A Chronological History of Australian Composers and Their Compositions 1901-2020: (Volume 1: 1901-1920)

By stephen pleskun

This is volume 1 of the improved 2nd edition.

There are 6 volumes in all comprising some 900 composers and 40,000 compositions.

Included is the founding and demise of music ensembles, institutions, venues and festivals.

With musicians, performers, conductors, entrepreneurs, educators, administrators, instrument makers, musicologists, music critics and philanthropists part of the broad narrative.

Touring artists in Australia are admitted at the bottom of each year.

This edition has been enhanced by the inclusion of many hundreds of relevant photographs, drawings and artwork.

The most comprehensive account of Australian Classical music is in your hands.

• Language: English
• Publisher: Xlibris AU
• Release date: Jul 20, 2021
• ISBN: 9781664102408

stephen pleskun

Stephen Pleskun was born 6 weeks prematurely in Crown Street Women’s Hospital in Sydney on 8th December 1955. Having taken music as an elective subject at High School, he started to consider the subject seriously during the 1970’s and took private lessons with Clarence Albert Phillips (harmony ad counterpoint), Anatolij Mirosznyk (piano) and Dave Martin (jazz). During this time, Stephen secured occasional work as a music teacher before spending 4 years at Sydney University studying English, Philosophy, Education and Medieval History, the first 3 at honours level. From 1986 onwards, Stephen wrote and presented lectures on the History and Development of Western Music at the Liverpool Academy of Music. The Chronological History of Australian Composers and their Compositions was begun in January 2008 and continues to be researched, compiled and edited to this day.

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Copyright © 2021 by stephen pleskun. 747547

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

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   ISBN:   EBook      978-1-6641-0240-8

Rev. date: 07/14/2021

These volumes are dedicated to all the persons within

and

To the memories of

Stefan Pleskun

Anatoly Mirosznyk

Georges Mesnage

Wladyslaw Sobolewski

and

(with gratitude)

to all the music students

who suffered my tutelage over many years…

Australia is a country that buries its past almost before it occurs in the present. A place with a more developed case of cultural amnesia would be hard to find.-Warren Burt

Contents

FOREWORD TO THE SECOND EDITION

Lessons Learnt

Two major changes and more

What is New

Photographs

Jazz Compositions

Brass Band Composers

A Note on Commissions in Australia

Utility

FOREWORD

REGRETS

A GUIDE FOR THE READER

A NOTE ON SOURCES

METHODOLOGY

Who qualifies as an Australian composer?

ALLOWABLE EXTRAPOLATIONS & OMISSIONS

SPECIAL THANKS TO:

VERY SPECIAL THANKS TO:

APPENDIX 1: TERMS USED IN THIS WORK

APPENDIX 2: GLOSSARY

APPENDIX 3: METAMORPHOSES

PREFACE

1901

1902

1903

1904

1905

1906

1907

1908

1909

1910

1911

1912

1913

1914

1915

1916

1917

1918

1919

1920

FOREWORD TO THE SECOND EDITION

Much has been added in all categories. Corrections have been made and the original Foreword has been amended and improved. The Glossary has been augmented. Details about composers have been expanded, particularly in regard to their personal lives, professional and social commitments and (in places) many of their routine or extracurricular activities. Pertinent information about composer’s spouses and their offspring has been admitted in places, as has been that of their close family members.

Music composition is rarely a lucrative endeavour. Like anyone else, composers have living expenses. To meet these needs, the vast majority have been compelled to gain some sort of steady and occasional employment: teaching, performing, examining, adjudicating, music criticism, administration, the retail industry, menial tasks; and in times of war, the armed services. These activities have been included in this new edition, as have other extra-musical ones when they have occurred. A much more complete biography of almost all of the composers within has been presented.

It is important to bear in mind that when a composer gains a position as a conductor, director, organist, choirmaster, lecturer, recitalist, or performer in an ensemble, that considerable time must be spent in preparation and rehearsals; something that, for the most part, has not been acknowledged in this chronology but is a necessary reality.

To indicate the regard in which composers were held in bygone times I have included when and by which general print media (usually newspapers) a photograph of any composer was published. It is a practice that has diminished over the years.

A degree of consistency has been followed in the manner entries are presented but much has been tidied up and modified for ease of reading. A strict chronological narrative is utilised most of the time in each entry but is adjusted when more fluent readability enhances the presentation.

Lessons Learnt

My assumption in the first edition that the newspapers I had accessed were almost always daily periodicals was a mistake. Some were published weekly or at greater intervals. Thus a reference in the latter periodicals to ‘last Thursday’, for example, could often mean not the previous one, but the one before that. ‘Thursday last’, I discovered from cross-referencing and empirical evidence sometimes meant two Thursdays ago. Some provincial New Zealand newspapers were particularly tricky and ‘yesterday’ could, and sometimes did, mean more than a fortnight ago (!).

There were occasions when names were shared: Palmer Charles Kent was the name of father and son and both were adventurers. It took some consideration to sort out who was doing what but the father’s solid respectable career position at that time (a senior bank executive) was a good guide. Mary Bowden had a daughter, Mary, who like her mother was a distinguished pianist. Alfred Wheeler, a respected man, spent some time in Tasmania where there was another Alfred Wheeler who withheld his children from schooling and had unhappy experiences with the law. These juicy stories were deleted when I realised I was dealing with not one but two persons. George Sampson had a namesake in Brisbane; telling them apart entailed finding names of offspring and observing either’s social milieu. Where this was not clear sufficiently (at public gatherings or such occasions) the information was bypassed but this happened very rarely. Similarly, George’s daughter, Neaera, had her name misspelt on more occasions than not before the spelling in official records prevailed.

Vada and Mary Jefferies were sisters in a musical family. In the print media their surname was often spelt ‘Jeffries’. I have standardised all entries to as it should. Similarly, Mary Larwell was Mary Edith Larwill.

As with other members of society, some composers, if not reclusive, are reticent and go about their work quietly. Others spend a lot of time and effort on self-promotion. It is easy to find details of the latter but many important matters regarding the former are elusive. An example of this was Graham Blomfield who I opted to indicate as Australian born in the first edition (when not having contrary information). Years later, I discovered that he was a native of Auckland in N.Z. and that his death occurred in December of 1964. My original analogy about chronological research being like the restoration of old paintings stands.

