WENDY DIXON SOPRANO 472 225-2 JOHN PRINGLE MARINA MARSDEN VIOLIN DAVID MILLER PIANO

THE SONGS OF HORACE KEATS

3 Horace Keats (1895-1945)

Yellow Bracken 1’30 Columbine 2’05 In What Other Places The Point Of Noon 3’19 Do You Live? 2’57 Moonlit Apples 3’20 We Sat Entwined 5’08 Spring Breezes 2’16 The Orange Tree 5’05 Fear 1’44 Sea-Wraith 2’48 Heaven Haven 2’35 Galleons 1’44 Versicle 1’10 Love’s Secret 2’20 Over The Quiet Waters 2’51 Sun After Rain 3’43 Goldfish 2’50 I Am Shut Out Of Mine Plucking The Rushes 2’13 Own Heart 5’29 The Fishing Pools 2’24 Once I Could Sit By White Heather 2’14 The Fire Hour Long 3’12 Of Old, On Her Terrace The Roads Beside The Sea 2’27 At Evening 3’45 Drake’s Call 2’50 The Trespass 2’21 Echo 4’07 Total Playing Time 78’27

Wendy Dixon, soprano -, -, -, , , , John Pringle, baritone , , , , , , , , , Marina Marsden, violin David Miller, pianist

2 3 Horace Keats from Perth to , sometimes singing and broadcasting career, she adopted the ABC’s Orchestra …” recruiting, training and conducting small her professional name, Barbara Russell (the Some years later, whilst in Perth with want to say in music what the poet orchestras, at other times, playing the names of their first two children). the ABC, Keats turned to composition. His has said in words …” responded the theatre piano. This experience developed After some years of freelancing, he was wife was broadcasting from 6WF at the IAustralian composer, Horace Keats, to a his unique skill to play the piano using an engaged as the pianist for the Farmer & Co. time and was in need of a greater variety of question in the Australian Composers Speak orchestral score. Trio. This was to become the ensemble songs to sing. She was entranced by series recorded by the ABC in 1945. In 1918, Horace Keats, met the young engaged by 2FC when they commenced Chinese poetry and had found a number of Born in London, England in 1895, singer whom he was to marry, Janet le Brun. broadcasting in 1923. Prior to this, both he lyrics but was unable to have them set. Horace Keats left home at the age of 16 to In later years in the course of her successful and his wife had participated in the testing However during 1933, earn his a living as a pianist. He toured the for musical broadcasts in studios situated was also in Perth, so she approached him to countryside with concert parties (as they on the Roof Garden of Farmers in Pitt set these lyrics. His response was, “No, we’ll were known then) and later as the ship’s Street, Sydney. It was from this trio that make Horace do them.” Hutchens left a pianist on various liners that sailed from the emerged, in the words of the ABC Weekly, day or so after and as the train was pulling U.K. As a young man of 20 years he arrived “From 3 [members] to 45 and 80 for public out of the station he lent out the window in in 1915 as accompanist to the concerts, is the record [of the beginning] of and called, “Hey Mrs. K. make Horace set American diseuse, Nella Webb. Here he met, amongst others, two prominent singers of the day, Ella Caspers and Peter Dawson. Both these artists prevailed on the young pianist to remain in Australia, which he did after seeking permission to break his contract with Webb. He later came to consider himself as first and foremost, an Australian. In the years prior to commencing a lifetime association with the Australian Broadcasting Corporation (ABC), he toured throughout Australia as a pianist and conductor. This included involvement with the ‘moving pictures’ The Birth of a Nation and Intolerance, which saw him tour Peter Dawson c. 1915 The original 2FC Orchestra founded during 1942. Horace Keats, conductor; Lionel Lawson, leader.

4 5 those songs for you.” Shortly after Keats set not suffice. These became some of the Sydney Morning Herald, 16 September 1936, the poetry she selected, one of them, Plucking composer’s proudest possessions and copies by Kathleen Donavan, then Honorary the Rushes, may be heard on this disc. may be seen in his biography, A Poets Secretary of the Chris Brennan Committee Problems were frequently experienced Composer by Brennan Keats or the originals who wrote: “All lovers of Brennan’s work in obtaining permission to set Chinese viewed at the State Library, Sydney. have noted the irresistible songfulness of lyrics, so Kenneth Mackenzie, a young In the course of 1936 the composer some of his lyrics. No one has noticed it writer who had been befriended by the and his wife, whilst at a dinner party, found better than Horace Keats.” Later in the Keats, agreed to write poetry in the Chinese displayed on a coffee table a book of same letter she said: “… that hearing them, idiom for the composer. This was gladly poems. Barbara Russell, [the initial Brennan settings] we heard the accepted and a number of Mackenzie lyrics constantly looking for new words to sing, fusion of two artists – the poet and the were set. It is interesting that in these was struck by Brennan’s work and wanted musician.” In 1941, the Australian poet, settings, Keats consistently used more her husband to set them. Despite his Hugh McCrae, wrote in a letter to the whole tones than in his other songs and in protestations, the composer eventually went composer referring to the Brennan settings so doing, was writing ahead of his about making enquiries for permission to saying; “The settings … restored Brennan contemporary Australians. Was it this that use the poetry and later won the exclusive to me ... the music more revelational than prompted Roger Covell to write many years rights to set Brennan’s poetry during the the words – or nature, the music opened later in Australia’s Music 1967 “In contrast composer’s lifetime. The poet and the meaning of the words … opened our to the coy warbling that degrades so much composer were unknown to each other, mind to receive it. Positively you have of Australian song-writing of the last fifty although Keats recalls seeing Brennan in become responsible for the apotheosis of a years Horace Keats … had a touch in song- Sydney’s Darlinghurst area with his great poet.” writing of a distinctly finer order …”? distinctive pipe and his cloak billowing Horace Keats set the works of many Eventually the Keats family returned to behind him as he strode down the street. other Australian and overseas poets and Sydney and some time later Mackenzie also As did many others, Keats considered the these songs are well represented in this Janet and Horace Keats moved across. It was through him that the Brennan settings to be his finest. A visiting recording and other records made over the composer was introduced to the poet, British critic, Neville Cardus, had been years such as that made with the contralto he died at 50 years of age. Shortly after, the Hugh McCrae. Once more, another lifetime known to say that he could think of nothing Lauris Elms and Gordon Watson at the distinct change in music away from a friendship was created. Both McCrae and worse than the train trip between piano, recorded in 1972. He wrote for melodious to an atonal sound became Keats admired each other’s work and and Sydney, but that he would gladly endure films, musicals, radio plays, as well as apparent. It was Neville Cardus who was regular correspondence flowed between it to hear a recital of the Brennan Songs. arranging a number of his songs for string reputed to have said that had this composer them with many of the McCrae letters Success in his aim to put poetry into quartets and small orchestras. It was sad lived he would have adapted to this change. containing drawings when words would his music is demonstrated by a letter to the that, at the height of his composing career, It appeared that the Keats’ songs were no

