BE PART OF A POWERFUL AND UNFORGETTABLE MUSICAL EXPERIENCE AT EAST CEMETERIES SOUND FROM THE GROUND

PROGRAM FRIDAY 29 APRIL & SATURDAY 30 APRIL 2016

Government of Western Department of Culture and the Arts EAST PERTH SOUND FROM THE GROUND: CEMETERIES HISTORY PROJECT BACKGROUND

From tuberculosis, brought to the colony from St Bartholomew’s, consecrated in 1871 as a Church of The collection of graves at East Perth Cemeteries From its initial conception, Sound from the Ground has the Old World, to typhoid, a fever that struck mortuary chapel, became a Parish Church from represents a cross section of Perth society from 1829 been underpinned by a number of aims that include Perth at the same time as gold fever, the graves 1888 and after extensions in 1900 it almost doubled in size. to 1899 in a setting that provides a rare experience of enhancing awareness and understanding of the collection of East Perth Cemeteries are a record of the first It remains a consecrated church still in use today. Other isolation and tranquillity in the midst of a busy city. of graves, to ensure its relevance to contemporary society 70 years of European migration. denominations used their own church or place of worship It is an extremely significant collection generally and to introduce some of the stories the collection for the ‘celebration of death’ prior to the cemetery burial. considered by few other than genealogical researchers. represents to new audiences. In addition the project The first burial ground on what was called “Cemetery Hill” has challenged notions of how heritage collections was a general cemetery. The earliest colonists were mainly As Perth grew so did concerns about Cemetery Hill being a There is no doubt the individual grave markers at may be understood and what they might mean, Church of England but Methodists arrived as early as health hazard – “noxious matter will gradually drain down East Perth Cemeteries provide an invaluable resource and demonstrates how a collection may inspire 1830 and large numbers of Roman Catholics in the 1840s from the summit of the hill”. These concerns coupled with the for people tracing their family histories. They are also artistic endeavour. so subsequently land was granted for denominational loss of religious grants to the denominations led to the reminders of our own impermanence and mortality. cemeteries: Church of England 1842, Catholic 1848, closure of the Cemeteries in 1899. Some burials continued in But when considered as a collection these tangible Classical guitarist Dr Jonathan Fitzgerald has spent hours Independent 1854, Wesleyan Methodist 1854, Jewish 1867, existing vaults or family graves until 1916 and again in 1924. elements of stone, slate, iron and marble are prompts wandering the Cemeteries and immersed in diaries and Presbyterian 1881 and Chinese 1888. An eighth cemetery for memory and contemplation. books while pondering the stories the graves represent. Despite criticism of neglect and vandalism during the 20th was assigned for the burial of felons in 1867. An intriguing and fascinating music repertoire has century, little action was taken until many grave sites had Uniquely West Australian stories are embodied in this emerged from this process. Private John Mitchell (died of ‘dropsy’) was the first interred been lost forever. In the 1930s the site was declared a disused highly significant collection that reflects the stories of in January 1830, but no grave marker exists. The earliest burial ground under the control of the State Gardens Board 10,000 lives. It reveals to us today the stories of the past The grave markers have also inspired fellow guitarist and burial for which we know the location is that of Louisa Jones and its fate was uncertain during the Depression and war – of commerce and government, family and relationships, composer Duncan Gardiner. He has been commissioned (grave #441) who died in December 1830 but her headstone years. In the late 1940s damaged headstones were bulldozed, exploration and change, faith and community, hardship by the National Trust to compose an original work for dates from 1876 following the death of her husband Richard. piled in heaps and removed. The Presbyterian, Jewish and and struggle, love and ultimately of loss. Sound from the Ground that will serve as a contemporary The oldest extant grave marker is for William Stirling (grave Chinese cemeteries were relinquished and the land made response to the graves. The title Stone, Shell, Bone and Gaps and absences in the collection also tell stories. #417), nephew of Governor Stirling, who died in April 1831. available to the Education Department. Some surviving Feather is taken from the material evidence Duncan has Some of the grave markers have been lost through headstones were relocated to a former road reserve within observed as he has explored the graves in their unique Inscriptions on the grave markers are a record of people fire, decay, and well intentioned clean ups of the site. the main area of the current site. landscape setting. and burial customs in the Colonial and Victorian eras of Others never came to be, because scarce resources settlement. The layout of individual cemeteries even reflects Growing recognition of its cultural heritage significance saw were needed for the living as opposed to the dead. Superbly interpreted by Jonathan, Duncan, Melissa the Victorian class system with Church of England graves St Bartholomew’s Church vested in the National Trust in 1975. There were doubtless cases where the deceased had Fitzgerald and Jameson Feakes, the musical narrative, arranged in rows of descending order of status. The rest of the place was transferred to the Trust in 1994 previously requested the anonymity of an unmarked both historical and contemporary, reveals new and which manages it according to conservation plans and in grave. Then there are the spaces where the absence unexpected layers of significance and will doubtless line with contemporary heritage conservation practice. of grave markers tells of the shame surrounding those inspire audiences to consider the collection of graves who died but were never spoken of such as illegitimate in new ways. Fittingly, Sound from the Ground will leave children or suicides. a musical legacy for the future.