Another problem was accepting newspaper articles literally. When referring to musicians or composers, journalists would use terms such as ‘of our city’ or ‘with our own’ frequently. In the absence of any other information I took them at their word but further investigation years afterwards often revealed that the subject may have spent significant periods of time in a place or have been raised and spent formative years there, but not necessarily have been born there. Corrections have been made accordingly.

Sometimes articles were blatantly wrong: Una Bourne, at different times, was referred to as ‘Victorian pianist’, ‘Melbourne pianist’, ‘Queensland pianist’ and ‘a Sydneyite’. In fact, she was born at Mudgee in N.S.W. Journalists occasionally would differ significantly in the reporting of audience numbers. It was not worth my while to try to determine who attended the concert and who made surmises from a public bar room so in those instances reference to numbers of attendees is omitted.

There have been many hundreds of informational corrections and amendments in this edition from what was shown in the first edition. Historians without an agenda know that this cannot be otherwise when time is found for further investigation and review. Personally, the initial regret and embarrassment is transcended by the edification of getting it right and presenting the truth; as was the original intention.

Two major changes and more

One hundred years ago and more it was fairly common for song composers to have their works published under one or more pseudonyms (publishing companies wanted to indicate they had a large contingent of composers not a mere handful). A controversial case is that of Clement Scott. Over time it has been regarded generally that this was a non de plume of Albert Bokhare Saunders. However, Kenneth Tyrrell has researched the matter and his arguments that Clement Scott was in fact Edward Tyrrell are sufficiently cogent for me to re-attribute the compositions of Clement Scott to Edward Tyrrell; but this is an issue that most probably will never be resolved: there is too much uncertainty.

Increasingly, I became uncomfortable using the term ‘composed’ for music that has been put forth in graphic symbolism. Clearly, these are not compositions but signals for musicians to do something (whatever). So in those instances the term ‘composed’ has been replaced with ‘indicated’ as that is what it really is.

The reader may notice that at times different dates are shown for a named composition. This is because that composition exists in more than one arrangement (sometimes many) and/or in at least one (or more) revision over different years. The appropriate date is indicated.

As more information about Kenneth Duffield became available adjustments were made accordingly and a truer and more extensive biography of his activities has been provided.

Similarly, the activities of music composing church organists, choirmasters and concert pianists have been recorded in greater detail including many of their routine tasks. Those composers who performed other composers’ work in recitals have been acknowledged whenever I have found they had done so.

In most instances, an Australian premiere of a significant musical composition by a non-Australian composer has had the year of that composition appended in the entry.

Four other changes have been made: Alan Zavod (who I knew to be a member of bands led by Jean-Luc Ponty and Frank Zappa) has been moved from the performers section to the composers section on the strength of his compositional output, as have Phyllis Campbell and Stefan Polotynski. The entries of Charles Bodman Rae have been relocated under Rae.

N.B. the original Forward (further below) is essentially the same as the original but has had necessary explanatory additions in the Glossary and has been modified slightly.

What is New

I have indicated when a composer was in Australia by using graphic symbolism having that composer’s name in green lettering so, for example, Chas. A. Jarman. If time in any given year was shared between Australia and overseas (shown in black) the indication is thus: Chas. A. Jarman or thus: Chas. A. Jarman; etcetera. Note that this is a rapid visual indication only, NOT to exact scale. More precise details of a composer’s travelling can be gleaned in the ensuing article.

In earlier times, travel took longer and generally persons spent more time at any visited nation. More recently, travelling by aeroplane has become relatively inexpensive and fast so that a composer can spend a day or two abroad to attend a meeting or a premiere and return within a week. On top of that, composers have become more reticent in revealing their comings and goings and the media has become uninterested. This novel use of graphic symbolism is discontinued from volume 5 (1981-2000) onwards as too much uncertainty and lack of detail prevail.

When a composer dies, the surname is indicated in grey; e.g. Chas. A. Jarman and the entire name in grey in an entry after death (as when that composer’s manuscripts were being collated and edited by fellow composers or musicians; or a valedictory concert held posthumously). Performances of a composer’s music after death have almost entirely been omitted. This is an area that can be developed. Time constraints precluded doing so.

Not all events attended by individual composers (and musicians) are indicated in each of their entries in any particular year. When there is a gathering of them at a function, meeting or funeral they are listed in that particular entry; thereby showing, to some degree, their fraternity.

Numerous venues were (and still are) named the same in different cities and towns (His Majesty’s Theatre, Exhibition Hall, Lyceum Club, any number of churches etc.). In any individual entry, when the name of a venue is repeated afterwards it is the same venue at the same location to that indicated earlier in the entry unless directed otherwise. This expedient applies similarly to newspapers and periodicals.

The whereabouts of various venues (churches, cafes, clubs, beaches, cemeteries et. al.) are shown and in many cases, composers’ residential addresses at a certain time are indicated in one or more of their entries.

A major addition has been that a great deal of composers’ activities in New Zealand has been included in this expanded Chronology; both those who were native born and those that visited from Australia or Britain.

The licencing of radio stations in Australia from 1923 allowed for greater dissemination of music. Some of this is recorded in the second and third volumes, particularly the rare programmes of all Australian music. One would think it brought great joy to those composers and musicians.

Photographs

This revised edition features numerous photographs taken by the author during sojourns around Australia (mainly N.S.W.) when time and money could be afforded; sometimes on my own, most often with my wife, Di-Anne. Initially this work was haphazard and some of the photographs taken have not been included simply because over time the author forgot what had been photographed. The camera played along with this by deleting or hiding many photographs from different locations the author and his wife remembered had been taken.

The restrictive impacts of a health pandemic in Australia during 2020 precluded a greater input than was hoped to have been done…but one has to accept that things are not perfect and when it comes to worthwhile doings it is better to have a lot of something useful than 100% of nothing much.

Photographs/reproductions of venues have been confined to those in Australia or under Australian administration at the time (Papua New Guinea). Images of composers and ships are from a broader base.

Most photographs are included at the first point of reference but many appear later so that distribution is spread more evenly. In opportune places, a different photograph of a previously shown venue is displayed.

Some venues, theatres and churches have been renamed sometime in their history and others used to serve another purpose (restaurant, studio, repository) but the building remains essentially the same. There are venues that have been refashioned into a more contemporary style of the time and in the case of some town halls, demolished and replaced by a new building (hence the different photographs in different years).

