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IMusic Printing and Publishing in Australia

Catalogue ofan Exhibition in the Sir Louis Matheson Library,Monash University, 6November-4 December 2000

GEORGINA BINNS

I. Allan & Co.Georgette Peterson, composer, Bush Songs ofAustralia: Songs for Young and

Old, words by Annie R. Rentoul, illustrations by Ida S. Rentoul-Outhwaite, Melbourne: Allan & Co., [1924].

Allan's Community Songs, Melbourne: Allan & Co., [1934-1939].Peter Game, The Music Sellers,Melbourne: Hawthorn Press, 1976.Allans is a name synonymous with music publishing and selling in Australia.Begun in 1863, the enterprise still carries out this role. The pioneer of this sig-nificant force in the promotion of music at all levels in this country was GeorgeLeavis Allan, who arrived from England in 1852. After a stint at goldminingand music teaching, Allan joined Joseph Wi1kie and his well-established music .warehouse in Collins Street, Melbourne, in 1863. Allan became the sole ownerof the business in 1875 and from then on it expanded into selling and repairinginstruments, offered teaching rooms and music sales. It moved into larger andmore prestigious premises in 1877 and continued to prosper. In 1879 Allan in-troduced a music catalogue of publications from overseas and from local com-posers. Its compilation Australian songbooks were best sellers, selling over100,000 copies in 1900. Charles Tait, a director from 1896, contributed to thegrowth of the publishing arm. In 1922 a dedicated music printing plant es-tablished by Alex Kynoch to print music specifically for Allans and its growingmarket. .

Allan's Community Songs were extremely popular in the 1930s and a numberof volumes were published for an eager public. The beautifully illustrated seriesof songbooks for children (represented here by Bush Songs ofAustralia) by com-poser Georgette Peterson were also very popular. Peterson was also an artist,singer and pianist. Born in Budapest, she studied at the Royal Budapest Acad-emy. She became involved in the musical life ofMelbourne as the wife of Frank-lin Peterson, Ormond Professor of Music at the University of Melbourne. Shewas choral conductor of the 1300 voice choir for the 1907 Au!tralian Exhibitionof Women's Work. The talented sisters Annie Rentoul and Ida Rentoul-Outhwaite provided the lyrics and illustrations.

Sources: Peter Game, The Music Sellers, Melbourne: Hawthorn Press, 1976;Warren Bebbington, Oxford Companion to Australian Music, Melbourne: OxfordUniversity Press, 1997; Australian Dictionary ofBiography, v.ll, 1891-1939 Nes-Smi, Carlton; Melbourne University Press, 1988.

BSANZ Bulletin 25,3 &4, 2001,101-109

102 Bibliographical Society ofAustralia &New ZealandBulletin

2. E. W. ColeCristabel, composer, editor & arranger, Cole's Music of the Bells, 2nd series,

Melbourne: E.W. Cole, c.1898Edward William Cole (1832-1918) was 'the most amazing bookseller in the his-tory of Australian publishing'. Arriving in 1852 as a goldrush immigrant heworked along the Murray River, eventually opening a bookshop in the EasternMarket, Melbourne, in 1865. In 1873 he opened the first Cole's Book Arcadeand eventually 'moved in 1883 to its Bourke Street home. It was very successfulnot only offering books for sale, but operating as an amusement arcade that en-couraged customers to spend time browsing and amusing themselves. The pub-lishing component of this exercise was very successful. Its most well known titleis Cole's Funny Picture Book, which found a place in the homes of most Victori-ans. A large range ofmusic was published by E.W. Cole-the bright covers werean attractive feature and unusual for this period.

Source: Williarn H. Wilde, Joy Hooton, Barry Andtews, The O+rd Compan-ion toAustralian Literature, 2nd ed., Melbourne: Oxford University Press, 1994.