ACKNOWLEDGEMENTS www.eastperthcemeteries.org.au was key to the research behind Sound from the Ground. It is the culmination of fifty years of collective effort by a legion of committed volunteers and professional researchers. The National Trust in partnership with the Friends of the Battye Library Inc, and supported by Sound from the Ground has been generously supported by the Department of Culture and the Arts Connect Community Collections Program, Lotterywest, has made East Perth Cemeteries burial records readily accessible to the community. specifically the category that enables collecting organisations to engage an artist-in-residence to interpret or work with collections in an The National Trust of Australia (WA) would like to thank the artists in residence Dr Jonathan Fitzgerald, Duncan Gardiner, Melissa Fitzgerald and innovative way. Jameson Feakes for the enthusiasm, passion and professional musicianship they have brought to the project. ARTIST PROFILES

OLMAN WALLEY MELISSA FITZGERALD Olman is a descendent of the Wadjuck clan and several other clan groups within Melissa’s “sleek, polished perfection” has seen her become an in-demand soloist and Nyoongar country. Olman is an established Aboriginal dancer and accomplished chamber musician. Her prowess as a performer has been recognised through several didgeridoo player and has performed at a professional level both nationally and awards and competitions. Most notably, in 2013, Melissa was a finalist in WAAPA’s Warana internationally for a number of years. Concerto Competition, where she performed Leo Brouwer’s Concerto Elegiaco with the Faith Court Orchestra. She has also been a finalist for the Helen Court Award for most Olman has worked within the school education system and the private and public outstanding graduating classical music student at WAAPA. sector delivering cultural awareness and cultural education programs over the last ten years within the family owned company. Melissa Fitzgerald studied at the Western Australian Academy of Performing Arts under the guidance of Dr Jonathan Paget. She graduated with her Bachelor of Music in 2010. http://aboriginalproductions.com.au In 2011 she received First Class Honours for her dissertation, Minimalism and the Guitar. Melissa returned to WAAPA in 2013 to commence her PhD, focusing on researching and recording the guitar works of Nigel Westlake. http://www.melissafitzgerald.com.au

DR JONATHAN FITZGERALD JAMESON FEAKES Praised for his “impeccable tone” and performances filled “with passion from the Jameson Feakes is an Australian guitarist specialising in experimental and modern start to the end,” American classical guitarist Dr Jonathan Fitzgerald is quickly gaining classical music. A graduate of the West Australian Academy of Performing Arts (WAAPA), an international reputation. Highlights have included performances with the West he has received lessons and masterclasses from world renowned guitarists such as Australian Symphony Orchestra, West Australian Opera, radio performances for Radio Johannes Möller and Timothy Kain. He is an ongoing proponent of experimental/new National and RTRFM, television performances for Westlink, and solo concerts for the music in the Perth music community and regularly performs with the aim of introducing Classical Guitar Society of and Western Australian Academy of this music to a wider audience. Performing Arts among many others. Currently he is studying an honours degree at the University of Western Australia, A recipient of the Jack L. Frank Award for Excellence in Teaching, Jonathan is a dedicated preparing repertoire to release in 2016, as well as continuing to regularly perform pedagogue invested in the success of his students. Jonathan currently teaches at the around Perth both as a soloist and with various ensembles. University of Western Australia where he oversees the guitar department, and has http://www.jamesonfeakes.com previously held faculty positions at prominent music schools and universities across the United States. http://www.jonathanfitzgerald.net

JENNA ROBERTSON In 2016, Scottish-Australian soprano Jenna Robertson made her role debut as Violetta in DUNCAN GARDINER La Traviata with Opera New England, NSW, and reprised her portrayal of the title role in Donizetti’s Anna Bolena with OperaBox. Other performed roles include Gilda Rigoletto, Having released four albums, published a book of original works and toured Fiordiligi Così fan tutte, Mimì La Bohème, Gretel Hänsel & Gretel, Laetitia Old Maid and the internationally, guitarist/composer, Duncan Gardiner has been described as “exceedingly Thief, Cunegonde Candide, Mabel Pirates of Penzance and Christine Phantom of the Opera. talented” (Julian Day, ABC Classic FM). William Yeoman (The West), said his original music With the West Australian Opera Chorus, Jenna performed in La Traviata, Otello, Madama was “extraordinarily attractive”. Duncan’s debut album Of Dreams and Fantasy impressed Butterfly and Faust. Chris Dumigan (Classical Guitar Magazine, UK) who stated: “I must say that this is one of the very best CDs of guitar music to ever come my way... This is a startlingly good disc”. Jenna has performed as soloist with the Perth Symphony Orchestra, Metropolitan