Acknowledgment is given gratefully to the State Libraries of New South Wales, Queensland, South Australia, Victoria, Western Australia, the Australian War Memorial and the National Library in Canberra for safekeeping many photographs of buildings, parks, gardens, water craft, images of composers et. al. that the author was able to utilise and therefore enhance visually the extensive factual content of this edition. Valuable repositories including local governments, museums, universities and societies (historical and otherwise) must also be given credit for making available likewise. The author hopes that the use of these stored images in this volume will encourage readers to explore further into Australian cultural history of any description in any of its diversity.

In many ways it is a pity that in what is a sparsely occupied island continent so many fine buildings built to last have been demolished and in numerous instances replaced with flimsier structures that have far less aesthetic appeal.

Jazz Compositions

Very few Jazz compositions are through composed. In most instances a melody is notated and the underlying chord structure indicated. There may be added bass lines and/or rhythmic configurations. This allows for a great deal of elasticity while remaining recognisably a particular piece: the work may be performed by a single musician, a small group or a large ensemble (although in the latter case a fairly strict arrangement is made to strengthen the structure and avoid the possibility of undesired cacophony during a performance).

It needs to be acknowledged that professional Jazz musicians are well versed through study, musical instinct and experience to enhance a Jazz composition however it is presented to them.

Brass Band Composers

Three of the most prominent brass band composers of their time lived most of their lives in Australia: Thomas Bulch, Alexander Lithgow and Charles Trussell. Their entries have been enlarged extensively.

Although brass bands are rare these days (and completely out of fashion) their importance in Australia during the first half of the 20th century is inestimable. Nearly every township had one and the cities many. Their concerts at rotundas (gazebos, citadels or bandstands) were usually well attended and brass band contests drew large crowds for days. Because their repertoire included marches, quicksteps, waltzes, mazurkas, polkas, schottisches and arrangements of popular melodies they were engaged frequently to play at dance evenings. On solemn occasions, they played hymns.

In most cases brass bands began with amateur players but were conducted and rehearsed by accomplished musicians (including the three above) to reach semi-professional or professional levels. In time, outstanding instrumentalists from those bands would themselves become conductors (and sometimes arrangers) thus continuing the brass band tradition.

Intending to establish a regular audience, Perth radio station 6W.F. commissioned a survey in 1926 to ascertain listener preferences. There were more than 10,000 respondents. Brass band music topped the list, more than 25% higher than the next two (news items and religious services). Dance music was voted 18th, sporting results 21st with fashion talks 30th and last. Times have changed.

Extrapolating from available evidence, there would have been very few days during decades early last century that the music of Thomas Bulch was not being performed or rehearsed. Composers of notated music these days can only dream of such a situation.

A Note on Commissions in Australia

When a performer is credited with having commissioned a work it is quite rare that that performer pays the money for it.

Rather, funding is most often provided by a governmental body (such as the Australia Council or other forms of Federal or State arts foundations), a conservatorium or music institution, a university or other educational facility, a local government, a ‘progressive’ or traditional church, Ars Musica Australis, Musica Viva or through philanthropy.

Having this support guarantees that a commissioned work will be performed at least once.

Distinguished composer Igor Stravinsky has been quoted notoriously as saying that Music does not represent anything. Felix Werder observed: Music inhabits its own world of meaning and needs no explanation or flights of literary extravagance. Similarly, Ralph Vaughan Williams opined: …if my music doesn’t make itself understood as music without any tributary explanation-well, it’s a failure as music, and there’s nothing more to be said.

In Australia in recent years, there have been numerous composers (and performers) aligning themselves with socio-political narratives who have produced and performed compositions that draw attention to any one or more of such causes in liner notes affixed to such compositions (and often in the name of the work itself).

How such actions enhance or edify what is essentially a sonic construction is hard to understand but it is probable that the composer and performers feel some degree of self-gratification in directing attention to trendy ideological extra-musical issues…and understand clearly what will be viewed favourably when seeking, gaining or demanding further assistance from funding bodies comprised of a similar ilk many of whom live in the same prejudicial microcosm; however, this only serves to alienate further potential listeners from the general public who, for the most part, seek entertainment and maybe some edification from music; but certainly not agenda advertised directives or admonishment.

The reality is that in these days very few persons attend contemporary Classical music concerts nor purchase recordings of that music and the reasons why are as ‘different’ and ‘diverse’ as finding the music bizarre, elitist, incomprehensible, irrelevant, unmemorable, experimental, un-tuneful, too complex, self-indulgent, inaccessible, ‘weird’, ‘boring’…any or all of the above and more. Virtue signalling of any description is not making composers better known beyond their small circle of admirers nor adding to the audience of the musicians who perform their works.

Yet, contemporary Classical musicians are highly accomplished artists who receive scant remuneration for their extensive years of development and commitment. This clearly means nothing to the general public who for the most part have become accustomed to, and accept as normal, the posturing, commercialism, visual imagery and attendant lip synching fakery of the aptly named ‘music industry’.

The author was grateful in having acquired a number of books on Australian music that were cancelled and released by (mainly) a library in an affluent suburb in Sydney close to the Conservatorium. The number of times each book was borrowed while available freely is indicated in the Selected Bibliography section of the final volume (no.6) in this series. Those statistics will show there is no need for further comment on this matter.

One final point: as much as this Chronology is a detailed account of Australian composers and their compositions it does not (and cannot) claim to be fully comprehensive. In particular, the many eisteddfodau, brass band and music festival competitions held in Australia during the years almost always featured music by Australian composers and almost all accounts of these have been omitted except when a future accomplished composer or performer took part in the contest.

Nonetheless, this and subsequent volumes reveal a substantial amount of the Classical music activity that occurred in Australia during the first 120 years of it becoming a sovereign nation; and the text of this second edition being twice as large as the first shows how much more detail has been added therein.

Utility

These volumes are distinct insofar as they can be read usefully in five ways:

*cover to cover; or

*the reader may choose to follow the career of a composer year by year and because this chronology has subsections for every year one can do similarly with performers, institutions, events and touring artists; or

*you may choose to open a volume at random and peruse what was going on in any given year;

*or become interested in Australia through viewing the many photographs of what was and what still is;

*or find it helpful as a soporific, anytime…

Your decision…happy, informative reading!

FOREWORD

No chronological history of music can be complete.

Even an extensive biography of a single composer will have details missing, withheld or unavailable; scores undated, works lost or destroyed, personal and educational experiences forgotten or overlooked, and memoirs selective. Primary sources, such as tape recorded interviews, occasionally contain inaccuracies.

When one deals with hundreds of composers, these same problems are multiplied manifold.

