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BEc LLB A Mus A (Piano Performing)
Published in 2009 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email firstname.lastname@example.org Designed and printed in Australia by Wensleydale Press, Ashfield, Sydney
Copyright © Gerard Carter 2009 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher.
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MUSIC IN MY LIFE
BACKGROUND I was born on 6 August 1943, the third of four sons of Arnold Leslie Carter and Marjorie Marie Agatha Rooke. My father attended Newington College at Stanmore, Sydney, and graduated in Arts and Law from the University of Sydney where he attended Wesley College. He practised for many years as a Solicitor and was also for some years a popular part-time lecturer in legal procedure for the University of Sydney Law Extension Committee. My mother attended Loreto Convent, Kirribilli, and the Convent of the Sacred Heart, Rose Bay, graduated in Arts from the University of Sydney where she attended Sancta Sophia College, and taught for three years before getting married. I spent the first five years of my life in Artarmon and grew up in Roseville. My brothers and I all attended Loreto Convent, Kirribilli (they accepted boys up to second class) and St Aloysius’ College, Milson’s Point up to the then School Leaving Certificate. My elder brothers and I all graduated from the University of Sydney. After leaving school I worked as a law clerk and studied Economics at the University where I graduated in 1966. In 1968 I became articled to Mr Campbell Addison who was the senior partner of Addison and Knox, a firm of city Solicitors. His father had been the New South Wales Industrial Magistrate for many years and had co-authored ‘Hamilton & Addison’ the then standard book on NSW criminal law. On completion of my articles of clerkship and graduation in law from the University I was admitted on 14th February 1971 as a Solicitor and stayed on with the firm in that capacity. A year later I was admitted to partnership. For a number of years I was also a tutor, and later a lecturer, in Commercial Law with the Law Extension Committee of the University of Sydney. I joined the St Thomas More Society and served for a time as its secretary. In 1981, desirous of broadening my legal experience, I moved to the government sector where I was responsible, among other things, for the preparation, implementation and enforcement of legislation in the areas of agricultural, maritime and public works law. I retired in 2000, having laboured in the legal vineyard for over forty years, and was appointed a life member of the St Thomas More Society. MUSIC IN MY LIFE Music for piano: Ann Spillane and Eunice Gardiner My parents introduced me to music and my mother taught me piano in the begining. In 1954, when I was nine years old and at the beginning of my sixth class at school, I started learning privately with Ann Spillane who taught piano at Rose Bay Convent for many years and had taught my mother when she attended the Convent in the 1920s. My lessons took place on Tuesday and Friday mornings during school term and I was on occasion a few minutes late for my first school class. Thus was due to engrossment in my
piano lesson and because some peak hour trains were scheduled to go through without stopping at the train station for Wollstonecraft which was the suburb where Miss Spillane had her studio. I once varied my excuse by telling the master that I missed the train because it was early, but he came from Melbourne and doubted that Sydney trains were ever early. He did, however, relieve me from the consequences of my failure to comply with the rules regarding punctual attendance, perhaps on the basis that my excuse had a certain specious originality. I have kept the programme of my début piano recital which I gave in the concert hall of Rose Bay Convent in mid 1956 as a school boy in short trousers. My pieces consisted of Beethoven’s Für Elise (Beethoven’s monument to his unrequited love for Thérèse Malfatti whose Christian name was posthumously and incorrectly transcribed as ‘Elise’), Mendelssohn’s Venetian Gondola Song in F sharp minor, Chopin’s Waltz in D flat major opus 64 no. 1 ‘Minute’, his Nocturne in E flat major opus 9 no. 2 and Waltz in E minor. These were followed by a song ‘April Morn’ by Batten which was sung by the choir. I finished my recital with ‘La fille aux cheveux de lin’ (The girl with the flaxen hair’) and Arabesque no. 2 in G major by Debussy, ‘Papillons’ (Butterflies’) by a ‘contemporary composer’, and Mendelssohn’s Venetian Gondola Song in G minor. I performed on a Collard & Collard grand piano and the concert was well-received, perhaps because the short trousers assisted in my child-prodigy impersonation. The evening culminated in a supper in the parlour accompanied by French-style milk coffee. The score of ‘Papillons’ stated that it was Herbert Dennison’s opus 1. Miss Spillane told me that this was not the real name of the composer, but so far as ever revealing the composer’s real name her lips were forever sealed. I do not have the music now but I do remember something of how it went and it had a white-note upwards glissando just before the recapitulation which was an excitement for me then. With a gap for my school leaving year in 1959, my lessons with Miss Spillane continued until her retirement in late 1960. At about this time I inherited an 1899 Bechstein which I used in preference to the Bogs und Voigt my elder brother Jim and I both played up until that time. Jim, who gained a first class honours degree in Economics and was awarded the University medal in Economics from the University of Sydney and later became a senior public servant in Canberra, studied piano for a number of years with Miss Nea de Mestre at the Sydney Conservatorium of Music, and also harmony and counterpoint. My eldest brother Tom, who gained degrees in Science and Engineering from the University of Sydney and later had a busy and successful practice as a consulting engineer, took lessons with our great uncle Frank (the distinguished violinist Francis Mowatt Carter). My mother kept up some of her Chopin and Grieg piano pieces while my father enjoyed learning classical guitar. My younger brother Richard, whose promising career in the merchant marine was cut short by illness, was interested in a lighter style of music. I studied piano with Eunice Gardiner at the Sydney Conservatorium of Music from 1961 to 1963 and gained the Associate Diploma in Piano Performing from the Australian Music Examinations Board. Over the years I kept up my interest in music generally and piano
