Welcome to Four Winds
In welcoming you all here, Four Winds acknowledges the original custodians
of the land and recognises that the Yuin people have been instrumental in
caring for this country over thousands of years. We thank the Yuin people for
their care and look forward to working together well into the future as
custodians for generations to come.
Four Winds is delighted to welcome all the musicians presenting Race Against
Time, particularly Carrillo Gantner and Chris Latham, both of whom have long
and special relationships with Four Winds.
Four Winds is at an exciting time. Building on a legacy of 25 years and 18
acclaimed Easter Festivals, we are developing a year-round program of
projects and events. We will continue to present celebrated Australian and
international artists, host residencies and commission works as well as create
projects and opportunities for engagement. Our aim is to fire the imagination,
enrich lives and encourage active participation in the arts.
Our next main event is a weekend of ideas, discussion and music on 3rd and 4th
September 2016. We are hosting the Festival of Dangerous Ideas – live
streamed from Sydney Opera House on Saturday 3rd September, and on
Sunday 4th September we welcome the Australian String Quartet with Joe
Chindamo for two illustrated performances. For more information please visit
www.fourwinds.com.au – don’t forget to join our mailing list to keep
informed of our activities.
Welcome! We hope you enjoy the performance and your afternoon at
Four Winds.
David Francis
Executive Director
Four Winds
From the Director of the Flowers of War
My interest in the Great War began when I was a small boy, listening to my
beloved English Grandmother Beryl Churchill talk about her nursing
experiences during the battle of the Somme. What seized me was her inability
to do anything for the most seriously wounded except grasp their wrists and
pray. Many of the soldiers who recovered wrote letters to her addressed to
Miss Little Suffragette. She had campaigned for women’s right to vote, was
one of the first women to enter Cambridge, and then dropped out to drive
ambulances on the Western Front. Her brother in law, my great uncle Peter
Latham, was a promising pianist and composer, whose career as a performer
ended when a bullet smashed into his shoulder, forcing him to concentrate on
musicology, in particular on Brahms.
Years later while researching The Gallipoli Symphony (2015), I came across the
name of an Australian composer, Frederick Septimus Kelly, who had served
with distinction at Gallipoli and on the Western Front, writing music in the
trenches, and who was killed, aged 35, on 13th November 1916, leading the last
major attack in the battle of the Somme.
Australians knew little or nothing about Kelly and seemed indifferent to this
Olympic gold medal winning athlete, military hero, performer and composer –
largely because he had served in the British Royal Naval Division rather than
an Australian battalion. Most musicians also assumed that, because he was an
Australian composer who died young, he couldn’t have composed anything of
value. In the rare mentions in the historical record, he was labelled a
conservative creator of little interest.
Nevertheless, in 2008 when his now well-known Elegy for Rupert Brooke was
recorded, I played it to Peter Sculthorpe, who agreed it was a masterwork.
Kelly is now slowly emerging in the music world’s consciousness. This concert
in the Flowers of War series seeks to hasten this process, alongside the ABC
Classics release of Kelly’s first portrait CDs by today’s performers, which will
allow a true assessment of his place in the canon of Australian music.
The concert uses Kelly’s and his friend’s letters and diaries to tell his story and
frame his compositions. My favourite song of Kelly’s is “It is not Dawn until
You Awake”. I feel exactly that way about playing his music.
Chris Latham
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F.S. Kelly
Musician, Sportsman, Military Officer & Composer
CHRONOLOGY
May 29, 1881: born in Sydney, the seventh child in a wealthy wool-broking
and tin mining family; early education at Sydney Grammar.
1893: joins his brothers at Eton College, England.
1899: is stroke for Eton Eight, winning the Ladies’ Challenge Plate at Henley
Royal Regatta.
1899: wins music scholarship to Balliol College, Oxford; becomes organiser of
Sunday evening concerts and president of the Oxford Musical Club,
where he often performs; becomes known as ‘Cleg’ after a famous
fictional adventure hero named ‘Cleg Kelly’; takes up sculling.
July 25, 1901: Kelly’s father, Thomas, dies followed in 1902 by his mother,
Mary Anne. Kelly is deeply affected.
1902, 1903 & 1905: wins the Diamond Sculls at Henley, the last setting a
record that stands until 1938.