Nonetheless a chronological history can prove valuable, as it puts into historical perspective the works and experiences of generations of composers and their compatriots. It shows what was going on, when, where; and the kind of works that were composed and performed at that time. A broad picture of the music scene, at any given period, is allowed to emerge.

The objective of this Chronology is to recount the history of classical music in Australia from the time it was proclaimed a Commonwealth (1901).

Its purpose is to reveal in as much detail as possible the classical music making activities of those involved in any given year.

The focus is on composers and their compositions and the bulk of this work deals with that. However, composers do not exist in isolation, nor do they compose works purely for self-gratification. Performers, educators, entrepreneurs, philanthropists and administrators play crucial parts in bringing music compositions to life and hence are an indispensable part of the music scene. Accordingly, they too are presented as part of this story, albeit somewhat incidentally.

REGRETS

…I’ve had a few…

I am well aware of academic standards and what would be required in that context with a work such as this: a bibliography as extensive as possible and footnotes at every entry. I might have done this, and more than doubled the size of the work as a result.

My reality was that at times there were multiple entries warranted in a single sentence: for example, after becoming aware of the performance of a work it is possible to have one source give the ensemble that performed the work, another the conductor/director, another the venue at which it was held, another the soloist(s) (if any), another the date, another by whom it was commissioned, another for the occasion at which it was performed, another to whom it was dedicated, another an interesting story related to the event/composition.

Bearing this in mind, a lot of the pages I compiled would have been devoted more to source attribution than the specific detail I endeavoured to find, which (from the start) was the reason I did this in the first place.

Apart from the acknowledgements indicated and below, I would have been obliged to list many hundreds of recordings (for the liner notes), newsletters, concert programmes and magazines, and more than 1,000 internet sites. The date and time of information gleaned from the radio and television. The hundreds of contradictions I had to resolve, the reasons why I did as I did; and then the extrapolations that I made and why I can claim them to be legitimate. In reality, this book could have been much more about the processes used and the sources, than the information it was designed to impart. I had no good reason to let it be so.

Therefore, in a pedagogical sense, this project falls short of an academic work; but in a real sense, it is exactly that.

In many entries I have not indicated all of the specific percussive instruments required in a score but used the generic term ‘percussion’ instead. Perhaps I should not have put expediency ahead of detail in these instances. No offence is intended to percussionists.

I must offer my sincere apologies to those principal singers, and others whom I have not listed, who premiered Australian vocal works (mainly operas). I well appreciate the immensity of your task and the greatness of talent you bring to it.

It is no mean feat to project a voice to the back of a concert hall over the top of a sizeable orchestra without the aid of microphones, in tune and in time, regardless of your personal circumstances and all of this in front of what is often a discriminating audience and under the critical perceptions of professional peers.

Devotees of popular forms of music often fail to recognize the magnitude of this task, but we must forgive them for they care nothing about such details.

In retrospect, the author ought to have taken multiple photographs of venues more often when at a location. This happened only very occasionally.

It was a big mistake to build a massive file in the (now defunct) 1901-1937 section then load it with photographs. Eventually the computer could not handle the volume and the author spent three days searching before finding a way to split the file into two parts without losing information then fusing and cutting the other files into 20 year units then restoring the desired formatting.

A GUIDE FOR THE READER

The layout of this book is simple: it is chronological, and comprises five sub-sections in any given year.

1. Composers are listed alphabetically.

2. Similarly Australian institutions and ensembles, great and small.

3. Individual performers, educators, administrators, critics, music benefactors and philanthropists. These do not have their careers recorded in detail.

4. Instrument makers.

5. Touring artists (performers, conductors, composers, critics, entrepreneurs). This section is only selective not comprehensive.

Composers born or conceived or in some cases having had their formative years in Australia are presented in bold type.

Composers born overseas are presented in bold italic type.

Performers who are either Australian by birth or have premiered/performed Australian compositions are presented in italic type. This is not to hi-jack their identity, it is to acknowledge their interest in, and service to, Australian compositions.

Everybody else is in regular type.

An asterisk thus: * after a name indicates that there are two or more performers.

These expedients has been employed so that the information they convey is accessible easily: one can view who was doing what at any given time and come to one’s own conclusions.

A composer’s activities in any given year are listed chronologically where possible and as far as possible bearing in mind readability.

Some composers still use opus numbers and in most cases they indicate a chronological sequence.

An opus number that is at odds with other such numbers in an entry is usually a work that has been set aside previously and finally completed; or substantially re-vamped from earlier material; or re-numbered by the composer; or entered retrospectively.

Then there is the peculiar case of Camille Gheysens. To begin with, he occasionally gave opus numbers to some of his works and it appears they were fairly much chronological. However, late in his life he dispensed a new set of numbers to them and it is clear these were NOT numbered to indicate a chronological sequence but (at best) to serve as a means of identification to the numerous works he composed with identical appellations (nocturne, etude, etc.).

A similar problem was encountered with Felix Werder. Many of his works had not had opus numbers attached to them. He revised his list of works in 1995 and accorded the lot their opus numbers many of which proved to be different to what they had been given previously. I took the matching ones as signposts and trusted that the (previously unnumbered) ones in between were in sequential order, as they seemed to be. So whilst there still will be controversy about many of the opus numbers, at least the chronology is pretty much right.

The works of Simon Barber have been entered in the sequence he composed them.

Where I have not been able to determine a composer’s chronology in a given year, I have entered works alphabetically and have used a structural framework as follows:

1. Compositions finished in that year (and therefore ready for performance).

2. Compositions considered to have been finished in that year (according to the most reliable or only sources. These are prefaced by the symbol ^).

3. Arrangements/revisions of music made that year.

4. Compositions published in that year (because the date of their completion is unconfirmed or yet to be established).

5. Compositions thought to have been published in that year, (these also are prefaced with the symbol ^).

6. Events in the composer’s life: professional, academic, personal, incidental.

Three different terms have been used to indicate when a composition is done: ‘is composed’ means that the composition is conceived and done in the given year; ‘is completed’ means the composition was begun in an earlier year; ‘is finished’ is used when there is a specific time of completion.

It seemed to me that a compendium of dates and places told the story far too impersonally and so I have inserted, where I could find, a quotation about music from the composer in that composer’s first entry. With some composers another quotation on music is admitted at the year of death.

These should not be taken as inflexible manifestos.

Other quotations, perhaps even contradictory ones, might have been chosen.

