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Alison Rabinovici A web of connections The orchestral ledger in the Louise Hanson-Dyer Music Library Alison Rabinovici One of the treasures of the Louise Hanson-Dyer Music Library is a ledger which documents the library’s holdings of orchestral music, and records the loans of those scores and parts for a period of nearly 50 years, from 1910 to 1954. It is, perhaps, the only extant—and complete— document of its kind in Australia. The ledger was produced by E. Whitehead & Co., of 238 Collins Street, Melbourne, and is dated ‘27/8/1910’. It is an impressive document in its own right, consisting of nearly 900 pages held between two massive linen-covered compressed cardboard covers. Nearly 100 years later, it was showing the combined effects of age, insect and water damage, and neglect. The ledger contains within its pages a view into aspects of the and further afield. Until the recent Evelyn Portek, Music Librarian of the history of music education at the conservation of the ledger, Louise Hanson-Dyer Music Library, University of Melbourne. It gives at information contained within it was represented the library’s interests in least a partial view of programming inaccessible. the project, while Jude Fraser, and performance, and hence the A fieldwork placement in the Grimwade Conservator at the reception, of music in Melbourne in subject ‘History in the Field’ with University’s Centre for Cultural the first half of the 20th century. As a Dr Andrew Brown-May and Dr June Materials Conservation, provided record of loans of orchestral music to Senyard in 2006 offered me the advice on the appropriate both individuals and institutions, it opportunity to undertake the first conservation approach and method, allows some unexpected glimpses into phase of the conservation manage- with further support from Wendy the musical world of those borrowers; ment program of the orchestral Walters, who was then Coordinator it represents a web of connections ledger.1 The project came under the of Conservation Programs in between the University and its staff umbrella of the Student Projects Information Services. and students, and with the wider Program (Cultural Collections) In addition to the conservation musical communities of Melbourne coordinated by Helen Arnoldi. and stabilisation of the ledger, much 34 University of Melbourne Collections, Issue 3, December 2008 University of Melbourne Conservatorium of Music, Orchestral ledger, 1910–1954, unpublished manuscript, Louise Hanson-Dyer Music Library, Rare Collections. The ledger before treatment was in a parlous state. Photography by Alison Rabinovici. of the information on each page has conservation process proceeded, and piano & orchestra, Op. 18, is third, been entered into a searchable records much of the information borrowed 46 times. Composers from database, allowing an alternative form entered on each page. the Austro-Germanic tradition of information access. The ledger Each sheet of the ledger represented by multiple works which itself was systematically photographed (approximately 30 x 42 cm) is devoted were frequently borrowed include during the conservation process, thus to a particular orchestral work, and Wagner, Beethoven, Schubert, retaining a record of its original records the title, composer, publisher, Mendelssohn, Mozart, Bach and condition. After hours of intermittent library shelf location, hiring charge, Haydn. Sibelius and Grieg were also work over many months, the details of purchase or donation, popular choices. The ledger lists 41 conservation of the ledger was finally details of parts and scores borrowed, works by the Australian, Percy completed in June 2008. It is now loan and return dates, names of the Grainger, mostly donated by the housed in the Rare Collections of the borrowers—both individuals and composer himself. Contemporary Louise Hanson-Dyer Music Library. organisations—and often an address. consumer resistance is evident, The ledger presented a formidable Of the 867 orchestral works recorded however, as with the exception of conservation challenge. The pages in the ledger, 302 were never Shepherd’s Hey, his works were rarely were interlocked and adhered to each borrowed. Effectively, then, the ledger borrowed. other as a result of water damage. lists 565 works from which Statistics can be gleaned from the Many of the visible pages showed information can be drawn concerning register, but should be viewed with obvious folding, foxing and creasing. the University’s connections with the utmost caution. It does appear to Brittle and discoloured with mud and people and institutions. Symphonies reflect the desire of the University to dust particles, it was not possible to fill the earliest pages, followed by have on its library shelves the turn the pages without risking