Seeing things Jewishly

So many strangers are telling me right now that I’m not Australian and that none of my relatives are Australian and… my mind keeps returning to what this means for the Arts in Australia. Certainly it’s much more difficult for anyone Jewish to earn money in the Arts here: there are some places I won’t even fill in the forms until I see that things have changed. I don’t have much physical capacity and when something is obviously a waste of my time, I do something else with that precious time. However… it struck me that I see the world through my upbringing. I talk about books from non-Jewish Australia a great deal, but my own view of the world is shaped by my family and their friends and the stories I was told as a child.

We all see the world from our own eyes. If someone were to ask me how I see the arts in Jewish Australia, I’d only give a partial answer, because there is so much stuff I forget. The first thing I think of, in fact, is what has impacted me and when and why. I thought, this week, then, I’d give you a little list. The list is little but it contains many words, because I annotated it. Welcome to the Arts in Australia seen Jewishly, through my life.

Let me begin with family and friends.

My mother’s family arrived in Australia before World War II or died in that war (save one person, who is not part of today’s story because he was not an artist, musician or writer). Mum’s immediate family was all here by 1918. It was a big family in Europe and is not the smallest family in Australia. Of all my mother’s cousins there are two who were well-known as writers. Very well-known, in fact.

Morris Lurie was Naomi’s brother. Naomi was so much a forever part of my life that even now she’s gone, I still think of one of Australia’s better known writers of plays through the fact that his sister was Naomi. Every time Naomi was in Melbourne, she’d shout “Sonya,” across the street to my mother, because they were very close. Mum hates loud voices and Naomi thought that Mum hating the noise and the laughter was hilarious.

I know about Morrie, and I collected his plays when I was a teenager. One of the lesser known facts of Gillian’s life is that, for twenty years, she collected plays. I still have my collection, but most of it needs a new home. I never met Morrie. He wasn’t much into meeting our side of the family. Even if we had met, I suspect we wouldn’t have had a lot in common. Naomi, on the other hand, was someone I would spend any amount of time with. She was my bridge to the Yiddish-speaking side of the family, and is the main reason why I don’t use that in my fiction: it’s her culture, not mine. My cultural self is from my father’s family. Loving Naomi, though, sent me to understand klezmer and Sholom Aleichem and so much else. I need to re-read Morrie’s plays. Maybe now I’m no longer a teenager I’ll like them more. Maybe not. I’ll see.

Arnold Zable is, as my mother explains, a family connection. His refugee cousin married Mum’s refugee cousin. Arnold is Victoria’s great storyteller. He also wrote an amazing book about the family left behind: Jewels and Ashes.

My father’s side of the family is so very musical. One of my father’s best friends was an extraordinarily well-known performer… but that’s another story. This is one of the days when stories lead to stories and those stories lead to more stories. Between family and friends, I grew up with music the way I grew up with rocks. Science and music and Doctor Who kept our family together for a very long while.

The most famous musician/composer/music critic in the family (she was never just one thing, nor was she a simple person) influenced me a great deal in my youth. Linda was my father’s first cousin, and spent time with me when I was very uncertain of where I fitted and who I was. She accompanied my sister on the piano when that sister was doing more advanced music. She told me some of the stories of her life, but never the really private ones.

Linda was Linda Phillips She described her own music as “light classics.” We played them on the piano at home… but never well. Her music was a lot more than ‘light classics’ as was Linda herself. Her daughter, Bettine, also wore her talents lightly. I knew that she had acted on stage with Barry Humphreys as an undergraduate, but I had no idea that she was a famous radio actor back when radio was the centre of so many people’s entertainment. They were both quiet about their achievements.

Here I need to explain that, not only were they modest and exceptionally fun to be with, but they were nothing close to my age. Linda was my father’s first cousin, to be sure, but she was born in the nineteenth century: she was sixty years older than me. Linda lived until the twenty-first century, and we lost Bettine to COVID. They were part of an enormous change in the Arts in Australia, beginning with Linda’s early career as a pianist over a century ago. I grew up with this, taking it for granted that there was a life in the Arts and a world and so much enjoyment… but seldom enough money to live on.

There is a third family musician, my own first cousin, Jon Snyder. His life is another story. He was in a very popular band (Captain Matchbox) and became a music teacher. His professional life began in the sixties, so the age differences are still there, but not as great. So many of the friends of my schooldays also became musicians, and three of them play in the same band, in Melbourne. That’s another story, however. I am no musician. I had some talent, but words were always more fun and, to be honest, I used to be tone deaf. I love music and the artists who create and perform it, though, because until I left home, it was part of my everyday. In fact, even when I left home, music crept up on me. I kept running into friends of Linda’s. They would send messages to Linda through me. Stories breed stories…

Also, this stopped being a list almost as early as it began being a list. I’ve only talked about a third of the writing side of the family. But this post is long enough. The rest can wait.

