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Margaret Sutherland and the Young Kabbarli a 50Th Anniversary Exhibition Alexandra Mathew

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Margaret Sutherland and the Young Kabbarli a 50Th Anniversary Exhibition Alexandra Mathew Margaret Sutherland and The young Kabbarli A 50th anniversary exhibition Alexandra Mathew In August 1965, The young Kabbarli —the only opera by Melbourne-born composer Margaret Sutherland— premiered at the Festival of Contemporary Opera and Music at the Theatre Royal in Hobart.1 The year 2015 marked the 50th anniversary of this important opera. In recognition of Sutherland’s work, a themed display was presented from November 2015 in the Louise Hanson-Dyer Music Library, Eastern Resource Centre (ERC), using objects sourced from the University of Melbourne Rare Music Collection.2 Although best known as a composer, Margaret Sutherland (1897–1984) was also a respected educator, collaborator and entrepreneur. In Melbourne her colleagues included soprano Elsa Haas (1911–1989), and internationally she worked with Australian music publisher and arts patron Louise Hanson-Dyer involvement in the pipes movement Wright, among others.6 A number of (1884–1962). The Rare Music and, of course, The young Kabbarli. Sutherland’s holograph vocal scores Collection contains objects relating Sutherland was among the first are held in the Rare Music Collection, to both Haas and Hanson-Dyer, 20th-century Australian composers including Three songs for voice and including materials associated with to write in a recognisably European violin (1926). Although Sutherland the international pipe education style.4 Having studied in London was a pianist, often accompanying movement, which emerged in with Arnold Bax, she was also greatly singers in performances of her own Europe in the 1920s and 1930s.3 influenced by English pastoralism.5 work, in this composition she opted The initial idea to create a display on However, Sutherland—a brilliant and for the unusual pairing of soprano Sutherland and her opera soon grew sensitive song composer—preferred voice and violin. As the violin is the to encompass three distinct parts: Australian poetry, and set texts highest of the stringed instruments Sutherland’s solo vocal music, her by John Shaw Neilson and Judith in the standard Western repertoire, 28 University of Melbourne Collections, issue 21, December 2017 Opposite: Margaret Sutherland, Melbourne, n.d., photographic print. Louise Hanson-Dyer Music Library Rare Collections, University of Melbourne. Right: Pipes, made by British or Australian schoolchildren or adult amateur musicians, c. 1929–50, bamboo, enamel paint and cork; various dimensions. From a collection of 21 pipes, components and tools, now held in the Louise Hanson-Dyer Music Library Rare Collections, University of Melbourne Library. and the soprano the highest voice In contrast to the photographs, composers to contribute to her first type, the combination became a duet programs and handwritten book of pipe music (although for between equal voices, rather than a scores on display in one cabinet, reasons unknown, few ended up in dominant solo line with subservient objects representing Sutherland’s the volume). The manual How to accompaniment. The handwritten involvement in the pipes movement make pipes (1935) by Ruth Flockart scores are striking evidence of were chosen on purely aesthetic and Margaret Sutherland,9 which Sutherland’s inventiveness in vocal grounds. From an extensive we displayed alongside the pipes, music, and are visually beautiful, too. collection, the curators (Dr Jennifer is notable for several reasons. Its Sutherland wrote out her music clearly Hill and I) selected five colourful colourful cover design by renowned and with great care—a skill largely pipes made by schoolchildren. French bookbinder Rose Adler lost since the advent of computer When handling and arranging the makes its appeal to schoolchildren programs for drafting scores. pipes in the cabinet, we had to take immediately obvious (see page 32). In Melbourne, Sutherland care to avoid damaging the now In addition, an international audience frequently accompanied Elsa Haas, fragile paintwork—the instruments was envisaged: the book features, who championed Australian music. were not nearly as robust as they in five languages, instructions for Theirs was a fruitful and long-lasting looked. Also on display was a making pipes, as well as a number of relationship, and Haas even made her selection of tools used by the children arrangements by Sutherland. Four own arrangements of Sutherland’s to make the pipes. These were more of Sutherland’s arrangements, music. The exhibition contained one fascinating in their own right, for all simple and composed with of Sutherland’s best-known songs, In their well-worn wooden handles and children in mind, were published the dim counties (poetry by John Shaw beaten-metal ends. in a separate volume.10 The display Neilson), which the two performed The pipes movement started in of pipes and related objects also in recital together. This score is not in London in 1926, when schoolteacher helped link Sutherland as a young Sutherland’s hand, but Haas’s. Before Margaret James encouraged children composer in Melbourne with