French Horn
AYO: 1955-
Patrick’s association with the AYO began 60 years ago when he attended his first National Music Camp. “A group of about 12 of us set off from Central Station in Sydney for the Geelong Music Camp, and at the end of the two weeks, like many others since, I felt my whole life had been permanently changed.” The scene was set for a long career in music – as a performer, teacher, administrator and mentor – and the life-long gratitude, affection and respect for the National Music Camp Association and later, AYO, have always been there.
Alumni Interview
What were the early influences on your Music career?
My first Music Camp in 1955 was crucial to the seminal decision I took to make music my life and career. As a typical student attending a music institution – in my case, the Sydney Conservatorium – my experiences of music were not particularly inspiring; they were in most respects merely an extension of school classes. There were few rewards but, it seemed, many punishments. Practice, routine studies, the absence of praise, fear of performing, and chastisement for making mistakes all made formal study of music a puzzle, and, occasionally, a chore. What changed all this was the appearance of John Bishop as an inspiring teacher and musical luminary Professor Bishop was Director at Camp, leader of a clearly dedicated group of tutors, and conductor of the main orchestra. He demonstrated for me that music is a joy, an aesthetic journey. Doors were opened to the wonders of music theory, the motivations of composers and conductors, musicology, ethnic music, piano repertoire, even Lied and Opera. Looking back, it is hard to conceive that so many influences were compressed into two weeks of activity. But those influences have lasted a lifetime. Similar influences also exist, as I’m constantly reminded, for whole generations of Campers – now numbering in the thousands – and members of the AYO’s orchestras, freshly assembled every year.
Why did you decide to become a volunteer for AYO?
My voluntary work over the last ten years has been inspired in part by John Bishop’s “other half”, Ruth Alexander. Ruth is the exemplar, though I believe AYO owes equally strong debts to the many volunteers; particularly Maureen White and Margaret Greene who have given of their time, expertise, patience and a good slice of their personal life to help ensure the annual re-affirmation of the ideals of AYO and its associated programs.
Why have you and your partner decided also to make a bequest to AYO?
Broadly, because it is a satisfying thing to do. But it’s a combination really. The “motivation for music” is inspired by John Bishop. The means of validating that motivation is through “giving to music” and is inspired by Ruth Alexander.
As a result of my personal travels through music and the recognition of that which John Bishop had set in motion, I have long accepted that his legacy is too precious to be allowed to diminish. It needs security, and realistically, that means ultimate financial security. Of course, others (governments, generous sponsors and donors) also appreciate that need; but if future generations of Australia’s young talented musicians are to benefit equally, then the ultimate financial independence of AYO is really the only safeguard for that security.
I have enjoyed the time I’ve committed to AYO over the past ten years. This is perhaps another “Motivation for Music” aspect. I now enjoy just as much satisfaction in knowing that I can make a gift sometime in the future, since Lyn and I have decided to leave a bequest for AYO. For us, this is the more literal, but hardly less significant, “Giving to Music”. Besides, it’s a very easy thing to do.
Between them, AYO’s founders John Bishop and Ruth Alexander have helped initiate a personal lifetime of satisfaction through Music. Yet a bequest lasts even longer than a lifetime. By extension, so does the satisfaction!
Tell us your best AYO memory
There are many memories of AYO and of National Music Camp which have stayed in my mind. After 70 years (!) the most vivid is still my first Camp, in which my colleagues and I formed two horn sections for the Bishop and Alexander orchestras. The surrounding sound of a complete and enthusiastic orchestra(s) rehearsing daily the ‘Russian Easter Festival Overture’ of Rimsky-Korsakov, and Sibelius’ 2nd Symphony under Prof. Bishop have never faded from memory. At 15 and one of the youngest members at Camp, I was almost overwhelmed by the sounds of the orchestras, the chamber music, the newer friends I made, and the care and concern of “Auntie” Ruth Alexander and Prof. Bishop. Two years later I was selected for the very first season of the AYO in the Sydney Town Hall – another unforgettable, memorable and historic occasion. Such events propelled me into an orchestral career in music; subsequently I was fortunate enough later to be invited to join the Adelaide Wind Quintet which performed in some 15 countries, and a teaching career at the Elder Conservatorium in Adelaide. Later I was again fortunate to be elected to the position of Director for 4 years, and to that of Associate Dean for 11 years, before retirement. As a measure of my gratitude to AYO for the opportunities which later came my way, I found a way to ‘return the favour’, during retirement, by volunteering to help set up and develop the AYO Alumni program over a period of more than 20 years. As I’ve already said, the memories….