1903: graduates from with 4th Class Honours in History, goes to Frankfurt
1903 - May, 1908: studies piano under Ernst Engesser, and composition and
counterpoint with Ivan Knorr.
June 1, 1908: returns to London to train in the Leander eights crew for the
Summer Olympics; performs in many private and semi-public concerts.
July 31, 1908: Leander eights win gold for Great Britain.
March, 1909: meets the D’Aranyi sisters, visiting from Hungary. Jelly (1893 –
1966) falls in love with Kelly, her elder by 12 years, who regards her as a
great violinist. A great muse to composers, she inspired Ravel to write
his Tzigane for her and Vaughan Williams to write his Concerto Accademico;
premiered the two Bartók violin sonatas with Bartók at the piano. After
a career mainly in England, she died in Florence with a photo of Kelly
on her grand piano.
January 4, 1911: sails for Australia on SS Orontes.
April, 1911: At Bondi Beach, fails to master the new sport of surf-boarding;
travels for a week to Mt Koscuisko and NSW South Coast; their car
bogs in Bermagui.
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June-August, 1911: makes his professional debut as a pianist in Sydney and
Melbourne, giving three solo recitals, two chamber music concerts and
performing as soloist in the Beethoven G major concerto with the
Sydney Symphony Orchestra.
1912: London debut in chamber music concerts, including performing with
Spanish cellist Pablo Casals; assists in organising a concert by Maurice
Ravel; becomes Chairman of the London Classical Concert Society.
September, 1914: volunteers for service with the Royal Naval Division; meets
the poet Rupert Brooke, the composer William Denis Browne and
others. This group of friends becomes known as the ‘Latin Club’.
February, 1915: sails for the Dardanelles as a Captain in the Hood Battalion
on troopship H.M.T. Grantully Castle.
April 23, 1915: death of Rupert Brooke from a mosquito bite infection on
board ship; assists in Brooke’s burial on Skyros.
April 27, 1915: Hood Battalion lands on Gallipoli.
June 4, 1915: W Dennis Browne dies of wounds in the Third Battle of
Krythia; Kelly slightly wounded in the foot.
June 27, 1915: completes first version of Elegy for Rupert Brooke in Alexandria
while recovering from wound.
July 11, 1915: returns to Gallipoli with promotion as Lieutenant.
end August, 1915: begins work on violin sonata for Jelly D’Aranyi.
January, 1916: among the last to evacuate Gallipoli, awarded the
Distinguished Service Cross for 'conspicuous gallantry'.
May, 1916: deployed with Hood Battalion to France in command of ‘B’
Company as Lieutenant-Commander. His strict standards of discipline
'were not generally palatable', but his 'unfailing fearlessness and
scrupulous justice', and activities as director of the regimental band, won
him enormous respect.
November 13, 1916: shot in the head and died while leading an attack on a
machine-gun emplacement at Beaucourt, near Beaumont-Hamel.
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Program
Narrator: Carrillo Gantner
PART 1: IT IS NOT DAWN ’TIL YOU AWAKE
Chapter 1 The Genius of FS Kelly
It is not Dawn ’til You Awake (April 6 1901) *Australian Premiere
Louise Page soprano, Alan Hicks piano
A Dirge (Eton, Summer 1899) *Australian Premiere
Crossing the Bar (Glenyarrah, Sydney, November 14 1899) *Australian Premiere
Aghadoe from Two Songs op 1 no 2 (1902)
Christina Wilson mezzo, Alan Hicks piano
Chapter 2 Germany
from Six Songs op 6 (1910–13):
March no 1
The Daffodils no 6
Louise Page soprano, Alan Hicks piano
Chapter 3 The Olympics
When the Lamp is Shattered from Six Songs op 6 no 3 (1910–13)
Louise Page soprano, Alan Hicks piano
Fulfilment (34 Wimpole Street, London W1, March 31 1910)
*Australian Premiere
Christina Wilson mezzo, Alan Hicks piano
Chapter 4 Return to Australia / The South Coast
from A Cycle of Lyrics op 4, for piano (1910):
Idyl
Lament
Tamara-Anna Cislowska piano
Chapter 5 Kelly in London
Shall I Compare Thee to a Summer’s Day
from Two Songs op 1 no 1 (1902)
Christina Wilson mezzo, Alan Hicks piano
The Pride of Youth (August 15, 1910)
Music, When Soft Voices Die from Six Songs op 6 no 4
(April 8 1910, revised 1913)
Louise Page soprano, Alan Hicks piano
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Chapter 6 The Outbreak of War
Monograph No XVIII for solo piano (1915)
Tamara-Anna Cislowska piano
Mirrors (January 6 1910) *Australian Premiere
Christina Wilson mezzo, Alan Hicks piano
Chapter 7 The Island of Serenity
Green Grow the Rushes Oh (verses 1-3, 12) arr. FS Kelly (n.d.)
