Abstract
This chapter celebrates the creative work of Australian composer, Helen Gifford (b. 1935). Beginning with Gifford’s earliest composition and tracing the composer’s evolving, idiosyncratic compositional style, this chapter leads to the composition that Gifford claims was the “beginning of her professionalism,” Fable (1967) for harp solo. Fable is the first known original harp solo written by an Australian composer and premiered in Australia. I document Gifford’s cultural positioning, her evolving idiosyncratic compositional style and the circumstances surrounding the composition’s conception. The chapter describes the milieu of Australian composition in the 1960s and celebrates Helen Gifford as one of the country’s most prominent composers. It describes the influences on Gifford’s formative years as a developing composer and provides an overview of her early compositions leading to Fable, including the critical reception of performances of her early works, compositions which she describes as “exercises” or “accidents.” The harp’s rise as a solo concert instrument in the mid-twentieth century is examined, and examples of contemporaneous solo harp literature are given. Gifford’s compositional influences, and her process of composing Fable, are discussed. The chapter concludes that Gifford’s work for solo harp is a critically acclaimed, widely acknowledged masterpiece.
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Notes
- 1.
Felix Werder, “Composer’s Hard Road to Concert Hall,” The Age, February 6, 1965, 39.
- 2.
Roger Covell, “New Stature in Creating,” The Sydney Morning Herald, July 13, 1964, 58.
The five other composers mentioned by Covell: Peter Sculthorpe (1929–2014), George Dreyfus (b. 1928), Nigel Butterley (born 1935), Richard Meale (1932–2009), and Larry Sitsky (born 1934).
- 3.
Donald Peart, “Donald Peart Interviewed by Hazel de Berg,” August 8, 1969, Canberra: National Library of Australia, Hazel de Berg collection; DeB 377–378, accessed February 28, 2020, http://nla.gov.au/nla.obj-220873565.
- 4.
Donald Peart, “Contemporary Australian Music,” Record Society Monthly Review 5, no. 8 (1965): 3.
- 5.
Peart, “Contemporary Australian Music,” 4.
- 6.
Program Notes for Australian Voices: Helen Gifford, Primrose Potter Salon, Melbourne Recital Centre, October 31, 2016, http://mrc-assets.s3.amazonaws.com/assets/File/6450.pdf.
- 7.
Helen Gifford, “Helen Gifford—War, Craft, and the Making of a Modernist Composer,” Interview with Andrew Ford in Resonate, Sydney: Australian Music Centre, September 22, 2015. https://www.australianmusiccentre.com.au/article/helen-gifford-war-craft-and-the-making-of-a-modernist-composer.
- 8.
Helen Gifford, interview with the author, September 14, 2016.
- 9.
Helen Gifford, “Raison d’être” in The Half-Open Door: Sixteen Modern Australian Women Look at Professional Life and Achievement, eds. Patricia Grimshaw and Lynne Strahan (Sydney: Hale and Ironmonger, 1982), 176.
- 10.
Helen Gifford, “Raison d’être,” 177.
- 11.
Helen Gifford, interview with the author, February 26, 2019.
- 12.
Helen Gifford, “Raison d’être,” 177.
- 13.
Helen Gifford, “Helen Gifford—War, Craft.”
- 14.
“Won Award for Composers,” The Age, July 14, 1965, 21.
- 15.
Helen Gifford, “Subliminal Co-Ordinates … Drawing Threads,” New Music Articles 7 (1989): 6.
- 16.
Kevin McBeath ran new music broadcasts on 3XY (a classical music radio station operating out of the loft of Melbourne’s Princess Theatre established by Frank Thring Snr.) with composer Doug Gamley (1924–98) and then in the 1950s with Alex Berry [no dates] on ABC 3LO. In Helen Gifford, “Subliminal Co-Ordinates… Drawing Threads,” New Music Articles 7 (1989), 6.
- 17.
Anne Latreille, “Composer ‘Quietly Does Her Own Thing,’” The Age, December 1, 1973, 15.
- 18.
Helen Gifford, “New Audience ’78,” Interview by Barry Conyngham. University of Melbourne (June 4, 1978), audio recording.
- 19.