music in particular. I remember with gratitude my time with both Ann Spillane and Eunice Gardiner. My subsequent musical activities included attending piano, chamber music and orchestral concerts. I was organist at Our Lady of Dolours Church, Chatswood; Holy Family Church, Lindfield; St Mary’s Church, Ridge Street, North Sydney; and St Augustine’s Church, Balmain. I was a tenor with the Lindfield four-part church choir and performed as pianist for music clubs such as Tessa Birnie’s Australian Society for Keyboard Music and the United Music Teachers’ Association. I was treasurer for the UMT for quite a number of years. During the early 1960s I had met Michael Leslie who lived at Artarmon and Roger Woodward who lived at Chatswood, both suburbs adjoining Roseville. They were at that time, of course, young pianists making their way. These days Michael lives in Munich and Roger lives in San Francisco. Michael has made a successful career as a concert pianist and teacher specialising in Beethoven. Roger is an extremely well-known and successful concert pianist and recording artist and is also currently a music professor at San Francisco State University. Both studied with Alexander Sverjensky at the Sydney Conservatorium of Music and were at an early age giving solo piano recitals and performing with orchestra. I have kept in touch with Roger over the years especially when he has returned to Australia to perform. Michael nurtured my interest in the piano works and concertos of Brahms and Roger nurtured my interest in those of Liszt and Prokofiev. In the late 1980s I bought a Yamaha grand and in 1990 I sold it and bought a Steinway model B grand. In the early nineties I gave a series of home concerts, a number of which I recorded on tape. I accompanied each concert with a talk about the composers and the pieces. With work pressures during the nineties, and everyone striving to keep their jobs, music went on a back-burner and I half-forgot about the tapes. Later in the 1990s CDs and digital technology grew in availability and, after I retired from the law in 2001, I put my tapes onto CD. This was no small project but I eventually produced CDs which include the following pieces: 1. Liszt: Sonata in B minor, Petrarcan Sonnets, Liszt/Wagner arrangements. 2. Liszt: Mephisto Waltz, Consolations. 3. Historic Organs: Franck. 4. Rachmaninoff: my arrangements of themes from his piano concertos. 5. Chopin Polonaises and PolonaiseFantaisie. 6. Chopin Nocturnes. 7. Bach. 8. Brahms. 9. Schumann and Chopin. 10. Beethoven: ‘Pathétique’, ‘Moonlight’ Sonatas. 11. Alfred O’Shea tenor. 12. Land of Song: A Whistle Stop Tour: Anthony Wallington, baritone, with me at the piano. 13. Sacred Songs: Anthony with me at the organ and the piano. 14. Opera gems arranged by me. 15. Three Franck organ works arranged by me and my Fantasy op. 2. The recording of the celebrated Irish tenor Alfred O’Shea was taken from a Columbia 78 rpm disc of Handel’s Largo and Liszt’s Liebestraum no. 3. My great-uncle Francis Mowatt Carter accompanied him on the violin and his brother Bryce Leslie Carter on the cello. Persons unknown to me were accompanying him on the organ and the harmonium and it is possible that one of these was my great-aunt Edith (née Bunting) who was married to Frank and was herself a pianist and teacher and his accompanist. The names of the artists, other than Alfred
a well-known German firm. and an Alexandre harmonium of the type played by César Franck. in the following twenty-five years or so. in addition to ‘classical’ rolls. I bought at auction an Erard grand piano. made in the 1870s. when electric discs started to replace acoustic discs. The Music Australia website indicates that Music Australia holds other disc recordings by my great uncles but I do not have them. made and sold a large number of reproducing pianos and rolls. reproduce the artist’s precise dynamics and use of the sustaining pedal. although it was not unheard of for recording artists to ‘moonlight’ for more than one firm. the ‘Welte Mignon’. after paying removal expenses and auction fees. Recording artists gave testimonials authenticating the reproduction. Welte & Son. are not noted on the disc. After I moved to Ashfield in 2003 I ventured for a time into old instruments.O’Shea. After the death of my father in 1998 the disc came into my possession. Now for the first time in history the playing of a piece of music by a pianist could be exactly reproduced on a real piano but without a pianist. Welte’s main competitors were the German firm Hupfeld/Triphonola and the American firms Aeolian/Duo-Art and Ampico (an acronym for the American Piano Company). large numbers of dance music rolls were also sold. I do not have the harmonium now. Until 1927. In that year. There were tuning problems for the Erard and it was not possible to bring it up to modern concert pitch which is A440. The celebrated Russian/American pianist Sergei Rachmaninoff recorded a number of his own compositions for Ampico exclusively. either. a few years later. The disc had come into my father’s possession probably after the death in 1959 of his cousin Lois Carter who was the daughter and only issue of Frank and Edith. for the first time. in America. After cleaning and polishing the Erard. of the type played by Franz Liszt and many other piano virtuosos of the time. Welte operated in Germany and also. I resold it at auction and. I broke even. This was a great advancement on the ‘pianola’ which had been marketed in America and had already become a popular means of domestic entertainment. and playing it for a while. My father showed me the disc during his lifetime and gave me this information. a pianist was forced to modify his or her performing style to achieve a passable 6 . Reproducing grand pianos in those days cost. which had for years been making mechanical organs. Music for reproducing piano: Denis Condon In 1905 there occurred a musical revolution that has been all but forgotten. preferably garishly decorated. but people with money competed with each other to have one of these monsters. as much as a luxury car does today. in real terms. nor is the date of recording although it would have been in the 1930s. in their home. but playing it gave me insight into performance of the large number of pieces that César Franck specifically wrote for that instrument. Large numbers of reproducing grand and upright pianos were sold over the years and. Welte engaged the top concert artists in Europe to record on the Welte Mignon reproducing piano and. marketed a new type of ‘expressive’ reproducing piano. This new piano could not only reproduce the notes of a recording artist but could also.