Duncan features in Ron Payne’s publication The Twang Dynasty, a history of notable Symphony Orchestra, South Side Symphony Orchestra, Albany Chamber Orchestra, Australian performers. Duncan’s compositions have been performed across the world Perth Pops Orchestra and Sinfonia Excelsior, Edinburgh. Oratorio soloist credits include by leading ensembles including the WA Youth Orchestra, Newman College concert Jenkins The Armed Man, Faure Requiem, Mozart Requiem, Handel Messiah and selected band, Symphony Orchestra and Rossmoyne Senior High School choir. Other items in Orff Carmina Burana. commissions will be premiered by Magellan Trio and the Fremantle Chamber Orchestra Future engagements include Donizetti’s The Elixir of Love with West Australian Opera, later this year. her debut with the Albany Sinfonia in their ‘A Night at the Opera’ Concert and her role http://www.duncangardiner.com debut as Zerbinetta in Ariadne auf Naxos with OperaBox in September. www.jennarobertson.com PROGRAM NOTES chartering their vessels to transport PROGRAM settlers to the new colony. The only way to travel from England to Welcome to Country Olman Walley G. F. Handel – Concerto Grosso in the was a grueling D major Concerto Grosso in D major, Op. 3 No. 6 G. F. Handel (1685-1759) journey by ship, covering over 11,000 I. Vivace arr. S. J. Nixon George Frederic Handel, although nautical miles in around 13 weeks. The born in Germany, spent the bulk of first to reach the Swan River was the Journeys and Voyages Richard Charlton (b. 1955) his career in , becoming the HMS Challenger, anchoring off Garden II. On the Trade Winds towering musical figure in England Island in April 1829. Its Captain, during the 18th century by writing , officially declared Dido’s Lament from Dido and Aeneas Henry Purcell (1659-1695) music for the tastes of the public as the Swan River Colony – and the whole arr. Jonathan Fitzgerald opposed to that of the church, court of the continent not already part of Jenna Robertson, soprano or town council. – for Britain on 2 May 1829. Selected Mass Movements arr. Jonathan Fitzgerald In many ways, Handel’s focus on public taste foreshadowed egalitarian Another 20 ships landed before the Introitus (from Requiem Mass) Tomas Luis Victoria (1548-1611) sentiments that were brewing in end of the year, carrying settlers, the second half of the 18th century, possessions, and livestock. Wealthier Kyrie (from Mass in G minor) Ralph Vaughan Williams (1872-1958) culminating in the French Revolution, emigrants often brought across and transforming society in the 19th incredible amounts of cargo including Angus Dei (from Missa Brevis) William Walton (1902-1983) century. The results of these drastic servants, prefabricated houses and transformations – be they unemployed musical instruments such as pianos. Salve Regina Dom Rosendo Salvado (1814-1900) soldiers with no war to fight, or The Burges family brought six pianos working-class families struggling across on the Warrior in 1830. Little Sonata No. 23 “L’Infidèle” Sylvius Leopold Weiss (1687-1750) to survive in the new economic did they know that conditions would IV. Sarabande arr. Jonathan Fitzgerald landscape created by the Industrial become so dire that settlers would Jonathan and Melissa Fitzgerald, guitars Revolution – directly or indirectly be chopping up furniture and musical prompted the migration of many instruments for firewood, and using Mosstrooper Peak Nigel Westlake (b. 1958) free settlers to the Swan River Colony. the packing cases of their pianos for V. Butterfly Bay shelter. Despite the advertising hype Melissa Fitzgerald, guitar This short concerto grosso, composed by Handel a few years after his move to surrounding the new settlement, none O Willow Waly George Auric (1899-1983)/ London in 1712, represents the life and of the land had been surveyed for Paul Dehn (1912-1976) the culture these first settlers would development when the first settlers arr. Duncan Gardiner have left behind in pursuit of a new life arrived on the shores of Garden Island Jenna Robertson, soprano in the colony, and seems a fitting place in 1829. to begin our journey. Graves that have inspired the project: INTERMISSION • The Burges family – Grave #380 Richard Charlton – Journeys and Solo e pensoso Luca Marenzio (1553-1599) Voyages • Gov. Stirling’s first cousin William arr. Jonathan Fitzgerald – Grave #417 The Swan River Colony came into Western Australia for Me/Swan River Anthem (1798-1886) existence largely because of the • Jr – Grave #695 arr. Jonathan Fitzgerald efforts of Captain James Stirling. • Strickland Family – Grave #366 Jenna Robertson, soprano After exploring the area in 1827, (Robert arrived in 1830 as he returned to England and lobbied indentured servant of Thomas Peel) Fair Maid of Perth Waltz Sir Thomas Cockburn Campbell for the establishment of a “free” (1845-1892) settlement in the Swan River region • Stirling himself returned to England, arr. Jonathan Fitzgerald with himself as governor. Thomas Peel but his infant son William is in an was also significant in the foundation unmarked grave in the Church of Stone, Shell, Bone and Feather Duncan Gardiner (b. 1983) of the colony, striking a deal with the England Cemetery, and there