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) qa Fantasia super Komm heiliger Trinity College Chapel 3’43” 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. was often at his most hilarious sitting He was always welcome to play the at a dining table, where he would slip organ at St Mary’s Anglican Church, into an improvised role or parody. Those Waverley, Sydney, escaping into privileged to witness such performances extraordinary improvisations, his music soon discovered that in Norman’s world still stronger than the illness inexorably nothing and no one was too sacred, shutting down his mind. except perhaps for Dr Floyd. He retained his house in Melbourne For this reason he was particularly but moved north with Elke in the early well suited to comic roles, although his 1980s. And, each morning he would complex and moving performances in present Elke with a self-plucked bouquet films such as Man of Flowers showcased in hand, proposing marriage for the his depth and versatility. It was for this umpteenth time and introducing himself role in 1983 that he won the AFI Best as, ‘The Man of Flowers’. True to his title, Actor award, a vaguely cubist piece of he would then spend hours marvelling at plastic that soon found itself used at they carved out their niches in the the colours of her garden. home as a doorstop. Australian film industry. It is difficult But he was far more than the Man Norman acted in more than 30 to imagine one without the other. Cox of Flowers. Those fortunate to have films, that included Mad Dog Morgan recently paid tribute to their friendship been touched by him personally will (1976), The Killing of Angel Street (1981), with The Remarkable Mr. Kaye, a take inspiration from him not just as Unfinished Business (1985), Turtle Beach documentary that was screened on ABC an actor and musician, but above all (1990), Oscar and Lucinda (1998) and television in 2006. as a man of compassion, humanity, Moulin Rouge (1999). But behind the scenes there was modesty, spontaneity, wit and wonderful He also wrote the scores for many another, more private partnership with imagination, as well as a man who could films. For those who listen closely, opera director Elke Neidhardt, with fly a Tiger Moth, place a pinpoint drop his variations on the otherwise banal whom he enjoyed a loving relationship kick and bowl a befuddling flipper. melody of ‘Bye, Bye Blackbird’ for Paul spanning decades. It was notable that For those who knew him only at a Cox’s Lonely Hearts bear the trademark as the twilight of Norman’s Alzheimer’s distance, and for those living in an age signature of Norman’s humour and disease descended, it was she alone who fixated on the artifices of short-lived whimsy. was by his side to the end. celebrity, Norman’s passing, at 80, gives It was with Cox, his long-time For a man whose memory had been pause to reflect on another loss to a more collaborator and friend, that he had his engraven with concertos and lines humble generation and the lasting legacy most public partnership, and together from great theatrical works, there can of a true gentleman actor. Norman Kaye, ARCM, ARCO From the Melbourne Town Hall organ recording, c 1960 1927 — born 17 January Norman Kaye was a former pupil of Dr AE 1941 — first heard St Paul’s Cathedral organ played by the incomparable Dr AE Floyd Floyd, and at one stage acting organist of St 1944-1948 — organ tuition under Dr AE Floyd; and an assistant organist at the Cathedral 1949 — first trip to England where he spent just 6 weeks Paul’s Cathedral. When this recording was 1950s — organist at Littlejohn Chapel and music teacher, Scotch College made he was music director at Caulfield 1956 — started a 20 year position as choirmaster and Director of Music at Caulfield Grammar School Grammar School and organist at Littlejohn 1959 — England, again, for two years studying music and organ, achieving ARCM and ARCO Chapel, Scotch College. One of Australia’s 1960s — acting roles in Melbourne’s Little Theatre, later St Martin’s Theatre most gifted recitalists, he has displayed 1960s — organist for Canterbury Fellowship, Trinity College, Melbourne for the next 30 years through radio and live performances an 1966 — won a Premiere Prix for conducting in Nice unusually thorough understanding and 1967 — won a French government scholarship for organ study in France mastery of both the English and Continental 1967 — met film director Paul Cox schools of organ playing. He has given 1973 — Melbourne Autumn Festival of Organ and Harpsichord recital at St Paul’s Cathedral further proof of his artistic versatility by 1976 — TV mini-series Power without Glory (just one of 17 television series he appeared in) appearing in a number of leading roles at 1980s — many roles in film, television and live theatre 1981 — Lonely Hearts (his first leading role) Melbourne’s famous Little Theatre, later St 1983 — Man of Flowers (won Australian Film Institute best actor award) Martin’s Theatre. The Melbourne Town Hall 1990s — theatre roles for the Sydney Theatre Company organ at the time had 110 stops and 6494 2000 — Alzheimer’s disease diagnosis pipes. It was built in 1929. 