6 7 longer relevant in this period but it seems song ever performed by the composer and Yellow Bracken replied, saying that he was proud to be the they have always been used by teachers and his wife. Worked into the background and author of the line, but having sold the performed in the Horace Keats Section in looking directly up at the composer is the The poem Yellow Bracken by John Cowper rights of the book to a publishing house, the City of Sydney Eisteddfod. Now there ghostly form of Barbara Russell’s piano teacher, Powys (who lived in Corwen, North Wales) was not sure of his authority to give the has been a return to melody and the Keats’ Ida Gurney, who accurately predicted that was set by Horace Keats on 20 July 1937. necessary permission, but told me to go songs have been welcomed back by audiences, Horace Keats would become a composer. Sir Charles Mackerras used the song in his ahead as he liked the idea, and in any case and performers as well as continuing to be The portrait was submitted for the Archibald youth as an oboe solo, doubtless using the it was easier that way!” used teachers and students alike. This is under- Prize in 1945 and so symbolised the original manuscript, which of course included One of the strengths of Horace Keat’s’ standable because Horace Keats was composing contribution to Australian musical literature the words. In 1995 Mackerras fondly recalled work is his piano accompaniments, which music that was well ahead of its time. of one who rightly earned the title, A Poet’s it as a song with a distinctly “blues ending,” frequently stand in their own right and can and how he made his first Australian Composer. with little or no modification, be used as Broadcasting Corporation broadcast of the The Portrait piano solos. Yellow Bracken is no exception work with the composer accompanying him. to this and so this arrangement has been The nature of the work, which was described ix weeks after the composer’s death, made. In this case, the distinctive voice line by the poet as a “little ditty,” lends itself to the artist, Dora Toovey, painted the has been incorporated into the existing the lightness that can characterise the oboe. Sportrait as seen on the cover. It piano part that has been filled out at times Taken from radio program notes, the represents those who played an important to add a little pianistic challenge and to composer recalls the circumstances of its role in the creation of the Keats’ Songs. The reinforce parts where the piano allowed the setting, “Yellow Bracken is the only writing singer is Barbara Russell in the colour she voice or oboe to become more prominent. always wore when singing a program of of Powys I have set, perhaps for the simple McCrae songs. Her face bears the sadness of reason that I have little else of his. Yellow There’ll be yellow bracken beneath your head; one who has lost a dearly loved partner. Bracken was copied out from memory for There’ll be yellow bracken about your feet, Horace Keats is at the piano. Behind both me by Kenneth Mackenzie (who has For the lass Long Thomas lays in’s bed of them is Christopher Brennan, his pipe attained fair fame as an author) and who Will have no blanket, will have no sheet. to hand. Dora painted Brennan using the could not remember the origin of the poem sketches that appear in the numerous books but adjudged it to be an old Dorset verse, My mother has sheets of linen white, about him and sought advice as to colouring its authorship lost in antiquity. Eventually My father has blankets of purple dye. from his brother, Philip. Part of the music (after a matter of years) I came across a copy But to my true-love have I come to-night from the song, “I am Shut Out of mine of Wolf Solent, a novel by Powys, in which And in yellow bracken I’ll surely lie. Own Heart”, sweeps across the bottom, a the poem appeared. I wrote to the author, In the yellow bracken he laid her down, memento to the fact that it was the last who with characteristic artistic abandon While the wind blew shrill and the river ran;

8 8 9 And never again she saw Shaftesbury town, with thin sweet sad fluting; We sat entwined an hour or two together The Orange Tree Whom Long Thomas had taken for his leman! where green and foamed waves break on a sweep of (how long I know not) underneath pine-trees In mid 1938, Keats set the mystical poem John Cowper Powys yellow sands that rustled ever in the soft spring weather where trees in the wind move against a summer sky? stirr’d by the sole suggestion of the breeze: by John , The Orange Tree, to music. As far as we know, both poet and In What Other Places Do You Live? Or in what vast rooms of the mind and time have We sat and dreamt that strange hour out together composer were unknown to each other. you your being? fill’d with the sundering silence of the seas: Neilson had been described as a mystic for Horace Keats completed the setting of this the trees moan’d for us in the tender weather poem on 9 September 1941. It is possible What slim stringed music sounds for you? whom words were used less to convey ideas we found no word to speak beneath those trees. and more to convey perceptions from “the that both the poet, Russell Henderson, and Russell Henderson composer were known to each other but listen’d wondering to their dreamy dirges other side.” A sense of mystery is struck in the through a shared interest in another poet, We Sat Entwined sunder’d even then in voiceless misery; Christopher Brennan. Henderson’s interest heard in their boughs the murmur of the surges opening words of the poem and thus a is in evidence by an article he wrote on We Sat Entwined was noted by Neville Cardus saw the far sky as curv’d above the sea. dialogue is set up with anxious questions Brennan for Hemisphere many years later. as, “more closely related to Bantok’s easygoing from the writer attempting to ascertain the That noon seam’d some forgotten afternoon, meaning of “a light, not of the sky lives This is a love poem dedicated by lushness in the piano part.” It was the third cast out from Life, where Time might scarcely be: Henderson to J. A. The person must have Brennan setting by the composer following somewhere in the Orange Tree.” These our old love was but remembered as some swoon; persistent questions elicit a cry of “Silence” wielded considerable emotional power to Drowsy Chime (which was for two voices), Sweet, I scarce thought of you nor you of me inspire the wonderment so beautifully and was completed in late September 1936. from the girl, and she makes plain her expressed in the poetry. This expression has At times punctuation in the song varies but, lost in the vast, we watched the minutes hasting desire to listen like the orange tree. Each of been enhanced by music, strong at first, from the written text, however it would seem into the deep that sunders friend from friend the questions is given different thematic then drifting away in triplets leaving us this was done to achieve more “musical sense.” spake not nor stirr’d but heard the murmurs wasting material by the composer, and each is wondering at “What slim stringed instrument Brennan wrote this poem in 1894, a the silent distance without end: separated by the opening melody in varying sounds for you?” year in which he found love, as well as a forms. It is with this opening phrase that we so, whelm’d in that silence, seem’d to us as one are reminded in the end, that the question new range of possibilities in poetry. our hearts and all their desolate reverie, In what other places do you live, with your blue “Brennan began to fashion a poem out of as to the nature of “the light” remains distant eyes, the irresistible melancholy of the sun, unanswered. the wooden emptiness and “voiceless misery” the irresistible sadness of the sea. your soft light hair blown by a mountain wind he had experienced before leaving Elisabeth. and your fine features looking over the gold Christopher J. Brennan The young girl stood beside me. This poem (then called Before Parting, given I saw not what her young eyes could see: green valley the title Trees … was the finest Brennan had beyond the far blue line of the hills? A light, she said, not of the sky yet written …” Axel Clarke, Christopher Lives some where in the Orange Tree. In dim hallowed halls, shadow vaulted trellised Brennan, a critical biography.