is a I. When Our Heads IV. Vital Spark of British Colonial Office in London to be memorial plaque relating to Stirling. are Bowed with Woe Heavenly Flame granted 250,000 acres if he successfully (soon after sunrise) V. Hymn of the Dead landed 400 settlers by 1 November Henry Purcell – Dido’s Lament from II. In Paradisum 1829. The proposed settlement was Dido and Aeneas VI. There is a Land of heavily and often unscrupulously III. Your Harps, Pure Delight promoted to attract emigrants, both Sadly, the regulations for the new Ye Trembling Saints colony made it especially appealing VII. Feathers at Sunset by Stirling and owners of merchant ships who saw profit potential in to those facing an uncertain future in VIII. Midar England. A generous land grant scheme Thy hand, Belinda, darkness shades me, with an arrangement written in a purely musical context to describe made it such that settlers could become On thy bosom let me rest, colonial Western Australia. While only the composer’s “unfaithfulness” to major land owners with a very modest More I would, but Death invades me; drawing on two of the seven faith traditional harmonic rules, but could investment, but the British government Death is now a welcome guest. traditions represented in the East Perth also point to extra-musical meaning of would not supply them with any Cemeteries, it seeks to illustrate that the term – an individual who does not When I am laid, am laid in earth, necessities or support once they arrived. from all parts of the globe, from all adhere to a particular set of religious May my wrongs create As a result, the settlers during first years eras of history, people of these faiths beliefs and is thus isolated from the No trouble, no trouble in thy breast; of the colony experienced a level of are connected by these same words majority. Remember me, remember me, but ah! hardship that is difficult to comprehend. and rites, and even in this most forget my fate. The average age of individuals buried in isolated of places, they make their Graves that have inspired the project: Remember me, but ah! forget my fate. the East Perth Cemeteries is 29 years and final resting place together under the • Richard Carrow – Grave #739 10 months. Graves that have inspired the project: banner of their faith. – suicide by gunshot One of the more tragic stories – and • Hester memorial – #507 A grave that has inspired the project: • Edward Edward – Grave #108 there are many – is that of the Hester – ingested rat poison family. Thomas Edward Hester arrived on • Colonial Secretary Broun • – Grave #420 the Lotus on 6 October 1829 with Sophia – Grave #450 (Surveyor General who surveyed • Reginald Arthur Scott Hill his wife, and five children. Sophia died in the burial ground in 1829) – Grave #705 – cut own throat childbirth in 1830, and the baby died a Selected Mass Movements • John Lewis – Grave #426 – “suicide few days later. Sophia is one of 35 in a fit of mental derangement” One of the earliest necessities of the Sylvius Leopold Weiss – women known to have died during or as Sonata No. 23 “L’Infidèle” a result of childbirth, and a staggering new colony was finding a place to bury Unmarked graves on the perimeter 32% of those buried in the Cemeteries the dead. The site for what is today There were those, however, who of the Cemeteries: are infants. known as the East Perth Cemeteries for various reasons did not fit in the was first surveyed and assigned as a societal or religious “box” – the “others” • John Mackay – Private 21st Hester himself then became seriously ill non-denominational burial ground in who didn’t live or die in the way they Regiment, suicide by drowning and immobile due to ulcers and swelling 1829. Land was granted to the Church were supposed to, and consequently at age 28 on his legs, likely caused by scurvy, and of England in 1842, and over the were not allowed to be buried within • George Parker – Convict No 7816, became blind in one eye and partially course of the next 30 years was also the cemetery reserve. The Daily News suicide by drowning at age 75 blind in the other from vitamin allocated to Catholics, Independents, newspaper in 1925 recounts that • Franz Erdmann – executed by deficiencies. This was common in the Wesleyan Methodists, Jews, “prisoners, suicides, and those who hanging at age 35 early days of the settlement as the sandy Presbyterians and Chinese, creating were executed in , were soil made fresh fruits and vegetables seven distinct cemeteries each interred on the northern slopes of • John Collins – Convict No 6540, scarce. Aborigines and wild dogs stole or managed by its own faith tradition. the hill, outside of the cemetery executed by hanging at age 40 killed most of his flock of sheep, so in An eighth cemetery was assigned to reserve.” On at least one occasion, 1833 he sold his remaining livestock to the government exclusively for the those incorrectly buried inside the Nigel Westlake – Mosstrooper Peak buy wheat seed, only to lose five acres of burial of felons. Cemeteries were actually dug up the crop in a flood. The following year he All cultures and faiths have specific and moved. Mosstrooper Peak is a six movement had to sell possessions – including work for solo guitar