1965 Flagship: ABC Youth Concerts

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.

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.

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!

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….

My AYO and NMC experiences – the sheer joy of playing music with others – helped nurture my passion for chamber music. Also, as a student I toured in a chamber orchestra throughout Germany and France and was very inspired by the visit to Australia of an orchestra of German students; none of them were studying music but they achieved very high standards of playing through disciplined practice and by taking repertoire seriously. I had a dream to create a similarly dedicated chamber orchestra with a core group of players who could perform exciting, challenging repertoire. It’s wonderful that so many world-class musicians have played with the Melbourne Musicians, often in the early stages of their careers.

We were playing Bruckner’s 4th Symphony with Viennese conductor Georg Tintner and during the performance we were playing in 38 degrees celsius heat; Georg conducted us in a thick woolly jumper, to demonstrate that it wasn’t too hot to play! It was a special experience.

With John I had the chance to conduct Stravinsky’s Rite of Spring, which is a real test for conductors, as it has such complex rhythms. John combined thorough technique and interpretation with extensive musical experience. Even in his 80s, he attended one of my concerts and gave me some positive conducting tips; he was constantly mentoring and encouraging others.