10 11 Is it, I said, of east or west? Is it a fluttering heart that gave looks, and now stare through the green and later, one may hear the wash of the The heart beat of a luminous boy too willingly and was reviled? film-like sea, eternally. waves in the words, “I might ask of the sea Who with his faltering flute confessed Is it the stammering at the grave, that swells beneath its cliff, what are its Only the edges of his joy? The last word of a little child? A woman walked by the water-front, purposes?” Yet the ships roll on voiceless in and her eyes were green as jade; Was he, I said, borne to the blue Silence! the young girl said. to the setting moon, leaving the listener to Her hair was like the weeds that wave guess the answer. in a mad escapade of Spring Oh, why, Why will you talk to weary me? above a ship wrecked sailor’s grave, Ere he could make a fond adieu Plague me no longer now, a sailor craving the balm of sleep O ships of venturing to his love in the blossoming? for I am listening like the Orange Tree. in the coral gardens of the deep. with your ghostly sails Listen! the young girl said. John Shaw Neilson The sailors standing upon the shore, mighty with winds of night, drew back as she passed them by. blowing into the setting moon … There call no voice, no music beats on me; But it is almost sound: Sea-Wraith Love and death are maidens twain what are your questings, it falls this evening on the Orange Tree. At the end of 1939, Keats set three poems and he who looks, must look again. wither your voyages? by J.J. Donnelly – The Promise, Chicago The sky seems green through a film of sea, Does he, I said, so fear the Spring to men who stare eternally. I might ask of the sea Ere the white sap too far can climb? Stockyard Serenade and Sea-Wraith. Sea-Wraith that swells beneath its cliff See in the full gold evening is a brooding song about a siren who, when J. J. Donnelly what are its purposes? perceived, would ensure a rapid descent to all happenings of the olden time? Galleons and have as little answering: a watery grave for sailors who dared to look for the ships sail on, Is he so goaded by the green? at her, for such is the superstition of sailors. Poet, Kenneth Mackenzie, was a young voiceless, voiceless, Does the compulsion of the dew Listen to the piano tell of the woman’s man of 17 when he was introduced to the into the setting moon. make him unknowable but keen hair waving like the weeds over a shipwrecked composer. At the time Keats, who had just Asking with beauty of the blue? sailor’s grave, with a series of rising thirds begun composing, was experiencing difficulty Kenneth Mackenzie Listen! the young girl said. and fourths, creating an atmosphere of in obtaining permission to set various Love’s Secret For all your hapless talk you fail to see watery gloom. This woman with eyes of Chinese poets, so Mackenzie volunteered to There is a light, a step, a call, green jade is well known to sailors who step write poetry for the composer in the Chinese Set to poetry by William Blake, Love’s Secret This ev’ning on the Orange Tree. back and rarely look as she passes by, for idiom. Over the years, many of Kenneth was composed in February 1934 but not they alone are aware of the closeness Mackenzie’s poems were set including Galleons, published until 1946. The composer, in a Is it, I said, a waste of love between love and death. which was completed in 1937. brief set of program notes, said of the poet, I’m perishably old in pain, The song returns to a steady movement You can see the Chinese influence in “… his works may be divided into three Moving as an affrighted dove and as the poem concludes, it tells of those the simplicity of the words – the roll of the groups; first, Songs of Innocence and the like. Under the sunlight or the rain? sailors who did succumb to the woman’s ships portrayed in the piano accompaniment, Secondly, his prophetic books. These he

12 13 claimed were dictated by the angels. The the work. Their friendship commenced in we are born on wide wings through the to note Kenneth Mackenzie’s comment in last group comprises witty and scurrilous the late 30s and endured until the villages of heaven, there to see slim the Australian Blue Book of 1946 regarding epigrams such as The Marriage of Heaven composer’s death in 1945. Not only was it lightning wink a fiery eye. the composer’s choice of Brennan: “it is a and Hell. He was definitely a mystic and confined to the setting of the poet’s work – curious irony that Keats, naturally a cheery saw with such an eye.” McCrae, through his son-in-law, also used Let the tears flow far better so man with a broad sense of humour and considerable political influence in an Than that the heart might break vigorous love of life, should have chosen as Never seek to tell thy love, attempt against all odds to have the Brennan He loved, we know. his favourite poet that poet of gloom and love that never told shall be; Songs published using a Commonwealth Dear, for your own sweet sake, despair, that singer of beauty and death, This comfort take: For the gentle wind does move silently, Literary Grant. Despite considerable that advocate of self denial, of worldly Cometh plenty after dearth, silently, invisibly. additional backing from musical academics, happiness and fleshly well being.” As it Sun after rain. I told my love, a combination of WWII and the unusual happened, it was Keats wife who was chiefly Surely, he’ll meet you somewhere, again, nature of the project led to its failure. responsible for this choice. She saw a book I told my love, Whether on earth It is interesting that in two poems of Brennan’s poems and persuaded her I told her all my heart, Or in the villages of heaven (O Deep And Dewy Hour and Sun After husband to set them. trembling, cold, in ghastly fears. Whose cottage lights are dim to us, Rain), McCrae wrote for friends or relatives I am Shut Out Of Mine Own Heart was Ah! She did depart. below our swaying green crested elm boles. bereaved by death. Although the composer written by Brennan in 1897. There is a Soon after she had gone from me, Swim to clearest ether, was not preoccupied with death, it could be spirit of solitariness as he anticipated his a traveller came by, on wide wings uplifted silently said that he was attracted by the way McCrae wedding, due to happen at the end of that silently invisibly: Companioned by the whisperings of angels, treated death: with great compassion for year; listen to the opening words, “I am He took her with a sigh. He will send to lead you through the those left in its wake. Sun After Rain was set lonely skies, shut out of mine own heart because my love William Blake on 10 March 1941. It is a poem full of both where the slim lightning, turning in his sleep, is far from me.” Keats set it to music in 1937. the great tenderness, so much part of the How poignant it was that in the last Sun After Rain Winks fiery eyes. poet, and the strong imagery he was capable Look down and mark this earth-speck creep recital by the composer and his wife, Keats Poet, Hugh McCrae and Horace Keats both of conveying by word. The composer was Smaller than grit chose this song as an encore on the very shared a strong mutual admiration. sympathetic to these qualities, as he ably So small is your sorrow, smaller than it. night he was to suffer the stroke which McCrae always exclaimed how thrilled he demonstrated in this song. Consider the killed him some days later. Here lies the was that his poems were being set to music music in the following lines, “Let the tears Hugh McCrae contradiction: for the poet, anticipation of by one so brilliant. The composer on his flow far better than that the heart might 9 I Am Shut Out Of Mine Own Heart wedded bliss, for the composer, a musical part frequently claimed that the production break.” Can you not hear in the music these acknowledgement of pending death. of a song was a “two way street” with each words being spoken by a kind friend to one Horace Keats was to champion Australian Despite the sadness that one is tempted participant contributing an equal share in flooded with sorrow? Listen to the piano as poet, Christopher Brennan. It is interesting to associate with this song, it was greatly