3. Editions de l'Oiseau-LyreThe Editions de I'Oiseau-Lyre (Lyre-Bird Press) was founded by Louise Han-son-Dyer in Paris in the 1930s. Born in Melbourne in 1884, Hanson-Dyer be-came a patron of the arts, founded the British Music Society, encouraged youngmusicians and poets, and was involved with the Alliance and its 'cul-tural activities. In 1927 she and her husband left for England, later moving toParis. Here she thrived, becoming involved in the cultural life of the city andencouraging musicians, composers and writers. Her interest in French music wasindicated in the first publication of the Editions de I'Oiseau-Ly,ce-the completeworks of Francois, Couperin in twelve volumes. Many other publications fol-lowed. 'These included early music including Blow, Purcell, Byrd and worksfrom the thirteenth and fourteenth centuries, which prompted an early musicrevival'in Europe, and twentieth century works by Canteloube, Koechlin andMilhaud. A number of Australian composers, including Margaret Sutherlandand Peggy Glanville-Hicks, were promoted by the press. If. complementary re-cording company was set up and many of the editions were recorded by leadingmusicians of Europe. The press moved to Monaco after the Second World Warand continues to publish and contribute scholarly publications, which are studiedand performed by musicians all over the world. Louise Hanson-Dyer died inMonaco in 1962.

Source:Jim Davidson, LyrebirdRising, Carlton, Vie: Miegunyah Press, 1994.

Exhibition Catalogue 103

Francois Couperin, Oeuvres completes, publices par un groupe de musicologues,sous la direction de Maurice Cauchie, 12 vols, Paris: Editions de I'Oiseau-Lyre, 1932-1933.

This was the first publication of the Editions de rOiseau-Lyre. It was publishedto celebrate the tercentenary of Couperin. The work includes the first use of thetrademat1< end papers, depicting stylised lyre-bird feathers, which were used infuture publications of Editions de I'Oiseau-Lyre. Described as 'Smart Art Decodesign, with a green curve in Cotswald green advancing upon a ground of lightcream; a further green stripe ... down the, right-hand side' Hanson-Dyer wroteto an English colleague of the edition: .

that itwill have a modern cover with an eighteenth century inside. I believe inthis for we are doing it in our modern days and I never do like copies of any-thing. It is bound in a new material which one can wash.

Yvonne Rokseth, ed., Polyphonies duXIIIe Siecle: Le manusmtH 196 de la Fac-ult de Medeane de Montpellier, 4 vols, Paris: Editions de I'Oiseau-Lyre,1935-1948.

The Montpellier Codex, the original housed in the Faculty of Medicine at theMontpellier University in southern France, is the largest remaining collection ofthirteenth century music. It was described in the Oiseau-Lyre advertising flyer asrepresenting French music at 'the zenith of its brilliance and purity'. The prove-nance of the collection of 345 items in the codex is unknown before the eighteenthcentury, although it is known that the music was collated in the fourteenth cen-tury. The collection largely consists of motets, both sacred and secular. Musicolo-gist Yvonne Rokseth undertook the editing and transcribing of the work. The setwon the first medal for French Antiquities awarded by the Institut de France.

This copy is one of a limited edition of 100 copies bound in Australianblackwood. Although not noted in the volumes, this Australian inspired bindipgwas publisher Louise Hanson-Dyer's contribution to celebrating the centenaryof European settlement in Melbourne in 1934. In the process of importing theveneered wood into France, Hanson-Dyer had to deal with difficult French cus-tom officials, high shipping costs and binders who complained that the woodwas too heavy and difficult to work.

Margaret Sutherland, words by Esther Levy, They Called her Fair, Paris:Editions de I'Oiseau Lyre, 1935.

Louise Hanson-Dyer and composer Margaret Sutherland met while studying atthe Albert Street Conservatorium in Melbourne. They worked together on anumber of projects in Melbourne including recitals of Sutherland's music andpublishing projects. Hanson-Dyer published Sutherland's best known work, theSonata fOr Violin and Piano, a number of songs with settings by John Shaw-Neilson and Esther Levy, and small works for pipes. Hanson-Dyer also pro-moted and published the works of another colleague, Peggy Glanville-Hicks,whom she had also met at the Albert Street Conservatorium.

