AcemLer, 1989
~rinity
College Tlewsletter
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John Brack, Breakfast Table, 1958
BRACK PAINTING SOLD AND ART FUND ESTABLISHED For nearly thrity years a painting "Breakfast Table" hung in the Junior Common Room near the clock. Opinions about its artistic merit varied widely. A few years ago it was replaced with a photographic college—a tribute to Frank Henagan, now the College Porter.
(1) One third should be added to the capital so that its value is increased and not eroded by inflation (2) One third should be used for the renovation, cataloguing, and care of existing works of art owned by the College (3) One third should be used for new acquisitions as recommended by the student committee.
The painting suffered somewhat over the years and badly needed cleaning. It spent a while in the Warden's Lodge and was then borrowed in late 1988 by the National Gallery of Victoria for its exhibition "John Brack—A Retrospective". When it returned to the College, a problem arose as to where to put it. Finally the Art Committee, with the consent of the College Council, decided to put it on sale. Dr Joseph Brown generously had the painting cleaned and placed it on a prominent wall in his gallery. After several months there were no buyers, so he suggested to the Warden that it be sent for auction by Sotheby's.
The success of the Edward Rowden White Art Fund clearly depended on how much money would be raised by the sale of the Brack painting. For several months any buyer could have purchased it from Dr Brown for $100,000. In the event, and with Dr Brown's help, it was sold for $175,000—an unexpectedly magnificent result. Both Sotheby's and Dr Brown have been generous to the College and the net sum after all expenses, commissions, and insurances have been paid is $150,000.
While these arrangements were in progress, our student archivist Nikolaos Sakellaropoulos discovered that the painting had been presented to the College in 1948 by Mr H.A.L. ("Tim") Moran and his wife in memory of Dr Edward Rowden White, Mrs Moran's father. In some embarrasement, the Warden telephoned the Morans to explain what had happened. He offered to withdraw the picture from sale.
Moreover, the College has a full scale reproduction of the original picture which will be displayed together with an account of the genesis of the Edward Rowden White Art Fund.
He also explained what the Art Committee proposed to do with the proceeds if the picture sold for a substantial sum. Mr and Mrs Moran readily and graciously agreed and suggested that their daughter, Mrs Georgina Barraclough, be invited to join the Art Committee. The proceeds of the sale were to provide the capital of the Edward Rowden White Art Fund. The Art Committee has considered it important that the interest of the College students in contemporary Australian Art should be developed by encouraging the students to form the Edward Rowden White Club to decide what works of art should be bought or sold. The College Council has now approved the Arts Committee's recommendation that the money raised by the sale of the Brack painting should be invested and the income used three ways:
The College is deeply grateful to Mr and Mrs Moran for their generosity. It has had a result far beyond anything that could have been imagined in 1948.
The College Art Committee consists of Professor A.G.L. Shaw, (Chairman), Sir Andrew Grimwade, Mr Angus Trumble, Dr Joan Stanley-Baker (Foundation Fellow in Fine Arts), Mr James Ramsden (current student representative), Sir Rupert Clarke, Mrs Georgina Barraclough, and the Warden. The Committee was brought into existence two years ago thanks to the initiative of Sir Andrew Grimwade. The Committee hopes that Mr and Mrs Moran's example will inspire others to offer works of art to the College—not only paintings but also books, statuary, silverware, porcelain and other forms of art. The decision whether or not to accept such gifts must, of course, remain in the hands of the Art Committee. (Dr) Evan L. Burge WARDEN
A PUBLICATION OF TRINITY COLLEGE WITHIN THE UNIVERSITY OF MELBOURNE Registered by Australia Post—Publication No. VBG 4336.
The Trinity Foundation Year Program It may well be the most carefully considered policy decision in the history of the College. All of those involved accepted their share of agony and doubt. As is only fitting for a College such as ours the final decision said much about the faith of the College and its supporters. Rationality, business acumen and faith are the basis for the new Foundation Year Program launched by the College Council in mid-September. What is it, and why do we need it? The Trinity Foundation Year Program is an educational enterprise. Essentially the Program provides a bridging year between school and university for overseas students wishing to enter the University of Melbourne. The ninety students in the first year of the Program will all be from the Asian region. They, like all Trinity freshers, will have completed secondary school and will be ready for tertiary studies. Like all Trinity students they will be continuing their education with the financial and moral support of their families. Like many Trinity students they will be far from home and seeking an environment that is caring and supportive. Like all Trinity students their fees will contribute to the on-going viability of the College, and will help to secure its future. Unlike most Trinity students they will need some linguistic and cultural preparation for the hard road to academic success. The Foundation Year Program belongs to Trinity College, but it is actively supported by the University of Melbourne. Foundation Year students will be provisional students of the University. Places in faculties will be set aside for them on the assumption that they will continue with their studies at the University. Their acceptance by the University as full students after the Foundation Year will, however, depend on the academic standard they reach. They must reach that standard in three core courses and one elective course. The core courses are English, Mathematics and History of Ideas. The elective courses offered are Accounting, Ec贸nomics, Physics and Chemistry. The Program will be staffed by an Executive Director, an Accommodation and Welfare Officer and by lecturers employed by Trinity College. The students will receive their instruction in lecture theatres, tutorial rooms and laboratories supplied by the University. A new computer laboratory will be set up at Trinity, and Foundation Year students will be required to use it often. Most University facilities will be available to Foundation Year students.