Helen Gifford, interview with the author, October 27, 2016.
- 20.
Gifford, “Subliminal Co-Ordinates… Drawing Threads,” 6.
- 21.
Charles Southwood, “Helen Gifford,” Composer Profile no. 16, Broadcast May 26, 1992 (Sydney: ABC Radio, May 26, 1992), radio tapes.
- 22.
Helen Gifford, Australian Women Composers, directed by Adele Sztar (Melbourne: Australian Film Institute, 1983), videocassette.
- 23.
Helen Gifford, “Transcript 2: My Music Composers’ Forum,” in Repercussions: Australian Composing Women’s Festival and Conference 1994, ed. Thérèse Radic (Melbourne: Monash University, National Centre for Australian Studies, 1995), 128.
- 24.
Helen Gifford, Carol: As Dew in Aprille (Sydney: J. Albert and Son, 1966).
- 25.
Helen Gifford, “Helen Gifford—War, Craft.”
- 26.
James Murdoch, Australia’s Contemporary Composers (Melbourne: Macmillan, 1972), 97.
- 27.
Roger Covell, “A Contract for Ian Cugley,” The Sydney Morning Herald, December 15, 1967, 9.
- 28.
Helen Gifford, Fantasy for Flute and Piano in Contemporary Australian Flute, Vol. 2, eds. Mardi McSullea and Lawrence Whiffin (Sydney: Currency Press, 1997), 11–13.
- 29.
Helen Gifford, interview with the author, August 7, 2020.
- 30.
Undated Newspaper Clipping, Helen Gifford’s Private Collection: Melbourne.
- 31.
Ria Groot, in a letter to Helen Gifford, Utrecht, March 12, 1961. Saved in Gifford’s mother’s scrapbook, Gifford’s Private Collection: Melbourne.
- 32.
Helen Gifford, The Gifford Collection: The Piano Music of Helen Gifford (Melbourne: Red House Editions, 1997). Margaret Schofield gave the premiere in a New Music Ensemble performance, Russell St Theatre, July 16, 1961, and made the first recording in an ABC Radio broadcast 1961.
- 33.
Helen Gifford, interview with the author, September 14, 2016.
- 34.
Helen Gifford, “New Audience ’78.”
- 35.
The competition was adjudicated by Herbert Howells and Malcolm Arnold, September 24, 1963, at the Penrhyn Rooms, East Sheen, UK. Documents in Gifford’s Private Collection: Melbourne.
- 36.
David Simon, “Melbourne Concert Reviews: Assembly Hall New Music,” Music and Dance: Incorporating Australian Musical News 54, no. 2 (1963): 13.
- 37.
Dorian Le Gallienne, “Local Composer’s Work Rewarding,” The Age, June 8, 1963.
- 38.
Johanna Selleck, “Worlds Apart?” Victorian Flute Guild, Armadale Uniting Church, June 24, 2017, Program Notes, accessed July 18, 2020, http://www.victorianfluteguild.org/melbourne-composers-concert-worlds-apart/.
- 39.
Graham Hair, “New Music,” Farrago, June 19, 1964.
- 40.
John Gilfedder, “… Now the China Bowl Beat,” newspaper cutting from unknown newspaper in Gifford’s mother’s scrapbook, Gifford’s Private Collection: Melbourne.
- 41.
James Murdoch, 97.
- 42.
Roger Covell, “Music and Theatres,” The Sydney Morning Herald, December 18, 1963, 12.
- 43.
Ruth Lee Martin, “ ‘The Dark Corner’: A Study of the Dynamic Dialect Between Women Composers and the Australian Orchestral Milieu” (PhD dissertation, Australian National University, 2000), 4.
- 44.
Margaret Crawford, flute; Peter Clinch, clarinet; Betty McLelland, cello; March 5, 1965, Assembly Hall, Melbourne, Australia.
- 45.
Margaret Crawford, flute; Thomas Evans, clarinet; Basil Deane, cello; August 19, 1965, Theatre Royal, Hobart, Australia.
- 46.
North Side Arts Festival, Cremorne reviews: C.M. Prerauer, “Noisy Modern Works,” The Sun, August 30, 1965, and Roger Covell, “Contemporary Music at Chalwin Theatre,” Sydney Morning Herald, August 30, 1965.