The purpose of these is to broaden and stimulate the reader’s perspective of what music is, has been, and can be; coming from one of the perceptions the composer had at some time.

Non-musical events have been included in this Chronology to broaden the picture as it was: day to day experiences sometimes, special events (marriages, promotions, honours, travels, mishaps, the birth of children, etc.), and other interesting trivia.

The intention, from the start, was that these volumes be as readable as possible as well as informative.

A NOTE ON SOURCES

This work was stimulated by the fact that such a thing did not exist any where in the world. I felt it was time it did, and thankfully I was able to find the time to do it.

Credit must go to the Australian Music Centre, which with its online compendium of composers provided a massive springboard for subsequent research.

Their input was matched by that of Music Australia, and supplemented by the National Library of Australia. Particularly helpful was the latter, through Trove, providing access to hundreds of thousands of bygone newspaper articles. The majority of the information in this volume came from perusing over 150,000 such articles.

I spent many days at the Mitchell Library in Sydney looking at hundreds of music scores, reading correspondence and diaries, perusing concert programmes and reading books that were out of print.

The liner notes of many hundreds of L.P.’s and C.D.’s were gleaned for any usable information (and there was plenty of that, even though a fair amount of it proved to be unreliable).

Individual biographies/autobiographies of composers, conductors and performers as well as histories of orchestras and institutions and memoirs of administrators provided much detail that was valuable.

A selected bibliography is provided at the back of this book.

Many hundreds of magazines were scoured for the details they could provide, as were F.A.C. newsletters and (mainly piano) scores. Helpful information from radio programmes heard incidentally was committed to memory and jotted down at a red light in traffic.

All of these sources and more were then tested rigorously, one against the other, with the immense aid of the wealth of information provided by the internet, (in particular the websites of individual composers and the Australian Dictionary of Biography Online), and the patience it requires to sift through it all. Inevitably, there were contradictions, misattributions and differences in dates, times and places. No single source was 100% accurate. This, to a chronologist, is a major problem that has to be worked out.

It became obvious to me that generally speaking all of my sources were somewhere between approximately 80%-95% accurate, some better than others.

I resolved that a work such as mine needed to be closer to 99% accurate (allowing for entries that, at this stage, have to be taken on trust because there is no cross referencing or alternative information). I conducted my research with this specific goal in mind every step of the way.

METHODOLOGY

My Primary Objective was NOT to mislead the readership.

On the (extremely) rare occasion I was unable to make a clear decision on which specific date a work was performed or an incident happened, I used terminology that would not be misleading such as ‘in early March’, or ‘late in the year’.

In a way I saw my role as similar to that of an archaeologist digging up and restoring ancient pottery. First the pieces had to be found, properly identified and carefully placed where they had once been. My aim was to reveal what actually happened when and where objectively. I do not wish to disparage the sources I have depended upon and so I will leave the following instances anonymous; but to demonstrate what my research entailed below are some of the problems I needed to resolve, and then some of the solutions I employed:

Misspellings of names or compositions are relatively easy to fix.

Contradictory dates are harder, but usually can be resolved by paying attention to the detail provided by the source(s) and similar correlations elsewhere.

A fairly common error is to assume that a composer does this or that in a certain year given the year of birth and knowing the age of the composer at the time. Not necessarily so. A composer born quite late in the year will more often than not do this or that in the following year. (Beethoven’s dates are given as 1770-1827. Correct. He was 56 when he died. He didn’t live to celebrate his 57th orbit of the sun).

Another error was to attribute the foundation of an ensemble to a certain year when there was ample evidence that that same ensemble actually performed in public the year before.

Similarly, attributed foundation members of ensembles have sometimes been resident halfway across the world at the time.

The date of a composer entering a music institution is sometimes confused with the date the composer was thereabouts, and the date of graduation is sometimes confused with the graduation ceremony (held in the following year).

It does not help when a composer has contradictory information on his/her own web site; nor is it gratifying to read liner notes that give contradictory dates for the completion of a musical work. These have to be sorted out. Even more vexatious is when a composer has contradictions between what is posted on his own web site and what he has included in his own book (!).

Compositions for electronic equipment (in its early stages) have been attributed to times when a composer had no access to such means (unlikely when an alternative source corresponds with when the composer did have such means at his disposal).

On the (rare) occasion that a work is undated but has an opus number, its listing can be placed in the year that has opus numbers either side of it when it is clear that the composer was of a fastidious disposition and not someone who clowned around. Even so, I have prefaced such an entry with ^.

A wind quintet that is ostensibly composed for, and dedicated to, a non existent string quintet is clearly an error.

An attributed premiere of a work cannot be correct when it can be established that the work itself was recorded and played a month or two earlier (or even years before).

A composer born in 1949 could not have composed a work in 1931.

A concert purportedly played on 31st April could not have taken place on that date.

A duo for flute and guitar could not have been premiered by a mezzo-soprano.

In one instance, a prominent trumpet player was listed as a saxophonist; in another a pianist was listed as a soprano; and I recall Percy Grainger being attributed the violin soloist in a piano concerto, and a newspaper report that claimed he was sailing to Australia with his brother (it was actually with his mother).

One source gave the birth date of Ann Carr-Boyd as that of Anne Boyd.

There was an instance when an award winning work by one composer was attributed to someone else.

The lack of editorial procedures in some cases was unbelievably blatant: a c.d. that in its liner notes gave 2 different dates for the composition of a work; a magazine that gave 2 dates 5 years apart regarding the establishment of an ensemble; a book that gave 2 different years for the first tour of a touring artist (on the same page!).

A purportedly ‘new’ children’s opera performed in early 1990 had other sources ascribing it’s composition to 1983 and 1993.

A performance of a work called JACK O’LANTERN was troublesome because no such work existed in the composer’s corpus. But there was a TAM O’SHANTER, so I took it to mean that work.

A song named I KNOW A GREEN LANE by May Brahe does not exist; A LITTLE GREEN LANE does. I understood that the reporter intended the latter.

Similarly, I WHO AM BORN A THOUSAND YEARS (non-existent) is taken to refer to I WHO AM DEAD A THOUSAND YEARS; and attributing HANGING GARDENS and SHEPHERD’S HELP to Percy Grainger is not quite right but the correct reference is inferred easily.

One distinguished composer gave a certain date for when he had enrolled in a Conservatorium. Another source revealed that he had passed specific examinations at that institute the year before.