So the enterprise is launched. Karel Reus, the new Executive Director, left on his first marketing venture to Asia in October. There will need to be other trips. There are links to be forged with other institutions. The name of Trinity College, joined to that of Melbourne University, will need to be broadcast far and wide. Karel has great confidence that we will have the ninety students we want by the beginning of the Program next May. Marketing experts tell us that we have "the best product of its kind in Australia". The crude commercialism of that sort of talk should not prevent us from seeing that Trinity can only gain from Asian awareness of its presence and its contribution to excellence in education. THE EXECUTIVE DIRECTOR The College Council has appointed Karel Reus as Executive Director of the Foundation Year Program. Mr Reus holds degrees from Monash and LaTrobe Universities and taught for nearly eighteen years in the Department of Education at the University of Melbourne. In that Department he was involved in both administration and teaching. He is an experienced secondary teacher, and directed the teacher education program at the University of Melbourne for eight years. Karel's academic training covers the fields of sociology, religion and education. He was, until recently, an ordained minister of the Uniting Church and for a few years taught sociology of religion to theological students in the United Faculty of Theology. Considered an authority on the secondary social science curriculum, Mr Reus has over the last four years played an important role in the establishment of a strong social education component in the new Victorian Certificate of Education. For the past two years Karel and his wife Carmelle have administered and taught in the Rollins College Melbourne Program which is run in association with Trinity. He holds the position of Visiting Lecturer in Religious Studies at Rollins College, Florida.
The students will be non-resident members of the College, having the same rights as other non-resident members. They will be able to eat in the Dining Hall at lunch time (though, to ease the load on catering staff, not at exactly the same time as the rest of the students). They will be able to audition for the play, the musical and the choir. They will play sport, and may even initiate new sporting ventures. Their presence will certainly be felt. They will have their own food preferences. Asian languages will be heard around the College more often than at present. They will need to converse in English as often as possible, and may seek help to do so. They will enrich an already diverse student body with new cultural values and insights. Some things they will do on their own. They will want to meet together to work through the issues that concern them in particular. They will have their own special events, like formal dinners. They may occasionally take a lead in some social or cultural venture, and ask other students in the Trinity family to join them. It would be too easy to rhapsodise on this venture as a milestone in inter-cultural relations. It would also be too easy to claim altruism as the basic motive. Relating to the cultures of our near neighbours is important, and we will value it highly. Helping our friends is also important, and we will do it with all the skill and energy we can muster. But at all times we will be reminded that we need this program too. We need it financially. We need it as a spur to enterprise. We need it because we need to have an affirmative attitude to a difficult future.
Executive Director of the Foundation Year Program, Mr Karel Reus.
Trinity Bridges The Gap! Trinity College will launch a new residential holiday programme called "Bridging The Gap" in January 1990. The programme, which focuses on computer technology and technological change, combines learning and entertainment and has been designed to appeal to participants from different generations in a bid to bridge the "generation gap" in an informative and enjoyable manner. It is particularly hoped that some grandparents will enrol together with a grandchild. The five-day programme comprises an introductory computer course of three hours hands-on training on Apple Macintosh computers per day, combined with excursions in the afternoons to the Museum of Victoria, the Arts Centre and Performing Arts Museum, the Melbourne Zoo and to a large commercial computer installation. After hours, there will be time for entertainment and activities which make full use of Trinity's spacious garden setting, the sporting facilities and modern technology from computer games to videos.