PS I have not at all forgotten the questions I promised to answer. There are only two questions, but the answers require a lot of thought. My everyday is a bit over the top at the moment. When things calm down, I will answer those questions. I promise.

Music past

This evening I’ve been exploring music past. I wanted to hear the music I knew in the 60s and 70s. Someone put up a list of top Australian hits in 1974 and I looked at it and realised that it’s quite different to the music generally associated with that year. We hear about music from the USA, you see, and from the UK.

I listened to some of the tunes on that list first, but one of the top ten struck me as getting my mood exactly right when it was first released: Helen Reddy’s “Leave Me Alone” was perfect for a proto-teenager.

I moved onto orchestral music. When I was in primary school and early high school, we went to Melbourne Town Hall and were taught to understand orchestral music. In primary school we were taught the instruments of the orchestra, how the orchestra worked, Peter and the Wolf, Tchaikovsky (The Nutcracker, mainly), Beethoven and… that’s all I remember. I watched a Bernstein recording and he taught children very different stuff. More the stuff I discovered when I was a teenager. As a teenager I fell in love with Schubert, played in a regional orchestra and the school orchestra (second violin in one, first in the other), and I went to concerts every fortnight. I came from a musical family and went to a standard state school… which happened to have free music education. I once did a lot of music, and the Bernstein brought the formal education aspect flooding back. My top moment of music learning was when Felix Werder taught me to care for Mahler and when my father’s first cousin taught me how to listen. Linda was a composer and a music judge and a critic, and her random remarks taught me so much. Since that moment, everything has gone downhill… but… my evening of music didn’t stop with memories of Mahler and Linda. I was very privileged musically in my childhood, not so much as an adult.

I sang, of course, some songs I learned from Alfred Deller and also the King’s Singers. They were my personal favourite musicians when I was a teen, and both really annoyed my family. Everyone else was singing ABBA and the bay City Rollers and I was listening to a counter-tenor who sang folk songs. I was informed by my family how very bad my singing is

Then moved to my final music for the evening. I’m writing to it now. Tom Lehrer. This sentence is being typed to the rhythm of The Vienna Schnitzel Waltz. The final note of the night was either going to be Lehrer or Flanders and Swann. The news makes me sarcastic right now, so of course it’s Lehrer.

And now, of course, I’m very curious about the music of your childhoods. Of course I am.

What Deborah’s Playing on the Piano

Saturday afternoon, I attended a lovely Hallowe’en student concert at Cabrillo College. Audience was masked, performers masked or PCR tested. So great to hear live music again! One of the pieces was a synthesizer adaptation of Satie’s first Gnossienne, which I’m working on. (It was very weird. Very weird on steroids.) That reminded me it’s been a while since I posted what I’m working on now. For those new to this journey, I’m an adult piano student who began piano lessons 15 years ago, my first ever formal instruction. I’m a grown-up, or so the theory goes, so I get to play what I want.

 

  • Satie. Gnossienne #1. It’s a hoot. One measure that goes on for pages, with directions like “Postulez en vous-même” (wonder about yourself). Lots of repetition of the motifs with subtle differences of expression.
  • Gillock. “Silent Snow” from Lyric Preludes in Romantic Style. Gillock was primarily a teacher. These short pieces are beautiful and fun to play as they challenge technique. The one I just started requires exquisite control of dynamics and pedaling. Gillock’s pieces are a great prep for composers like Debussy and Satie.
  • A couple of Schubert waltzes. They’re like “bon-bons” or Chopin Lite.
  • “Warg Scouts” from Howard Shore’s music for The Hobbit. The dwarves are running for their lives, Radagast is trying to lure the orcs on their wargs away, and Gandalf is scheming to get his part to Rivendell. Pounding rhythm. Am I nuts? When I looked at the piece, I went, “Ack!! I can’t possibly!!!” So I’m tackling it slowly with the metronome under my teacher’s guidance. Might take a couple of years to get it up to tempo (quarter note = 180, agitated) but it will do wonders for my technique. And be soooo much fun!
  • Bach Invention 14. If I skip a day, it falls apart. Otherwise, I’m focusing on the way the motif bounces back from one hand to the other, detached notes in one hand but legato in the other.
  • Debussy. “Claire de Lune.” Be still, my heart. I’m about a page away from playing it straight through and then we get to work on dynamics, speed, and expression.
When I have time, I work on my past repertoire. Current favorites are “May It Be” (Enya), Debussy’s “La Fille aux Cheveux de Lin,” Satie’s 1st and 3rd Gymnopédies, a transcription of Ashokan Farewell, and a bunch of music from LotR.