14 15 admired by many including Hugh McCrae – and here, from mine own joy apart, and “molto sostenuto”– “And I am a child of Of Old, On Her Terrace At Evening who wrote, “… it’s a fine song from all I wait the turning of the key, the Sun and the Southland” – definitely no points of view … the poet’s, the composer’s, I am shut out of mine own heart, lilt in that utterance! Of Old, On Her Terrace At Evening was the the singer’s, the listener’s.” The composer because my love is far from me. If time permitted, the opening bars of last Brennan poem that the composer was White Heather were frequently used by the to set, it being completed on 20 June 1945 said of it, “What poignancy. Was Brennan Christopher Brennan awaiting the arrival of his bride from composer as a signature tune (replacing She almost exactly two months before his death. overseas? Waiting with doubt in his heart? I White Heather Walks in Beauty) when he completed a He had recently returned from a recording know not, but of all the poems of yearning broadcast. It was frequently heard when he session in Melbourne, a city full of the and longing this is as fine as I have heard.” Edith Sterling Levis was a playwright and was rostered as Mr. Melody Man in the memories of his eldest son recently killed in poet whom Keats greatly admired. His ABC’s Children’s Session. action on HMAS Canberra, a death from I am shut out of mine own heart appreciation of her poetry encouraged him which Keats was never to fully recover. because my love is far from me, to set a number of her poems, most of He said we would gather white heather bells Listen to the measured treatment in the nor in the wonders have I part which were published. growing in cool leafy places in Kilnawoodthe. piano of a perceived foreboding in the that fill its hidden empery: White Heather, to a poem of the same “I know where the fairies have hidden the darling middle of the song beginning with the lines, name by Edith Sterling Levis, was completed The wildwood of adventurous thought in yonder green forest” said Patsy to me. “Our gaze dwelt wide on the blackness.” Is it on 13 August 1943 and published by Palings and lands of dawn my dream had won, But great copper beeches are glowing like torches, that those words resonated with the composer on 11 November 1943. The composer said the riches out of Faery brought and hyacinths sway like a lapis blue sea. who by now was sure of his pending death? of this song, “[a] breath of Ireland. Really are buried with our bridal sun. There’s silver rain slanting on honey gold bracken, The poem for Brennan, however, was an experience of Mrs. Levis when visiting and lichens are gleaming in Kilnawoodthe. another love poem, in fact he appended the And I am in a narrow place, that country. She was invited by a cousin to There’s a sudden bronze glint of a pheasant’s title ‘Romance’ to it. Yet even for him, one and all its little streets are cold, pick white heather, but really thought that wing flashing may see a longing for Eden expressed, where because the absence of her face Australian trees and wild flowers are more a robin’s breast burns from the jade of a tree despite being “Close-locked in that passionate has robb’d the sullen air of gold. colourful and bounteous in growth. And tawny furze riots in a wild splendour breaking arm clasp,” there is still a “tearless infinite My home is in a broader day: However she wrote the verse to imitate the where the mountains come down to meet yearning for some long-gone kingdom.” at times I catch it glistening peculiar Cork’ian rising and falling of voice Kilnawoodthe. thro’ the dull gate, a flower’d play so apparent in her cousin’s speaking.” And I am a child of the Sun and the Southland Of old, on her terrace at evening and odour of undying spring: Keats received early musical training in and colour’s a flame in the glad heart of me. – not here – in some long-gone kingdom Brompton Oratory London, and you can So how should I seek the pale heather bells dreaming oh, folded close to her breast! the long day that I lived alone, hear this influence come through in this above the cool mosses of Kilnawoodthe. sweet madness of the springs I miss’d, song. Needless to say there is a lilt in the Our gaze dwelt wide on the blackness are shed beyond, and thro’ them blown music, except when it comes to the proud Edith Sterling Levis (was it trees? or a shadowy passion clear laughter, and my lips are kiss’d: statement marked in the music “piu forte” the pain of an old-world longing