an enthusiastic rebuilder and restorer of reproducing pianos and collector of piano rolls. was completely destroyed and all details of the Welte recording process were. and with melodydelaying. The factory. in his spare time. In 1929 the Wall Street Crash. From that time on. People now lacked the money to buy or maintain reproducing pianos and. caused the manufacture of reproducing pianos and the recording of new rolls to grind to a halt. In the 1970s Denis bought and restored a near-derelict terrace house at Newtown. In addition. many significant Welte rolls were saved because. or as collateral destruction from being next to a railway station. either because it was manufacturing optical lenses for binoculars. they had been removed and hidden in a nearby forest. Following the Great Depression and World War II. Recordings taken from some of these were later smuggled out through the border controls of the French sector of occupied Germany to America. melody-anticipation and arpeggiata. I attended his Saturday evening recitals of reproducing piano music with no pianist in sight except among the appreciative audience. expression and freedom. newer and cheaper forms of entertainment. Pianists then played with more warmth. At that time I had never heard about reproducing pianos. We must now fast-forward to 1965. only about four and a half minutes of music could ever be fitted onto a 78 rpm disc whereas a roll could contain over fifteen minutes of music. All the pieces were played by long-since deceased pianists. garages and eventually to tips. Many existing reproducing pianos and piano roll cupboards found their way to store-rooms. One evening he had three of his reproducing pianos set up in the purpose-built music annexe to his Brighton home and he provided us with an evening of piano music by Chopin and Liszt. when it was obvious that war was inevitable. reproducing pianos were either completely forgotten or dimlyremembered as a quaint relic of musical history. and the ensuing Great Depression. although the occasional one found its way to an auction house. Early on during that War the Welte factory in Freiburg was bombed accidentally by the Lutwaffe. at the same time. those recordings also tell us how a pianist actually played in the mid or late nineteenth century. together with its Welte reproducing pianos. who in some cases had during their lifetime studied with the great nineteenth century piano virtuoso and composer Franz Liszt at Weimar and had probably even heard him play some of his own compositions. let alone anything of their fascinating history. such as radio and the cinema. thought to have been. Reproducing piano recordings provide a unique insight into how pianists actually played in the early 1900s. and intermittently over the years. This problem never applied to reproducing piano roll recordings. Fortunately. The historic importance of all this is that the 7 . As an individual pianist’s style of piano playing changes little over time.recording and even then it was not possible to produce anything like a natural piano sound. In that year a mutual friend introduced me to Denis Condon who was a music teacher at Fort Street Boys High School and. became more readily available. In the closing stages of the war the RAF completely destroyed the factory by bombing. and fitted it out with a large first floor studio to house his pianos and rolls. lost forever. Others were gutted and used as cocktail cabinets or to display wedding photos.