The course was developed by Trinity College's Conference Office in close collaboration with Compuskill Information Technology Centre, a government funded organisation whose aim it is to service the community through computer training and business development assistance. The computer component of the programme will be taught at Compuskill's modern business premises by fully qualified and experienced teachers. Part icipants will stay and take all meals at Trinity College, and all excursions will leave from and return to the College. Trinity College and Compuskill ITeC are grateful to National Mutual for their generous sponsorship of this new initiative. The programme starts on Monday, 15 January 1990 with regi s tration at Trinity by 10am, followed by a welcome morning tea and orientation session. It concludes on Friday, 19 January with a special farewell dinner. The cost for the week is $275 per adult and $225 per child, which includes accommodation and full board, transport from the College to Compuskill ITeC and on excursions, computer tuition and course materials, and services of a full-time group leader. Transport to and from the College is at participants' own expense. Car parking will be available at the College. Enrolments in the course are limited to a maximum of thirty, and the closing date is Friday, 15 December 1989. To obtain further information and for registration, please contact Ms Gerlinde Scholz, Conference Coordinator, Trinity College on telephone 347 1044, or return the completed reply slip below:
NAME(S)
(H)
Joan was born in China where her Chinese scholar-statesman father was serving as private secretary to Chiang Kai-shek and teacher to his sons, Chiang Ching-kuo (late President of the ROC) and Chiang Wei-kuo. During Japan's rape of Nanking she fled to Europe with her German mother and was joined a year later by her father, serving as chargé d'affaires to Rome. She grew up studying in Europe, China and America. Later, after five children, she took her doctorate in Chinese art history at Oxford. As art critic for the Japan Times she rocked the Tokyo a rt world when she exposed, in 1971, the art establishment's effort at image-building for foreign consumption while ignoring artists working in non-Western styles. Teaching at the National Taiwan University in the early '80s, she campaigned for higher standards in art juries and in museum policies, as well as university curricula in the humanities. Her most recent activity was as prime mover of the newly established President Chiang Ching-kuo Foundation, jointly administered by the Ministry of Foreign Affairs and the Ministry of Education, which will fund, among other things, academic positions in Chinese studies at universities abroad. Her publications are wide-ranging including over 500 art icles on a rt criticism, historical exhibitions, contemporary Japanese art, articles and books on modern Chinese artists as well as books of translations on various historical aspects of Asian art. Her book Japanese Art (Thames and Hudson, 1984) has served as basic text in university surveys courses on Japanese art across North America. Her own research and academic publications centre on the quintessence of Chinese a rt: brushwork and its changing application in painting and calligraphy over the course of centuries. She is developing techniques of utilizing the examination of brushwork in the identification of original works by Masters, as well as the dating of forgeries, an approach she calls the 'molecular physics of Chinese painting'. As a scholar she has organised international conferences on specific problems in Sino-Japanese cultural tranmission, and has presented papers at international conferences in Academia Sinica (Taipei), Tokyo, Kyoto, Hong Kong, Canada and the USA. Over the past few years she has lectured the staff of the National Palace Musuem in Taipei and Beijing, given graduate seminars in Chinese a rt at the Universities of Oxford, London, Kbin, Frankfurt, Heidelberg and Zürich, the Freer Gallery and the Metropolitan in America, advocating a radical reassessment of the history of Chinese painting.
(B)
I would like to obtain some further information.
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I would like to enrol for "Bridging The Gap." My deposit of $50 per person is enclosed.
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Signed
She is Senior Lecturer in Asian Art at the Department of Fine Arts, University of Melbourne, where she was invited in 1987 to establish the first university curriculum in Asian art history for Australia.
Joan enjoys (eating) good food, (listening to and making) baroque music, rowing and beekeeping. She has rowed for Oxford as captain of women of the Oxford University Graduate Boat Club, for the City of Oxford and for her College, Wolfson, and was in the inaugural British crew which rowed the reconstructed trireme, a 170-oared Athenian warship propelled by three banks of oars, in its first seatrials on the Aegean in 1987, and became an honorary member of the Hellenic navy at the August ceremony when the ship was officially commissioned as the Olympias.
AGE(S)
Contact Address:
Telephone:
Joan Stanley-Baker, a sketch At the beginning of this year Joan Stanley-Baker became the first Foundation Fellow of the College. She came to Trinity in 1988 as tutor in Chinese, Japanese and fine arts, living in the Cowan Building which she has come to regard as her home in Australia. The fellowship this year has unleashed precious time enabling her to return to research.
Date
Joan Stanley-Baker demonstrates her rowing technique.