16 17 that it sobb’d that it swell’d, that it shrank?) McCrae always expressed delight when I set Echo A repeating musical theme appearing – the gloom of the forest any of this poems and was keen that I at the end of each of the phrases allows time blurr’d soft on the skirt of night-skies should set the works of others also, going so Christina Rossetti was the daughter of an for reflection upon the words sung to a that shut in our lonely world. far as to spend hours copying some of their Italian patriot who came to England in lullaby reflecting on a love long ago, “how 1824. She published a number of books Not here – in some long-gone world … poetry to send me with that object in view. long ago.” Tr ue great heartedness. A letter from him of poems mainly of a religious and Close-lock’d in that passionate arm-clasp always included a sketch in which his wit is melancholy nature. Come to me in the silence of the night no word did we utter, we stirr’d not: displayed in no uncertain manner [many of The song Echo was completed during Come in the speaking silence of a dream. the silence of Death, or of Love. these letters may be viewed in A Poet’s January 1936, the same year that Horace Come with soft rounded cheeks, Only, round and over us, Composer, the biography of Horace Keats, Keats embarked upon setting the poems of and eyes as bright as sunlight on a stream. Christopher Brennan. The music in Echo that tearless infinite yearning, and are also now held in the State Library, Come back in tears, O memory gives a little hint of what was to come with and the Night with her spread wings rustling, Sydney], I have many of these sketch letters Hope, Love of vanished years. the Brennan Songs. folding us with the stars. which I assure you are among my most O Dream, how sweet, too sweet, too bitter sweet, After publishing both the song and Not here – in some long-gone kingdom highly treasured possessions.” whose wak’ning should have been in Paradise, song with obbligato, the publisher of old, on her terrace at evening, where souls brimful of love, abide, and meet. O Love, to feel your lips again on mine! incorporated the melodic voice line into the oh, folded close to her heart! To draw your breath like honey from the tree, already rich piano accompaniment and so Where thirsting, longing eyes watch the slow door Christopher Brennan to marvel, while your heart’s red flashing wine produced the piano solo. This was done to that opening, letting in, lets out no more. Washt sorrow from your cheek’s white memory; make a unique piece of Australian composition Yet to come to me in dreams, that I may give my The Trespass To know your print forgiveness of my shame available to a wider musical public. very life again, The composer used the following notes in a in ev’ry love lit kiss that you bestow. As you listen to the words, “Come to though cold in death. broadcast circa 1940, “Hugh McCrae who The hidden praise within the playful blame me in the silence of night,” you may be Come back to me in dreams, that I may give pulse wrote the sonnet The Trespass is living in as diamond on diamond doth glow! tempted to await the unravelling of a for pulse, delicate bewitchment. This is not to be. Sydney, and I’m sorry to say has recently Stay, and stay forever, sunny time! Breath for breath. Instead one is left to ponder great passion lost his life partner Nancy, a wonderful Put chains upon the dial’s flying shade Speak low, lean low, as long ago, my love how long ago. helpmeet(??) to such a man. Most of my so never storm of pelting flood or rime once shared or dreamed of, now lost to listeners probably know McCrae as well as dis glorify this summer we have made. Paradise, home of “souls brimful of love.” A Christiana Rossetti Paradise wherein one is locked together I, but for those who do not, I tell you that Columbine he is a big man, big and tall with a huge But no, dear love! The trespass I’ll repeat, with those whose “thirsting, longing eyes, voice and a heart so great that it seems Since you have made the punishment so sweet. watch the slow door that opening, letting Hugh McCrae took great delight in Horace impossible even for his size to contain it. Hugh McCrae in, lets out no more.” Keats’ setting of this poem. McCrae noted

18 19 that, “Columbine shames the clown, Listen to the music following the mood Softly the ‘cellos sing: Moonlit Apples perplexes Harlequin, and easily avoids of the words and listen to the musical “Colombine” “Colombine” The composer tells of the background of him.” The original publishers of the piece, excitement in the first three stanzas of the Softly the ‘cellos sing: Chappell & Co. Ltd., Sydney, described the poem. Then, for the last two, there follows the poem in broadcast notes prepared about “Colombine” “Colombine” 1940. “The exquisite delicacy of his poem composer’s setting saying, “After a vigorous a highly reflective passage. The high piano Hugh McCrae opening, the music, as befits the poem, notes tinkle over a sustained bass line to Moonlit Apples is I hope portrayed in my becomes lightsome and dainty.” create a tranquil atmosphere. Hear the cello The Point Of Noon setting which will be sung. The beauty of McCrae expressed his delight of song (left hand of the piano) softly alternating English apples laid in rows on floor and by sending Keats and his wife one of his with the voice, until we are left with an To satisfy the requirements of Brennan’s racks, bathed in the moonlight of a summer drawings, a favoured method of image of Columbine, hovering there as the literary executors, Keats was required to set night is well pictured in Drinkwater’s a poem for their ears only, the understanding communication frequently used by him. It piano skips away in tempo piano subito poem. Drinkwater in his early youth was being that if they disapproved the work was has an over-all wash of blue. The Rocks is in (literally quickly and quietly) to finish with keenly interested in amateur theatrical to be destroyed. On 1 September 1936 the the foreground while in the background, two little ‘twinks’. Then she is gone. Here performances, and during an interlude in a first poem to be set, The Point Of Noon, was the Sydney Harbour Bridge is depicted as a is perfect interaction between poet and rehearsal of a play at a country house in completed. The executors did approve, and England chose a loft where apples were stored treble clef. Sketched into the Bridge’s the composer. for his lifetime the composer was granted structure are the words “Columbine and the moon shining into the window to Exit the ribald clown – exclusive rights to set Brennan’s poetry. Columbine.” On the back was written, declare his love. Very many years afterwards, Enter like bubbling wine, The point of noon is past, outside: light is asleep; the memory of this romantic and far distant For very dear Jan Lighter than thistle down, brooding upon its perfect hour: the woods are deep hour inspired this beautiful poem.” and very dear Horrie Sweet little Colombine. and solemn, fill’d with unseen presences of light Listen to the piano prepare a calm from very dear Hugh Whisht! and behold the game that glint, allure, and hide them; ever yet more bright atmosphere early in the song. Hear a cloud Horace Keats, in turn, was clearly Long eyes and pointed chin. (it seems) the turn of a path will show them: drift by followed by the scratching of a delighted by the poem. He said, “Columbine, Paler than candle flame, nay, but rest; mouse. Listen to the quiet and the steady not the usual plain picture of Columbine, At her feet Harlequin. seek not, and think not; dream and know not; ticking of a clock in the silent house. Yet no! A dramatic clearing of the stage. ‘Exit this is best: despite the muted activity within the house, Look, look how their shadows run, the ribald clown.’ Away with all that might the hour is full; be lost: whispering, the woods the apples in the orchard keep tryst with the Swift as she flies from him! – detract from Columbine’s beauty and are bent, moon and gather its silver beams to become Moths in the morning sun, daintiness. Let her have the stage and well This is the only revelation; be content. “moon-washed apples of wonder.” Out of a garden dim. lit to dance around. No wonder McCrae Christopher Brennan likes this poem better than most of his Faint through the fluttering At the top of the house the apples are laid in rows, [others].” Fall of a flute divine, and the skylight lets the moonlight in,

