My home is in a broader day:
at times I catch it glistening
thro' the dull gate, a flow'd play
and odour of undying spring:
I am Shut out of Mine own Heart
Christopher Brennan 1897
[663kb]
Greater Union Theatres offered Keats a
Musical Director's position for an orchestra of six at the new Strand Theatre, Newcastle.
He accepted but, because it offered little income, Janet taught piano as he did
occasionally, but only occasionally, because he had little love of teaching. Such was the
poverty of the newly weds that they had one seagrass mat (almost yellow bracken) which was
used on the floor of the lounge-dining room of their two-roomed flat. On those occasions
when the doctor was called to see Janet because of frequent illness, the mat was
transferred to the bedroom. They were to remain in Newcastle for two years until her ill
health necessitated their return to Sydney.
On one occasion before their return, Janet
visited Sydney in March, 1920. Each wrote to the other daily as they had done before they
were married. One letter provided valuable insight into the poor health plaguing Keats
during his short life. An inherited heart condition was exacerbated by poor dietary habits
generated by years of bachelorhood. He continued to cook after marriage and his delight in
culinary pursuits suited Janet who hated cooking. So, during her absence, life in this
department changed little, as the letter indicates:
And then my Babe I made some rice flour up with all the
milk that I wouldn't want for tea. And its not too bad either. I can't say I'm crazy on
it. I made a sort of blanc mange of it and flavoured it with lemon.
Then I got lunch which consisted of two chops and three
tomatoes grilled with rice flour and jam to follow. I read and ate biscuits in bed last
night till 11.30.
Back in Sydney in July, 1920, Keats
submitted his first composition to W.H. Paling, hoping for publication.
We are in receipt ... of the manuscript
of the Piano Solo, Melody in Ab.[sic] We think this is a very melodious
little piece and would make a capital study. Unfortunately we have not any means of
printing it separately at present. We would like to know if it is your intention to sell
this outright, and the amount that you would be prepared to accept for the Manuscript.
Although the fate of this piece of music is
unknown, we have here the first indication of the embryonic composer.
Keats was then employed as leader of the
trio providing music for Farmers Restaurant on the Roof Garden. Janet was being encouraged
by friends and acquaintances to sing professionally again. Initially, Keats resisted this
strongly, saying that "he was quite capable of keeping her and he did not marry to
have his wife working for a living." This changed when she was engaged to sing a part
off-stage in a Sydney theatre. Her success made him relent and she commenced singing
professionally when and as engagements were offered.
The home birth of their first son, Horace
Russell, on 23 August, 1921, at Stanmore, was so traumatic that she ceased to sing for a
period of three years. It also triggered Keats' withdrawal from the Catholic Church.
Pressure had been placed upon him by a visiting priest to have the child christened into
Catholicism. The argument that ensued was such that the priest was despatched with great
haste and a letter of resignation from the Church written by Keats shortly thereafter.
Although both working and looking after his
family, Horace still found some time to compose. During 1922, W.H. Paling, using their
Royal Edition Number 94, published his Three Spanish Dances Op.27. Although
this was his first published work, he made the opus number correspond to his age at the
time of publication.
The last part of 1923 saw testing for early
musical broadcasts by 2FC. Both Keats and his wife participated. The studios for these
broadcasts were situated on the Roof Garden of Farmers in Pitt Street, Sydney. The
broadcasts were carried by a landline to the station at Willoughby and
"radiated" therefrom. Upon completion of these tests, early musical broadcasts
were made using the Farmers Trio which consisted of Horace Keats at piano, John Farnsworth
Hall on violin and John Boatwright, cellist.
Both Horace and Janet broadcast for 2FC on
a regular basis during the early 1920's. Janet was singing solos and, on occasion, was
associate artist with her husband who was the first conductor of the original 2FC
Orchestra formed in 1924. She sang as Miss le Brun Brown. The use of her maiden name was
to become a point of family conjecture later in that decade. Undated press clippings
indicate some of the songs she sang at this time.
BROADCASTING NATIONAL SERVICE
2FC Wave Length 42 Metres
Saturday
8.20- National Broadcasting Orchestra: On the Steppes of Central Asia.
8.26- Miss le Brun Brown: Le Temps des Lilas and Phidyle.
9.12- The National Broadcasting Orchestra: Excerpts, Peer Gynt Suite.
9.20- Miss le Brun Brown: Homeward Thoughts
As opportunities arose, Keats continued to
accompany at concerts and recitals with the permission of his employers. More and more
frequently husband and wife performed as a musical team. Thus both discovered the musical
skills of a number of Australian musicians and looked for opportunities to foster them. In
one instance both were congratulated, by a Mosman businessman, for the part they played in
the Osric Fyfe Testimonial Concert in August, 1924: "Mr. Osric Fyfe is very fortunate
in having such energetic supporters and admirers as you and your husband." The
promotion of Australian musicians and, later, poets, became a life-long cause for them
both. Even so, at this time, his main interest lay in broadcasting.
In January, 1925, the following
announcement was made in The Wireless Daily:
FROM 2BL
IMPORTANT ANNOUNCEMENT
Broadcasters (Sydney) Limited have
pleasure in announcing the engagement of Mr Horace Keats, one of Australia's best known
pianists. Mr Keats has been well known to Australian audiences both as accompanist and
pianist for some years. Mr. Peter Dawson, the world renowned baritone speaks of him thus,
‘His truly artistic and sympathetic touch [ is] of tremendous assistance to
me.'