Eugen d’Albert never studied the Sonata with Liszt himself but performed it in concert many times after the composer’s death in 1886. which I included in ‘Rediscovering the Liszt Tradition’. I have called ‘Nostalgia’. Denis is not only a world authority in this field but his collection is the most significant collection of its kind in the world. my interest in nineteenth century piano performing practice. and a two CD set. The first was recorded by Liszt pupil Eugen d’Albert in 1913 and the second by Paderewski pupil Ernest Schelling in 1916. The Liszt compositions had been recorded onto reproducing piano rolls by his celebrated pupils such as Arthur Friedheim. in particular. including Anton Rubinstein’s ‘Melody in F’ in a fox-trot version. The recording made on 3 July 1907 by Liszt pupil Vera Timanoff of Liszt’ first Hungarian Rhapsody. I had myself performed and recorded the Sonata in 1990 and had always been fascinated by Liszt’s masterpiece of thematic transformation. On a number of occasions over a period of two or three years. I acknowledge with gratitude the debt that I owe to Denis Condon in having been given access to his collection of over four thousand ‘classical’ rolls. I went to Denis’s studio and recorded a large number of compositions including those by Franz Liszt. back in the 1960s. of recordings of lighter piano works. would have also played in this way.’ Professor Larry Sitsky’s catalogue indicates that Arthur Friedheim recorded the Liszt Sonata on Triphonola roll and it is believed that this was in 1916. ‘Rediscovering the Liszt Tradition’ was published in 2006 and enclosed a three CD set of Liszt’s piano works played by eleven pianists who had been Liszt pupils.great nineteenth century composer pianists. I have since issued a four CD set of Liszt’s piano works played by non-Liszt pupils. such as Chopin and Liszt. ‘That is the way I thought the composition when I wrote it. with possible consequences for modern-day ‘authentic’ interpretation and ürtext literalism. Liszt pupil Arthur Friedheim did study it with Liszt himself and his public performance in the composer’s presence attracted the composer’s encomium. In 2000 I retired from the law and was determined to reinvigorate my interest in reproducing pianos and. Alfred Reisenauer. having first heard it when Sydney pianist Gordon Watson performed it in the AMP Theatrette. which may be hoping too much. Bernhard Stavenhagen and Frederick Lamond. is the only Liszt recording she ever made and the roll itself is extremely rare. it will be possible to listen to an authentic historical recreation of one of the masterpieces of the piano repertoire. ‘Franz Liszt’s Piano Sonata’ was published in 2004 and enclosed a CD containing two historic reproducing piano roll recordings of the Liszt Sonata from Denis’s collection. Mme Timanoff was one of Liszt’s two distinguished 8 . Circular Quay. Denis has a Hupfeld Rönisch ‘Anamatic PhonoLiszt’ upright piano which is in working order and capable of reproducing Triphonola rolls. made my contribution locally. hopefully. Denis does not have the roll itself in his collection but if the roll in playable condition ever turns up. The issue of CDs of historic recordings has in recent years been pursued energetically in America and elsewhere and I have.
is not displayed and bends back over on itself. did not want to be ‘interrupted’ by the celebrant. sometimes continued his organ improvisations after the celebrant wanted to continue with the liturgy. The organ sound is beautifully harmonised and the unusually high stone ceiling of the nineteenth century gothic basilica makes for a reverberant acoustic. I played Franck’s Third Chorale and Pièce Héroïque on Langlais’ two-manual German instrument and gained further insights. kindly facilitated by Alan Moffat who was then assistant organist at St Andrew’s Cathedral. Franck actually had a clear view of the sanctuary because the present console is in the same position facing the sanctuary as it was in Franck’s day. On occasions in the past it has been disconnected on account of its rumoured propensity to cause the whole Town Hall building to shake. Music for grand organ: Alan Moffat and Jean Langlais: and other recollections In June 1980 I had the opportunity. Langlais asked about the Sydney Town Hall organ’s unique 64 foot stop. who had also presided at the tribune and was a distinguished pupil of Franck. but all the fortysix original speaking stops and pipes are still there and operating. composer. devout believer though he was. at Langlais’ Paris apartment at 26 Rue Duroc. César Franck. The ‘pipe’ is rectangular. Langlais spoke to me once or twice for operating the swell box too energetically and accidentally banging it shut. In full organ. Mme Timanoff died of starvation in 1942. At the Basilica of Ste Clotilde the instrument in 1980 was. the listener almost drowns in an ocean of sound. who was almost totally blind and used Braille music score. The console has been rebuilt twice and the organ ranks have been enlarged. if not my technique.female pupils and he esteemed her playing very highly. especially when the basilica is empty. basically the same one that Franck played as titulaire organist at Ste Clothilde from 1859 until his death in 1890. At my second lesson. to study the organ works of the Belgian-French composer César Franck with Jean Langlais in Paris. and still is. at the age of eighty-seven. Perhaps Franck lingered because he was enjoying his improvisation and. during the Siege of Leningrad. He had been a pupil of Charles Tournemire. Maître Langlais operated the stops and I was able to play and hear for myself the world famous swell 8 foot trompette harmonique and the 32 foot sous-basse. My first lesson took place on the afternoon of 9 June 1980 on the historic 1858 three-manual Cavaillé-Coll grand organ at the Basilica of Ste Clotilde. 9 . spoke excellent English and was well disposed to Australians who had fought alongside his countrymen in two world conflicts. teacher who was for many years titulaire organist at the Basilica of Ste Clotilde in Paris. who is the composer of the much-loved Eucharistic motet ‘Panis Angelicus’. She retired from the concert stage early and became a prominent piano teacher in St Petersburg. made of wood. In Paris I had two lessons with the distinguished organist. on the afternoon of the following day. Langlais gave me many insights into the authentic organ performance tradition deriving from César Franck himself and I was encouraged that he also found something kind to say about my musical interpretation. and I played Franck’s First Chorale. Sydney. Langlais.