20 21 and those apples are deep-sea apples of green. wind to “bring her tenderly over a subject was the baritone, Sydney de Fries. Fear was Whereas the poore, the banished, the seely servants There goes a cloud on the moon in the autumn night. sea” stressed by the only chords in the song. set for de Fries, being completed by August live often as carelessly and as pleasantly, as the other. Whereas the poore, the banished, the seely servants, A mouse in the wainscot scratches, and scratches, For Keats as well, all was happiness; 1935. He and other singers used it the birth of his youngest son, success in a extensively both in Australia and overseas. live often as carelessly and as pleasantly as the other and then there is no sound at the top of the house Fear! Fear! Fear! of men or mice; collaboration with the English poet Based on the prose of Michel Montaigne, and the cloud is blown, and the moon again Herbert Brandon – this is a song of joy, in the song explores the perils of wealth and Michel Montaigne dapples the apples with deep-sea light. fact the most joyful of all the Brennan the freedoms associated with comparative poems set by Horace Keats. poverty. Although the song was considered Heaven Haven They are lying in rows there, under the gloomy very worthwhile it remained unpublished beams; Spring breezes over the blue, until recently because, in the words of the Heaven Haven, set to a poem by Gerard Manly on the sagging floor; they gather the silver streams now lightly frolicking in some tropic bay, publishers, Allans, “it is very fine from a Hopkins, was composed as a present for out of the moon, those moonlit apples of dreams. go forth to meet her way, musical and artistic point of view, but is Keats’ wife, on 14 June 1937. Shortly after And quiet is the steep stair under. for here the spell hath won and dream is true. essentially an art song, and its appeal would it’s composition, the song was performed at O happy wind, thou that in her warm hair be limited to only the most talented of a country school, Elm Court Dominican In the corridors under there is nothing but sleep, mayst rest and play! Convent, Moss Vale, and it was proposed and stiller than ever on orchard boughs they keep singers.” It must be remembered that most could I but breathe all longing into thee, music published in those days was for by the Convent that it be performed on tryst with the moon, and deep in the silence, so where thy viewless wing future occasions when a nun takes the veil. deep on moon washed apples of wonder. “around the home piano, singing,” where, as flame or thought, hastening her shining way. naturally, talents were somewhat limited. This was not however to be the case. John Drinkwater And now I bid thee bring However it was greatly appreciated where it I have desired to go where springs not fail, Spring Breezes tenderly hither over a subject sea was sung, as the Broadcasting Service in To fields where flies no sharp and sided hail. that golden one whose grace hath made me king, New Zealand bears witness, “… your setting And a few lilies blow. Spring Breezes, what happiness for poet and and, soon to glad my gaze at shut of day, of Fear is well remembered here and has And I have asked to be where no storms come, composer! The poem was written in 1897 loosen’d in happy air excited much favourable comment.” Where the green swell is in the havens dumb by Christopher Brennan, anticipating the her charmed hair. And out of the swing of the sea. arrival of his new bride, and set to music in Fear! Fear! Fear! August of 1939 by Keats. Such delight in Christopher Brennan Such as are in continual fear to lose their goods. Gerard Manly Hopkins To be banished or to be subdued live in the light hearted accompaniment. The rise Fear uncessant agony, Versicle and fall of the piano part portraying the uncessant agony and languor. light breeze on tropic waters as it speeds the As the official accompanist for the ABC, And thereby often lose both their drinking, Versicle was composed on 30 September poet’s wife to be, to her most ardent lover. Horace Keats accompanied all the leading their eating, 1940 as a ‘time filler’ for an impending The solemn command by the poet to the singers that came to Australia, one of whom and their rest. broadcast. The composer was to say of it:

22 23 “The idea of describing a song as ‘a little at a time by sea mail to the composer. Keats Over the quiet waters, become his wife; no doubt the gold of the gem’ does not appeal to me much. But, if wondered where Brandon had heard of A song comes through the night fish reminded him of her hair as he from an aeroplane you could look over a him. Brandon replied: “I am a very prolific While the weary earth is sleeping observed the slow parade of beauty moving vast tract of land and see just one little spot writer and have had some 500 songs And the stars are shining bright before him. The scene painted by the where the trees are a shade greener, and the published by Chappell, Boosey, Aschenberg, Born on the twilight shadows, poetry and sound drifts away with three streamlet catches a glint of sunlight, then Cramer, Enoch, Ashdown etc etc., in fact Over the dreaming sea, bell-like chords to close the song. that little spot becomes the centre of beauty nearly all leading publishers both in Ever your dear song whispers, to attract your eyes. Thus in the book of England and USA. If you are a prolific Still you remember me. Slowly moving in their tideless world of water, lovely verse by Hugh McCrae, after you composer we should be able to fix up a lot and still bright weed. Over the quite waters, They are more lovely than the gold have read it and are feeling happier for the of songs with English and American I hear your voice again and the jewels in my beloved’s hair, reading thereof, you come to the last page publishers. I got your address from And it brings the old time gladness, or the red gold of summer morn, and lo!! The grass is a shade greener and the Aschenbergs and wrote to them through And the old time tears and pain or the pallid flame of winter sunlight in rain water sparkles because of four lines of verse. seeing one of your songs (I forgot the title Into the heart that loves you wet afternoons. Just four lines and they appeal immensely.” mentioned in Musical Opinion). All good wishes and may good luck attend our Creeps like a new ecstacy; They are the notes of a song from my beloved’s throat. I dream’t you were a dream, collaboration.” Ever your dear song whispers, Slowly rising in a timeless world seals of its silences. And hardly breathed for fear No date is available for the Some day you’ll come to me Kenneth Mackenzie Of waking: ne’er to dream composition of Over The Quiet Waters, but Some day you’ll come to me. Plucking The Rushes Of you, again … my dear … given the dedication of the song – to the Herbert Brandon Hugh McCrae memory of Keats’ eldest son, Russell, killed Horace Keats’ wife was very fond of in action whilst serving on HMAS Goldfish Chinese poetry, so it was natural that his Over The Quiet Waters Canberra – the work must have been Goldfish, another poem by Kenneth first settings should draw on that source. Keats had a purely business relationship written after August 1942. The words of Mackenzie, was completed during 1935. He said of Chinese poetry, when some with Herbert Brandon. Correspondence the poem expressed the composer’s The simplicity of the poem speaks of the people claimed he must have had Oriental was confined to publishing details and thoughts at the time. There is a constant Chinese influence that Mackenzie was keen blood to have captured the mood of these prospective markets. Despite this and his haunting and longing particularly in the to achieve. The lazy timeless movement one poets so well, “My father is truly English commitment to Australian writers, numerous words, “ever your dear song whispers” and associates with these creatures is stated by and my mother as Irish as possible. So my Brandon poems were set and quite a “some day you’ll come to me.” The the accompaniment in varying rhythms at liking for Chinese poetry is not accounted number of them were published during the composer’s wife could never sing this song, the beginning of the song. At about the for thusly. I really think that it must be War years – quite a feat in its own right. in fact it was hard for her to listen to its time Mackenzie wrote the poem, he had direct simplicity [of the poetry] that appeals Brandon would send up to 40 or 50 poems haunting beauty. just met the young woman who was to to me and many others.”