Mr. Keats has also had the honour of
acting as accompanist for Nellie Webb and Miss Ella Caspers during their engagements with
the Tivoli Theatres. English critics speak of Mr. Horace Keats as ‘an accomplished
artist at the piano.' Mr. Horace Keats will also take charge of Broadcasters new
Instrumental Trio.
The trio was referred to as 2BL's All
Star Trio and, as well as my father, comprised Ida Bosworth, violinist and Bryce
Carter, cellist.
Miss Bosworth was a New Zealander whose
brilliant performances had made her world famous. She was a pupil of Dr. Van Loen of
Leipzig, of John Saunders, a leader of the London Symphony and Albert Hall Orchestras, as
well as of Edith Knocker of London.
As well as leading the trio, Keats' duties
included being accompanist at 2BL's voice trials where, according to The Sun,
‘his report on a broadcast aspirant generally settles the question.' His criterion
for the success of the aspirant was their artistry more than their academic
qualifications. He was also the director of the Broadcasters' Miniature Orchestra, the
size of which was limited by the capacity of the microphones to handle the volume of
sound.
Keats' considerable and diversified musical
experience was summarised by The Sun in October, 1925: ‘since arriving
in Australia his musical experience covered all classes of music from the grandest of
grand opera to the irresponsible but fascinating jazz.'
On 26 May,1925, their daughter Barbara was
born in Darlinghurst, Sydney. As soon as possible, Janet returned to work and they
continued broadcasting and performing almost on a nightly basis, frequently leaving the
children in the care of close friends. Shortly after Barbara was born, they found a house
with a particularly low rent, and they couldn't believe their luck. This was to be
short-lived. Barbara's bedroom soon became cause for concern because, when left alone, she
would scream and cry. Subsequent enquires revealed that it was a room where children had
been murdered. So much for the low rent! The family moved on.
Sometime during December, 1927, a note to
Horace Keats, sent through Farmer & Co Ltd., from ‘A. Seer' had the following to
say:
Your birth period in the Zodiac gives
you great imaginative faculties, an emotional artistic temperament, romance, ideality,
poetry, change of scenery, travel and such like.
You are original, and somewhat of an
inventor - new ways of doing almost anything even common place matters … You are not
hide-bound by any rule of thumb or set convention. You have a great dislike of being
dictated to. You have confidence in fair treatment.
Finally,
You will probably be ever anxious in money matters and
will be anxious to save up for a rainy day, but you will have many ups and downs in
financial matters, but go right ahead and never be fearful or unbelieving. ‘You will
succeed.' No doubt of this.
The question remains, how to define
success? He certainly brought attention to a number of contemporary Australian poets by
setting their poems into musical form, and the resultant works were broadcast and
performed at recitals both in Australia and overseas. After his death, however, his music,
like that of many Australian composers of the time, lapsed into obscurity. Today, towards
the end of the Twentieth Century, he still remains largely unheard despite the lip-praise
given for the worth of his songs. ‘A Seer' was right. Financial success was never to
be his and it is interesting that he discarded an apparently secure career with the ABC to
devote his energies to composition.
For the time being, considerable technical
progress was being made with broadcasting and this was Horace Keats' principle source of
sustenance.
By launching the first Empire Broadcast
Programme on a short-wave length, 2FC performed a broadcasting feat. This was done in
conjunction with Amalgamated Wireless (A/sia) Ltd. and The Sydney Morning Herald.
The program was broadcast at 2.00 am and 5.00 am on 5 September, 1927. This permitted the
rebroadcasting of the program in Britain between 5.00 pm and 8.00 pm on Sunday, 4
September. Arrangements were made for the rebroadcasting of the program not only in the
British Isles but in Canada, India, South Africa and the USA.
On the afternoon before this broadcast, a
test programme was broadcast from London and was rebroadcast by 2FC for nearly one hour.
The transmission was picked up by the La Perouse station of AWA and relayed by land line
to the Pennant Hills station through to the studio of 2FC.
At 3.56am Sydney time, there were
gramophone selections followed by a message from Mr Marceuse of the BBC to 2FC stating
that the test transmission for the Empire broadcast of the previous nights had been
satisfactorily received in Britain.
In Sydney at 11pm, 4 September, a number of
the artists who were to be involved in the broadcast had assembled in the Exhibition Hall
of Farmers. When the General Post Office clock chimed 2am on the 5 September, the
"whole of those present, instrumentalists as well as vocalists burst forth into a
full toned chorus with the National Anthem." (The program is the first item in the
Appendices).
