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PERCY GRAINGER Contributors to This Volume Are Brian Allison, Malcolm Gillies, Barry Peter Ould, David Pear, Michael Piggott and Eleanor Tan

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PERCY GRAINGER Contributors to This Volume Are Brian Allison, Malcolm Gillies, Barry Peter Ould, David Pear, Michael Piggott and Eleanor Tan Facing PERCY GRAINGER Contributors to this volume are Brian Allison, Malcolm Gillies, Barry Peter Ould, David Pear, Michael Piggott and Eleanor Tan. Facing PERCY GRAINGER Compiled and edited by David Pear National Library of Australia in association with the Grainger Collection, the University of Melbourne Canberra 2006 © National Library of Australia 2006 Every reasonable endeavour has been made to contact the copyright holders. Where this has not been pososible, the copyright holders are invited to contact the publisher. National Library of Australia Cataloging-in-Publication entry Facing Percy Grainger. ISBN-13: 978-0-642-27639-0. ISBN-10: 0-642-27639-0. 1. Grainger, Percy, 1882—1961. 2. Composers—Australia—Biography. I. Pear, David. 780.92 The exhibition, Faring Percy Grainger, was curated for the National Library of Australia by Brian Allison, David Pear and Martin Terry in association with the Grainger Collection, the University of Melbourne. Assistant curators: Astrid Krautschneider, Irene Turpie Publisher's editor: Irma Gold Designer: Kathy Jakupee Printer: Inprint Pty Ltd Front cover: Unknown photographer Percy Grainger c. 1935 Grainger Collection, the University of Melbourne Back cover: Percy Aldridge Grainger (1882-1961) 'Blind Eye Score (Hill-Song II)' undated Large format music score used by Grainger as a visual aid whilst conducting Grainger Collection, the University of Melbourne Contents Foreword iii Jan Fullerton and Glyn Davis Grainger: The Formative Years 1 David Pear Grainger the Composer 9 Malcolm Gillies Grainger the Performer 15 Eleanor Tan Grainger the Music Arranger 23 Barry Peter Ould Grainger the Social Commentator 31 David Pear Grainger the Autoarchivist 39 Michael Piggott Grainger the Visual Gourmet 47 Brian Allison Further Reading 55 List of Works 57 Notes on Contributors 58 Exhibition Checklist 61 Foreword Jan Fullerton Director-General, National Library of Australia Facing Percy Grainger explores the many facets of the life, music. The Library, the University and other institutions persona, artistic world and musical achievement of a are working together to make Australian music unique Australian musician. Percy Aldridge Grainger accessible worldwide through the national online (1882—1961) is celebrated across his astonishing and service MusicAustralia (www.musicaustralia.org). diverse range of endeavour: foremost as pianist and Grainger's driving instinct was to communicate every composer, but also as a pioneering folklore collector, feature of his complex personal and aesthetic life and his musical arranger, 'free musician' and musical inventor, creative achievement as played out across Australia, sometime visual artist, social commentator and archivist. Europe and the United States. Through the exhibition The National Library of Australia is pleased to present and this associated book, the curators (David Pear and this exhibition and accompanying essays in collaboration Brian Allison) and essayists provide a timely Australian with the University of Melbourne where Grainger retrospective of Grainger's artistic achievement. This established his own museum in 1938. The temporary complements the international recording series of his closure of the historic museum building for oeuvre currently taking place in Europe, and his refurbishment has provided the opportunity for its rich memorialisation in America that, ironically, honours him collections of documents, music and artefacts to travel as a celebrated 'American' musician. The exhibition and and be interpreted in a wider national context, alongside essays redress this bias, acknowledging the extraordinary the rich music, folklore, pictorial and manuscript and uncompromising expatriate artist who maintained a collections of the National Library. deep dedication to Australian artistic life. It is rare to find anywhere a personal archive in a Grainger challenges us to reflect not only on the inner public institution such as the Grainger Museum, that life of the artist, often expressed in flamboyant, idiosyncratic both exclusively memorialises and is founded by the and experimental forms, but also on the wider role of the person himself. Grainger, with a clear eye to future artist in society. His desire, arguably one in which he audiences and scholarship, thus played a pivotal role in succeeded, was to influence, educate and mould public the documentary heritage of Australian music. Such a taste, to create appreciation of the history of music and value radiates through the National Library's ongoing music-making in its universal and cross-cultural dimensions, commitment