THE FOUNDATION ON THE MAKING OF A WILL Giving proper attention to one's will is often unwisely deferred. If one hasn't yet made a will, then the right time is now—when the mind is clear, the thought processes rational and there are no pressures. It is also good practice to revise one's will every few years, depending on how much one's personal circumstances have changed. Such regular revisions help to ensure that one's will is both balanced and up-to-date. The importance of a good will A good will comes together usually after considered reflection, discussion with others and input from a Solicitor. Such a document will be not only an expression of concern for dear ones and friends, but also provide an opportunity to support those causes and institutions which one deems worthy of being strengthened. Further, a good will may well express tangible gratitude for assistance received in one's lifetime and also ought to complement the standards and beliefs that one has come to affirm. Our wills live on after us reinforcing what we have striven • for in life. How powerful is a will? Some wills continue to influence the course of society profoundly long after the death of the bequestor. The name of Felton, for example, is almost a household word in Melbourne art circles as are Rhodes and Carnegie on the world academic scene. Whilst few people would be able to give on the scale of their munificence, nevertheless, it is within the capacity of most former Trinity residents to offer a modest if not substantial bequest. Trinity has no other people to turn to for help apart from her alumni. Bequests may be arranged in all manner of ways * One may give a specific amount of money to Trinity. Inflation, of course, will have a diminishing effect upon it, but that may be countered by allocating instead a percentage of the estate. * One may take out a life insurance policy in which Trinity is nominated as the sole or part beneficiary. Or else, one may make the bonuses of a life policy payable to Trinity. * One may bequeath particular items of worth, such as property, shares, jewellery, a painting or any other valuable object. * One may make a bequest to Trinity to take effect after the death of one's spouse thereby ensuring that the remaining partner has the use of the estate for as long as he or she lives. Only then would the indicated portion of it flow on to Trinity. Are tax advantages available? At present, there are no death duties payable on estates in Australia. However, some wills have been so arranged that a percentage of an estate or a sum of money bequeathed to Trinity may be reduced by the amount that other beneficiaries donate to the Trinity Foundation within six months of the decease of the bequestor. Such an arrangement brings the benefit of tax deductibility to thé beneficiaries. Can a young person be expected to make a bequest? Generally speaking, other priorities would normally absorb the attention of the younger graduate—marriage, home purchase, career advancement, family establishment, and so on. Yet the uncertainty of life being what it is, one must always have a will in
place. At the time when that is first attended to, one would hope that Trinity finds a mention even if in the most nominal terms. Later on as family grows independent and career prospects flower, then, at some future revision, the cause of Trinity may be upgraded in the light of changed circumstances. Is it reasonable to expect a person to make a bequest beyond the circle of family and friends? Unusual it would be if family and friends did not receive first consideration in the making of one's will. That is normal. Yet life is more than kith and kin. Each one of us is dependent upon the wider community to meet a whole range of personal needs. Indeed, the health and prosperity of society as a whole has a profound influence upon our own well-being. Perhaps one of the causes of our present Australian malaise is that in repeatedly taking from the whole, we have overlooked the need for each individual to give something back. Various objectives to which a bequest may be directed The Trinity College Foundation is the fund raising arm of the institution and bequestors may earmark their legacies to one or more of the following funds: The General Fund (the use of which is at the discretion of the Executive Committee of the Foundation) The Endowment Fund (to build up the capital base of the College) The College Music Foundation (to fund a Director of Music, the Trinity College choir and orchestra and to construct a new organ) Scholarships and Bursaries (to expand their number and range and so assist worthy students who might not otherwise be able to attend Trinity) The Theological School (to fund Director and staff and provide bursaries) The Woodheap Building (to expand the number of residential places by constructing a new building on the site of the old woodheap) Naming rights for some of these projects are still available.
Form of Bequest to The Trinity College Foundation ... To The Trinity College Foundation, University of Melbourne, Royal Parade, Parkville in the State of Victoria for use at the discretion of the Executive Committee of the said Foundation with the approval of the Council of the said College an amount equivalent to percent ( %) of the residue dollars ($ of my estate or the sum of whichever is the greater, free of any probate, estate or other death duties, whether State or Federal, and I DECLARE that the receipt of the Chairman or Treasurer or other proper officer for the time being of the said Foundation for the said sum shall be a full and complete discharge to my Trustee therefor. For further information contact the Bequest Officer, Archdeacon Stan Moss or the Director of The Trinity College Foundation, Miss Angela Mackie. Both can be reached on 347 1044.
TRINITY COLLEGE ORGANISES "THE GRAND TOUR" FOR ALUMNI Christopher Wood, head of "Australians Studying Abroad", proposes a Grand Tour of Europe for Trinity College alumni in November 1990. The Grand Tour undertaken by British travellers during the 18th and 19th century was a quasi-pilgrimage to the cities, sites and monuments of high classical culture which the traveller had studied at Oxford and Cambridge. It was an educational journey, usually to France, Switzerland and Italy, which lasted on average six months. The tour will be accompanied by Christopher Wood, a Melbourne University graduate in Fine Arts and former resident of Trinity College. "Australians Studying Abroad" was founded by Chris twelve years ago, and he has designed and led countless study tours to Europe since then. Chris is one of Australia's major advocates of educational travel and he continues to work on
developing the long-term potential of the industry. He initiated and was president of the Cultural Tourism Association of Victoria. In association with Dr Donald Sinclair, Chris Wood has developed an immensely popular week-long programme for American 'Elderhostel' visitors to Melbourne, which is conducted at Trinity College several times a year. A.S.A. return to Trinity regularly for their pre-tour meetings and public lectures on travel. The Trinity alumni Grand Tour will be very much a study tour, including pre-tour meetings, reading suggestions and lectures en route by academic guest lecturers as well as Chris Wood. If you are interested in joining your fellow Trinity members on this fascinating journey, please return the coupon from the insert to this newsletter to Gerlinde Scholz, Trinity College, or call on telephone 347 1044.