A number of overseas broadcasts were to
follow during the months ahead. One prompted a letter - part of which was quoted in The
Evening News 20 December 1927 - to Keats from a Lancashire lad reminding him of when
both were in Queensland with Count Fillipini during 1919/20 and who had been given
a private recital on the hotel - er-
that is, what they in Cairns call a piano. We also met at Trails house -solos, coffee,
sandwiches, billiards, tall stories, etc. I also saw you later for a few minutes at the
Annandale Picture House, Sydney. So much for the re-introduction. Now then at 7pm on
Sunday evening, Oct. 30th (5am 31st your time) I was listening here to the radio and heard
your big man say -'2FC Sydney Australia calling. You have just heard the clock strike 5
am. Dawn is just breaking and it is a fine warm Australian morning. The station orchestra
will now play The Carnival of Venice, conductor Mr HORACE KEATS' after much wondering,
Horace, I don't plead guilty to being very sentimental, but when I heard that I confess I
felt a bit girlish at being in instantaneous touch with pals 13,000 miles at the other end
of the world .... My radio has been in the home here for a year or two now, but I've only
just realised what it means. Of your programme I heard Lilac Domino Rose Marie, Rossinis'
Factotum, The Carnival and Gilbert and Sullivan Your Announcer told us your time
frequently (exactly 10 hours ahead) and his general comments,and the Kookaburra, and your
local noises moved me in a way I should have thought impossible. Reception here was equal
to many local stations and atmospherics were at a minimum. Your tempo was slow, but I
believe that was deliberate to ensure clarity and emphasis on a long journey, as it
certainly is. All this goes to show, Horace, that the world is indeed a little place these
days.
The use of an orchestra for broadcasting
was sufficient novelty to attract the following comment in The Sun in February,
1928:
those persons who still believe that not enough high
quality music is provided by the Australian broadcasting stations should have listened to
Station 2FC, Sydney.The full 2FC orchestra under Horace Keats played The Blue Danube
Waltz, the overture to Rossini's Barber of Seville, a selection from The Maid of the
Mountains, Liszt's Liebestraum and half a dozen other good pieces. The best artists in the
studio sang to the orchestra's accompaniment- a recent innovation which proved a delight
to many thousands.This programme is one of a type which is now being given regularly, and
a great number of listeners have communicated with 2FC expressing their appreciation. For
those who prefer jazz -- they get it in good measure one night a week.
On 1 January, 1928, the New South Wales
Broadcasting Company Limited assumed control of 2FC and 2BL and, in the course of that
year, 2FC moved to new studios at 96-98 Market Street, Sydney. They were opened by the
Governor of NSW, Admiral Sir Dudley de Chair, on 30 April. A new 2FC Orchestra had been
formed early that year and it was used extensively on the day of the opening. Keats was
the conductor of the orchestra and, as the years progressed, as well as being part of the
Empire Trio, he conducted the new Quintet being heard from 2FC. Whilst he was involved
with his work, which was the subject of constant change, things were also changing with
his family.
Since the births of Russell and Barbara,
those aunts who opposed the union with their niece had moved to Manly, Sydney and somewhat
begrudgingly accepted the marriage. Further, my mothers' grandfather, Daddy, died in July,
1928. He was eighty-five and this once well-known Police Magistrate was only acknowledged
by a small notice in the Manly Daily.
The aunts still had one barb left. They
made it plain that Janet's success as a singer was due to the fact that she used the name
le Brun Brown professionally and so could not fail. Stung by this and aware that it could
also be said her success was due to her attachment to Horace Keats, she changed her
professional name to Barbara Russell.
The aunts' bigotry remained ingrained and
active for years. Nearly two decades later, in the late 1940's, I recall being dragged by
my mother from Mosman to Chatswood - their final abode - by tram and long walk. We were
making an obligatory Sunday visit. She was wearing a pair of navy blue slacks. Their
greeting was: "Janet. Slacks! And on Sunday too!"
The Sun of July 12, 1928, reported
the arrival of the chief of the Royal Airforce, Air Marshall Sir John Salmond. Six weeks
later the same paper reported,
AIR THRILL
SIR JOHN SALMOND'S FLIGHT MACHINE'S AERIAL HIT HOUSE
SPARKS FLEW FROM ELECTRIC WIRES
The British Air Chief ( Sir John
Salmond) had a providential escape from an appalling crash as he passed over Manly on
Sunday morning in his supermarine on the way to Brisbane.
The weight of the aerial of the machine
struck a weatherboard on the side of a house in Cliff and Reddall Streets.
The machine flew so low that residents
watched in dismay, expecting it to plough its way bodily into the higher buildings.
One of those who experienced the biggest
thrill when the supermarine flew over Manly was Miss Walterus-Brown who lives in Cliff
Street. The machine flew so low she said, that it seemed to have difficulty in rising over
the roofs. Part of the machine - it may have been a trailing aerial – became
entangled on one of the weatherboards of her house and split it from top to bottom. One of
the shelves inside, which was fastened on to that weatherboard, was torn from its sockets,
and bottles and other crockery were smashed over the floor.
There was a terrific explosion, Miss
Walterus Brown said when the impact occurred. The supermarine was back-firing, and when it
later, apparently with the trailing aerial, struck the electric light wires, there was a
great shower of sparks.
Officials of the Manly Council are
reticent in their comments on the affair .... The police say they have no report about it.
Life for the aunts had dramatic moments,
then, or, dare I assume, perhaps it was divine admonishment?
By 1929, there had been a move to broadcast
classical renditions (to use the parlance of The Wireless Weekly), utilising a
number of professors from the Conservatorium as well as leaders of Sydney's musical life.