*Australian Premiere
Louise Page soprano, Christina Wilson mezzo
Alan Hicks piano, Christopher Latham violin
Chapter 8 The Loneliness of FS Kelly
It is not Dawn ‘til You Awake (April 6 1901) *Australian Premiere
Louise Page soprano, Alan Hicks piano
Interval
PART 2: A RACE AGAINST TIME
Chapter 9 The Death of Rupert Brooke
Elegy for Rupert Brooke (1915)
Christopher Latham violin, Alan Hicks piano
Chapter 10 Kelly at Gallipoli
Gallipoli Sonata movts 2 & 3 (1915)
Christopher Latham violin, Tamara-Anna Cislowska piano
Chapter 11 Kelly in the Somme
The Somme Lament (October 28 1916) * Premiere of this version
Christopher Latham violin, Tamara-Anna Cislowska piano
Chapter 12 The Death of Kelly
F Minor Sonata movts 2 &3 (1916 unfinished)
Tamara-Anna Cislowska piano
CW Murphy / Will Letters Has Anybody Here Seen Kelly?
(original version 1908)
Christina Wilson mezzo, Tamara-Anna Cislowska piano
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Texts
It is not dawn ’til you awake (words RT Warner)
It is not dawn ’til you awake
and shew your radiant eyes:
It is not day, though day may break,
til sun, like you arise.
In vain the lark shall pierce the sky
to find the heav'n of blue:
There is no blue but in your eye,
there is no heav'n but you.
It is not dusk while yet you keep
those eyelids open wide:
It is not night till you're asleep,
then sleep all else betide.
Save one dim distant unloved star
that sighs the nightlong through –
There is no light where you are far,
there is no love but you!
A dirge (words Percy Bysshe Shelley, 1792-1822)
Rough wind, that moanest loud
Grief too sad for song;
Wild wind, when sullen cloud
Knells all the night long;
Sad storm whose tears are vain,
Bare woods, whose branches strain,
Deep caves and dreary main –
Wail, for the world’s wrong!
Crossing the bar (words Alfred Lord Tennyson, 1809-1892)
Sunset and evening star,
And one clear call for me!
And may there be no moaning of the bar,
When I put out to sea,
But such a tide as moving seems asleep,
Too full for sound and foam,
When that which drew from out the
boundless deep
Turns again home.
Twilight and evening bell,
And after that the dark!
And may there be no sadness of farewell,
When I embark;
For though from out our bourne of Time
and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crost the bar.
8
Aghadoe (words John Todhunter, 1839-1916)
There's a glade in Aghadoe,
Aghadoe, Aghadoe,
There 's a green and silent glade
in Aghadoe,
Where we met, my love and I,
love's fair planet in the sky,
O'er that sweet and silent glade
in Aghadoe.
There's a glen in Aghadoe,
Aghadoe, Aghadoe,
There's a deep and secret glen
in Aghadoe,
Where I hid from the eyes of the red-coats
and their spies,
That year the trouble came to Aghadoe.
O, my curse on one black heart
in Aghadoe, Aghadoe,
On Shaun Dhu, my mother's son
in Aghadoe!
When your throat fries in hell's drouth,
salt the flame be in your mouth,
For the treachery you did
in Aghadoe!
For they track'd me to that glen
in Aghadoe, Aghadoe,
When the price was on his head
in Aghadoe:
O'er the mountain, through the wood,
as I stole to him with food,
Where in hiding lone he lay in Aghadoe.
But they never took him living
in Aghadoe, Aghadoe;
With the bullets in his heart
in Aghadoe,
There he lay, the head, my breast keeps
the warmth of where 'twould rest,
Gone, to win the traitor's gold,
from Aghadoe!