2001 — Nicole Kidman’s doctor in Moulin Rouge 2004 — Human Touch (the last of 30 films he appeared in) From the Trinity recital, 1997 2005 — Paul Cox’s tribute The Remarkable Mr Kaye at Melbourne Film Festival, and later on ABC TV Norman Kaye’s great contribution to 2007 — died 28 May organ playing in Australia is through his understanding of and practice of “the THE ORGANS French style”. More detached than either Melbourne Town Hall: William Hill & Son and Norman & Beard Ltd. London and Melbourne 1929. the German or English styles and more Rebuilt 2000. audacious in exploration of the colour Littlejohn Chapel, Scotch College, Hawthorn: 1936 Hill, Norman & Beard. 1993 removed. palette of the organ, this style is demanding Caulfield Grammar School, Memorial Hall: 1916 J.E. Dodd for Congregational Church, Malvern; of clarity of sound and careful attention rebuilt and installed in its present location in 1967 by Laurie Pipe Organs. (Sadly it was destroyed by to development of rhythm patterns. The fire in 2000) French organist is also expected to be an Trinity College Chapel: 1923 J.E. Dodd. 1959 rebuilt by Hill, Norman & Beard. 1989 rebuilt by Laurie original improvisor and so, in the lineage of Pipe Organs. 1997 removed. Vierne, Dupré and Cochereau, under whom St Andrew’s Church, Brighton: 1962-64 Davis & Laurie he studied in Nice, Norman excels in this St Patrick’s Cathedral: 1962-64 Geo Fincham & Sons technique. Our Lady of Victories Camberwell: 1920 T. W. Magahy & Son, of Cork, Ireland. 1979-80 rebuilt George Fincham & Sons. 1 Prelude students at Scotch College, Melbourne. (Norman Kaye) 0’56” The recordings were made in the school’s The opening prelude from the Tudor Littlejohn Chapel, part of a collection of Choristers Carol Concert of 1982 at anthems performed at Sunday evening Our Lady of Victory’s Church (now services in 1958, directed and accompanied Basilica) Camberwell, is actually a carol by Norman Kaye. accompaniment which Norman obviously thought well enough of to let stand on its 8 Postlude, 1963 own. (Norman Kaye) 1’03” Recorded at Trinity College Chapel, 2 Spoken introduction University of Melbourne. 1’22” Dr AE Floyd was known to a vast 9 Communion Service in D minor audience through his talks and broadcasts (Norman Kaye) 4’07” on music and musical appreciation. He Norman Kaye wrote this setting of the was organist and choirmaster at St Paul’s Eucharist especially for the Choir of the Cathedral, Melbourne from 1915 to 1947. Canterbury Fellowship, and it has been He continued to broadcast his Music frequently used for services. This recording Lovers Hour on ABC radio until his death English organ music towards the middle of of Sanctus, Benedictus, Agnus Dei and Gloria in 1974. The notes for the next three items the 20th century. He evolved a style of his in Excelsis was made in 1968 at Trinity were written by Dr Floyd for an undated own admirably suited to the instrument of College Chapel, with the Choir of the recording, probably in the late 1950s. his choice. Canterbury Fellowship directed by Peter Chapman and Norman Kaye at the organ. 3 Noel 5 Melbourne Town (Daquin, 1694-1772) 5’04” Hall Improvisation q0 Improvisation, 1968 (Norman Kaye) Here we find Daquin (famous (Norman Kaye) 0’51” 2’03” harpsichord player, composer of a popular The object of this improvisation Recorded at Trinity College Chapel. piece The cuckoo, and organist of the is to demonstrate the build-up to full French Chapel Royal in the mid 18th power of this large 4 manual organ, with qa Fantasia super Komm heiliger Geist century) writing variations on an old powerful reed stops added to the full-toned (Come Holy Ghost) BWV 651 (J S Bach, French Christmas carol. Noteable are some foundation stops. 1685-1750) 6’36” fascinating echo effects and an abundance Recorded at Trinity College Chapel of ‘grace notes’ characteristic of the period. 