The people consulted for these programmes included, amongst others, Laurence Godfrey
Smith, Roland Foster, Cyril Monk, Arnold Mote, Vern Barnett, Alexander Sverjensky, Harold
Whittle, Frank Hutchens, Lindley Evans, Madame Viceroy Goossens and Madame Emily Marks.
Management intended to arrange a continuous
programme of classical music which would not be interrupted by extraneous performances of
jazz or ‘lowbrow', and thereby find out whether there were sufficient listeners
interested. Programmes would be divided between the two stations so that ‘highbrow'
would be heard on one whilst the other would broadcast music to those who did not wish to
listen to the classics. This move was brought into effect during January of 1929 as the
local programme indicated:
Wireless Weekly Friday 11th January,
1929.
2FC
Evening Session
Announcer Laurence Halbert
Accompanist Ewart Chapple
8.00 pm "Big Ben" A classical programme
arranged and directed by Horace Keats
Overture, The Barber of Seville (Rossini)
Orchestral conductor Horace Keats
8.08 pm Tenor Soli-
(a) O Cease thy Singing Maiden Fair (Rachmaninoff).
(b) In the Silence of the Night (Rachmaninoff).
8.15 pm Sonatina in G for Violin and Piano (Dvorak). Dulcie Blair, violinist Horace Keats,
pianist.
8.35 pm Clement Q Williams
(a) Vision Fugitive (Massenet).
(b) L'heure Exquise Hahn).
(c) O Men from the Fields (Hughes).
(d) The Moon Cradle (Hughes).
(e) The Terrible Robber Men (Hughes).
8.50 pm Siegfried Idyle (Wagner). The Orchestra
9.05 pm A talk by C.R. Hall- ‘Out and About Iraq and Persia-the Women of Bagdad.'
9.20 pm (a) Rhapsodie and Three Gipsy Songs (Brahms)
(b) Slavonic Dance (Dvorak). The Orchestra
9.35 pm A Group of Modern Songs
(a) A Woman's Last Word (Bantock).
(b) Weathers (Ireland).
(c) Blossom Song (O'Neill).
(d) Golden Hair (Bridge).
9.45 pm Two Pianos- the players being Ewart Chapple (also duty accompanist for the
evening) and Horace Keats
(a) Pas des Cymbales (Chaminade).
(b) Grand Tarantella (Gottschalk).
9.54 pm Tenor soli Alfred Wilmore.
(a) Standchen (Shubert).
(b) Friihlengsfluten (Rachmaninoff).
10.02 pm The Orchestra conducted by Horace Keats will play A Tribute to Franz Liszt
(Morena).
In contrast on the same night 2BL offered the following
programme:
2BL
Evening Session
Announcer Basil Kirke
Accompanist G Vern Barnett
8.00 pm G.P.O. clock and chimes.
Sydney Calland, baritone-
(a) Was I the Streamlet (LLoyd).
(b) Wait for Me (Matheson).
8.07 pm . Knight Barnett and Dorothy Dewar entertainers.
8.17 pm Foster and Finlay, in musical memories.
8.27 pm Studio production of Oscar Wilde's play ‘A Woman of No Importance,' by the
H.W. Varna Company.
9.27 pm Weather report and forecast; The Savoyans Dance Band.
9.37 pm J. Knight Barnett and Dorothy Dewar entertainers.
9.47 pm Sydney Calland, baritone
(a) Ten Thousand Years from Now (Ball).
(b) Coaling (Helmor).
9.54 pm Foster and Finlay, in musical memories.
10.04 pm The Savoyans Dance Band.
10.14 pm Ivy Saxton, in popular songs.
Early in 1929, the family considered moving
to England. With this in mind, my father would have sought references and I include one
from Gerald Walenn of the State Conservatorium of Music, dated February 4, 1929. He said,
It is with much pleasure that I write of
Mr Horace Keats' highly trained musical and artistic abilities. Having been associated
with him frequently in Sydney, often at very short notice I can speak from personal
experience of his special talent in accompanying. Without doubt Mr Keats is one of the
best all round accompanists in Sydney. I have found him quick to absorb the spirit of the
music even at first sight and while giving strong support to the solo there is the
valuable quality of elasticity, shewing an alert and musical temperament: added to this he
is a remarkable sight reader. Mr Keats has always shewn willingness to rehearse even at
considerable inconvenience to himself a fact which I have very much appreciated.
Two days later, Oswald Anderson of the New
South Wales Broadcasting Company Limited wrote suggesting that he postpone leaving Sydney,
saying:
In a few weeks we will have details of
the comprehensive scheme which is being evolved by the Commonwealth Government, whereby
all the States in the Commonwealth will come under Government control and a policy will be
mapped out that will ensure the full use of the best talent that is available. Your work
with 2FC and 2BL for the past five years has been of so satisfactory a nature that your
services must be of great value in the future, and now that the programmes will be
arranged by one central body, booking for the whole of the Commonwealth, this will enlarge
the scheme of operations very greatly.
Towards the end of July, 1929, the
broadcasting licence of the NSW Broadcasting Company Limited expired and was taken up by
the Australian Broadcasting Company Limited. It was to become the National Broadcasting
Service. One of its briefs was to give landline relays of its best programmes between the
capital cities. It was expected that listeners would have the cream of Australia's talent
available to them. Even with moderately priced wireless sets and, irrespective of which
State they lived in, there would be little static interference. This increased the
popularity of radio.