Another discrepancy arose when a composer’s date for one of his compositions preceded that of every other source by two years. On weight of evidence I was tempted to go with the majority, but I decided to check the copyright date first. The composer was right, everybody else was wrong.

On the other hand, one composer wrote that a particular work of his was the first he composed after a serious accident. It seemed like a plausible story so I altered the date of composition to match that given by the composer. But then I found that a magazine knew of that particular work two years before that date so it must have been in existence earlier.

A composer’s own web site often contains errors: in one instance the instrumentation listed did not match what was shown in the score. In another, 8 separate instruments were listed as the instrumentation of a septet. In yet another, the date of a work’s premiere was given before the date of its composition…etc, etc…

Even if all of the above and much more were typographical errors the reader might appreciate the extent to which consideration had to be applied to solve these contradictions, and the time consumed in doing so. There were many long days, and even longer nights. I resolved to clarify problems as they arose, and sometimes seeming trivialities (a disputed date for instance) took hours of my time to determine accurately, or as accurately as possible.

I do not know if I would have proceeded with this work if I had known beforehand that I would spend a great deal of time resolving many dozens of contradictions and discrepancies. But there weren’t many dozens; there were hundreds-MANY hundreds. Strange as it may seem, rather than discourage me this made me more determined to set things right as much as I could.

A recurring vexation was the disrespectful reporting of the musical content of concerts. How a reporter’s interest could be more drawn to a person’s apparel than to the music bewilders me (probably because I have never done so). Here is just one example from one review of a performance: ‘Miss Fraser wore a frock of banana tinted silk crepe; the floating draperies held in place with gold thread medallions, and edged at the open neck and wide sleeves with narrow brown fur. Her mother (Mrs Fraser) wore a black gown covered with a wrap of black brocade patterned with silver.’ Quite detailed, but no mention of the specific pieces of music Miss Fraser performed during that recital; but at least we know what her mother wore.

On other instances the reviewer was so fixated on individual’s clothing that the venue at which the concert was held was omitted; and in other ‘reviews’, the date.

As indicated earlier, in instances where sources gave dates as approximate, according to the best or only available knowledge, I have indicated as much by using the symbol ^ before the entry, and not taken a gamble with a hunch that cannot be substantiated otherwise, although probably true. A chronology needs to be specific as far as possible. Nonetheless on occasions when specificity was unobtainable I have used more general expedients such as ‘During this time…’ or ‘At this period in the composer’s life…’

It must be remembered that New Year’s Eve is an accepted arbitrary divider between one year and the next. Therefore it is possible that 2 works listed in successive years may have been composed or completed only days apart. Similarly, viewing that a touring artist is listed in successive years should not be taken to imply that that artist toured for 2 full years: it is possible that he or she toured for a week or two at the end of December and the beginning of the following January.

Care must be taken when entering dates as American born composers number the month before the day, and Canadians may use that system or the more logical one. Initials cannot be taken for granted: a work by Neil Currie (who spent quite some time in Australia) was given as premiered by the S.S.O. I assumed Sydney Symphony Orchestra until I discovered he was in Canada at the time; it was corrected to Saskatoon Symphony Orchestra*.

At times I have indicated that there has been a repeat performance (or a follow up recording) of a work during a year. When using the terms ‘the same musicians’ or ‘the same performers’, I mean exactly the same in terms of a soloist or small ensemble (unless I state otherwise). However with an orchestra or opera company I do not necessarily mean exactly the same as there are instances when one or more of the company cannot make the following date for reasons of illness, mishap or prior engagements. In that instance it is a given and acceptable practice that an able musician of comparable standard is called upon to deputise.

Who qualifies as an Australian composer?

Anyone born in the great south land is a start. That includes composers who spent most of their lives abroad (Percy Grainger, Arthur Benjamin, Peggy Glanville-Hicks for example), and those who spent extensive periods abroad (Don Banks, Keith Humble).

Even today, some composers are, or have been, ex-patriots (Jennifer Fowler, Brett Dean, Barrie Cabena). In this era of the global village, that is no problem and I am confident that such composers would raise no objections to identifying themselves with the land of their birth.

Added to these are composers born overseas who contributed in substantial ways to the musical life in Australia (Lindley Evans, Robert Hughes, Frank Hutchens, Larry Sitsky, Roger Smalley) whether they became naturalized Australians or not, and almost all did.

Composers who spent some time in Australia (e.g. Neil Currie, Gillian Whitehead) and then returned to their homeland are also included.

So far, so good, but now we enter the world of different shades of grey and decisions have been made on a case by case basis. Eugene Goossens is admitted although he wrote only one substantial work during his decade in Australia. I deemed that the enormous impact he made in Sydney warranted his inclusion. Olivier Messiaen visited Australia and used Australian bird song in his final orchestral composition, but I could not admit him as an Australian composer. He gets a creditable mention, as do Hamilton Harty and Kurt Schwertsik in the visiting artists sub-section.

On the other hand C. Edgar Ford (an English organist, pianist, composer and examiner) is included and not just because his second wife was an Australian and because they settled here late in their lives. Despite his having made numerous trips to numerous countries during his career, most of his time seems to have been spent in Australia where, during his time as an examiner, he enhanced the musical scene by giving piano and organ recitals and lectures almost always featuring his own compositions.

I have been generous in including some composers: Edwin Carr is clearly a New Zealand composer, but he visited Australia often and taught at the Sydney Conservatorium. He gains admittance. Hugh Dixon left Australia for New Zealand aged 12, and but for a 2-year teaching position, did not return. He too is admitted.

The earlier compositions of composers who would influence the Australian scene are included in this chronology on the basis that those works would have had some bearing (by those responsible) on the decision to appoint such composers to their respective positions in the Antipodes. Thus the body of work of Edgar Bainton, Fritz Hart and Warren Burt before their migration to Australia has been listed.

After a composer has left our shores, I continue to list his/her output because so many of them have admitted that their composing style has been affected by the land, its climate, situation and people.

Composers who have also been performers and vice versa are included in the section where each one gained most renown (Marjorie Hesse and Auguste Wiegand, for example, are classified as performers despite their having composed fairly substantially). Again there are grey areas; a look in all sub-sections would be helpful.

Essentially, this compendium is like a giant Venn diagram: some composers have been born, lived and composed in Australia; others have had a tangential experience with this land, its institutions and its people. As many as I could find have been included simply because all are part of the story.