24 25 The very simple accompaniment to the will inevitably cover those pools; and lastly, that this was the Brennan poem he chose to loses its warmth and my home is far from me.” anonymous forth century Chinese poem a description using beautiful imagery, of set at this particular time of this life. (translated by Arthur Waley), suggests the how those pools will become “mirror of Further, the lives of both artists were about Once I could sit by the fire hourlong when the paddling of a boat in very calm water; listen tomorrow’s Dawn.” to rapidly decline: for the poet, an already dripping eaves for the descending chords, so tranquil. As The music is at first light, as the brothers existing marital strain reaching breaking sang cheer to the sheltr’d, and listen, and know that the pair start at dawn from the Orchid fish in the deep green pools, then the rise of point; for the composer, the pain of his the woods drank full, Island, they speak of their rest to that same the tide is heralded by a more sombre note. eldest son’s death at sea coupled with a and think of the morn that was coming and how paddling theme. The confession is made, Listen to those final chords in the piano sense of his own impending death which the freshen’d leaves “had not plucked a handful when night part and watch in your mind’s eye as the occurred two years later. It can be said that would glint in the sun and the dusk beneath would came,” and drifting away, the song concludes. sunrise turns the pools orange and red with this song encapsulates the hope, impact and be bright and cool. its rays, so mirroring the morrow’s dawn. decline we experience in our lives. Now, when I hear I am cold within: for my mind Green rushes with red shoots, The mood of Once I Could Sit By The long leaves bending to the wind. In the deep green pools drifts wide Fire Hourlong, and the music it where the blessing is shed for naught on the salt You and I in the same boat Among rocks and broken coral, subsequently evoked for the composer in plucking rushes at the Five Lakes My brothers and I fished all day in the sunlight, waste of the sea, April 1943, is at once quite clear. The on the valleys that hold no rest and the hills that We started at dawn from the Orchid Island. But when the lamp of the evening overall contentment felt in the past is We rested under the elms at noon. may not abide: Swings low over the rising tide overlaid with a shadow of despair. The You and I plucking rushes, and the fire loses its warmth and my home is far Blue and sleepy were the pools we left, music is portraying the opening lines by Had not plucked a handful when night came. from me. Waiting for the night to cover them, moving along with a steady piano part. As Anonymous Chinese And for the slow waves to fill them again we are lulled away, the song drifts into Christopher Brennan for mirrors of tomorrow’s Dawn. The Fishing Pools silence. Then – “Drammatico” – an abrupt The Roads Beside The Sea Kenneth Mackenzie change of pace. Words and sharp chords The Fishing Pools was completed on 1 April disperse the silence: “Now, when I hear I Keats completed The Roads Beside The Sea Once I Could Sit By The 1934. Notice its simplicity due to the Fire Hourlong am cold within: for my mind drifts wide”; to a poem by Herbert Brandon, on 27 Chinese influence. The poem, by Kenneth then – “poco accel.” – a scramble of words October 1941. It was accepted for Mackenzie, is in three themes: the first is of The poem, an early one in the Brennan and music: “where the blessing is shed for publication by Chappell & Co. Ltd. on 12 brothers indulging in that childlike delight series of poems known as The Wanderer, naught on the salt waste of the sea, on the March 1942, and recorded for Columbia of fishing in the pools that adorn rock was written at a time of change in both valleys that hold no rest and the hills that by Harold Williams with the composer at platforms worldwide; the second theme poetic and domestic direction for the poet. may not abide”; and so, back to the original the piano on 21 April of that year. Keats talks of the mood, “the lamp of the Keats too, had experienced musical and musical theme, the words this time portray was so popular at this time that his songs evening” as it swings low over the tide that domestic change, so it is interesting to note a life even more meaningless: “and the fire were being accepted almost as quickly as

26 27 he could write them. Drake’s Call The Drum rolled out, and, hid from sight, Wendy Dixon The song expresses the fears and hopes The voice of Drake rang through the night. that must have been experienced by all This is a setting of another poem by Herbert ince Wendy Dixon’s arrival in Brandon, the original title being Sir Francis. “Foes shall hear my Drum down Channel; overseas travellers during the war years, and They shall hear it in the west; Australia 1987, she has sung and because his eldest son was in the Royal Keats requested permission from Brandon performed a wide range of Australian to set this poem but was advised that an While our dear old Flag is flying; S Australian Navy at the time, the dedication till the seas are all at rest; music, continuing a commitment to of the song to him seems particularly American composer was also showing recently composed music that was begun in interest, however, he would like to save it Where soever fleets go sweeping; poignant. There is a story that the For a thousand and years to come; New Zealand, where she performed a wide recording mentioned above was actually for Keats. The song was published by range of New Zealand music, including Chappell & Co. in 1943 and later recorded Still patrolling, loudly rolling, transported to his son’s ship as it was They shall hear Sir Francis’ Drum!” compositions commissioned by her and passing through Sydney Heads. by Peter Dawson. others for her. Herbert Brandon In Australia she has performed works When you go down the quiet roads A starless night lay on the sea To southward far away, by Gillian Whitehead (Hotspur in the old That run beside the sea, Annotations by Brennan Keats Broadwalk Studio; plus excerpts in In mem’ry of the bygone days Above the sound of wind and wave, Drake’s drum began to play. Canberra), Moya Henderson (title role in I know you’ll think of me. Lindy for ), Brenton For ev’ry wave up on the shore, Then with his Drum I heard Drake’s call ring down the Channel over all. Broadstock (Fahrenheit 451 for Sydney And ev’ry seagull’s cry, Metropolitan Opera, Michael Whittacker Will speak of joys that can never fade, “Foes shall hear my Drum down Channel; (Marie in Gesualdo for Opera Australia), And love that cannot die. they shall hear it in the west; Martin Friedel (Foxy for Sydney Metropolitan When you go to the harbour side, While our dear old Flag is flying; Opera), Allan Holley (Gold Songs for Ku- And ships put out to sea, till the seas are all at rest; ring-gai Virtuosi), Peggy Glanville-Hicks To voyage half a world away, Where soever fleets go sweeping. (songs for Grevillea Ensemble), Margaret Then think a while of me. For a thousand years to come; Sutherland (songs for Grevillea Ensemble), And when the ships come back again, Still patrolling loudly rolling, (for Grevillea Ensemble) and the Safe on the Homeland shore, they shall hear Sir Francis’ Drum!” songs of Horace Keats as heard on this CD. Oh! Listen what they say for me Unguarded lay the darken’d sea, Wendy Dixon is an active recitalist, as I’ll soon be home once more. as viewed by mortal eye; well as being known as an opera singer Herbert Brandon And yet I knew, by all unseen, (guest artist with Opera Australia and other Grim phantom fleets were nigh. opera companies throughout Australia and New Zealand) performs regularly as a