written in 2010 by rites surrounding death, and in the There are 49 recorded burials of musical instruments – to buy food. Perth-born composer Nigel Westlake. colony these customs were applied suicides and 66 executions in the Each movement represents a location In October 1834 he sent a petition to to individuals regardless of where they East Perth Cemeteries. Perhaps most around the Whitsunday Islands where Colonial Secretary Broun: “misfortunes had come from or how they practiced tragic are the covert, unrecorded Westlake has built a shrine to his have reduced me and my family to a their faith. This obligatory conformity burials of infants believed to have deceased son Eli. Westlake writes: state of misery which may be more can be seen on multiple levels in the occurred along the perimeter of the easily conceived than described being East Perth Cemeteries – the deceased Cemeteries. Fifty-five cases of On a pristine white beach, in the left with five children after all my was placed into a ‘box’ of faith, then infanticide, neonaticide, and twilight of a magical tropical sunset, a sufferings with the greater part of them another ‘box’ which is the confines concealment of birth have been family gathers shells and small flowers. in a State of Nudity around me wanting of the specific cemetery, and lastly uncovered in colonial Western In silence they arrange their offerings bread.” a literal box into which the body Australia through the research of around a small photo of the departed, It is difficult to imagine carrying on after was laid. Amanda Gardiner, and represent some lighting incense and candles, which losing one’s partner and infant child, This piece takes the fundamental rite of the more moving examples of those burn late into the night. much less to endure the continuous of the Church of England and Catholic who died and were no longer spoken Thus begins a practice of remembrance series of hardships that befell Hester, but faith traditions and turns it into about. that will become a daily ritual over the his story is by no means unique. The text something of a geographical and Sonata No. 23 “L’Infidèle” by German coming months. On each occasion the of Dido’s Lament from English composer historical composite, with movements lutenist Sylvius Leopold Weiss gives shrines will become larger and more Henry Purcell’s opera Dido and Aeneas of the Mass drawn from the works of us some sense of the despair of elaborate, and the places upon which seems particularly fitting for those who various composers across time and “otherness.” One of the very few of they are built will become more remote no doubt regretted their decision to space, from Renaissance Spain to Weiss’s sonatas to bear a descriptive and precarious. migrate. modern day England, and concluding title, “L’Infidèle” could be understood in They are located within caves and colonial substitute. These trees can from outside can be read my inner flame. From the old Western world we have Here we live without trouble or stealth, Sirs Luca Marenzio – Solo e pensoso crevices amongst peaceful inlets, tidal be seen throughout the East Perth come to explore, Our currency’s all sterling wealth, Sirs, So I have come to believe that mountains estuaries, coral beaches, and on rocky Cemeteries and are indicative of a No amount of isolation or hardship can The wilds of the Western Australian So here’s to our Governor’s health, Sirs, and beaches ridges upon the tropical islands way in which the English traditions seem to dampen the most universal of Shore, And Western Australia for me. and rivers and woods know of what fibres overlooking the fringing reefs and deep surrounding death and burial were human desires. While many marriages In search of a country we’ve ventured to is made my life, hidden from others. blue waters of the Great Barrier Reef. altered in response to the conditions were hastily arranged due to purely roam, A grave that has inspired the project: Yet paths neither so rough nor wild of the new colony. practical reasons – a spouse had died And now that we’ve found it, let’s make Some of the shrines will be washed can I find where Cupid does not seek me • Letty McDermott, George Fletcher and children needed to be cared for – it our home. away by peak tides and cyclones, This song was originally composed always Moore’s housekeeper – Grave #628 flirtatious pursuit and courtship were others will stand for hundreds of years. by George Auric for the 1961 film to debate with me, and I with him. And what though the colony’s new, Sirs, alive and well in the colony. “The Innocents,” and was subsequently And inhabitants yet may be few, Sirs, Of the estimated 10,000 burials at Sir Thomas Cockburn Campbell – covered by the Kingston Trio the A particularly amusing story is that of A grave that has inspired the project: They’ll soon be increasing here too, Sirs, East Perth Cemeteries, 745 graves Fair Maid of Perth Waltz following year. The text speaks of the George Fletcher Moore’s infatuation So Western Australia for me. are identifiable through the extant • Meares daughters – Grave #380 loss of a lover or spouse, which like the with the Meares daughters. He writes: Another musical work that was written collection of headstones. Like