There are (mainly amateur) composers who write for a specific combination (recorders, say) and nothing else. As much as it can be established that such works are more genuine compositions as such than a pop puppet’s vocalizing a ditty into her answering machine, the former has not been accepted, unless the composer has written works for polyphonic instruments. Without meaning to sound too elitist this is the premier league I am writing about, and more substantial work needs to be done to gain accreditation.

Some jazz/crossover composers have been included as they have contributed notated compositions that can be performed by the musically literate. That improvisatory sections are likely to be involved is no problem. Classical music today and in the past has admitted such techniques, although some people wilfully choose to ignore this.

There are various terms used to describe a band of musicians: duo, trio, quartet, quintet, sextet, septet, octet and nonet are specific and self explanatory.

Non specific groupings, from smallest to largest are: ensemble, chamber orchestra and orchestra and these can be given closer approximations by the common terms small, medium and large. There is overlapping: a large ensemble is very much like a small chamber orchestra; and a large chamber orchestra may well be described as a small orchestra.

A single performer is a soloist.

In essence, this compendium is mainly about musicians who have studied, learnt or developed the art of composition in one form or another to a high degree and then practiced it. Their specific codes can be read by the musically literate and realized in performance.

However, there have been musical compositions that have not required musicians or indeed notation, the telegraph wire recordings and manipulations of Alan Lamb for example. The time, effort, sonic manipulation and technology he puts into realizing his works are sufficient for me to view them as compositions. On the other hand, I do not view music that is entirely improvised as a composition: I see it as spontaneous music making. Again, there are grey areas and I have admitted works that are almost entirely improvisations provided that there is some sort of form or musical direction from the composer which is understood by the performers and developed to the composer’s satisfaction.

There may well be oversights on my behalf. For this I must take responsibility and should they be brought to my attention, admission in a future upgraded edition may well be implemented.

First and foremost, I would like this volume to be appreciated for what it is, and not criticized unduly for what it isn’t.

This work is as definitive as I could make at the time, and I acknowledge it is not complete. All I can contend is that it be merely a step in the right direction. Maybe even a big step.

ALLOWABLE EXTRAPOLATIONS & OMISSIONS

When the performance of a work is indicated to have happened in a certain year but no specific date is given, then it is possible to find that date if other items in that concert have a confirmed date. Of course the performers in that programme must coincide completely.

Sometimes in a programme, a new work by a composer is indicated by that very title (new work). If it can be established that in that year the composer only wrote one work for the kind of ensemble/performer that is giving the concert then that is indeed the work that was performed and it can be given its post concert designated name.

Similarly, should a composer have different arrangements of a particular work then the date of which version of that work is performed can be extrapolated from scrutinising the performers themselves and the instruments they play.

An undated work that is written for and performed during a specific occasion (someone’s birthday, the anniversary/inauguration of some institution) can be determined by finding those specific dates from other sources.

If it is established that a concert of a fairly substantial new work was performed in the first two months of a year, and I have no other reference to that work, then I conclude that the work was composed in the previous year. A new large work requires proof reading, copying and delivery of parts, studying and rehearsals. All of these take up time.

When an ensemble or institution celebrates an anniversary, the date of its inaugural year can be determined by counting backwards.

Composers sometimes leave an abbreviated dedication on their musical score. If the work for a particular solo instrument is at a professional standard, then the dedicatee can be determined by inference having knowledge of the performers around at that time: a flute composition captioned ‘to Laura’ means Laura Chislett; a viola composition captioned ‘to P.P.’ means Patricia Pollett, etc.

Sometimes a work is commissioned for some official occasion. If the work exists and the date of that occasion is known then it can be inferred that that is when the work was premiered.

The A.B.C. started to list the (year) dates of when they had commissioned certain works. More than half corresponded with knowledge I had accumulated from elsewhere, but there were times when the dates did not match; sometimes it was clear that commissioned works had been composed a year or two before the actual commission. In this instance, two possibilities: the A.B.C. has the dates wrong (probable) or the composer took the monetary grant from the commission and handed in something that had already been done (possible). After a fairly fruitless search to establish what actually transpired, I concluded that it really does not matter that much. So on the occasions when there were mismatches I just left the commissioned part out of it. Maybe both sides would prefer it that way.

ACKNOWLEDGEMENTS

To Di-Anne, my dear wife, for unlimited support in every way (and for leaving me alone when I needed).

To Emily, eldest daughter, whose academic standards are so high her Dad has to live up to them.

To Elizabeth, youngest daughter, whose infectious joy of life and profound observations helped me sustain this task.

To Stephen, eldest son, for his optimism and his positive outlook.

To Mick, youngest son, whose reticence demonstrated how to apply continually an objective perspective.

To Steve Flack, manager of the Liverpool Academy of Music and accomplished guitarist, who saw the value of such a work and encouraged me every step of the way.

To Marcus Chin, my good friend, whose generosity was much appreciated and who stimulated my interest in Australian music by presenting me with the 15 C.D. Australian Anthology of Music on Disc many years ago. Other similar discs followed.

To Mark Sinclair, computer wizard, and occasional drinking companion, for all of his exceptional technical expertise, advice and direction.

To Stephen Gard, for lending me valuable texts, for editing the preface, for advice on publication, and for ‘boring me to death’ (his words) with the convivial times we shared.

To Tian Yu, lovely lady, for instruction regarding the pronunciation of Chinese musical instruments.

To Freda Jones, long time friend, for advice on layout and presentation (much of which I ignored) and for a substantial number of ‘Limelight’ magazines.

To Clair Hogan, chiropractor, who regularly re-aligned my body after the contortions I put it through when I would multi-task note taking, researching, using the internet, perusing numerous books around me, and typing in an unorthodox manner, hour after hour.

To Linda Nguyen, optometrist, who tested my declining eyesight and prescribed the right set of reading glasses, making my work a great deal easier and more bearable.

To Alman Ogane, eye specialist, for proscribing eye drops that precluded my having to suffer impending blindness.

To the bloke at Cheap Entertainment (Les) who counselled me to ‘get a life’, and when he realized I didn’t have one, gave me worthwhile ideas.