an photocopiers, it was commonplace— to make pipes out of bamboo, which older Sutherland: the internationally even for professional singers—to write they then decorated with enamel renowned composer. out their own parts for performance. paint in bright colours.7 James Although The young Kabbarli— And, in copying a score by hand, declared: ‘In these days when we based on the life of Irish-Australian one familiarises oneself with the expect to pay heavily in money and anthropologist Daisy Bates (1863– physical shape of each note and the in years of labour for everything that 1951)—provided the inspiration contour of each phrase. Haas’s copy is good, pipe-making is an exception for the display, it was difficult to of Sutherland’s song represents not and a surprise. It is time to restore an locate suitable exhibition materials. only the close working relationship active share in music to everyone’.8 Many objects in the collection between composer and performer, but Hanson-Dyer helped introduce the were either too fragile to display, also an intimate physical familiarity pipes movement to Australia, and featured the same images as one between singer and score. called upon a number of expatriate another, or possessed little visual Alexandra Mathew Margaret Sutherland and The young Kabbarli 29 Margaret Sutherland and Maie Casey, The young Kabbarli: Chamber opera in one act, Sydney: J. Albert, 1972. Rare Music Collection, Special Collections, University of Melbourne. interest. However, the University was displayed alongside the LP of the published in her memoir, The passing of Melbourne is fortunate to hold only recording of The young Kabbarli. of the Aborigines.12 a signed first edition of the score, The record sleeve (pictured opposite) Based on the memoir, and with featuring drawings by Charles features Blackman’s portrait of the a libretto by Maie Casey, The young Blackman. While simple in its design, opera’s subject, Daisy Bates.11 To Kabbarli recounts an episode in the the score is an item of unique beauty complete the display, a photograph life of Bates, who was named Kabbarli in the realm of printed music, for of Sutherland composing at the (meaning ‘grandmother’ or ‘woman of its thick, lightly textured, off-white piano (see page 28) was placed beside the Dreamtime’) by the Indigenous pages, elegant font, and spacious a photograph of the young Bates people of Broome in Western layout (see below). The opened score dressed in an elaborate white gown, Australia with whom she worked.13 30 University of Melbourne Collections, issue 21, December 2017 LP cover featuring illustrations by Charles Blackman: Margaret Sutherland, The young Kabbarli, sound recording, HMV Q4OASD 7569, Sydney, 1973. Gift of the University of Queensland Music Library 2001, Louise Hanson-Dyer Music Library, University of Melbourne. Alexandra Mathew Margaret Sutherland and The young Kabbarli 31 Rose Adler, cover for book by Ruth Flockhart [sic] and Margaret Sutherland, with foreword by Louise Dyer, How to make pipes: With tunes for pipers and small percussion band, Paris: Éditions de L’Oiseau-Lyre, 1935. Rare Music Collection, Special Collections, University of Melbourne Library. Casey, having met Bates in the 1930s Resource Centre. The University 4 David Symons, The music of Margaret and read her work with interest,14 of Melbourne has an extensive Sutherland, Sydney: Currency Press, 1997, p. viii. suggested the idea to Sutherland, who collection of Sutherland’s work, and 5 Symons, ‘Sutherland, Margaret (Ada)’. had recently set to music a number it was a privilege to find rare and 6 Symons, The music of Margaret Sutherland, of Casey’s Verses.15 While Bates’ work curious objects to share with students, pp. 47, 94. 7 Kaleva, ‘Louise Hanson-Dyer’s Melbourne with Indigenous Australians is the teachers and visitors. centenary music book’, p. 51. 16 subject of continuing controversy, 8 Margaret James, The Pipers’ Guild handbook: Sutherland, through her differing Author’s acknowledgement: Special thanks go to The origin and history of the pipe movement, Dr Jennifer Hill for her support, guidance and musical portrayals of both Aboriginal London: J.B. Cramer, 1933, p. 3. scholarship in curating and setting up the display. 9 Ruth Flockart (1891–1985) was for many and non-Aboriginal characters, decades a music teacher and then director gently advocated non-assimilation Alexandra Mathew is a singer, musicologist of music at Methodist Ladies’ College in and celebrated the significance of and bookseller. Currently undertaking a Master Melbourne. See Louise Jenkins, ‘Ruth Flockart and Dr Wood: A crucial relationship in the Aboriginal spiritual life.17 At the of Music in musicology at the University of Melbourne under the supervision of Dr Suzanne development of Melbourne Methodist Ladies’ time of composition, appropriation Robinson, she previously studied vocal College music program’, Australian Journal of of Indigenous materials and music performance at the Royal College of Music, Music Education, 2011, pp. 3–10. was not deemed problematic by London. Her writing has appeared in Context 10 Margaret Sutherland, Australian melodies: For musicological journal, Australian Book Review, pipe, flute or recorder, Paris: Louise B.M.
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