I walk'd to Mallow town
from Aghadoe, Aghadoe,
Brought his head from the gaol's gate
to Aghadoe;
Then I cover'd him with fern,
and I piled on him the cairn,
Like an Irish King he sleeps in Aghadoe.
O, to creep into that cairn
in Aghadoe, Aghadoe!
There to rest upon his breast
in Aghadoe!
Sure your dog for you could die
with no truer heart than I,
Your own love, cold on your cairn
in Aghadoe.
March (words Logan Pearsall Smith, 1865-1946)
Upon the wintry trees
A few dead leaves are hung;
They rattle in the breeze
The mournful boughs among.
As in December old
The earth is dark and drear;
No newer buds unfoldYet Spring, the Spring is here.
And in the grass there grows
A fragrant violet;
No other flower knows,
No one has told them yet.
Nor yet the bees forsake
The threshold of their home;
No voice hath bid them wake,
hath cried "The Spring is come!"
The sky is dark and low,
Unswept by swallow wings.
But soft the South doth blow,
Sudden the blackbird sings.
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The daffodils (words William Wordsworth, 1770-1850)
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance
The waves beside them danced; but they
Out-did the sparkling waves in glee:A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
When the lamp is shattered (words Percy Bysshe Shelley, 1792-1822)
When the lamp is shattered
The light in the dust lies deadWhen the cloud is scattered
The rainbow's glory is shed.
When the lute is broken,
Sweet tones are remembered not;
When the lips have spoken,
Loved accents are soon forgot.
As music and splendour
Survive not the lamp and the lute,
The heart's echoes render
No song when the spirit is mute:No song bad sad dirges,
Like the wind through a ruined cell,
Or the mournful surges
That ring the dead seaman's knell.
When hearts have once mingled
Love first leaves the well-built nest,
The weak one is singled
To endure what it once possest.
O love! who bewailest
the frailty of all things here,
Why choose you the frailest
For your cradle, your home, and you bier?
Its passions will rock thee
As the storms rock the ravens on high:
Bright reason will mock thee,
Like the sun from a wintry sky.
From thy nest every rafter
Will rot, and thine eagle home
Leave thee naked to laughter,
When leaves fall and cold winds come.
Fulfilment (words Logan Pearsall Smith, 1865-1946)
I built my house to my desire.
One day, without the garden wall,
I heard an unknown voice enquire:
“And is this all?”
“It is my dream”, I said, “come true”.
Then at that door without the wall,
The unknown voice whispered anew:
“So is this all?”
“Hast thou ne’er dreamed of other bliss?
Thy youth, that dream, can’st thou recall?
Have all thy hopes but come to this?
Can this be all?”
I lead my life to my desire.
Farewell. I heard his faint footfall
And then I fell to weeping dire
That this was all.
10
Shall I compare thee? (Sonnet XVIII, William Shakespeare, 1564-1616)
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds
of May,
And summer's lease hath all too short
a date:
Sometime too hot the eye
of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair
sometime declines,
By chance or nature's changing course
untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair
thou owest;
Nor shall Death brag thou wander'st in
his shade,
When in eternal lines to time
thou growest:
So long as men can breathe or eyes
can see,
So long lives this and this gives life
to thee.
The pride of youth (words Sir Walter Scott, 1771-1832)
Proud Maisie is in the wood
walking so early;
Sweet Robin sits on the bush,
singing so rarely.
"Tell me though bonny bird,
when shall I marry me?"
"When six braw gentlemen
kirkward shall carry ye."
"Who makes the bridal bed,
birdie say truly?"
"The grey headed sexton that
delves the grave duly.
The glow-worm o'er grave and stone
shall light thee steady;
The owl from the steeple sing,
welcome, proud lady!"
Music, when soft voices die (words Percy Bysshe Shelley, 1792-1822)
Music, when soft voices die,
Vibrates in the memory –
Odours, when sweet violets sicken,
Live within the sense they quicken.
Rose leaves, when the rose is dead,
Are heaped for the belovèd’s bed;
And so thy thoughts, when thou art gone
Love itself shall slumber on.
Mirrors (Logan Pearsall Smith, 1865-1946)
The mirrors on the wall,
Like cold and quiet spies,
Keep watch upon us all
with their unmoving eyes.
How we grow old and change
They witness as we pass;
A transformation strange
Reflected in the glass.
But in those vaulty wells
of blue and sombre light
The truth half veiled dwells,
So slow the change and slight.
