument arias, to say nothing of our hapless pianists and makers using local reclaimed timbers, such as composers?

Australian Journal of Music Education 69 Harvey

I try to live up to the impossibly high standards (to say nothing of the planet), and who do not of commitment and vision of Peggy Glanville- respect Australian music, yet are given the Hicks and her ilk and I know I fail miserably. But power to dictate to Australian performers and I cannot think of a greater cause to aspire to for composers how to spend our own tax money. my limited talents. I sincerely hope for the sake [For Sydney address only] I would like to end of our young people that Australian art music by performing a work by a composer I particularly continues to attract our brightest minds and admire, Nigel Westlake. It’s his first piano sonata, does not turn them off by slavishly promoting written especially for the Stuart piano (though competition philosophy and, consequently, still possible to play on inferior instruments) and importing musicians who do not have any sense runs about 10 minutes. It was not commissioned of responsibility to young Australian musicians with funds from the Australia Council.

Michael Kieran Harvey was born in Sydney and studied piano with Alan Jenkins, Gordon Watson, and at the Liszt Academy, Budapest, under Sándor Falvai. His career has been notable for its diversity and wide repertoire. Harvey’s awards include the Grand Prix in the Pogorelich Competition, USA (1993), the Debussy Medal, Paris (1986), the Australian Government’s Centenary Medal (2002), the 2009 APRA/AMC award for Distinguished Services to Australian Music, and the 2011 AMC Tasmanian state award for composition. The Michael Kieran Harvey Scholarship for Australian keyboard art music was established in 2006. He is currently Adjunct Professor at the Tasmanian Conservatorium.

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