104 Bibliographical Society OfAustralia & New Zealand Bulletin

4. HenryHandel RichardsonBruce Steele& Richard Divall, ed., Henry Handel Richardson: The Music Part• 1&II, Musica Australis vo!. 4, Melbourne: Marshall-Hall Trust, 1999.Bruce Steele & Richard Divall, ed., A Collection of Songs by Henry Handel

Richardsonfor Voice andPiano, Sydney: CurreneyPress, 2000.Henry Handel Richardson, Christkindleins Wiegenlied, an old German Carol,

London: Ulysses Press, 1931.The two contemporary editions on display are part of the Monash UniversityHenry Handel Richardson Project under the direction of Clive Probyn andBruce Steele, funded by the Australian Research Council and Dame ElisabethMurdoch. The project aims to produce critical editions of the works and corre-spondence of Henry Handel Richardson (HHR-187cr-1946). HHR was thename adopted by the Australian author and composer Ethel Florence LindesayRobertson (nee Richardson). Author of the novels The Getting of Wisdom,Maurice Guest and The Fortunes ofRichardMahoney, she was also a composer ofnumerous works for voice and piano and other musical combinations. Onlyone of her songs was published in her lifetime. Christkindleins Wiegenlied: anOld German Carol appeared in a limited facsimile edition of 250 bound inJavanese paper. HHR sent many as personal Christmas greetings to her friendsin 1931. The selection of the songs for the recent publications edited by Steeleand Divall represent her settings of English and German poems from the late1890s to 1943.

5. FolkMusic

Hugh Anderson, Australian Song Index, 1828-1956, decorations by RonEdwards, Black Bull Chapbooks no.7, Ferntree Gully, Vie.: Rams SkullPress, 1957. .

John Manifold, Bandicoot Ballads, lino-cut illustration by R.G. Edwards,Ferntree Gully, Vie.: Rams Skull Press, 1953.

Hugh Anderson is described as 'one of the seminal figures in the study ofAus-tralian folksong and ballad'. Since the early 1950s he has been involved in thewriting, editing and collaboration of over 60 publica1:ions on Australian folk-song, ballad, folklore, biography and criticism. The Black Bull Chapbooks werepublished by the Rams Skull Press between 1954 and 1957, most with musicand notes researched and written by Anderson, and illustrations by fellow folkmusician, craftsman and artist Ron Edwards. The Rams. Skull Press was estab-lished by Edwards in ·Ferntree Gully in the early 1950s, and amongst its first

Exhibition Catalogue 105

publications were the pioneering series of broadsheets, 'Bandicoot Ballads', acollaboration between Edwards and John Manifold. Manifold played a pio-neering role in ensuring that Australian bush songs were collected and pub-lished. His publications The Penguin Australian Songbook and Who Wrote theBallads? (1964) are still considered major works in the study of Australian

Source: Gwenda Beed Davey & Graham Seal, ed., The Oxftrd Companionto Australian Folklore, Melbourne: Oxford University Press, 1993.

6. Around the Boree Log

Around the Boree Log: A Collection of20 Songs with Piano Accompaniment,music by Dom Stephen Moreno, words by 'John O'Brien', New Nor-cia, W.A.: Benedictine Community, 1933.

The Miniature Edition ofAround the Boree Log: A Collection of20 Songs withPiano Accompaniment, music by Dom Stephen Moreno, words by 'JohnO'Brien', Sydney: Pellegrini & Co, 1933.

'John O'Brien', Around the Boree Log and Other Verses, 28th ed., Sydney:Angus & Robertson, 1953.

The composer of the twenty songs in the song series Around the Boree Log, DomStephen Moreno O.S.B. was a Spanish Benedictine monk and musician whotravelled to Australia to live and work at the Benedictine Monastery in NewNorcia in Western Australia. He was musical director at the Monastery formany years and composed liturgical music and some secular works. In 1933 heundertook to set the poems inAround the Boree Log by John O'Brien', which hadbeen published by Angus & Robertson in 1921 with great success. The songswere published by the Benedictine Community in 1933 and were also publishedby Pellegrini and Co., the Catholic booksellers in Sydney. The Catholic(September 7, 1933) gave the publication strong exposure describing them as'rare gems of art...The range of sentiments is very wide... It was a happy thoughtof his to choose for his composition this wonderful book which is the very incar-nation ofAustralian life, a book in which the joys and sorrows of our south landare so admirable described.'

John O'Brien' was the pseudonym ofPatrickJoseph Hartigan (1878-1952)a Catholic priest who worked most of his life in country New South Wales. Hepublished two volumes ofverse under this pseudonym including Around the BoreeLog and The Parish ofSt Mefs (1954), which was a tribute to his Narrandera par-ish. The poetry was 'simple, homely balladry centred on the Irish-Australian,Catholic, rural communities'.