An illustrious group of people were the
personnel of the new ABC.
Mr Oswald Anderson, Manager for NSW, came
with considerable broadcasting experience from the old company. Both he and Keats were
known to each other from as early as 1916 when Anderson was concert director and Keats
accompanist at the first concert of the Austral College of Music.
Mr H.P. Williams, Assistant Manager, was a
journalist and a pioneer of broadcasting in Australia, having studied journalism in both
Britain and America.
The two announcers were Mr A.S. Cochrane
and Mr C.C. Stevens.
Mr Basil Kirke, organiser of talks,
lectures and the Children's Session, was popularly known as ‘Uncle Bas' and
introduced travel talks and told many exotic stories to children about the strange
creatures he had met during years of living in the Pacific. Some of these stories were
about the amphibious fish of the Solomon Islands who step out of water and had been known
to wink at Uncle Bas as he came along. And then there were the incredible crabs in Samoa
with the ability to break open coconuts with their claws and consume the contents. It was
wonderful stuff for them and adults alike - all born in a generation where the chance of
travel was remote except for the fortunate few.
Mr Laurence Halbert, Announcer and
Rehearsal Manager. He was to carry out the new ABC policy of ensuring that every item to
go to air was rehearsed beforehand to ascertain that "every item of the performance
is perfect".
Both Mr Vern Barnett and Mr Ewart Chapple
were appointed as Accompanists and to oversee auditions. Barnett, one of Australia's
finest pianists, was also an exceptional teacher and an organist whose technique was
irreproachable.
Mr Horace Keats, Conductor. He was to be
conductor of all the ABC's New South Wales instrumental combinations. This included the
Dinner Quartet, although a comment was made that "the Quartet is very much a Unity
and with such, conductors are only passengers". My father also played piano here and
the other members were Miss Dulcie Blair and Mr Vincent Aspey, on violins, and Miss Murial
Lang on cello. Mr Bryce Carter was also cellist for this Quartet. Excerpts from the
following interview for the Wireless Weekly of 11 January, 1929, give some
biographical information:
Dulcie Blair gained her experience as a
violinist with the Verbruggen Orchestra which she played with since its inception, and
with which she toured Australia and New Zealand. Afterwards she toured NSW as a soloist.
She at this point has been associated with broadcasting for four years. Played with the
2BL Instrumental Trio for three and a half years. Joined the Dinner Quartet when it was
formed. In fact, while trio has shuffled to Light Orchestra, Light Orchestra to Quartet,
Quartet to Symphony Orchestra, Symphony Orchestra to Quintet, Miss Blair has played
serenely above the shuffling.
Little is revealed about Vincent Aspey
except he came out to New Zealand from England when two years old played a little in New
Zealand and came over to Sydney eight months ago and joined the Quartet.
Bryce Carter was thirteen when he began
to play the cello, learning from George Howard in Melbourne.
Carter said of himself: "I came
over here when I was fifteen, and finished my studies under Gerard Vollner. He was a
Dutchman and a great artist. In my earlier days I played seventh 'cello in the Sydney
Philharmonic. I am still with the Philharmonic as leader. In 1908 I was soloist with
Melba. Toured with Amy Castles in 1914 and later with Amy Sherwin."
Later he was to say, "I am the
proud possessor of my master's Balestreri 'cello, made in 1774. Balestreri was one of
Stradivarius' workmen."
Miss Kathleen Roe was Assistant
Accompanist.
Madame Evelyn Grieg, as Adviser to Artists
was to help artists unfamiliar with broadcasting conditions and the requirements of the
public. She was to assist in their choice of broadcast items as to suitability for studio
performance as well as hear them through preliminary rehearsals. The qualifications Madame
Grieg brought to her position included a number of years spent as a lecturer on musical
subjects in New York, and being an associate teacher and vocal coach with Madame Louise
von Fellitsch at the Metropolitan Opera House, New York.
Mr M.A. Ferry, Racing Commissioner.
Miss Enid Baumberg was to be in charge of
NSW publicity.
Most of the above were well known to
listeners; however, because of their newly acquired national responsibilities, they were
fired with enthusiasm to improve the quality of broadcasting. Doubtless, improved
technology enabled the scope of broadcasting to now include regular use of the full
orchestra and a twelve-piece dance band. There was to be a permanent company of wireless
singers both for regular presentations and as the foundation for studio operatic
productions.
This new approach was to be reflected in
the Inaugural Programme prepared deliberately to show the public what broadcasting could
be when expense was no consideration. The programme is so interesting that I have included
it in the Appendix.
Early in August, Basil Kirke was appointed
studio manager and chief announcer of 6WF Perth. His position as 2BL studio supervisor and
lecture organiser was taken by Captain Stevens, and Mr Conrad Charlton was appointed
announcer in Kirke's place. Charlton was a New Zealander and an actor who worked with
J.C.Williamson for some time.
The ABC's pursuit of better programmes was
placed in the hands of the newly formed NSW Programme Committee. This was made up of
Messrs Oswald Anderson, management; H.P. Williams, education, sporting and news services;
Horace Keats, Vern Barnett, and Ewart Chapple, musical direction; Madame Evelyn Grieg,
bureau of musical advice; Laurence Halbert, production department; and Miss Gwen Gibson,
programme department. The committee was to meet weekly to arrange programmes three weeks
ahead. After the meeting, programmes would be prepared and returned to the committee for
final survey and comment which was to take into account the balance of the programme and
its general construction.