28 29 founding member of Grevillea Ensemble, Nancy, Cologne, Brussels, , San Diego of the Bruckner Orchestra in Linz (Austria) Marina Marsden has been the Assistant also giving joint recitals with David Miller. and Los Angeles. He is a regular recitalist from 1990 to 1992. In 1992 Marina returned Concertmaster with the Sydney Symphony She always includes 20th century music and concert artist, having sung with all the to Australia to become Associate Concert- Orchestra since 1995 and lectures in violin and where ever possible, Australian content. Symphony Australia orchestras. He played master of the Melbourne Symphony Orchestra at the Sydney Conservatorium of Music. Wendy Dixon teaches at the Access Judge Grey in the film Black River and and since then has appeared as Guest She plays a Eugenio Degani violin, made in Centre, Sydney Conservatorium, as well as appeared as Alphonse Daudet in Melvyn Concertmaster with the , Adelaide Venice in 1892. and Tasmanian Symphony Orchestras. maintaining a busy private studio. Morrow’s one-man show, Postcards from David Miller Provence. From 1995 to 1999 she was a member John Pringle of the Sydney-based chamber ensemble, In 1988, John Pringle was made a he pianist David Miller is widely Member of the Order of Australia (AM) Ku-ring-gai Virtuosi, touring with them for ohn Pringle was born in Melbourne, recognized as one of Australia’s and in 1999 he was appointed Conjoint Musica Viva, including a tour to Vietnam where he graduated as a pharmacist, leading chamber musicians and Professor in the Department of Vocal Studies in 1998. She is a founding member of the T before studying singing and percussion. vocal accompanists. The Sydney Morning J at Newcastle University Conservatorium. chamber group, Grevillea Ensemble, with Herald has described him as “the role He won the Adelaide Aria and pianist David Miller and soprano Wendy Melbourne Sun Aria, before going to Rome Marina Marsden model of Australian accompanists” and in Dixon. Marina travelled to Austria and the the Queen’s Birthday 1995 Honours List he for further study. He has been a member of USA on a Churchill Fellowship in 1997. Opera Australia since 1967 and has sung arina Marsden completed her was appointed a member of the Order of As soloist and chamber musician, Australia (AM) for his service to music. much of the lyric baritone repertoire, Performers’ Diploma (DSCM) Marina Marsden has recorded for ABC including the Mozart roles of Figaro, Count on violin with distinction at the His distinguished career has included M Classics, Move Records and Tall Poppies. partnerships with many internationally Almaviva, , Leporello, Sydney Conservatorium of Music in 1984, Her recording of Margaret Sutherland – The renowned singers and instrumentalists Guglielmo, Don Alfonso and Papageno; studying with Alice Waten. From 1985 to with Strings received the including Joan Carden, Boris Belkin, Raphael Rossini’s Barber; Verdi’s and Ford; 1989, she furthered her studies at the 1999 Australian Music Centre Award for Wallfisch, Marilyn Richardson, Lauris Elms, , Marcello, Sharpless and Vienna Musikhochschule with Professor Most Distinguished Contribution to the John-Mark Ainsley, Luigi Alva, John Pringle, other Puccini roles; Eugene Onegin; Gerhard Schulz, (member of the Alban Presentation of Australian Composition by Takako Nishisaki, Liane Keegan, Leonard Beckmesser in Die Meistersingers and many Berg Quartet) and gained her Diploma in an Individual. She is editor of the 2000 Sharrow, Meir Rimon, Alain Marion, Igor other parts, across a wide spectrum of Performance in 1989. This study was edition of Margaret Sutherland’s Violin Ozim, and Daniel Stolper. operas. He has also appeared with the state assisted by a number of Austrian and Sonata for Currency Press. She has appeared He is a founding member of the opera companies of Australia. Internationally, Australian scholarships, which included an as soloist with the Sydney Symphony innovative Grevillea Ensemble with soprano he has been a guest artist with Australia Council grant and a Queen Orchestra, Melbourne Symphony Orchestra, Wendy Dixon and violinist Marina Marsden. Festival Opera, Paris Autumn Festival and Elizabeth II Jubilee Award. Adelaide Chamber orchestra and Canberra He has also been involved with a number of Paris Theatre Musical and performed in Marina Marsden was a Concertmaster Symphony Orchestra. other Australian chamber ensembles including

30 31 The Huntington Piano Trio, Flederman, Executive Producers Robert Patterson, Lyle Chan The Song Company, The Australia Product Manager Anna-Lisa Whiting Ensemble, Ensemble 24, The Canberra Recording Producer Wind Soloists and the Ku-ring-gai Virtuosi. Recording Engineer His performing schedule has taken him Mastering Thomas Grubb Booklet Design Imagecorp Pty Ltd to the United Kingdom, New Zealand, Photography ABC Stills Indonesia, Japan, China, Saudi Arabia, Cover Painting Dora Toovey New Caledonia, Korea and Vietnam as well as through most parts of Australia. Recorded He works regularly for the ABC and Music published by Wirripang Musica Viva Australia and has recorded for wirripang.com.au ABC Classics, Walsingham Classics, Tall 2002 Australian Broadcasting Corporation. Poppies, Vox Australis and 2MBS-FM. His © 2002 Australian Broadcasting Corporation. Distributed in Australasia by Universal Classics & Jazz, current extensive catalogue includes three a division of Universal Music Group, under exclusive licence. volumes of Australian flute music, the first Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or complete recording of Martin Wesley- broadcast of this record without the authority of the copyright Smith’s musical “Boojum!” with the Sydney owner is prohibited. Philharmonia Motet Choir. David Miller has been on the staff of Sydney Conservatorium of Music since 1980 and in 1995 was appointed as the first chair of the newly formed Ensemble Studies Unit, with responsibility for Chamber Music/Accompaniment tuition at both graduate and undergraduate levels. He has also conducted master classes and given lectures for universities, conservatoriums, music organizations and conferences in many parts of Australia and Asia.

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