But if by magic powers
in youth we could behold the face
That will be ours
When we are grey and old,
No sight that e’er hath been,
No ghost could more appal,
Than our own faces seen
in mirrors on the wall.
11
Green grow the rushes, oh (English folk song)
I'll sing you one, oh!
Green grow the rushes, oh!
What is your one, oh?
One and one is all alone
And evermore shall be so.
I'll sing you two, oh!
Green grow the rushes, oh!
What is your two, oh?
Two, two, the lily-white boys,
Clothèd all in green, oh.
One and one is all alone
And evermore shall be so.
I'll sing you three, oh!
Green grow the rushes, oh!
What is your three, oh?
Three, three, for the rivals,
Clothèd all in green, oh.
Two, two, the lily-white boys,
Clothèd all in green, oh.
One and one is all alone
And evermore shall be so
Green grow the rushes, oh!
…
I'll sing you twelve, oh!
Green grow the rushes, oh!
What are your twelve, oh?
Twelve for the twelve Apostles
Eleven for the eleven who went to heaven,
Ten for the ten commandments,
Nine for the nine bright shiners,
Eight for the eight bold rangers,
Seven for the seven stars in the sky,
Six for the six proud walkers,
Five for the symbol at your door,
Four for the gospel makers,
Three, three, the rivals,
Two, two, for the lily-white boys,
Clothèd all in green, oh.
One is one and all alone
And evermore shall be so.
Has Anybody Here Seen Kelly? (originally C.W. Murphy & Will Letters
“Kelly From the Isle of Man", 1908; adapted Christopher Latham)
Has anybody here seen Kelly?
K. E. double L. Y.
Have you heard him play?
Sure he wears his gloves
And keeps his cats,
And he’s Aussie through and through.
Has anybody here seen Kelly,
Kelly from Australia true?
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The Artists
CHRISTOPHER LATHAM
ARTISTIC DIRECTOR & VIOLIN
Christopher Latham was a violinist with the Australian
Chamber Orchestra from 1992-1998 and has performed
regularly since then. From 2009-2014 he was Artistic
Director of the Canberra International Music Festival.
He was Music Director of a ten-year ongoing recording
and performance cultural diplomacy project, The Gallipoli
Symphony, which is an hour long work by twelve
composers from Turkey, Australia and New Zealand telling the story of
Gallipoli from these three sides. Currently, Chris directs the four year Flowers of
War project, the fruit of over ten years’ researching the artistic contributions
of composers, musicians and visual artists who were killed, injured or gravely
affected by World War 1. Chris has received numerous awards for his
contributions to music, including, in 2016, the Order of Arts and Letters from
the French Ministry of Culture; 2015, an Honorary Doctorate from the
University of Canberra; 2013, Canberra’s Centenary year, City News Canberra
Artist of the Year, and in 2011 the Clem Cummings Medal from the
Australian Institute of Architects (ACT branch) for services to architecture.
LOUISE PAGE | SOPRANO
Canberra soprano Louise Page is one of
Australia’s most highly regarded and versatile
singers, performing throughout Australia and
Europe with groups such as the Vienna State
Opera, Musica Viva, the ABC, the Australian
Festival of Chamber Music, and the Canberra
International Music Festival. In 2007 she received
a Canberra Critics Circle award for music and was
named the Canberra Times Artist of the Year. She
has recorded nine CDs of music varying from
lieder to operetta, premieres of Australian music and Christmas songs. In 2013
she received an OAM for services to the performing arts.
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CHRISTINA WILSON | MEZZO-SOPRANO
Winner of the Australian Singing Competition's
Marianne Mathy Award, Christina Wilson has
performed throughout the UK, Europe, the USA and
Australia. She was a soloist at Royal Albert Hall, in
Westminster Abbey and Canterbury Cathedral, and in
recital at Wigmore Hall, the Temple Square, USA,
and the Paris Conservatoire. With companies such as
Glyndebourne Festival Opera, Wexford Festival
Opera, Belfast Opera and the State Opera of South
Australia, she performed roles including Carmen,
Cenerentola, Rosina, Cherubino, Dido and Dorabella, and in recent years with
the Canberra Choral Society in the Handel roles of David (Saul), Irene
(Theodora) and Dejanira (Hercules). Christina is broadcast regularly on ABC FM
and appears as a soloist locally and nationally in concert and oratorio. She has
been a featured soloist for ‘Voices in the Forest’ at the National Arboretum,
and in the Canberra Symphony Orchestra Prom Concert at
Government House.