6 O Song of Courage (Norman Kaye) in 1966. The antiphon which opens with 1’22” the words ‘Veni sancte spiritus’: ‘Come, 4 Scherzo (Percy Whitlock, 1903-1946) 7 A Song of Victory (Norman Kaye) Holy Ghost’ was adapted as the Lutheran 1’46” 2’50” chorale Komm, Heiliger Geist, the basis of The composer of this very effective These two songs were written Bach’s exuberant Fantasia which ushers in piece was one of the outstanding writers of for inhabitants of ‘The Hill’, boarding the Pentecost sequence. from a set of five. Mason Neale, 1818-1866, music: Henry They appear on a Purcell, 1659-1695, adapted by Ernest recording made by Hawkins, 1802-1868) 3’34” Norman with the This previously unreleased 1989 Caulfield Grammar recording is by Cantus Choro. School Choir at St Andrew’s Church, qh All creatures of our God and king Brighton in 1966 (tr. Draper, arr. Vaughan Williams) 3’40” on a Flageolet 1’ Peter Chapman directs Cantus Choro stop to illustrate, on its first collection of hymns from The approximately, the Australian Hymn Book, entitled ‘Sing sound of a sifflute out with Joy’ (Move MD 3032). Norman stop which Norman accompanying at his best. was keen to have added to the new qj In the bleak mid-winter (words: organ at the school Christina Rossetti, music: Norman Kaye) and towards which 4’00” the proceeds of the Sung by Tudor Choristers at their recording sales were annual carols concert, directed by David directed. Carolane, at Our Lady of Victories’ Church, Camberwell on 15 December 1982. qs Impromptu (Vierne) 3’24” qf O praise ye the Played on the Archer Memorial organ Lord (words: Henry Baker, music: Charles qk O little town of Bethlehem (English at Caulfield Grammar School in 1967. Parry) 2’49” traditional carol arranged by Norman Kaye) The instrument was originally built by JE This hymn is inspired by Psalms 148 4’26” Dodd of Adelaide and installed in Malvern and 150. This performance, recorded in Sung by Tudor Choristers directed Congregational Church in 1916. It was 1989 at Trinity College Chapel, appeared by David Carolane, at Our Lady of rebuilt and installed by Laurie Pipe Organs on Cantus Choro’s third collection of Victories’ Church. It was included in the at Caulfield in 1967. The organ was sadly hymns from The Australian Hymn Book, carols program in 1981 and 1982 with lost in a fire that also destroyed the hall in entitled ‘Songs and Praises’ (Move MD considerable differences in the arrangement 2000. 3142). That CD used take 3, but here we each time. This is the 1981 version. have the first take which sounds a little qd Three Variations on the carol ‘Lord more spontaneous, especially in Norman’s ql Postlude Jesus hath a garden full of flowers gay’ organ accompaniment. (Norman Kaye) 1’37” (Flor Peeters, 1903-1986) 2’48” Played at the very end These three variations, rather qg Christ is made the sure foundation of Tudor Choristers annual carols event at unconventionally registered here, are (words: Latin 7th/8th century, trans. John Our Lady of Victories’ Church, Camberwell in 1982. w0 Preludium wg Three fanfares (John Bull, 1562-1628) 1’01” (Norman Kaye) 1’33” wa In Nomine (Richard Alwood, 16th Recorded at St century) 1’34” Patrick’s Cathedral with ws A Duo the Melbourne Brass (Richard Farnaby, c1590) 1’43” Ensemble, these fanfares wd introduced three of the Praeludium hymns on a CD called (Giles ‘Hymns for all Seasons’ Farnaby, (Move Records). Peter c1565-1640) Chapman directed Cantus 0’54” Choro in an inspiring These collection. four short items were wh Chant de Paix, 1945 recorded at (Jean Langlais, 1907-1991) St Patrick’s 3’43” Cathedral, This comes from Neuf Melbourne Pièces written 1942-44. during a Chant de Paix, number Tudor three of the set, shows Choristers some of the softer stops concert available on the JE Dodd/ entitled ‘A Tudor Pageant’ in March 1982. Hill, Norman & Beard/SJ Laurie organ in then published by Hinrichsen of London in Norman’s somewhat flamboyant Trinity College Chapel. This performance, 1957. This is the third, marked Andante and registrations are perhaps more in the spirit as well as the next two items, comes from in the key of G. of the occasion rather than being limited to the final concert of 18 April 1997 on that the resources that would have been instrument before it was removed in 1997 wk Comment on improvising available to the composers on the small to make way for the current organ by (Norman Kaye) 0’29” English organs of the Tudor period. Kenneth Jones. wl Improvisation, 1997 (Norman Kaye) wf Improvisation, 1989 (Norman Kaye) wj Extemporisation 5’08” 1’42” (AE Floyd, 1877-1974) 3’45” Played at Trinity College Chapel during Dr Floyd recorded a number of e0 Lonely Hearts a recording session break. extemporisations on the TC Lewis organ at (composed and arranged by Norman Kaye) St Paul’s Cathedral in 1947. 1’56” Three of these were later transcribed and Thanks to the many John Mallinson The recordings people who contributed Peter Wakeley used came from in various ways to this Warwick Papst many sources, CD: Rhys Boak and are of greatly Geoffrey Cox varying quality. Norman Kaye John Maidment We have done David Carolane Gordon Hawley our best to restore Douglas Lawrence Ivan Collins and enhance the Paul Cox Barry Wilkes older ones in par- Oliver Streeton Fabian Muir ticular. David Agg Elke Neidhardt Martin Wright, Simon Colvin Susan Wright Move Records Ken Falconer Marilyn Thomas Kay McLennan move.com.au