Dick and Margaret-Anne Franklin Support the Trinity College Bequest Programme
Dick and Margaret-Anne Franklin
Dick Franklin writes: My years in Trinity were not only extremely happy, but opened up for me the whole world of intellect and of culture in a way I had never experienced. Though I studied law while I was there, and only came later to philosophy, the opening up of vistas during my four Trinity years was one of the pivotal experiences of my life. It is out of this sense of gratitude that Margaret-Anne and I are delighted to make a bequest to Trinity. Richard Langdon Franklin (M.A., LL.M.(Melb.), Ph.D. (West Aust.)) began studying Law at Trinity in 1943, and returned after two years' war service to complete his degree in 1946-48. After acting as Associate to the then Chief Justice of Victoria, Sir Edmund Herring, and being called to the bar, he returned to Melbourne University in 1953 to study philosophy. He obtained a lectureship in philosophy at the University of Western Australia in 1956, then moved to the Chair of Philosophy at the University of New England in 1968. He retired in 1986 to give himself more time for writing. Margaret-Anne Franklin (nee Burgoyne) (LL.B. (Meib.), B.Soc.Sc.(U.N.E.)) met Dick while both were studying law, and they were married in 1951. She is a sociologist and Honorary Research Associate at the University of New England. She has published extensively on Aboriginal issues and on the role of women in the church. In 1986 she was given the Zonta Woman of Achievement award for work in raising the status of women locally, nationally and internationally.
The Maurice Hurry Bequest The late Maurice Hurry read law during his time of residence at Trinity from 1902-06 and was also an enthusiastic college rower. He later practiced successfully as a Barrister and Solicitor at Kyneton for many years. When he died in 1968 he left a substantial bequest to his old College, Trinity. Part of that bequest funds the "Maurice Hurry Scholarship" which is used to assist selected students who are reading for a degree of Bachelor of Laws. Each year a proportion of the income is ploughed back into the capital sum to offset the depreciating affects of inflation. Consequently, the name of Maurice Hurry will long be remembered at Trinity and many a law student will have cause to be grateful for his generosity and thoughtful remembrance of those in his profession who would come after him.
MEMORIAL SERVICE FOR PETER DENNISON Peter Dennison died recently after several years of illness. He had been a Fellow of Trinity College and Professor of Music in the Universi ty since 1975. A Requiem Eucharist in his memory was held in the College Chapel on Wednesday 6 September. Malcolm Gillies, a Lecturer in the Faculty of Music, presented the Address on that occasion, and here summarizes some aspects of Peter Dennison's life. After graduating with a Bachelor of Music from the University of Sydney Peter went to Oxford, where he was Mackinnon Organ Scholar at Magdalen College from 1964 to 1967. Having gained a First in Music he enrolled for an Oxford D. Phil., working under the then Professor of Music, Sir Jack Westrup, but was soon appointed a Lecturer at the University of Glasgow. By 1970 he had gained his doctorate, with a thesis about the English composer Pelham Humfrey, and in 1971 was made a Lecturer at Cambridge, where he also served as Fellow and Director of Music in Clare College. Parallel with his lecturing Peter performed as an organist, conductor and choirmaster. Perhaps the highlight of his conducting career was in 1973-75 when he directed the Cambridge Philharmonic Orchestra and Choir in successive performances of Elgar's oratorios, The Dream of Gerontius, The Kingdom and The Apostles. Musicologically, Peter was active, producing various editions of the music of Humfrey, Purcell and Locke. Given these accomplishments in both the practical and academic spheres it was little wonder that in 1975 the University of Melbourne appointed him, then aged thirty-two, to its newly established second Chair in Music. Peter arrived, presented an inaugural lecture entitled 'Richard Wagner, as arch-Romantic', and looked forward to leading a restructuring of curriculum and staffing. But he had miscalculated or perhaps been misled about his role. He thought it would be possible to emulate the educational practices of Cambridge or Oxford here in Melbourne, and refused to bow to current Australian notions of mass, generalist tertiary education. Although disillusioned by his early encounters at Melbourne he initially maintained a high profile, especially as a performer: he conducted the Melbourne Elizabethan Trust Orchestra and the University's Choir in The Dream of Gerontius, gave the first Australian performance of Handel's oratorio Solomon, conducted on several occasions for the Victoria State Opera and Melbourne Symphony Orchestra, and performed organ recitals for the ABC. In Trinity College he was Director of Music, founded the choir, and led an immensely popular carol service each December. In more recent years, as his health declined, it was to research and to arts management that he devoted most of his attention. He managed to write several important articles, to revise his doctoral thesis as a book, and to edit a volume of essays about Wagner—the