which are large-scale. with pleurisy and was not strong enough to go to the Basilica to play his Chorales in their final form. Lindfield. I was for several years a tenor in the four-part choir at the Church of the Holy Family. 10 . were written down by him in final form in the last months of his life and were published a year after his death. during which the assistant organist Pièrre Cogen played Franck’s exquisite Prélude. Many of Franck’s musical ideas for the Chorales were. on the historic three-manual Hill organ in that church. swirling around in his head long before he wrote the final manuscripts and probably spent the early part of their life as organ improvisations. 3. It was a two-kilometre walk. Fugue et Variation. Père et Fils two-manual organ at Kincoppal-Rose Bay Chapel. He also heard the Chorales in draft form played by the composer at Cavaillé-Coll’s showroom. I must continue with the account of my stay in Paris in June 1980. I remember the homily was on the topic ‘Nous sommes tous pecheurs’ and assume that the preacher was referring to ‘pecheurs’ (‘sinners’). from Franck’s Paris apartment to the Basilica. This is the organ over which Charles-Marie Widor and later Marcel Dupré presided for so many years and for which. followed by a climb to the organ tribune up a steep spiral stone staircase which is similar to the one in the Sydney University Great Hall. Franck was an unsuccessful applicant as titulaire organist. I am grateful for her participation and photography. or cab ride. in fact terminally ill. My mother and I travelled together and we both enthusiastically participated in all things cultural and musical although my mother was. is unaltered since it was built in 1862. no doubt. except for the addition of two stops. not ‘pêcheurs’ (‘fishermen’ – the circumflex accent representing the hook and line).Franck’s three organ Chorales. heard Mozart’s Missa Brevis performed at the Madeleine one evening. We visited Ste Clothilde on many occasions and attended vigil mass on the Saturday evening of our arrival in Paris. After returning to Sydney I was appointed assistant organist at the Church of St Augustine of Hippo at Balmain and in 1984 I recorded Franck’s Chorale no. Tournemire had assisted Franck with the preparation of the manuscripts and played the Third chorale on the piano à quatre with the composer. structured compositions. In late October 1890 Franck was putting the finishing touches to his manuscripts of the three Chorales when the parish priest came to give him the last sacraments. and the von Beckerath in the University of Sydney Great Hall. the historic organs at Sts Peter and Paul Cathedral and St Saviour’s Cathedral in Goulburn. the very playable tracker action Sharp organ at the Sydney Opera House. We attended 11 am Sunday Mass at La Trinité at which Olivier Messiaën played some of his organ works. not present at my lessons. We heard the very sounds that Franck heard when he played it. and attended an afternoon organ recital of extremely loud contemporary Polish compositions at Notre Dame Cathedral. In 1987 I recorded that Chorale together with Franck’s Cantabile on the historic Puget. Franck had suffered complications following on a street accident earlier that year and he was very ill. of course. at one time. During the 1980s I was also privileged to have the opportunity to play on the then recently restored Hill organ at the Sydney Town Hall. We visited Ste Sulpice but did not get to hear its large Cavaillé-Coll organ which.
which is more pianistic and more vocally comfortable. The master in charge was in the body of the church and doing his best to keep it all happening with a semblance of order and decorum. that he had at all material times acted in bad faith and with malicious intent! As Australia’s least established. At the second memorial concert in August 2005. and for a couple of years I was organist at St Mary’s Ridge Street. I have published my own piano arrangement. now Justice Hidden of the NSW Supreme Court. but not before we had. the defendant burst full blast into the Widor Toccata. Going back in time. ‘The Maiden’s Wish’ is a song for voice and piano by Chopin. I remember an incident in the late 1950s when we were practising at St Mary’s Church. I have issued CDs of both concerts. These became my article. In 2005 I edited some notes I had made back in 1980 which incorporated insights gained from my lessons with Jean Langlais and lessons and discussions with Alan Moffat. in the manner of schoolboys. I was standing beside the console. receive the audience’s enthusiastic plaudits. It did. taking his time to conclude at an appropriate cadence. enjoyed the diversion immensely. and I think after the lapse of fifty years I will be excused from breaching his confidence. To facilitate the rehearsal of the slow march. The defendant then intimated to me. which I performed at the first St Aloysius’ College memorial concert for my late class-mate and friend. Ridge Street. least performed and least prolific composer. Suddenly. however. My arrangement of the school song may be performed as a piano solo or as a vocal accompaniment. which appeared in the Summer 2004-2005 issue of the ‘Sydney Organ Journal’ and now my monograph ‘Interpreting César Franck’s Organ Works’. opus 2. opus 1. I have also published my piano solo ‘Fantasy on the Maiden’s Wish’. I have given it a thicker texture and have transposed it down from the original key of E flat to D flat. of Arthur Hahn’s ‘The Blue and Gold Forever’. I should say of my ‘Fantasy’ that if Chopin is French champagne then my piece is Barossa Pearl. one of the school pupils (hereinafter called ‘the defendant’) was presiding at the console with the calming strains of Handel’s Largo. our school singing teacher/accompanist sometimes used to insert. in September 2004. I imagine that it is quite an effective concert piece and has the advantage of being somewhat easier to play than it sounds. North Sydney. ‘The Organ Works of César Franck: An Introductory Guide to their Performance’. This may have been partly due to the fact that the audience was pleased when my assault on the ancient Steinway from the estate of the late actor Cyril Ritchard finally came to an end! For all that. Dr Anthony Wallington. I went some way towards redeeming myself from the bonds of mediocrity by playing a Chopin original. North Sydney for a forthcoming Anzac Day liturgy. his lyrical and ever-popular third Ballade.conducted by Peter Hidden. I have included a miniature pianistic flourish that Bill Caspers. He did so. although whether I had obtained permission to be there is a moot point. and without warning. 11 . The master then became extremely agitated and called out in a loud voice for the defendant to cease and desist.