With care and experience I’m sure ’twill in the colony, the Fair Maid of Perth tragic story of the Hester family, was There are four daughters of Capt’ Westlake’s shrines washed away George Fletcher Moore – be found, Waltz is a solo piano piece by Sir an all too common occurrence in the Meares grown up – from 15 to 20 – nice by tides, the timber grave markers Western Australia for Me/ Two crops in a year may we get from the Thomas Cockburn Campbell. Born in early days of the settlement. girls, very reserved and timid or silent in have long since disintegrated with Swan River Anthem ground, England, at age 19 he migrated first company. I wonder if ever I shall be only marble, iron, slate and sandstone We lay my love and I beneath the Good wood and good water, good flesh to Queensland, and then to Western better acquainted with them. I have George Fletcher Moore arrived on the surviving the elements and the weeping willow. and good fish, Australia in the late 1860s. In 1879 he visited them several times and already Cleopatra on 29 October 1830, and numerous “clean-ups” at the site But now alone I lie and weep beside Good soil and good clime, and what settled in Perth, becoming nominal rumour has noted it down that I am became the Colony’s first Advocate over the past century. the tree. more could you wish. half-owner and managing editor of the Singing “Oh willow waly” by the tree paying my address. What a well General. He wrote this account of the Then let everyone earnestly strive, Sirs, newspaper that would later be called To contemplate: informed world it is! first ball thrown by Governor Stirling that weeps with me. The West Australian. and his wife Ellen in 1831: Do his best, be alert and alive, Sirs, • Notice all of the empty space within Singing “Oh willow waly” till my lover In an effort to woo them over he We’ll soon see our colony thrive, Sirs, This piece is an extended work for the confines of the Cemeteries. In return to me. wrote a lengthy Valentine’s poem, [I had] never before witnessed such So Western Australia for me. solo piano that Campbell dedicated to reality, this “empty space” is actually We lay my love and I beneath the but upon delivering it, the girls’ mother gaiety at a ball nor ever danced so No furious South-Easterners – Miss Margaret Brockman of Moonda, graves for which the markers have weeping willow. answered the door. “As to the fate of it. much in one night; four rooms and an no burning simoon, Western Australia, who died from disintegrated over time or otherwise A broken heart have I. Oh willow I die, Mamma received it at the door, read it, arcade were all filled, and connected Our harvests to blight, and our fruit to typhus in 1862 at the age of 21. been removed, or never existed. oh willow I die. and locked it up. It is as much as it with the verandah; a superb tent was consume, While the date of composition is deserved. So much for that.” fitted up, decorated and festooned with unknown, the work was published Graves that have inspired the project: naval ‘flage, and in this we had supper No terrible plague, nor no pestilent air, George Auric/Paul Dehn – In this context, the final lines of Luca Our ‘Livers’ to waste, though our lives in London in 1890. Campbell died in • Jane Pearson – Grave #423 – an elegant and abundant one. O Willow Waly Marenzio’s madrigal Solo e pensoso they may spare. 1892, apparently from an accidental • Eliza Whitehead – Grave #455 seem particularly poignant: “Yet paths Moore composed this song, “Western overdose of chlorodyne which he had The Weeping Willow tree was one Our skies are all cloudless and bright, Sirs, neither so rough nor wild can I find Australia for Me,” for that ball. An Irish been taking to treat insomnia, and is of many symbols representing death • Along with the many Western And sweet is our lovely moonlight, Sirs, where Cupid does not seek me always.” immigrant, he put new words to the buried in the Church of England and mourning in Victorian England Australian Peppermint trees Oh this is the clime of delight, Sirs, traditional Irish folk tune Ballinamona cemetery. that pervaded art, literature, and the throughout the Cemeteries and the Alone and pensive, the deserted fields Oro, and changed the final chorus line So Western Australia for me. decorative elements of cemeteries. 30 or more graves that feature I measure with steps deliberate and slow; from “the girl of sweet Cullen for me” No lions or tigers we here dread to meet, Graves that have inspired the project: As the Weeping Willow (Salix willows among their symbols. and my eyes I hold in readiness to flee to “So Western Australia for me.” Our innocent quadrupeds hop on two feet; babylonia) is not native to Australia, from a place marked by human footsteps. • Thomas Cockburn Campbell The optimism and enthusiasm for No tithes and no taxes, we here have to pay, the similar visual features of the No other defense I find that can save me – Grave #640 the future shows a very different side And our geese are all swans, as some Western Australian Peppermint from the peering eyes of people; from the hardship and loss that was witty folk say. • Miss Margaret Brockman (Agonis flexuosa) made it the ideal because when laughter and cheer are so prevalent during the early years – Church of England, spent, of the settlement. no grave marker. STONE, SHELL, BONE AND FEATHER… Commissioned by the National Trust of Australia (WA)