product of a conference he had organized in 1983 for the centenary of Wagner's death. He became more and more interested in the music of Michael Tippett, leading to a visit by the composer to Australia in 1984 and the establishment of The Michael Tippett Australian Archive at the University in 1986. But his true labour of love, a two-volume study of the music of Edward Elgar, was only forty per cent complete on his death and not sufficiently developed to be completed by others in its intended form. This is especially sad as he had established a reputation as one of the world's leading Elgar scholars and knew Elgar's music as intimately as any. Peter's leadership talents were directed toward Melbourne's musical community during the 1980s. He served on various committees of the Victorian Ministry for the Arts and the Musicological Society of Australia, and contributed to the Tribe and Dix reports on Music and the ABC. In 1986 he became Chairman of the Advisory Board of the Melbourne Symphony Orchestra. Peter loved this work, with its ready access to professional music-making, and as his illness progressed would even discharge himself from hospital rather than miss a board meeting. Peter Dennison was not a deeply religious man, but faced the prospect of death with equanimity. He died on 21 August, aged forty-seven. His funeral service was held in St James's, Sydney.
The Warden also writes: The idea of an undergraduate choir achieving standards associated with Oxford and Cambridge and the English Cathedrals was a new one when Peter Dennison first came here in 1975. I was impressed with his experience in Oxford and Cambridge and his success in establishing a choir of mixed men's and women's voices in Clare College Cambridge. I therefore decided that I should encourage Peter Dennison to attempt something similar here in Trinity. I shall always be grateful for the single-mindedness and professional manner in which he set about achieving this aim. Eight members of the original choir were present at his requiem on 6 September 1989. Peter was a convinced and committed College man. He enjoyed dining in College and valued his appointment as a Fellow of Trinity. The annual Festival of Lessons and Carols soon became recognized as one of Melbourne's notable events and came under vice-regal patronage. Even when he was unable to continue the regular evensongs on Mondays and Wednesdays, Peter Dennison maintained the Festival of Carols. It has continued without interruption for thirteen years. I remember a splendid S.C.R. Seminar he gave on the music of 1911 using recorded examples. A number of talks in a similar vein were broadcast some years ago by the ABC and were widely appreciated. A few weeks before his death, Peter Dennison telephoned me from his hospital bed. He expressed his affection for the College and said that he had arranged for a valuable part of his personal music library to come to the College. This gift is now being catalogued and has greatly enlarged the music resources of the Leeper Library, within which it will remain as a permanent memorial to our first Director of Music. Peter Dennison also looked forward to the replacement of the present worn out chapel organ with something more worthy of the building. He was delighted by the appointment of Professor Peter Godfrey as his successor as Director of Music. For a time, the two had worked together in King's College Cambridge— Peter Dennison as organist and Peter Godfrey as Acting Director of the Choir. The establishment on a secure footing of this precious musical heritage in Trinity will be a permanent reminder of the skill and dedication Peter Dennison brought to us.
Deaths of College Members The College records with regret the deaths of the following members reported since the last edition of the Newsletter: George Maxwell Wilmore Clemons (1922) Charles Thomas Mitchell (1927) Harold Selwyn Bates (1930) Arthur Grant Pringle (1930) Colin Hicks Caldwell (1931) Eric Wisewould (1933) Athol George Llewellyn Price (1939) James Stanley Stòddart Edwards (1940) Patrick Victor Charles Ryan (1946) Leonard James Fulton (1947) Alison Anne Arnold (1988) Professor Peter J. Dennison, (inaugural Director of Music) Archbishop David J. Penman (Chairman, Trinity College Council)
PROF. PETER GODFREY APPOINTED DIRECTOR OF MUSIC for a specialist choir where you can spend a great deal of time on getting the detail right, and I think having five hundred or three hundred in a choir doing it makes it very very difficult. I feel there should be a Chamber Choir at Trinity that will bring in people who are good singers but who cannot commit themselves to the two or three weekly services that we have. It would be a Chamber Choir within the College built on the Chapel Choir and then I want an All Corners Choir as well. There are a lot of ordinands, as you know, in the Theological School, and they like singing and I think they should be encouraged to sing, and I think to get them to sing in a big choir of this sort will be a help to their training and to their love for choral music. KM: What a very good thing potentially for the music of the church as a whole. Professor Peter Godfrey Peter Godfrey was recently appointed Director of Music at Trinity. In September he was interviewed by Kay McLennan on the regular ABC