NormanThe Remarkable Kaye 1927-2007 HHHHH “… brilliant AFI musical Best Actor imagination” 1983 “His playing demanded “Norman Kaye brings “… mastery “Norman Kaye is “… a fine musician – a absolute attention. distinction to whatever he of an expert in organ wonderful actor, and a A great talent.” performs, in whatever medium” improvisation” playing” compassionate lover of life” Douglas Lawrence Michael Shmith David Carolane Dr AE Floyd Paul Cox It was as accompanist that Norman Kaye wove much of the musical magic for which he will long be remembered. His improvisations and varied harmonies to hymns frequently took surprising turns into ‘uncharted harmonic waters’, and the modes of his ‘return to dry land’ always gave evidence of his brilliant imagination Geoffrey Cox, organist and director of music, St Patrick’s Cathedral, Melbourne 1 Prelude (Norman Kaye) 0’56” qk O little town of Bethlehem 2 Spoken introduction (AE Floyd) 1’22” (arr. Norman Kaye) Tudor Choristers 4’26” 3 Noel (Daquin) Melbourne Town Hall 5’04” ql Postlude (Norman Kaye) 4 Scherzo (Percy Whitlock) Our Lady of Victories’ Church 1’37” Melbourne Town Hall 1’46” w0 Preludium (John Bull) 5 Melbourne Town Hall St Patrick’s Cathedral 1’01” Improvisation (Norman Kaye) 0’51” wa In Nomine (Richard Alwood) St Patrick’s Cathedral 1’34” 6 O Song of Courage (Norman Kaye) Littlejohn Chapel 1’22” ws A Duo (Richard Farnaby) St Patrick’s Cathedral 1’43” 7 A Song of Victory (Norman Kaye) Littlejohn Chapel 2’50” wd Praeludium (Giles Farnaby) St Patrick’s Cathedral 0’54” 8 Postlude, 1963 (Norman Kaye) Trinity College Chapel 1’03” wf Improvisation, 1989 (Norman Kaye) Trinity College Chapel 1’42” 9 Communion Service (Norman Kaye) Canterbury Fellowship 4’07” wg Three fanfares (Norman Kaye) St Patrick’s Cathedral 1’33” q0 Improvisation, 1968 (Norman Kaye) Trinity College Chapel 2’03” wh Chant de Paix, 1945 (Jean Langlais) Trinity College Chapel 3’43” qa Fantasia super Komm heiliger wj Extemporisation (AE Floyd) Geist BWV 651 (JS Bach) Trinity College Chapel 3’45” Trinity College Chapel 6’36” wk Comment on improvising qs Impromptu (Vierne) (Norman Kaye) 0’29” Archer Memorial organ 3’24” wl Improvisation, 1997 (Norman Kaye) qd Lord Jesus hath a garden Trinity College Chapel 5’08” (Flor Peeters) St Andrew’s, Brighton 2’48” e0 Lonely Hearts (composed and arranged qf O praise ye the Lord by Norman Kaye) 1’56” Cantus Choro 2’49” qg Christ is made the sure foundation Cantus Choro 3’34” qh All creatures of our God and king move.com.au Cantus Choro 3’40” P 2007 qj In the bleak mid-winter (music: Move Norman Kaye) Tudor Choristers 4’00” Records, Melbourne t was my privilege to have known o me Norman Kaye was a friend Norman from 1977 up to the time and inspiration. I admired his organ Iwhen his illness precluded any further Tplaying and his acting and when he contact. 1977 became a memorable offered advice it was always wise. year when for a short tenure I was the I remember his advice with affection, choirmaster of the Canterbury Fellowship when as a young organist I asked him to Choir and Norman was the organist. help me with the accompanying Anglican We forged a bond in music and a Chant on the organ. I expected a session at wonderful friendship which endured the organ but Norman simply said “Don’t beyond our Canterbury Fellowship years. take your hands off the keyboard”. He Norman played on some occasions for was of course pointing to an important The Tudor Choristers, particularly at the aspect in this particular area of music December recitals which he enjoyed and at making. I suspect that he had heard me which he performed brilliantly to add lustre accompanying the psalms and knew that to the beautiful Christmas music. this was the central issue I needed to deal y dear friend and comrade in His mastery of improvisation and of with. arms, fellow artist. We worked extemporization on a prevailing theme Norman was a great trainer of boys Min harmony always. The more were to my mind without equal and voices. I was blown away when I first difficult the task, the closer we became. demonstrated his shining creativity. His heard the trebles in his choir at Caulfield You taught me to trust my heart and be choices of registration on any occasion Grammar. They sang with a vibrancy brave. were always interesting and could cause and clarity I had not heard before in this A great actor on the other side of the delighted anticipation. country. This individuality extended to world once said to me, ‘If I ever meet Our friendship strengthened as time all he did. As an improvisor at the organ Norman Kaye I will throw