Source: Williarn H. Wl1de, Joy Hooton, Barry Andrews, The Oxftrd Compan-ion toAustralian Literature, 2nd ed., Melbourne: Oxford University Press, 1994.

106 Bibliographical Society ofAustralia & New Zealand Bulletin

T1e Southern .Euphrosyne and Australian· Miscellany: Containing OrientalMoral Tales, Original Anecdote, Poetry and Music, an Historical Sketchwith examples ofNative AboriginalMelodies put into Modern Rhythm andHarmonized as Solos, Quartettes, &c. together with several other OriginalVocal Pieces, arranged to a Piano-forte Accompaniment by the Editor andSole Proprietor, I Nathan, Sydney: Isaac Nathan, 1849.

Isaac Nathan (born Canterbury, UK, 1790?; died Sydney, Australia, 1864) was acomposer, singer and teacher. He arrived in Australia in 1841 with a well-established reputation as the author ofa respected book on vocal technique,Musurgia Vocalis (1823), composer ofA Selection ofHebrew Melodies (1815-16)-and leaving behind significant debts. Nathan made his mark in colonial Sydneyas a church choir director, composer, conductor and critic. His opera DonJohn ofAustria was.performed in 1847 in Sydney and was described as·the 'first operawholly performed in Australia'. He also undertook pioneering workwithsetringsofmusic ?fthe Australian aborigines. . .

The Southern Euphrosyne includes both musical components and embittereCldetails of Nathan's personal affairs, affidavits from supporters and stories of hisJewish heritage. The most significant aspect of this book is the publication of hisaboriginal transcriptions with annotations. In adding harmonies and rhythmicstricmres and the 'versifying' of the words, the original music has been obscured,so that the result is a set of songs representative of the typical nineteenth cenmrysong genre, perhaps reflecting the colonial atrimdes to the original inhabitants ofAustralia through this transmogrification.

. 8. MusicaAustraliana PressCharles Edward Horsley, Quartet for Two Violins, Viola and Violoncello,. Melbourne: MusicaAustralianaPress, 1979. .

This shortlived press was founded in BalIarat in 1979 by pianist and musicolo-gist KathIeen Brady and printer Geoffrey Zilles. Quartetftr Two Violins, Violaand Violoncello by Edward Horsley was the first production of this press, whichaimed to produce facsimiles of compositions with connection.Charles Edward Horsely, born in London in 1822, arrived in Australia in 1861with a reputation as an organist and' composer of some note. He was conductorof the. Melbourne Philharmonic Society from 1862 to 1865, organist at St Fran-cis Church, and contributed to the musical components of the 1866 MelbourneExhibition. His masque Euterpe was performed at the opening of the MelbourneTown Hall in 1870. He remrned to England in 1871.

Exhibition Catalogue 107

Little is known of the history of this quartet. The manuscript has Horsley'spresentation inscription and it reads '...not old but very sincere friend, CharlesEdward Horsley, Melbourne, Victoria, March 26, 1862.' Unfortunately the topline of the inscription is unable to be read. The manuscript paper is watermarked1856, dating the work as being composed between 1856 and March 1862. Horsleyhad beer: in Australia three and a half months when the manuscript was inscribedand so it is possible that the work may have been written inMelbourne.

From notes by Therese Radic in the foreward of Charles Edward Horsley,Quartet for Two Violins, Viola and Violoncello, Melbourne: Musica AustralianaPress, 1979.

9.W.]. BanksThe Australian MusicalAlbum 1894, Sydney: W.]. Banks, 1894.This was to be number one of a series, but unfortunately no others were pub-lished. It was designed as a publication for giving and sending back to the 'home'country-to promote the colonies with examples of up-to-date musical srylesand artistic representations of the sophisticated buildings and gardens. It con-tains works by many of the musicians practicing in Sydney at the time, includingAugust Wiegand, Henri Kowalski, Albert Wentzel, Horace Poussard, HugoAlpen, Alice Charbonnet-Kellermann, Esther Kahn and Reene Less. Part of theimportance of this Album consists in the 'Biographical Notes' on many of thecontributors. The cover shows a view of Sydney Harbour, looking over the Bo-tanical Gardens to Farm Cove, by Albert Fullwood.