series "Sacred Music". With the kind permission of the ABC we print here an edited version of that interview. Kay McLennan: And now it's time to meet Professor Peter Godfrey and find out about the Choir of King's College Cambridge he knew as a boy. Peter Godfrey: I spent five years there as a chorister with Boris Ord. He had just taken over from Daddy Manners, as he was known, who had been there for fifty years. A wonderful Director of Music, of course, Daddy Manners was, but Boris Ord was quite different, a very stern disciplinarian and very fine musician, everything had to be dead right—intonation, blend, things of this sort. And really I don't think I enjoyed being in the choir at that stage, but I now look back upon it as being the most important education in my life. KM: Peter Godfrey returned to the choir as a choral scholar after he was demobbed at the end of W. W.2 in time to sing for a short time under the baton of Harold Darke. What was it like working with Harold Darke? PG: Well quite different. I mean he was nothing like the disciplinarian that Boris was, nothing like the detailed musician. KM: In 1958 Peter Godfrey took up an appointment in New Zealand. He became Director of the Choir of Auckland's Anglican Cathedral and of the world class Dorian Choir. Then in 1978 Philip Ledger, who had by now succeeded Peter's old University room mate, David Willcocks, as Director of King's, asked Peter to swap Directorships for six months. How was that? PG: It was terrifying, really, because I still had Boris Ord looking over my shoulder and I could never forget that. It was different, I think, musically. I didn't altogether agree with some of the ways in which Philip Ledger was dealing with the choral singing there, and that's just a matter of taste. He hadn't been brought up at quite the same school as I had. Of course it really wasn't my job to change anything and I had just to do my best; but particularly, I think, with the psalms. He didn't do the psalms in the same way that I had always been taught to do them under Boris, and the way David had done them. KM: Now how does Peter Godfrey like to prepare psalms? PG: Oddly enough over the years I have come to use chants for psalms as one of the important, easiest and best ways of training a choir to sing in tune and then of course to have a natural flow of words not accenting by singing a note louder but making it longer, by making a syllable longer, and I think that the whole essence should be a lovely sostenuto sound with the important words emphasized by lengthening the syllables. KM: For a long time the Royal School of church music has included psalmody in its summer school repertoire, but to be sung by outputs of three hundred people, a sort of quasi-congregation if you like. I have always been against that procedure. What do you think? PG: I think this is so true. I don't think psalm singing is basically, well Anglican chanting, is not really for a congregation, I think it is
PG: Well I hope it will be, I mean, this is the idea. We have established a Choral Foundation and we will offer scholarships to the choristers of the Chapel Choir. As an amateur sort of body it's difficult actually to sustain the pressure that I think they should be under. KM: At what stage will these scholarships be offered, as they leave school, or.. . PG: As they leave school. Yes. KM: You'll audition? PG: I will audition, yes, people coming in to hold these scholarships, probably in October. And another thing I'm wanting to do there is to get some courses going in the teaching of choral conducting. KM: Oh good. PG: We've started in New Zealand and I'm sure it's going on here in various circles, but I think it's a very important feature of choral activity. If we're going to expand choral activity, in schools in particular, people must know how to deal with choirs and this is one of the things I want to establish as well. KM: Now your Chapel Choir, as it is at the moment, doesn't normally sing on Sundays which puts it in an ideal position to tour and to sing in parish churches. Are there any plans like that? PG: Most certainly, that is one of the things that we want to do. KM: We look forward to greater and greater things from the Choir of Trinity College at the University of Melbourne. The Trinity College Music Foundation The Trinity College Music Foundation has been set up for the promotion of choral and organ and other musical activities, as well as the promotion of music by Australia composers. Sir Ninian Stephen has enthusiastically agreed to be its Patronin-Chief, and Sir Rupert Clarke, Mr Richard Divall, Professor Ronald Farren-Price, Miss Gillian Weir, Sir David Willcocks and Sir Frank Woods have all kindly agreed to be Patrons of the Music Foundation. The Music Foundation needs to raise a substantial amount initially to fund two major areas: Endowment of the Directorship of Music $600,000 New organ for the Chapel $700,000 We also wish to raise funds for the endowment of choral and organ schorlarships. Should you wish to help financially in this exciting venture you are asked to send your donation directly to the Trinity College Foundation, Royal Parade, Parkville, Victoria, 3052. Yow'cheque should be made out to the Trinity College Foundation. All donations are tax-deductible Name Address Phone Bus.