to collecting and disseminating Australian and to unflinchingly expose his personal aesthetic. iii Foreword Glyn Davis Vice-Chancellor, the University of Melbourne For the past three years, curators, authors, conservators, Set beside the Faculty of Music's Conservatorium and photographers, cataloguers, designers and many others opposite the Centre for Studies in Australian Music, the have been applying their creativity and skill to bring museum supports learning and research including Facing Percy Grainger to life. composition, performance and musicology. It also has In a larger though related journey, the University of strong relevance to programs across many of our other Melbourne has been rethinking its strategic direction. disciplines including art curatorship, design, education, Our aspiration remains, however, to be a public-spirited history and museology. institution that is highly esteemed nationally and By their very nature, universities are about much internationally for making distinctive contributions to more than discovering and imparting knowledge. society. Our focus will continue to be research, learning They naturally lend themselves to a two-way transfer of and teaching, and what we are now calling 'knowledge knowledge through their external engagement with transfer'. Indeed these three strands are so intertwined government, industry and the community. As such, the and interdependent, like strands of a triple helix, that our Grainger Museum and Facing Percy Grainger are perfect future success will depend on pursuing them as a single examples of how to pursue public and community integrated vision. purposes. The exhibition represents a genuine Melbourne has also reaffirmed the unique virtues of partnership between professional and academic its campus locale, where face-to-face teaching remains colleagues; it involves two renowned institutions; and it the norm, where scholars gather from across the globe, adds value through this wonderful publication and and where learning communities embrace evolving through additions to the Library's national web-based technologies. The University has always enjoyed a strong gateway, MusicAustralia. sense of place, its centre bounded by Carlton and At the opening of the Sydney Olympic Games, a Parkville, the city and its general cemetery. Grainger composition accompanied Cathy Freeman as One of the many features which has made the campus she lit the Olympic cauldron. My hope is that this distinctive has been the Grainger Museum. The Grainger exhibition and its complements will be just as supports each of the three strands of the triple helix. inspirational. iv Baron Adolf Edward Sigismund de Meyer (1868-1949) Percy Grainger c. 1903 Grainger Collection, the University of Melbourne Grainger: The Formative Years David Pear 'Country Gardens' is the work above all by which belies the complexity which characterised Grainger's Grainger is known. To his chagrin. He set it to music in mind, his life and his output. 1918 when he was serving as a bandsman in the 15th band, Coast Artillery Corps, at Fort Hamilton, South Brooklyn. Often playing for Liberty Loan Drives to raise money for the war effort, Grainger was frequently called upon to improvise up to four or five times an evening as they moved from one fundraiser to another. He finally put the work on paper at Governor's Island, New York City, far away from the hollyhocks and daises often associated with its whimsical melody. Selling at the rate of some 27 000 copies per year at its height in the 1920s, it broke Schirmer's sales record for 75 years. Grainger set it initially because of a perceived appeal to every class of listener, and because of its 'tunefulness and rhythmic pregnance'. 'Country Gardens' became both the key to Grainger's financial freedom and the bane of his career. For an artist consumed with an interest in gliding tones, atonalism and polytonality, that such a work should become his flagship was, certainly in his later years, embarrassing. But despite the simplicity of its melodic line, it is not an easy piece to play, particularly the professional version. Over 40 years after the composer's death, 'Country Gardens' continues to be a significant Percy Aldridge Grainger (1882-1961) distraction to those attempting to understand this 'Country Gardens': English morris dance setting unusual man's life, for its simplicity—banality almost— National Library of Australia 1 Grainger was born in Brighton, Melbourne in 1882 to an Australian mother and a British father. Initially taught piano by his mother, Rose, and educated at home, at the age of 12 he moved to Frankfurt to study at the Hoch Conservatorium. His mother continued to support them by teaching English to German students. It is questionable whether or not Grainger's time in Frankfurt, educationally speaking, was a success. Grainger did not complete all his formal examinations, yet on the other hand he met a diversity
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