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McKay, Belinda
1998.
A State of Harmony?.
Queensland Review,
Vol. 5,
Issue. 1,
p.
1.
Article contents
‘Beethoven by Bus’: Nancy Weir and Queensland Music
Published online by Cambridge University Press: 26 February 2016
Extract
In the last issue of Queensland Review, it was argued that the idea of Queensland literature has a history, and that the various competing formulations of that idea have implications for Queensland identity and politics. Queensland art, likewise, has some currency as an idea, particularly as an ‘art off centre’ to borrow the title of a recent conference. It is, therefore, somewhat surprising that the idea of ‘Queensland music’ has not emerged as a useful way of constructing a cultural or political identity. ‘Music in Queensland’, suggesting an exotic and not fully acclimatized cultural form, is instead the designation used in the few — mostly unpublished — works which treat Queensland's musical history.
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References
Endnotes
1 Buckridge, Patrick, ‘Queensland Literature: The Making of an Idea,’ Queensland Review (1995): 30–41. ‘Art Off Centre’ was the title of a Queensland Studies Centre conference held in association with the Queensland Art Gallery, 29–30 April 1995. Although the role played by other forms of music in Queensland is also worthy of attention, this article focusses on what is variously known as ‘classical’ or ‘art’ music: ie. the music of ‘high’ culture.Google Scholar
2 Thea Astley, ‘Being a Queenslander: A form of Literary and Geographical Conceit,’ Southerly 36:23.Google Scholar
3 ‘Car Rushed by Crowd: Memorable Scene in Town Hall’, The Sun News-Pictorial, 8 July 1929: 3. All Melbourne newspapers canied lengthy articles about Weir's playing and the tumultuous public response.Google Scholar
4 Ehrlich, Cyril, The Music Profession in Britain since the Eighteenth Century: A Social History (Oxford: Clarendon, 1985) 53, 209. Ehrlich refers specifically to the British context, but his remarks are more widely applicableGoogle Scholar
5 Weir, Nancy, transcript of letter to Charles Weir, [undated: 21 June 1930), held by the Queensland Performing Arts Trust. Ada Freeman's diary notes that Schnabel ‘thought we were Brazilians!!?’.Google Scholar
6 Unless otherwise indicated, quotations are drawn from oral history interviews with Nancy Weir conducted by Belinda McKay between 1992 and 1995.Google Scholar
7 Weir, Nancy, interviewed by Beryl Davis and Laurel Garlick, Joint Oral History Project, Queensland Performing Arts Trust and the State Library of Queensland.Google Scholar
8 Gustavson, Corliss, ‘Pianists of Australia’, M.Mus. dissertation, University of Queensland, 1977, 292.Google Scholar
9 Schofield, Margaret, interviewed by Belinda McKay, 27 September 1993.Google Scholar
10 Roger Woodward is perhaps the only major international pianist who lives for extended periods in Australia, but he spends at least half of each year based in London.Google Scholar
11 Werder, Felix, interviewed by Belinda McKay, 8 June 1995.Google Scholar
12 Dawson, Jenny, ‘Opera in Colonial Brisbane’, M.Mus. dissertation, University of Queensland, 172–173.Google Scholar
13 Covell, Roger, Australia's Music: Themes of a New Society (Melbourne: Sun Books, 1967) 124.Google Scholar
14 Sitsky, Larry, interviewed by Belinda McKay, 28 September 1993.Google Scholar
15 Jones, Basil, interviewed by Belinda McKay and Sue Witham, 8 December 1993.Google Scholar
16 ‘Conservatorium Corroboree: Group on Teaching Tour Learnt from Aboriginals,’ The Courier-Mail, 31 May 1973.Google Scholar
17 Michael, Kate, unpublished notes on Nancy Weir, 1992.Google Scholar
18 Noble, John wrote: ‘Miss Weir — surely one of Australia's national treasures — again proved herself to be a poet of the piano, producing playing of character, maturity and insight in a reading which realises the full lyrical beauties of this concerto which she has made her own.’ See John Noble, ‘QYSO Superb — As Befits a Silver Jubilee’, The Courier-Mail, 10 July 1992.Google Scholar
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