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I wish to make a pledge of $ for ❑ use at the discretion of the Music Foundation Committee ❑ the Endowment of the Directorship of Music ❑ the Organ Fund
NEWS OF TRINITY MEMBERS David Colin GOSS ('52) left Australia at the end of August to take up an assignment at the Australian High Commission, Nairobi, Kenya. Peter POCKLEY ('54) was recently featured in a special report in the Weekend Australian celebrating the completion of 25 years of the "right stuff"—science broadcasting. "It began when a young researcher-schoolteacher, with a doctorate in geochemistry and no broadcasting experience, was given a week to produce his first radio program ... As the one-man science unit, which produced both radio and television in those days, he became the first person to be seen and heard by satellite from Australia." He also did most of the live broadcasts from 1968 to 1972 of the Apollo mission manned space flights. Peter "is now an independent commentator on research and education, executive planner for the Australian Academy of Science's information service project, and a columnist and broadcaster." Paul Johnston HARVIE ('61) left in August to take up the position of Vice-Provost of St. Paul's Cathedral in the Scottish Episcopal Church. His address is St. Paul's Cathedral, Castlehill, Dundee, DDI ITD. Henrietta Larsson CAMILLERI ('76) (nee Johnston) gave birth to a daughter in July. John Camerson DAVIS ('76) Stewart Lecturer at Trinity and Chaplain to the Canterbury Fellowship, left Trinity in November to become the next rector of St Matthew's Albury, N.S.W., in the diocese of Wangaratta. He is to be installed as a canon of Wangaratta Cathedral and will be the bishop's Canon Theologian. He will be greatly missed at Trinity. Roger KARGE ('77) is a chemical engineer working as a factory manager for ICI at Deer Park. He and his wife have two daughters, Julia 3 and Gabrielle 11/2, and spend a good deal of their time renovating an Edwardian home in Seddon. In 1984, before the children were born, they spent a year travelling
around the world—Bali, Indonesia, Malaysia, Thailand, Burma, India, the Middle East, Greece, Sicily, and on through Europe and North America, after which Roger rejoined ICI. In Trinity he studied Chemistry and after graduating worked on research on new types of herbicides while studying chemical engineering at night. He writes: "It's an excellent idea to keep the Newsletter going to old members. I enjoy nothing more than coming home after a hectic day and reliving the wonderful time I had at University and Trinity." Janice Christine BAKER ('81), in August married Richard Weatherley in Holy Trinity Church, Kew. They are at present in England. Caroline LOTON ('82) has quite a senior position in Occupational Therapy at Prince Henry's in Sydney. Her brother Warwick ('84) works in the taxation section of Arthur Anderson in Melbourne. Kate ARMSTRONG ('83), after completing her course in secretarial studies, was admitted to the Arts course at The University of Melbourne. She completed this degree with Honours at the end of 1988 and was accepted into fourth year History Honours. She deferred this in order to travel overseas. Recently she wrote to the Warden saying how enriching and rewarding she found her studies in Fine Arts, Italian, and History. Every good wish, Kate, for your final honours year. Rebecca Frances COATES ('83), after being away for three-and-a-half years studying in London and Milan, has returned to Melbourne with a fluent command of Italian, and an enhanced knowledge of the world of fine arts. Joanna BUCK ('89), is in North Carolina studying at Duke University, is enjoying the friendliness of the American students, getting used to a corridor full of females and a drinking age limit of 21, and has already become active in several causes close to her heart, such as pro-life. She hopes to come home briefly for Christmas.
Prints from this stunning lithograph by Peter Zageris may be obtained in the New Year. Size of Print 620mm x 270mm
An Artist's View of Trinity Melbourne artist Peter Zageris has produced a stunning lithograph of three of Trinity's most prominent views: the Oak and Clarke cloisters on the left, and the Bishop's tower and entrance on the right frame the central image of the Trinity College Chapel with the College crest at the top. The College and the Warden are most grateful to Peter Zageris who has generously donated one copy of the triptych to the College, and another to Dr Burge personally. The series of 75 prints in this limited edition is available for purchase from Trinity College either mounted or framed, or just the print itself. The College's print is currently on display in the Bishop's vestibule and has attracted much interest and comment.
Peter Zageris was born in Germany to Latvian parents after the war. He undertook most of his art studies at the National Gallery of Victoria Art School and is a Melbourne-based artist. He is best known as a portrait painter. Peter won the Hugh Ramsay Portrait Prize twice, and entered his portrait of Dr Jim Cairns in the Archibald Prize competition in 1977. He is also a current entrant for the 1989 Archibald Prize. A number of Peter's portraits feature prominent subjects from the academic world and are displayed at the University of Melbourne and the affiliated colleges. Peter Zageris's work for Trinity College includes the portraits of Charles Perry, George Torrance and Dr Ronald Cowan, all on display in the College Dining Hall. Please direct all enquiries to Ms Gerlinde Scholz at the College Ph 347 1044 Cost: $445 mounted and framed; $375 mounted; $330 print only.