Oswald Anderson had for some years seen the
need for a music library. Up to fifteen hundred musical items were handled each week.
Although many artists brought their own music, a large amount was left for later use at
the studios and the need to catalogue this became paramount. Horace Keats was made
librarian in charge of orchestral music and John Holland, who was the first boy appointed
in the early broadcasting days, was placed in charge of vocal and instrumental music.
My father was also conducting the ABC
Dinner Orchestra which included Dulcie Blair, violin, F. Grover, clarinet, F.W. Julian,
'cello, and Max Saunders, violin. The programme must have been successful because an early
comment was, There is only one drawback to the work of this quartet, and that is the
tendency of the members in our home to take too long over their evening meal.
My father also organised and conducted the
National Broadcasting Orchestra, the forerunner to the present Sydney Symphony Orchestra.
Its members were: F.W. Julian, 'cello, Clive Amadio, clarinet and saxophone, F Groves,
clarinet, Leon Amadio, trumpet, J. Pheloung, principal trumpet, J Almond, contra bass, R.
Pheloung, trombone, Neville Amadio, flute, Muriel Lang, 'cello, Herbert Wardley, violin,
Dulcie Blair, violin leader, Vincent Aspey, violin and Max Saunders, violin.
It was Neville Amadio who encouraged my
elder brother Russell to play the flute. Russell had inherited our mother's slightly
prominent front teeth and when he expressed his desire to become a flautist our father
said it would be impossible because of his teeth. Russell must have protested this, either
to or in front of Neville, who took up the boy's cause and invited him to his parent's
home for a weekend. He returned playing the instrument of his desire.
The youth of broadcasting was not without
its upsets, nor were all the members of staff musically inclined as the following reveals.
William Murdoch, a pianist, was visiting Australia during 1929 and was to play the Grieg
Piano Concerto on Saturday, 17 August. This was described as a very big orchestral night
and there was great excitement. Murdoch became seriously ill and cancelled his appearance.
During the consternation that followed, one member of staff was heard to say, "I
don't know what all this fuss is about. Surely with such a large orchestra what do they
need a pianist for?" The performance took place with the help of Gordon Rodda, then a
little-known pianist. It has been said that he was notified the day before and arrived
fully prepared with the concerto memorised over night. His fee was two guineas.
On 9 November, Godfrey Smith wrote to Keats
from the State Conservatorium of Music,
I have been meaning to write to you and
tell you how much I enjoyed playing the Mozart Concerto with you the other night. I have
had so many letters and telephone rings saying how well it came through that I thought we
might do it again. I have a booking for a recital some time in December and if you like we
might change it to an orchestral date and play the concerto again.
There seems no record as to whether this
happened; I include the letter simply as an indication of musicianship and conducting
ability of Horace Keats.
HORACE KEATS CONDUCTOR
WHAT PETER DAWSON THOUGHT OF HIM
‘I always lift my hat when I pass
the Tivoli, because it brought me out from England,' said Horace Keats, at Studio 2FC, the
other day. ‘I have been playing in everything from Grand Opera to vaudeville since I
was seven and this is the nicest job I have had.' Leaning back with a contented sigh, Mr.
Keats assumed the air of one who has done his duty nobly. Mr. Keats who is a sight to
inspire respect even in those who rustle papers in the studio when a symphony is being
broadcast.
In that hushed atmosphere with violins
crying softly, and the dim light shining, everything is very solemn and beautiful, and we
would never dare ask Mr. Keats whether he preferred tennis or golf. Mr Keats is a
musician.
But when Horace bounces downstairs and
whistles gaily through the ABC office, with a roguish twinkle in his blue eyes, and winks
at the stenographers, and cracks jokes as he waits for the lift, we can tackle him quite
casually.
A boyishness radiates from this stout,
good tempered man. He is renowned for his cheerfulness and his sense of humour. Much may
therefore be forgiven him, even his liking for jazz. Most of the ABC conductor's jokes are
against himself. Here is a good one.
‘I was nineteen and very lonely
when I toured with Peter Dawson,' he said reminiscently. ‘Mrs Dawson was a real
mother to me, and they both gave me a great time.' Peter Dawson used to walk to the front
of the stage to announce his items, and as he turned his back on the audience to walk to
the piano after doing so, he would swear at his young accompanist. They both derived
infinite joy from this bit of by-play.
One night he forgot to drop his voice
after announcing his items, and in the front row of the stalls, filled by celebrities,
were horrified at the language issuing from the great singers lips. After singing 15
requests in succession one night in Adelaide, the audience rose in a body and demanded a
number that Peter Dawson did not happen to have with him.
‘You stay here and play something
and I'll go and get it,' he whispered in the accompanists ear. So Horace Keats sprang
nobly into the breach with what he fancied was one of his masterpieces. Peter Dawson
returned before the conclusion of the piece and brought it to an untimely end with ‘
Shut up, Horace. That's enough. We'll have some music now.'