SPECIAL THANKS TO:

Dr. Katy Abbott Lee Abrahmsen Stephen Adams Margareta Akcay Ernie Althoff Robert Ampt Cathy Applegate Richard Austin Thomas Azoury Tony Backhouse Mirei Ballinger Graham Barnett Andrew Basile Amy Bastow Andrew Batterham Andrew Batt-Rawden Robert Beasley Betty Beath Katia Beaugeais Eleanor Betts Ian Blake Andrew Blythe Gillian Bonham Dr. John Bostock Kim Bowman Margaret Brandman Tobias Breider Colin Bright Rosalie Buchan Hayley Bullock Andrew Byrne Taran Carter Chris Cartner Jenna Cave Dr. Richard Charlton David Chisholm Wang-Hua Chu Zana Clarke Tristan Coelho Brendan Colbert Amanda Cole Melissa Coleman Brendan Collins Dr. Barry Conyngham Lewis Cornwell Helen Cox Drew Crawford Judith Crispin Romano Crivici Alicia Crossley Bruce Crossman Neil Currie Leah Curtis Dr. Philip Czaplowski Robert Dahm Tim Davies Roger Dean Jim Denley Matthew Dewey Amy Dickson Lawrence Dobell Dr. Mario Dobernig George Dodd Christine Draeger Daniel Dries Peta Dries Dr. Jon Drummond Christian Duboudin Alistair Duff-Forbes Dr. Michael Duke Andrew Duncan Dr. Houston Dunleavy Roslyn Dunlop Stefan Duwe Prof. Lance Eccles Jane Ede Claire Edwardes George Ellis Gregory Elmaloglou Melody Eotvos Alison Evans Tim Fisher Karen Fitz-Gibbon Geoffrey Gartner Graeme Gerrard Paul Goodchild Paul Grabowsky Iain Grandage Alicia Grant Maria Grenfell Anthony Grimm Anna Grinberg Dr. Elliott Gyger David Scott Hamnes Amanda Handel Andrew Harrison Michael Kieran Harvey Ross Hazeldine Alan Hicks Dr. Matthew Hindson Ying Ho William Holland Daniel Holloway David Holyoake Cat Hope May Howlett James Humberstone Garran Hutchison-Menzer Robert Iolini Wendy Ireland Kurt Ison Anna K. Jacobs Victoria Jacono-Gilmovich Peter de Jager Philip Jameson Ella Jamieson Vivien Jeffery Graeme Jennings Herbert Jercher Dr. Jeff Johns Amy Johansen Robert Johnson Anthony Linden Jones Mylinda Joyce Zubin Kanga Martin Kay Christopher Keane Brennan Keats David Keefe Neil Kelly Peter Kelsall Jonathan Kent Dr. Gordon Kerry Peter Knight Dr. Gareth Koch Dr. Pavel Kohout Benjamin Kopp Dr. Linda Kouvaras Vineta Lagzdina Stephen Lalor Lotte Latukefu Meredith Lawn Catherine Leahy James Ledger Verna Lee Ray Lemond Rainer Linz Jonathan Little Anthony Lyons Anna Martin-Scrase Don MacLeod Vaughan McAlley Justin McKay Dr. Brett McKern Barry McKimm Don McLeod Peter McNamara Daniel Mendelow Cyrus Meurant Themos Mexis David Miller Sandra Milliken Dr. Frank Millward Elissa Milne Gordon Monro Kate Moore Lisa Moore Belle Morrison Peter Mumme Michael Murray Kate Neal Dr. Nigel Nettheim James Nightingale Lamorna Nightingale June Nixon Jason Noble Piotr Nowotnik Sean O’Boyle John O’Donnell Dr. Vivienne Olive Mark Oliveiro Stephen Oliver Mary Osborn George Palmer Q.C. Mathisha Panagoda Anthony Pateras Luke Paulding Richard Percival John Peterson Art Phillips Sergio de Pieri Dr. Anna Pimakhova Angela Polden Peggy Polias Elizabeth Powell Georgina Price Kevin Purcell David Pyke Helen Quach Katherine Rawlings Dr. Thomas Reiner Bree van Reyk Claire Howard Rice Daniel Rojas Bianca Rooman Jon Rose David Rowland Andrew Rumsey Dan Russell Julia Ryder Geoffrey Saba Chris Sainsbury Massimo Scattolin Robert Schulz Peter Schaefer Rotraud Schneider Ian Seaborn Veronique Serrett Anne Shirley-Peel Ben Sibson Julie Simonds Lachlan Skipworth Peter Anthony Smith Alister Spence Paul Stanhope Lisa Stewart R. J. Stove Wendy Suiter Ian Sykes Rie Tamaru Hollis Taylor Keren Terpstra Paul Terracini Dr. John Terry Carla Thackrah Benjamin Thorn Penelope Thwaites Cathy Travers Anthea Trevelyan Kenneth Tyrrell Evgeny Ukhanov David Urquhart-Jones Rachel Valler Erkki Veltheim Liam Viney Tracy Wan Jessica Wells Diana Weston Felicity Wilcox Gerard Willems Chris Williams Natalie Williams Sarah-Grace Williams Michael Winikoff Paul Witney Christian Wojtowicz Ronald Woodcock Michael Wray Toby Wren Svetlana Yaroslavskaya Alexey Yemtsov Shu-Cheen Yu

VERY SPECIAL THANKS TO:

Matthew Atherton Simon Barber Joanne Birkl Dr. Diana Blom Rosalie Bonighton Greg Butcher Melvyn Cann Ann Carr-Boyd A.O. Ross Fiddes Dr. Michael Hannan Dr. Moya Henderson Freddie Hill Dr. Wendy Hiscocks Graham Howard Dr. Leslie Howard Dr. Kristian Ireland Michael Irik Dr. Malcolm John Don Kay Dr. Douglas Knehans Jocelyn Kotchie Dr. Raffaele Marcellino John Martin Kass Finlay McAuliffe Satsuki Odamura Dr. Paul Paviour David W. Pyke Dr. Haydn Reeder Dr. Johanna Selleck Emeritus Professor Larry Sitsky A.O. Derek Strahan Dr. Allan Stiles Dr. Katia Tiutiunnik Rachel Tolmie

I must also extend my warmest thanks and appreciation to Edilson Marks of Xlibris who saw the value of the original edition and ensured its publication.

Equally, I extend my gratitude to Lizzie Herbert, editor of the Fine Music magazine, who drew attention to the fact the Chronology existed and engaged me to write on a series of ‘Forgotten Australian Composers’ for the ‘Fine Music’ magazine.

Joseph Grey and Cherry Noel of Xlibris have my life long gratitude for overseeing the publication of this second edition.

APPENDIX 1: TERMS USED IN THIS WORK

I have used some short cuts for convenience and ease of reading, and made the following editorial decisions:

-when I use the term contemporary music I