More than a Musician. A Life of E. Harold Davies

Doreen Bridges

North Melbourne, 2006: Australian Scholarly Publishing, 199pp.

ISBN 1-74097-120-5

Reviewed by Elizabeth Silsbury

Elder Professor in Adelaide University from 1919 until his death in 1947, major player in the establishment of a number of local and national organisations – from AMEB to Port Noarlunga Royal Life Saving Society – an inspiring teacher and tireless administrator, E. (for Edward, which he never used) Harold Davies is celebrated in a biography of rare insight by Doreen Bridges, who, as his student in the thirties probably knew him as well as anybody outside his immediate family. Her material comes from primary sources; her own direct contact with him and copious personal and professional letters, all carefully preserved by Catherine Mary, the youngest of his five children, now 95 and known as Molly Cheesman. Among the earliest of these are several to his student in Gawler, Ina Deland. As their friendship develops into love, he signs himself more affectionately, but still advises her to work harder at her scales and ‘do a little sight-reading every day’.

Born in Shropshire in 1867, EHD (the author’s reference of choice) was somewhat overshadowed as a child by his more naturally gifted younger brother Walford. He came to South Australia when only 19, working as church organist and choirmaster and piano and organ teacher, gradually working his way up from the Anglican Christ Church in the small Barossa Valley town of Kapunda to the prestigious Kent Town Methodist in the eastern suburbs. Meanwhile, he married Ina, brought up a large family and studied assiduously, completing his ordinary degree in music at the Elder Conservatorium and in 1902 becoming Australia’s first Mus. Doc.

In addition to making himself indispensable in establishing a number of organisations, including what became the Adelaide Symphony Orchestra, he travelled widely, eventually meeting his more famous, by then knighted brother, on familiar, if not equal ground. Ina’s interests stayed within home and family. Although not exactly intellectual equals, they were very close, and built a secure and loving environment for their children in Adelaide and at their beach house at Port Noarlunga, where he swam side-stroke with his hair protected by an oilskin bathing cap.

Most unusually for the time, he began conducting research into Aboriginal music in 1927 and joined the Anthropological Society of South Australia, made up of colleagues at the university and the Adelaide Museum, right next door along North Terrace. On their excursions to Central Australia and Eyre Peninsula, he collected much valuable material on his own home-made recording equipment. Although his reports show little appreciation of the unique significance of indigenous tribal traditions and he was constantly comparing their music with Western European practices, EHD was certainly a pioneer in the field.

An arch conservative, his attitudes were expressed unequivocally and often colorfully in letters and speeches. He abhorred jazz – ‘blaring,’ ‘brassy’, ‘hideous noise’– and described Honegger’s Antigone, which he saw in Brussels in 1928, as ‘Modern music gone mad. Too awful for words.’ No Wagner lover was he either. Dr Bridges recalls a rare moment of humour. Having seen Tristan und Isolde in Berlin, he found it interminable and wondered ‘why they didn’t go behind a bush and get it over’. This lighter side of a very serious man appears only once more. He was vastly amused when examining in a Kalgoorlie convent to find the nuns teaching their cello students to play chastely side-saddle.

Readers who knew him will take pleasure in reminders of his broadcasts and other speeches. Later comers to the Conservatorium, like myself, will enjoy references to EHD-appointed staff; William Silver, Maude Puddy, George Pearce, Hilda Gill, Clive Carey, Richard Watson, Arnold Matters, Harold Wylde and the wickedly witty John Horner. Of special, and still topical, interest are EHD’s opinionated pronouncements on ear training, on six ‘nevers’ for singers, on examinations – ‘a passing incident, not a year’s work’ and many, many more.

Dr Bridges has done all music educators yet another outstanding service.

Music Forum Vol 13, Issue 1