10J.Walch and SonsWalch's Tasmanian Almanacfor 1884.Wood's Royal Southern Kalandar, Tasmanian Register and General Austral-

asian and East Indian Official Directory, Launceston: Henry Dowling;Hobart: J.W.H. Walch, 1850.

The firm, taken over by Major Walch and his sons from Samuel Augustus Teggat the beginning of 1846, was to play an important role in the selling and pub-lishing of music in the later nineteenth century. The advertisements in these al-manacs illustrate the extensive range of activities ofWalch & Sons, including thesale of 'music paper, music books etc' and pianos and organs. The developmentof the music side of the business between the 1840s and the 1880s is quite clearfrom the material displayed.

Notes on Walch's byWallace Kirsop.

108 Bibliographical Society ofAustralia & New ZealandBulletin

11. MusicJournals in AustraliaAustralian MusicalNews, Melbourne: Allans, 1911-1963.. .

Lina Marsi, Index to the Australian Musical News 1911-i963, Melbounie:Lima Press, 1990. .

Australian Jazz Quarterly, nos. 1-24, Melbourne: W.H. Miller, 1946-1954..Jazz Notes, nos. 39-59; 61-113, Melbourne: City Service Press, 1944-1945;

Adelaide: John W. Rippon, 1946-1962.The Australian Musical News (also published as Music and Dramatic News, Aus-tralian Music andDramatic News and Music and Dance) provides an unsurpassedcoverage ofAustralian musical life during its period ofpublication from 1911 to 1963.

Despite the importance of this journal to the documentation. ofAustralianmusic. life, it is believed that there is no complete set extant in either private· orlibnuy collections. Until 1991, in order to gain a complete coverage of the jour-nal, researchers had to go from library to library to seek individual issues or runs.. In 1991, a new Australian music course. was introduced in the MonashUniver-sity Department ofMusic. Seeding funding was sought.to support the introduc-tion of this new course and to provide resources for the academics and studentsto utilise in their. study .and research. The then Music Librarian, HelenO'Donoghue, undertook to piece together a complete set ofAustralian MusicalNews from collections and libraries around Australia in order. to make a mastermicrofllm copy. The complete run ofAustralian Musical News is now available in .microftlm or microftche for purchase from Monash University Library, enablingresearchers and libraries, archives and museums to access a source which wasonce a logistical nightmare for researchers and is now an invaluable resource forAustralian music history.

A valuable Index to the Australian Musical News 1911-1963 was compiledand published by Lina Marsi in 1990. It has provided ,,:ccess to a wealth of in-formation about performers, composers, events, organisations and is a valuabletool for historians and researchers of the performing arts in Australia and hasalso provided a source for many genealogists.· .. AustralianJazz Quarterly (1946-1954) was purchased by the Music Library

in 1995. Described as 'amagazine for the Connoisseur ofHot Music' it was 'de-voted purely to jazz essays,- criticism, biographies and similar features ...andca-tered particularly for Australian fans. It ran until 1965. :AJQwasedited and pub-lished by William H. Miller, a Melbourne lawyer. Miller went to Oxford in1933 and frequented the rhythm clubs and record shops in London imtilhis re-turn to Australia in 1938. With a library of about six hundred jazz records, hebegan broadcasting on 3UZ in a weekly spot called Jazz Night' and became in-fluential in his support of traditional jazz which was making a revival in Austra-

Exhibition Catalogue 109

lia after the Second World War. Contributors included active performersGraeme and Roger Bell. •

AjQ eventually incorporated jazz Notes, the organ of the 3UZ Jazz LoversClub, which was originally edited by Miller and later by C. Ian Turner. It alsobegan to, incorporate the official program of the Australia Jazz Convention,which had begun in 1946. AjQ and jazz Notes provide insight into the tradi-tional jazz movement in Australia, and Melbourne in particular, after the SecondWorld War.

Sources: Australian jazz Quarterly, Andrew Bisset, Black Roots White Flow-ers: A History ofjazz in Australia, Sydney, Golden Press, 1979.

W. H. PALING PTY. LIMITEDII SYDNEY - BRISBANE9 AIIO lSTABlISHED THROUGHOUTItS W, AIID QUHMSlUO ;-r

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