further piano concertos, violin concertos and canonical works, and perhaps the damage. Each page needed to be overtures, listed alphabetically by preferences of conductors and carefully separated and removed for composer. Marches, dances, incidental audiences. But the availability of individual attention and then brush music, suites, ballet music, oratorio orchestral music from an increasing cleaned and vacuumed with a HEPA- selections, and so on, follow. number of public and private music filter industrial vacuum cleaner. Dirt It is perhaps no surprise to note libraries over succeeding decades must and insect remains were removed that the work loaned most have influenced purchasing policies where possible with either a vinyl frequently—63 times—was Handel’s and borrowing trends. Only a eraser or pulverised vinyl and where Messiah. It was also one of the earliest comparative study of other orchestral necessary, sheets were stabilised and purchases for the Music Library, the ledgers, combined with a study of tears mended with archival tape. Each first loan being recorded in 1913. concert programs and reviews for the sheet was then photographed, placed Schumann’s Concerto for piano in relevant period, would yield more in an archival quality polyester sleeve, A minor, Op. 54, comes second, useful information. and finally stored in archival boxes. borrowed 48 times, and Major users were, not surprisingly, The database was constructed as the Rachmaninov’s Concerto no. 2 for the Melbourne University University of Melbourne Collections, Issue 3, December 2008 35 A typical page before treatment. Photography by Alison Rabinovici. Conservatorium itself and the ABC The emergent picture of loans and in Williamstown for most of his life. orchestras, both in Melbourne and borrowings, of taste and repertoire, He habitually collected scores and further afield. Theatre orchestras are holds less fascination perhaps than parts himself from the University; one represented, as are the orchestras of the stories of individual library users can imagine him taking the tram the Musicians’ Union, the Victorian which emerge from the ledger pages. from his city office during his lunch Railways Institute, the Victorian It is this web of connections formed break, or calling in after work. As a Professional Orchestra, schools and between the University and the wider young man, Lauer studied violin and convents. Music was posted interstate musical community that gives the viola with Albert Parkes (born 1868), to other universities, to orchestral ledger particular importance for a successful teacher and violinist, long societies in Adelaide, Sydney, future research. This is illustrated in resident in Williamstown. Parkes’s Toowoomba, Brisbane, Newcastle, the following case studies. son, Cecil, was an Australian ‘musical Hobart, Launceston, Canberra and C.J. Lauer (1897–1971),2 genius’ who led the Williamstown Perth, and even overseas to New conductor of the Williamstown orchestra at the age of 14, and as a 17 Zealand and Hawaii. Closer to home, Orchestral Society, was a regular year old in 1920, toured the United a thriving world of amateur orchestras borrower from 1927 to 1937. An States.4 The Williamstown orchestra in suburban Melbourne and country accountant by profession,3 Lauer lived was a particularly long-lived Victoria emerges from the ledger pages. Music was loaned to orchestras in Williamstown, Heidelberg, Malvern, Kew, South Melbourne, Ivanhoe and Alphington, to the South Suburban Orchestral Society and the Zelman Memorial Orchestra. Parts and scores were sent by train to Bendigo, Geelong, Warrnambool, Horsham, Yallourn and Ballarat. The National Fitness Association (later the National Music Camp movement) is also represented. Quite clearly the ledger offers enormous potential for research into many aspects of the musical fabric of early to mid-20th century Australia, and provides inspiration for a comparative study of amateur orchestral playing in Melbourne and beyond. 36 University of Melbourne Collections, Issue 3, December 2008 Left: Yeoman & Co., Bourke Street, Melbourne, photographer, Studio photograph of three musicians, c.1900. On the right is Giuseppe Briglia. Inscribed on verso: ‘Poppa on right’. Reproduced with permission of the Italian Historical Society—COASIT. Below: First page of the entry for Handel’s Messiah, after treatment. Photography by Alison Rabinovici. institution, perhaps partially due to its many suburban orchestras that offered immigrants from the villages of position as Melbourne’s only amateur both social and musical stimulation Mariscovetere (Potenza) and orchestra in the western suburbs and to amateurs, and served as training Viggiano in the Basilicata region of the relative isolation of Williamstown grounds
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