At the chapel concert Anthony sang from the choir loft Franck’s ‘Panis Angelicus’ and Alessandro Stradella’s ‘Pietà Signore’ with organ accompaniment by me. classical. a concert at Hobart Town Hall which presented Schubert’s song cycle ‘Winterreisse’ (Winter Journey’). finally. I re-ascended the tribune to play Franck’s exquisite slow movement from his ‘Grande Pièce Symphonique’ while the audience filed out of the chapel towards the refreshments. ‘The Lord’s Prayer’ by Albert Hay Malotte. 12 . and ‘Star of Eve’ from Tannhaüser by Wagner (in place of the advertised ‘The Holy City’ by Stephen Adams). I was in Nuku’alofa. Three songs were then sung by Valerie Smith accompanied by Joan Brandman and. The concert had been advertised as ‘A Gracious Afternoon of Music in the Chapel’ and it lived up to its promise. and a concert at Kincoppal-Rose Bay Chapel held on 18 October 1987 with all proceeds going to the maintenance and enhancement of the chapel. with the Ashfield Uniting Church Tongan Brass Band and Choir and provided accompaniments on several occasions. and again in 2005. Our encore was ‘A Legend’ by Tchaikovsky. singing and compèring career in Europe in the 1970s and I became his accompanist after he settled back in Australia and resumed the profession of medicine. character and operetta songs. We gave a number of concerts in the 1980s and 1990s including a recital at North Sydney Town Hall which presented a conspectus of early Italian. Music for baritone and piano: Anthony Wallington Anthony Wallington was my class-mate from kindergarten right up to an including the then School Leaving Certificate 1959. He had an operatic.For two weeks in 2004. Tonga. romantic. He then sang from the Sanctuary ‘It is Enough’ by Mendelssohn from his Oratorio ‘Elijah’ and ‘En Prière’ by Fauré which I accompanied on a grand piano placed there for the occasion. These were followed by ‘Ave Maria’ by Luigi Luzzi.
He has issued CDs of his piano performances and his performances on historic organs and is the published author of numerous books on law and on nineteenth century piano music and performing practice. 13 . historical performing practice and reproducing piano revival movements. He is a long-time proponent of the ürtext.ABOUT THE AUTHOR Gerard Carter studied piano with Eunice Gardiner at the Sydney Conservatorium of Music and César Franck’s organ works with Jean Langlais in Paris. He holds the degrees of Bachelor of Economics and Bachelor of Laws from the University of Sydney and the Associate Diploma in Music (Piano Performing).
with three CDs of historic reproducing piano recordings of Liszt’s piano works performed by eleven celebrated concert pianists who studied with him at Weimar. based on famous Polish song for voice and piano by Frédéric Chopin. composed for piano by Gerard Carter opus 2 (A flat). hardbound illustrated 213 pages 230 x 160 mm ISBN 0977517314 RRP $115 Liszt Sonata Companion: Gerard Carter: advanced discussion and analysis of Franz Liszt's Piano Sonata in 123 fascinating articles. paperback 120 pages 190 x 120 mm ISBN 0977517365 RRP $45 Rediscovering the Liszt Tradition: Gerard Carter (includes 3 CDs): Franz Liszt and his pupils. legal concepts and institutions in Australia and its states and territories. in plain language. conebound illustrated 213 pages 297 x 210 mm ISBN 0977517306 RRP $85. paperback 306 pages 190 x 120 mm ISBN 0977517357 RRP $45 Transfer of Legal Rights: Gerard Carter: common law. for lawyers and law students. Tradition and the Golden Ratio in Chopin & Liszt: Gerard Carter: nineteenth century piano interpretative devices by ten celebrated pianists born in the nineteenth century taken from reproducing piano roll recordings of the Chopin Nocturne in F sharp major opus 15 no.PUBLICATIONS BY WENSLEYDALE PRESS Franz Liszt's Piano Sonata: Gerard Carter (includes CD): discussion and analysis of Franz Liszt's Piano Sonata with CD of historic reproducing piano recordings by celebrated Liszt pupil Eugen d'Albert and Paderewski pupil Ernest Schelling. forms and precedents. Sydney. flow charts. words and music by Arthur Hahn SAC 1918 (E flat) arranged for piano by Gerard Carter opus 1 (D flat). conebound sheet music 2 pages 297 x 210 mm ISBN 0977517373 RRP $25 Fantasy on the Maiden's Wish: Gerard Carter: pianistic and effective concert piece. and some astonishing discoveries about the golden ratio in the Chopin Etudes and the Liszt Sonata. equitable principles and statutory provisions in every Australian state and territory governing transfers of legal rights. stirring and inspirational school song of St Aloysius College. the mysterious tradition of the Klindworth D natural in the Liszt Sonata. paperback illustrated (seven illustrations are in colour) 159 pages 205 x 145 mm ISBN 0977517349 RRP $115 Australian Law for the 21st Century: Gerard Carter: common law. the authentic interpretation of his piano works. 2. and nineteenth century piano performing tradition. in plain language. conebound illustrated 310 pages 297 x 210 mm ISBN 0977517322 RRP $85 The Blue and Gold Forever: Arthur Hahn arranged by Gerard Carter: melodious. statute law. conebound sheet music 12 pages 297 x 210 mm ISBN 0977517381 RRP $45 Piano Mannerisms. with tables. diagrams. for those interested in learning about the law. Milsons Point. booklet illustrated 36 pages 297 x 210 mm ISBN 9780977517398 RRP $35 14 .