As part of my composition process for this project I looked into old funeral music as Church of England. When our heads are bowed with woe Jewish. Hymn of the dead – Composed in time immemorial inspiration for my new work. It was my intention to interweave the old and the new. – Richard Redhead and arranged by Dr Hoelzel The new being my contemporary response to old music. Old music, being precisely This hymn was sung at many funerals. I was moved by a Hymn of the dead would have been chanted at the decease music that was heard at the funerals of those who were buried in the East Perth description of when funerals took place on any given day. of an Israelite. I was struck by the unique sound of the Cemeteries. An historic public notice stated: “all Burials by the Chaplain descending scale fragment that is heard in the closing lines I searched Trove (an online database of printed media) where I found obituaries, will be restricted to times as soon after sunrise as possible, of the hymn, which sounds so typically Jewish because of funeral notices, and detailed accounts of funerals. Sometimes titles of the music or an hour precisely before sunset..." As the Church of England its particular modal nature. I used these four closing chords performed at funerals were mentioned and I was able to find references to music cemetery was the first to be established I really felt a desire to as the basis for the rest of my work within the movement. heard at funerals for those buried in each of the cemeteries. connect it somehow with sunrise. I wrote using luscious The Jewish cemetery was the fifth to be opened, so as to harmonies which convey rays of sunlight illuminating dark include a symbolic nod I decided to write the work in 5/8 The first seven movements ofStone, Shell, Bone and Feather… begin with direct spaces. The hymn is heard throughout the movement, meter. This gives the work a throbbing irregularity and a quotations of the hymns that were performed at these funerals. After the initial although I halved the speed and broke it into arpeggiated touch of exoticism. statement of each hymn I have composed freely, inspired by the musical themes octaves to give it a crystalline quality. The hymn is supported and emotions inherent in the pre-existing works. by shimmering harmonics, piquant chords and a harmonic Presbyterian. There is a land of pure delight Duncan Gardiner progression which harks back to a Baroque aesthetic. – Luther Orlando Emerson This was another excuse to write something delicate and Roman Catholic. In Paradisum – Gregorian chant delightful. The melody is presented twice; the first time in Many of the persons buried in the Roman Catholic cemetery the first guitar part set to a sparkling accompaniment of are of Irish descent. I wanted to pay homage to the rich shimmering harmonics and slightly dissonant chords, before musical heritage of Ireland by shaping the original line of being shared with the bass guitar. After this initial melodic Gregorian chant into a lilting jig by changing the ‘rhythms’ exchange the piece develops into a series of divisions upon of the original tune and harmonising it. The work begins with a ground, where one can relish in the joys of harmony for the chant being played by a solo guitar before being repeated harmony’s sake. complete with the sort of elaborate ornamentation one might expect to hear on tin whistle or Irish bagpipe music. Chinese. Feathers at sunset – Traditional tune The sound of the bell peeling through Cemetery Hill is heard in the guitar one part, and the idea of the bell is further On my first visit to the cemeteries it was late afternoon, reinforced by the campanella (a common guitar technique almost exactly “an hour precisely before sunset...". The wind where notes are allowed to ring freely, in imitation of bells) was strong. I found a black feather. I stood for a moment and accompaniment figure in the guitar two part. the breeze caught the strings of my guitar and set off a series of otherworldly harmonics. I decided to set harmonics and open strings as an accompaniment to a traditional Chinese Independent. Your harps, ye trembling saints – Lowell Mason mourning song. Additionally, I decided that the guitars should In this movement I sought to cultivate the qualities of a harp be strummed with feathers! The melody is a traditional tune in my writing for guitars. A guitar might be described as a about mourning. having a similar sound to a harp, with its resonant string sound. I was drawn to this sound and have set the hymn Offering to First Australians. To the Noongar people. tune against the monotonous sounds of open strings. Midar – Duncan Gardiner Again, the thematic bell material is carried into the movement, this time giving the work a slightly Renaissance feel. Midar is an ‘extra’ movement I wanted to add in the spirit of acknowledgement of the Noongar people. This piece is a reflection of the beauty of the Derbarl Yerrigan (the Swan Wesleyan. Vital spark of heavenly flame – Edward Harwood River) and it tells the story of the sheoak trees that line the In this movement I delved directly into the concept of shores of the river. It recalls imagined ancient songs and minimalism, where musical ideas produce a hypnotic effect. dances. Might the early colonists have heard singing and I took the first three notes of the bass line and crafted the dancing in the night? Certainly! repeated phrases that are heard unhanged throughout the And we hear it, still. work. Again, a single string of campanella notes are heard at the very end. The ringing bells. A reminder to those in earshot Duncan Gardiner of the cemeteries that time stood still for no one, and death Perth. 