myself on went on. He visited and stayed with my he was inventive and indeed fearless. He the ground and kiss his feet’. He knew family on many occasions and my sons went into unknown territory and somehow you were one of the greatest: you didn’t idolised him. While missing him personally, always extricated himself. When Norman perform or put on a face: you became. it is fortunate that we have this permanent played the organ all else went from the Your ability to be real made you soar, and record of his music. listener’s mind. His playing demanded infused our creations with a hidden light. absolute attention. You were modest and gentle, even David Carolane A great talent; an individual approach when you played that mighty church organ to most of life’s common experiences and and flew above us mere mortals. a wonderful friend. I and many others will You have peace now, and we have to miss this extraordinary human being. be thankful. It is not an easy farewell. You were too unique, too human. My God, we Douglas Lawrence loved you, dear Norman. Paul Cox ehind closed doors, Norman Kaye, Norman Kaye: Melbourne, in search of musical guidance. a man blessed with a remarkable Dr Floyd immediately recognised Barray of artistic gifts, used to actor, musician Norman’s immense potential as an describe himself as, ‘Norman Kaye, star organist and granted him free tuition. of stage and screen, star of Carson’s 17 January 1927 — 28 May 2007 His generosity would change Norman’s Law, Prisoner and Cop Shop’. The life forever, and ultimately set him on ironic twinkle in his eye and his playful course for England and France, where he emphasis on those roles for which he was taught by Pierre Cochereau of Notre will be least remembered were typical Dame de Paris and won a Premier Prix for of a gentle, self-effacing individual who conducting at the Nice Conservatoire and quietly contributed so much to Australian another for organ in 1966. cultural life. Norman’s musicianship was top Norman’s rise from a tough, class, but he fell victim to loneliness dislocated childhood in Depression-era and an irresistible homesickness, which Melbourne to the top of his professions eventually prompted his return to as both an actor and musician was an Australia. Back in Melbourne, the city for unlikely story. One of four children of a which he always harboured the greatest maimed, impoverished Boer War veteran affection, he continued his music with and a mother who suffered from mental success, including as an organist at Trinity illness, Norman had to battle his way College Chapel. He returned to teaching from the ground up, and few would have and for 20 years, he was director of music foreseen that he would emerge as one of at Caulfield Grammar School. At the the most subtle and articulate artists of same time, however, he also dedicated his day. himself increasingly to acting, the art for Two strokes of good fortune put which he would become best known. him on his eventual path. In Melbourne Fabian Muir, a lawyer That Norman was perfectly content he was taken in as a child by the and writer based in to play in small theatres, making do Norton family, who lodged him for Munich, Germany, is Elke with minor roles and no pay, is proof long periods and provided a safe haven Neidhardt’s son whom that he was an actor out of passion, not from the hardships of his family home. ambition. He took joy in acting and, By Norman’s own account, it was they Norman Kaye helped with television still in its infancy, loved who instilled kindness and taught him to raise. This obituary the world of the stage. In an industry so many of the refined values that would appeared in the often characterised by rampant egos and characterise him in adult life. Melbourne Age and Sydney self-adulation, the fame and commercial Then, coming from nowhere Morning Herald on success he enjoyed in later years were and with nothing to lose, in the mid by-products rather than goals unto 1940s he approached Dr AE Floyd, the 1 June 2007. themselves, and part of his charm was a revered organist of St. Paul’s Cathedral, disarming ability to laugh at himself. As with music, acting came to him be no illness more insidious than that naturally, thus it was almost inevitable which marked his final years. It was a that his ability would find recognition sad and unjust ending, this slow fading in the close-knit artistic circles of 1960s of the light. Yet even as his condition Melbourne. This natural talent was deteriorated, Norman continued to show invariably on display in private, and he his warmth, humour and love of life.