dynamics. Liszt pupil Motta’s edition.The Piano Book: Gerard Carter: pianos. booklet illustrated 45 pages 297 x 210 mm ISBN 978-0-9805441-4-5 RRP $40 Interpreting César Franck’s Organ Works: Gerard Carter: Franck’s organ at Ste Clotilde. performances. double-beat theory. the present organ at Ste Clotilde. arpeggiata. composers. recording artists. lessons with Alan Moffat. editions. 1 and 3 and Pièce Héroïque. Chopin and Liszt tradition through their pupils and disciples. dynamics and expression. organists and the Franck tradition. analyses. comparisons of markings by Franck. conebound illustrated 440 pages 297 x 210 mm ISBN 978-0-9805441-0-7 RRP $120 Nineteenth Century Piano Interpretative Devices: Gerard Carter: melody-delaying. interpretative editions by Cortot and by Liszt pupils Joseffy. touch and duration. rubato. Liszt Pädagogium. French organ music terms. arpeggiata. composition. eight foot reeds. Liszt pupil d’Albert’s 1913 Welte roll. pedalling. tempo. cursor theory. melodydelaying. conebound illustrated 86 pages 297 x 210 mm ISBN 978-0-9805441-14 RRP $45 The Authentic Chopin and Liszt Piano Tradition: Gerard Carter: Chopin and Liszt as composers. Schelling’s 1916 Duo-Art roll. its prototypes. pianists. sonority of reeds. nineteenth century piano interpretative devices in Chopin and Liszt. disc and roll recordings showing the use of nineteenth century piano interpretative devices. stylistic freedom. survey of 100 recorded pianists born before 1900 and their use of melody-delaying and arpeggiata. conebound illustrated 242 pages 297 x 210 mm ISBN 978-0-9805441-2-1 RRP $85 Liszt Sonata Compendium: Gerard Carter (includes CD): Franz Liszt’s Piano Sonata in B minor. editions. Chopin tradition through Mikuli. booklet illustrated 32 pages 287 x 210 mm ISBN 978-0-9805441-6-9 RRP $30 15 . analysis of the results of the survey. conebound illustrated 260 pages 297 x 210 mm ISBN 978-0-9805441-3-8 RRP $85 Towards an authentic interpretation of the Liszt Sonata: Gerard Carter: first edition. Liszt tradition through Stavenhagen and Kellermann. disc and roll recordings. rubato. Liszt pupil Friedheim’s performances. performing practice. includes facsimiles in study format of the autograph manuscript of 1852/53 and the Breitkopf & Härtel first edition of 1854. organists and the Franck tradition. Rosenthal and d’Albert. Liszt pupil Bülow. reception. also includes a CD of the Sonata. evaluation. Tournemire and Dupré and recordings by Langlais and Marchal. markings seem high. Liszt pupil Klindworth. air pauses and accelerando. interpretation. Franck performance theory. pianists and teachers. expression and interpretation in 207 fascinating articles. tempi. phrasing. Sauer. melody-anticipation. lessons with Jean Langlais on Chorales nos. style. Friedheim’s 1916 Triphonola roll. analysis. details of historic reproducing piano roll and disc recordings. booklet illustrated 37 pages 287 x 210 mm ISBN 978-0-9805441-5-2 RRP $40 César Franck’s Metronome Markings for his Organ Works: Gerard Carter: discovery of Franck’s metronome markings. repertoire. interactions of Liszt pupils. Liszt pupils Stavenhagen and Kellermann and their pupil Fleischmann.
rebuilder and restorer of reproducing pianos and their rolls. reproducing piano. booklet illustrated. collector. includes sheet music for The Blue and Gold Forever arranged for piano by Gerard Carter opus 1 and Fantasy on the Maiden’s Wish for piano by Gerard Carter opus 2. Denis Condon. 54 pages 287 x 21 ISBN 978-0-9805441-8-3 RRP $50 16 . accompanying voice. rolls were superseded from 1930s by electric discs. more natural sound than early discs. accurately reproduced dynamics and pedalling. revival increases our knowledge of nineteenth century piano performance practice.The Reproducing Piano: A Forgotten Musical Revolution: Gerard Carter: reproducing pianos and rolls. booklet 19 pages 287 x 210 mm ISBN 978-0-9805441-7-6 RRP $20 Music in My Life: Gerard Carter: piano. grand organ. top concert pianists recorded from 1905 to 1930.