30 March 2016 greets us all eventually. THE CONTRIBUTION OF BE PART OF THE THE NATIONAL TRUST OF NATIONAL TRUST AUSTRALIA (WA) TO OUR The National Trust is an ambitious and active COMMUNITY organisation that relies heavily on the foundation The National Trust of Australia (WA) enables of its members and volunteers for its success. the conservation and interpretation of Western Please join us as a member or a volunteer Australia’s unique heritage for the benefit of (preferably both!) and play your part in caring current and future generations. It delivers relevant for our unique Western Australian heritage. social, environmental and economic wellbeing to the community through its commitment to Membership conserving and telling stories about Western Membership is your chance to enjoy free or discounted entry to Australia’s heritage. over 180 National Trust properties across Australia. If travelling overseas your membership card will also open doors on a free or The Trust knows there is more to heritage than opening discounted basis to hundreds of properties through an affiliated old buildings to the public. It believes heritage is about our network of Trusts in the UK, Ireland, Europe, the Caribbean, relationships with each other and our environment and our North America, Asia and the Pacific. connections with the past, the present, and the future. Through its responsible management of heritage places across the State, As a member of the largest conservation organisation in the Trust showcases the ways in which people have adapted Australia you can be confident your support will help ensure their lives to the land and shaped the society we now enjoy. our valuable work in caring for our shared cultural and natural heritage will continue into the future. Multimillion dollar adaptive reuse projects have been initiated, led and completed by the Trust. These projects have created Volunteering heritage jobs and educated the community about the use and value of heritage for the long-term benefit of the Volunteer opportunities are available at most National Trust Western Australian community for almost 60 years. properties. All we ask is for a regular commitment of time so that your participation can be supported. Places like Wanslea, redeveloped into the Cancer Wellness Centre; Stirling House at North Fremantle, now a School of East Perth Cemeteries is currently open on Sundays between Early Learning; 57 Murray Street, now Curtin University’s Law 2-4pm but with the gift of your time we may be able to increase School; and Old Perth Boys’ School as new city premises for the hours we can be open to welcome the community to explore Curtin University in the heart of Perth CBD, are leading examples this amazing place. of the Trust’s conservation, interpretation and adaptive reuse You may have noticed that many of the graves are overgrown competency. with grass and weeds. While we try to maintain the appearance The Trust works with valued partners to involve and educate of a 19th century cemetery landscape we would love to be able the community to conserve and treasure our shared cultural to manage it better. With a band of volunteers who don’t mind and natural heritage. It is supported by members and volunteers getting their hands a little dirty, this can be a possibility. for whom heritage is vital to their own health and happiness. Donate Such is the diversity of heritage places and collections in the Trust’s care there is something for everyone. The Western Your donation to our Memorials Appeal is fully tax deductible. Australian Heritage Festival, proudly presented by the National Funds are directed towards the conservation of the precious Trust, showcases the richness of the State’s heritage through collection of grave markers and railings that have survived the a veritable feast of activities, events and programs. extremes of our harsh climate, a fire in 1920 that burned for two hours, and well-intentioned but sometimes inappropriate repairs. Sound from the Ground at East Perth Cemeteries is testimony to the innovative approaches the National Trust is taking to Careful conservation under the watchful eye of our own heritage share amazing stories with the community in unexpected ways. experts will ensure the graves will continue to remind us of the New connections with an intriguing and powerful place that is people for whom they were erected so many years ago. being cared for into the future. Contact National Trust of Australia (WA) 4 Havelock Street, West Perth WA 6872 Tel: 9321 6088 Email: [email protected] www.nationaltrust.org.au/wa