The Daily Guardian 1929
During 1929 and into 1930, Keats' parents
were urging the couple to take the children to England as they wished to meet them. Horace
Keats sold all the family possessions to obtain tickets for this trip back home and, with
the assistance of Peter Dawson and Harold Williams, secured a position with the BBC as a
conductor. In spite of this, the journey to England was not a wise move and years later,
his parents claimed that if they had known of their son's prospects at this time, they
would have recommended that he remain in Australia.
While in England, Janet was to sing in a
performance of Sir Granville Bantock's Song of Songs. He made the offer after
hearing her broadcasts from Australia. This was a great compliment to her as Bantock was a
noted musician and composer, and was eventually Professor of Music at the University of
Birmingham.
By the 2 January, 1930, Oswald Anderson of
the ABC had heard of Keats' intention of leaving Australia and returning home to London.
He had arranged two broadcasts for Keats, one as a soloist and the other with his wife, to
be made prior to their departure on 25 January. This is yet another indication of the high
regard in which they were held by the musical public of Australia.
Professor Bernard Heinze took over the
National Broadcasting Orchestra which, by this stage, had increased to twenty players. The
Wireless Weekly stated, "Professor [Heinze] seems to have mastered the art of
staging concerts on the air; and if this concert … goes off with as much bang as the
others, there will be no room for complaint at all."
The Keats family departed Sydney on the SS
Largs Bay which arrived in Adelaide on 31 January, thirteen years after Keats' last
visit there when he was accompanying Peter Dawson. He was interviewed while they were
there and commented that,
programmes broadcast in Australia should contain a
greater percentage of classical music. They cater for only one class of people. The time
is not far distant when the public will swing back to the old, better class music.
A change in his public musical taste was
now apparent and there is no doubt it was reflecting his wife's love of classical music.
Even so, he had to derive a living from playing whatever was put before him. His musical
taste remained far more eclectic than his partner's - as late as 1995 Sir Charles
Mackerras in a letter to me referred to the almost blues ending of Yellow Bracken -
a fact that would stand him in good stead as a composer.
In the same interview he said, Talkies
will prove beneficial from a musical point of view. The people will hear the large
orchestra from the screen and they will want them in the pit. Talkies are paving the way
for bigger and better orchestras.
By February 5, the Largs Bay had
arrived in Fremantle where he was again interviewed and where he again made the same
comments. When referring to conducting, however, he stated, Whatever you give your
orchestra you get back a hundredfold. It's a tremendous strain to conduct, but it's worth
it to feel that they are all working with you and for you. There is anecdotal evidence
which indicates that this was not always the case, however.
Two now-retired members of the Sydney
Symphony Orchestra speak of his fiery temper during rehearsals. On one occasion he stormed
to the back of the orchestra and invited a member of the brass section to meet him in Hyde
Park after rehearsal and clearly establish who was in charge. Janet also relates, in an
interview for the National Archives many years later, that one orchestral member turned
his back during a broadcast conducted by her husband. On the other hand, his
disenchantment with some musicians may be readily understood. There was the famous
occasion when a cornet player was heard to say, ‘I really don't know what his problem
is, I only came in two bars late. What does he expect?'
My father's musical standards were
extremely high, and nobody was exempt from severe criticism if they were not met. My
mother on one occasion was subjected to such severe admonishment that the orchestra he was
conducting refused to play unless their conductor observed better decorum.
After Fremantle came Perth, where they gave
a recital for 6WF. They could not anticipate that they would be returning within the next
few years.
They arrived in England some weeks later
and were gathered up by the family and taken to his parents' home. The visit was not a
happy one. Soon, old enmities arose. Furthermore, my paternal grandmother did not like
Janet. She was a very large woman and Janet was petite, but Janet was well-versed in
handling refractory elders. My grandmother, in expressing her venom towards Janet,
referred to her as Shanet. Janet was to feel a quiet, vengeful delight, when a Pekinese
dog bit her mother-in-law on the leg. Forever after, Pekes were the favoured pets of the
Keats household.
Much of the misery of the domestic
situation was alleviated for Horace as he spent a great deal of time in the studios and
offices of the BBC giving particular attention to musical production and programming, as
well as conducting orchestras.
Sadly, there were even more problems. The
English climate took its toll on all the family. Janet was too ill to take up Bantock's
offer. Her husband had to work with the BBC in London rather than in a country centre as
he had hoped, and he was discontented. He consequently refused the offer of a permanent
BBC conductorship and somehow they scraped together enough money to take a passage back to
Sydney. It was when they left the English shores, that my father was heard to mutter, I
would rather drown in poverty in Sydney Harbour than live in luxury in London. Because
the children had measles, the family was confined to steerage class which suited them
because they were sufficient unto themselves and disliked that constant dependence on
others which emerges with many travellers, particularly during long sea voyages.
In 1938, my grandmother wrote to my mother
of the family's visit:
I did not have the pleasure of any music as my
disappointment was so great at your homecoming that I gave the piano away. In Stan's
letter there is a remark, which I think most cruel, he says he came home five years too
soon and lost everything through it, does it ever dawn on you both that the
(misunderstanding or whatever you both like to call it) nearly cost his Father and Mother
their lives, apart from the hole it made in our hard earned savings, and never an apology
or sympathy from either of you, Father was terribly upset when he read it so I must &
shall speak, I feel your opinion of me is based on his, & I know too well his opinion
of his Mother, but he has to remember, we have only one Judge & He is all that matters
to me, and as one never knows when the day of reckoning comes, or how soon I feel I must
relieve my broken heart, & he will one day have to account for his untruths.