Vaucluse. Anthony and Philip Wallington and Gerard Carter after the concert at Hobart Town Hall in 1987. Gerard Carter is holding a volume of César Franck’s organ works. Père et Fils organ at Kincoppal-Rose Bay. June 1980. Figure 5 The Puget. Figure 11 Roger Woodward and Gerard Carter at the front foyer of the Sydney Town Hall c 1980s (1) © Gerard Carter 2009 Figure 12 Roger Woodward and Gerard Carter at the front foyer of the Sydney Town Hall c 1980s (2) © Gerard Carter 2009 Figure 13 Gerard Carter performs the Liszt Sonata (Searle Loughman) at Roseville 1991. Figure 6 The Basilica of Ste Clotilde. June 1980. Figure 10 Roger Woodward in performance c 1980s. Anthony Wallington sang Schubert’s song cycle ‘Wintereisse’. Figure 4 Kincoppal-Rose Bay Chapel. © Gerard Carter 2009 Figure 16 Gerard Carter at his Steinway at Roseville c 1991. Balmain. Gerard Carter studied with Miss Gardiner at the Sydney Conservatorium of Music in the 1960s. Figure 7 The Sanctuary at Ste Clotilde. © Gerard Carter 2009 17 . Sydney. © Roger Woodward 2009 (used with kind permission). Figure 8 The monument to César Franck. © Gerard Carter 2009 Figure 14 Anthony Wallington Baritone and Gerard Carter rehearsing at Cremorne c 1988. Paris. Weimar. in front of Ste Clotilde. in 1980. Sydney. Figure 1 Eunice Gardiner at the piano in Franz Liszt's Music Room at the Hofgärtnerei. © Gerard Carter 2009 Figure 2 The William Hill organ at St Augustine's. Weimar.LIST OF ILLUSTRATIONS Cover: The Hofgärtnerei. One of the piano works he studied with her was the Sonata in B minor by Franz Liszt composed in 1852/53 at The Altenburg. © Gerard Carter 2009 Figure 9 The Cavaillé-Coll organ at Ste Clotilde. sculpted by Lenoir. The entrance to the spiral staircase leading to the organ loft is on the left of the photograph. Figure 3 The console of the William Hill organ at St Augustine’s. © Gerard Carter 2009. © Gerard Carter 2009 Figure 15 Paul. Weimar.
Figure 17 Gerard Carter at his Bechstein at Roseville c 1991. © Gerard Carter 2009 Figure 19 The Blue and Gold Forever arranged for piano by Gerard Carter opus 1 © Gerard Carter 2009 Figure 20 Fantasy on the Maiden’s Wish by Gerard Carter opus 2 © Gerard Carter 2009 18 . 2004. Tonga. © Gerard Carter 2009 Figure 18 Gerard Carter ‘conducting' with several members of the Ashfield Uniting Church Tongan Brass Band in Nuku’alofa.
Figure 1 Eunice Gardiner at the piano in Franz Liszt's Music Room at the Hofgärtnerei, Weimar, in 1980. Gerard Carter studied with Miss Gardiner at the Sydney Conservatorium of Music in the 1960s. One of the piano works he studied with her was the Sonata in B minor by Franz Liszt composed in 1852/53 at The Altenburg in Weimar. © Gerard Carter 2009
Figure 2 The William Hill organ at St Augustine's, Balmain, Sydney.
Figure 3 The console of the William Hill organ at St Augustine’s.
Figure 4 Kincoppal-Rose Bay Chapel, Vaucluse, Sydney.
Figure 5 The Puget, Père et Fils organ at Kincoppal-Rose Bay.
Figure 6 The Basilica of Ste Clotilde, Paris, June 1980. The entrance to the spiral staircase leading to the organ loft is on the left of the photograph. © Gerard Carter 2009.
Figure 7 The Sanctuary at Ste Clotilde.
Figure 8 The monument to César Franck, sculpted by Lenoir, in front of Ste Clotilde, June 1980. Gerard Carter is holding a volume of César Franck’s organ works. © Gerard Carter 2009
Figure 9 The Cavaillé-Coll organ at Ste Clotilde.
28 .Figure 10 Roger Woodward in performance c 1980s. © Roger Woodward 2009 (used with kind permision).
Figure 11 Roger Woodward and Gerard Carter at the front foyer of the Sydney Town Hall c 1980s (1) © Gerard Carter 2009 29 .
Figure 12 Roger Woodward and Gerard Carter at the front foyer of the Sydney Town Hallr c 1980s (2) © Gerard Carter 2009 30 .
©Gerard Carter 2009 31 .Figure 13 Gerard Carter performs the Liszt Sonata (Searle Loughman) at Roseville 1991.
Figure 14 Anthony Wallington Baritone and Gerard Carter rehearsing at Cremorne c 1988. © Gerard Carter 2009 32 .
Anthony Wallington sang Schubert’s song cycle ‘Wintereisse’. © Gerard Carter 2009 33 .Figure 15 Paul. Anthony and Philip Wallington and Gerard Carter after the concert at Hobart Town Hall in 1987.
© Gerard Carter 2009 34 .Figure 16 Gerard Carter at his Steinway at Roseville c 1991.
© Gerard Carter 2009 35 .Figure 17 Gerard Carter at his Bechstein at Roseville c 1991.
Tonga.Figure 18 Gerard Carter ‘conducting’ with several members of the Ashfield Uniting Church Tongan Brass Band in Nuku’alofa. © Gerard Carter 2009 36 . 2004.
Figure 19 The Blue and Gold Forever arranged for piano by Gerard Carter opus 1 © Gerard Carter 2009 37 .
Figure 20 Fantasy on the Maiden's Wish for piano by Gerard Carter opus 2 © Gerard Carter 2009 41 .