Sydney Alpha Ensemble reviewed by Roger Covell, “Debut Covers Some Daunting Territory,” Sydney Morning Herald, June 9, 1993, 25.
- 47.
Stephen Pleskun, “A Chronological History of Australian Composers and Their Compositions,” (Bloomington: Xlibris, 2012), 2.
- 48.
The score and parts are housed in the Rare Books Collection, Louise Hanson Dyer Library, University of Melbourne.
- 49.
John Collins, Ed., Fourth Adelaide Festival of Arts (1966), Souvenir Programme, accessed January 26, 2019, http://adelaidefestival.ruciak.net/archive/1966%20Booking%20Guide.pdf.
- 50.
Helen Gifford, interview with the author, September 14, 2016.
- 51.
Zoe Sweett, The Gifford Collection: The Piano Music of Helen Gifford (Melbourne: Red House Editions, 1997), 4.
- 52.
Gifford, “Raison d’être,” 184.
- 53.
John Sinclair, “Groups Perform Local Works,” The Herald, August 26, 1964.
- 54.
Zoe Sweett, The Gifford Collection, 4.
- 55.
Helen Gifford, Catalysis, in Anthology of Australian Music on Disc, handbook, eds. Michael Noone and Robert Parker (Canberra School of Music: Canberra Institute of the Arts 1989), 19.
- 56.
Clive O’Connell, “Musical Composition in Australia in the Period 1960–1970: Individual Triumph or Historical Inevitability?” (Master’s Thesis, University of Melbourne, 2000), 91.
- 57.
Zoe Sweett, The Gifford Collection, 4.
- 58.
Helen Gifford, interview with the author, August 7, 2020.
- 59.
Helen Gifford in the Preface to the manuscript score Three Pieces, Sydney: Australian Music Centre, 1966.
- 60.
Helen Gifford, “New Audience ’78.”
- 61.
Helen Gifford, interview with the author, September 14, 2016.
- 62.
Roslyn Rensch, Harps and Harpists, second edition (Bloomington: Indiana University Press, 2007), 220.
- 63.
“The Netherlands International Harp Week,” Harp News 3, no. 9 (1964): 12.
- 64.
“Marcel Grandjany Dead at 83; Harpist Led Unit at Juilliard,” The New York Times, February 25, 1975, 38.
- 65.
Andrea Olmstead, Juilliard: A History (Champaign: University of Illinois Press, 1999): 50.
- 66.
Carlos Salzedo, “The Harp–Medium of the Modern Age,” Overtones: The Monthly Publication of the Curtis Institute of Music, 1, no. 8 (1930): 199.
- 67.
Carlos Salzedo, “Pioneer Period: Efforts on Behalf of Contemporary Music following the Last War,” New York Times, December 6, 1942.
- 68.
Walter Piston, Orchestration (New York: Norton, 1955).
- 69.
Peggy Glanville-Hicks, “Writing for the Harp,” Harp News 3, no. 3–4 (1956): 2.
- 70.
“London Players Coming,” The Sydney Morning Herald, March 18, 1966, 10.
- 71.
Reviews of this performance include: “Zabaleta: Australian Premiere,” The Age, June 24, 1967, 76; John Sinclair, “Zabaleta is Such a Master,” The Age, July 6, 1967, 21; and Romola Costantino, “Basque Harpist,” The Sydney Morning Herald, July 19, 1967, 15.
- 72.
Felix Werder, “Harp Into Its Own: Self-Sufficient Voice,” The Age, June 20, 1967.
- 73.
Romola Costantino, “Artist on the Harp,” The Sydney Morning Herald, July 24, 1967, 6.
- 74.
Suzanne Robinson, “Peggy Winsome Glanville-Hicks,” in Australian Dictionary of Biography, vol. 17, edited by Diana Langmore (Melbourne: Melbourne University Press, 2007).
- 75.
R. P., “Spanish Program Presented Here: New Music Society’s Concert Includes Glanville-Hicks Sonata for Harp Paul Bowles Songs,” The New York Times, March 11, 1952, 23.