They arrived back in Australia bereft of
funds, moving to Manly. In desperation, Keats accepted a position with The Theosophical
Broadcasting Station Ltd, 2GB Sydney as Musical Director and Pianist, beginning work on 23
June, 1930. His duties were to arrange programmes, engage artists and control the
selection and supply of records for the station. 2GB was considered a ‘B' Class
Station as opposed to 2FC and 2BL which were considered ‘A' Class Stations. The
letterhead of 2GB indicates their commercial orientation and, because the station relied
on popular appeal to derive revenue, it would, in hindsight, seem to have been a mistake
for Keats to be employed by such an organisation. It is quite clear, however, that having
returned from England penniless, he had little choice.
This was also the time when Janet le Brun
Brown, now using the professional name of Barbara Russell, broadcast on 2GB and, on a
number of occasions, sang songs by Bantock.
Late in 1930, reference is made to the
Horace Keats Orchestra which commenced to broadcast works such as Ketelbey's In a
Persian Market; de Basque's Japanese Carnival; Montague Ewing's Fireflies
Ballet Suite and Brahms' Ballade No1.
Unfortunately, the General Manager of 2GB,
A.E. Bennett, and Keats had a strained relationship. Almost daily, memos changed hands
about such things as Keats' generosity with artists' fees, and even accusations of
nepotism with Barbara Russell. Further, no satisfactory salary structure could be agreed
upon between them.
Keats was wanting to follow the ideal
expressed in his interviews when departing for England some months earlier; "the time
is not far distant when the public will swing back to the old, better class music."
Extracts from some of Bennett's memos indicate that this was not likely.
30 October, 1930.
Memo Mr. Keats
Regarding programmes, I doubt whether
you have the correct idea as to the way in which I want you to carry out the duties of
Musical Director. There are one or two points to be stressed. 1 the question of expense. 2
the proper balance of programmes. 3 Quality of transmission and standard of programmes.
Keats persisted in his ideals of
programming classical works.
2 February, 1931.
Memo Mr Keats
re Fridays programme.
This was heavy and weary. Six rather
long songs by Mr. Hosking is too much for listeners to stand in addition to which he was
on again on Sunday Night from the Church. I have had two adverse comments about the
programme.
A.E.B.
This drew the following spirited reply,
Mr. Bennett,
I consider last Friday's programme an
excellent one. I am suprised that you only had two adverse reports, as being a classical
programme it did not appeal to the jazz loving section who are always loud in their
comments, but unfortunately the real music loving listener never voices his thanks.
Mr Hosking's songs are always
interesting to me and are artistically sung and I really cannot see that they are heavy
and weary. I had no idea that we were broadcasting him again on Sunday. I have adopted the
idea of making Friday's programme a classical one and hope that you will not order
otherwise.
An inevitable parting occurred about the
end of 1931. Keats was then employed by David Jones with their orchestra; however, in
March, 1932, this too came to an end.
Since their return from England, both were
performing at recitals and music evenings given by various music clubs. Janet Keats, in
later years, described music club evenings, including a brief insight into dress protocol
in broadcast studios. A night at a music club was
quite a social occasion, and quite dressy. In those days
you dressed for a broadcast performance, there was no audience at all, but you dressed,
the men in their dinner jackets and the women wore dinner dresses .... And the clubs were
run in the same way, according to which particular club it was, whether it was wealthy or
whether they were just very interested people. Sometimes superb suppers were provided by
the hostess of the night, they were chiefly held in private homes, which were big enough
to take, I suppose fifty to one hundred guests. They started at eight o'clock and finished
about half past nine or ten and then there was supper.
In 1932, Barbara Russell commenced singing
for 2BL and 2FC. Performances were with illustrious musicians. On the evening of 30
November, 1932, on 2BL, a concert programme was arranged by the Musical Association of NSW
with the following artists and works;
Messrs Laurence Godfrey Smith (pianist):
Cyril Monk (violinist): Alfred Hill (viola): and Osric Fyfe ('cellist): Quartet for Piano,
Violin, Viola, and 'Cello (Rheinberger).
Miss Barbara Russell (soprano): Two
Songs of the Night and My Lady is so Charming
Mr Laurence Godfrey Smith (pianist):
Sonatine
Miss Barbara Russell (soprano): Melodies
Arabes (a) Le Bain (b) Soudjoud, (c) Le Souvenir
Mr Cyril Monk (violinist): Dedication,
‘Humouresque ' and ‘Flight of the Bumble Bee.
Miss Barbara Russell (soprano): Home
Thoughts, Golden Hair.
Unfortunately, there was little work that
year and this left them even further behind financially. The following year was to bring
relief.
Early in 1933, Keats gave a pianoforte
recital on 2BL. Both this and his wife's recital late in the previous year indicated that
they were returning to the ABC. Since their last association, it had changed its name to
the Australian Broadcasting Commission.
A position was secured as Programme
Director of 6WF Perth. The family moved to WA during March, 1933, travelling from the
Eastern States by SS Katoo
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