TAMARA-ANNA CISLOWSKA| PIANO
Tamara-Anna Cislowska is one of Australia’s
most acclaimed pianists, and 2015 ARIA award
winner for ‘Best Classical Album’ for her
recording of Peter Sculthorpe’s complete works
for piano. The youngest pianist to win ABC
‘Young Performer of the Year’, accolades include
an Art Music Award for ‘Performance of the Year’
(ACT) in 2012, the Freedman Classical Fellowship
(2003), and international prizes including Italy’s
Rovere d’Oro. Tamara is a regular guest of
orchestras and festivals worldwide, both as
chamber musician and as soloist with the London Philharmonic Orchestra,
New Zealand Symphony, Auckland Philharmonia and all Australian
Symphony Orchestras. Tamara has recorded 8 solo albums with 4 ARIA
nominations for ABC Classics, Tall Poppies, Chandos, Naxos, Artworks and
MDG (Dabringhaus und Grimm). Her ABC Classics album Butterflying with
composer Elena Kats-Chernin reached no.2 and Limelight magazine's 'Editor's
Choice' for August 2016. www.tamara-annacislowska.com.au
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ALAN HICKS | PIANO
Alan Hicks is one of Australia’s foremost vocal coaches
and accompanists. He performs regularly around
Australia in recitals and festivals with leading national
and international artists, including in fortepiano duo
partnership with Geoffrey Lancaster AM. Their recent
performance of Mozart’s Sonata in F major K497 for
the Royal Schools Music Club in Perth was acclaimed as:
“a performance of highest order, the players shaping to a
myriad of subtleties like fine wine to a goblet.” At the Australian Flute Festival
he has given recitals with Aldo Baerten (Belgium), Jane Rutter (Australia),
Luca Manghi (Italy/New Zealand) and Roberto Alvarez (Spain/Singapore).
Alan is also Director of the University of Canberra Chorale and vocal coach in
Opera Unit, Sydney Conservatorium of Music.
CARRILLO GANTNER | NARRATOR
Carrillo Gantner AO is Chairman of The
Sidney Myer Fund. A Corresponding Member
of The Hague Club, association of Directors
of major European foundations. Carrillo has
held numerous prestige and ground-breaking
positions, including: First Drama Officer,
Australia Council for the Arts (1970-1973);
General Manager, Melbourne Theatre
Company (1973-1975); Founding Director and Executive Director, Playbox
Theatre Company (1976-1984) and Artistic Director (1988-1993); Governor,
Federation for Asian Cultural Promotion (1995) and Deputy Chairman (19992001); Chair, Performing Arts Board, Australia Council (1990-1993);
Chairman, Asialink Centre, University of Melbourne (1992-2005); Chairman,
Melbourne International Comedy Festival (1994-2000); Member, Australian
International Cultural Council (2000-2003); President, Victorian Arts Centre
Trust (2000-2009); President, Melbourne Festival (2009-2014). Officer of the
Order of Australia (2001); inaugural Dame Elisabeth Murdoch Cultural Leader
of the Year Award; an Honorary Doctorate, University of NSW (2006);
Victorian of the Year (2007); Honorary Fellow, Australian Academy of the
Humanities (2008); Green Room Association’s Life Time Achievement Award
(2011).
15
16
Unfinished M/S in FS Kelly’s handwriting
Theme for Orchestral Variations and Introduction
Towards the end is written “Mesnil, near Thiepval, 28th October 1916”
He was killed 16 days later
17
Kelly Brothers at Eton
(FS centre)
Kelly as a Boy in Uniform
18
Partners & Supporters
Bergmagui 1911
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The Flowers of War:
remembering the lost voices of WW1
The Flowers of War is a four year project (2015-2018) exploring the artistic
contributions of composers, musicians and visual artists who were killed,
injured or gravely affected by World War 1. The project is funded through the
DVA’s Anzac Centenary Cultural Fund, the Mission Centenaire in France, the
Franco-German fund and the Catalyst fund and others.
For details on all our events, please go to theflowersofwar.org
John Singer Sargent Frederick Septimus Kelly 1915 National Portrait Gallery
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