- 76.
Eric Gross, Rondino Tranquillo Op 34/1 (1962), Australian Music Centre, accessed January 24, 2021, https://www.australianmusiccentre.com.au/workversion/gross-eric-rondino-tranquillo-op-34/3950.
- 77.
International Society of Contemporary Music (Melbourne), “Bulletin 1968—no.1,” January 30, 1968, International Society for Contemporary Music Collection, 1967–1972, University of Melbourne Archives, Ref. 1972.0027, Melbourne, 2.
- 78.
Helen Gifford, Program Note for Fable, ISCM (Melbourne) Recital, Dental Hospital Theatre, Melbourne, March 4, 1968 (University of Melbourne: ISCM Archives, Ref: 1972.0027); and Program Note for Fable, Elder Hall, Adelaide, March 20, 1968 (Adelaide Festival Centre Archives, Ref: 2165, AFA 1968).
- 79.
Helen Gifford, interview with the author, January 26, 2017.
- 80.
Program in Helen Gifford’s Private Collection: Melbourne.
- 81.
Helen Gifford, interview with the author, Jan 26, 2017.
- 82.
Helen Gifford, interview with the author, Jan 26, 2017.
- 83.
Growth and Prolation––rhythmic addition––of note values (controlled slowing down and the oxymoron: “controlled” rubato). As Gifford describes, she is “leaving nothing to chance.” Helen Gifford, interview with the author, October 4, 2018.
- 84.
Helen Gifford, interview with the author, January 26, 2017. By naming Ravel as “Omar,” Gifford reveals her reverence and veneration for him as a composer.
- 85.
Helen Gifford, “Raison d’être,” 175.
- 86.
Pyotr Ilyich Tchaikovsky, Roméo et Juliette Overture-Fantasia (Berlin: Bote and G. Bock, 1881).
- 87.
Piston, 338.
- 88.
Helen Gifford, interview with the author, January 26, 2017.
- 89.
Kenneth Hince, “A Word on a Gilded Cage,” The Australian, March 5, 1968.
- 90.
ISCM (Melbourne) Program Notes, Adelaide Festival Centre Archives, Ref: 2165, AFA 1968.
- 91.
John Horner, “Tapes Plus a Live Bassoonist,” The Advertiser, March 21, 1968.
- 92.
Fred Blanks, “On the Side of the Angels,” The Sydney Morning Herald, August 6, 1979, 8.
- 93.
Marshall McGuire (harp), Awakening, recorded 1994, on Tall Poppies TP071, compact disc.
- 94.
John Carmody, “Australian Music Week Should Be a Showcase for Even More Homegrown Talent,” The Herald Sun, February 4, 1996, 94.
- 95.
Roger Covell, “Sureness and Sympathy,” The Sydney Morning Herald, February 26, 1996, 13.
- 96.
Paul Cook, “Awakening,” American Record Guide 60, no. 1 (1997), 208.
- 97.
“Australia Day 1996 Honours,” Commonwealth of Australia Gazette No. S 12, January 26, 1996 (Canberra: Australian Government Publishing Services, 1996), 10.
- 98.
Monash University, “Roll of Honorary Graduates, 1990–1999,” accessed January 12, 2021, https://www.monash.edu/alumni/your-alumni-community/roll-of-honorary-doctorates/roll-of-honorary-graduates-1990-1999.
- 99.
Jo Litson, “Art Music Awards to Honour Australian Composer,” Limelight, August 3, 2016, https://www.limelightmagazine.com.au/news/art-music-awards-to-honour-australian-composer/.
- 100.
Anne Latreille, “Composer ‘Quietly Does Her Own Thing.’”
- 101.
Anne Latreille, “Composer ‘Quietly Does Her Own Thing.’”
- 102.
Jaslyn Robertson, “A Brain that Keeps Working: An Interview with Helen Gifford,” Context 45 (2019), 75–85.
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Dennett, J. (2022). “Conjuring Up the Magic”: Helen Gifford’s Compositional Passage to the Creation of Fable for Solo Harp. In: Kouvaras, L., Grenfell, M., Williams, N. (eds) A Century of Composition by Women. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-95557-1_6
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