SCUNA history » Eisteddfods
NB: Anything that appears in square brackets is a guess.
If you can replace any of these guesses with certainties, please me.
On this page: Introduction | 1972: Letters | 1974: Report | 1975: Report | 1975: Results
1976: Report 1 | 1976: Report 2 | Notes
Ex-SCUNAe have given me all the documents reproduced on this page, apart from the CEO's letter, which I found on Trove. I've confined my own curmudgeonly opinions to a footnote.1
SCUNA used to participate in the National Eisteddfod. I don't know if it still does. As far as I could tell, the reasons for participating included:
In the light of the last reason, the two letters that start this page are quite poignant. SCUNA IPP Sue Baldwin and president Richard Dixon are distressed at the omission of the Open Choral section in 1972. SCUNA often won it, and the $120 of which they speak so disparagingly was in fact quite important to the society's coffers. Consider that it represented about 100 attendees at a SCUNA concert, with the ticket prices of the time!
In his reply, the CEO of the National Eisteddfod writes of lack of money and competitors and then bats the ball back to SCUNA. Whether he knew how pointless his request for their assistance was, isn't clear. Surely he understood that a university choir's finances were bound to be even more limited than the Eisteddfod's! I think the letter might be just a touch sarcastic - understandable, given that there was plenty of criticism around, and precious little praise or (no doubt) assistance.
Sir, - It was interesting to read the critique offered by your music correspondent, Mr W. L. Hoffmann (The Canberra Times, May 1) covering the 18th National Eisteddfod Chora1 Festival held in the Canberra Theatre.
Particularly interesting was his observation that there were "no entrants at all in the City of Canberra Open Choral Championship". The irony, of course, is that Mr Hoffmann is unaware that the Eisteddfod Society had, alas, withdrawn the said championship for this year's Eisteddfod quite early in the piece, before the syllabus was released. This was probably the reason for the lack of entries.
With the first prize in this particular section being $120 - about the cost of transporting the Bungendore Glee Club to Canberra on roller skates - it seems hardly surprising that the number of entries in past years should have been so low. Interstate choirs are just not going to bother with that sort of prize money when the stakes in similar sections of other eisteddfods (in particular the Adelaide Eisteddfod) are so much more attractive.
Mr Hoffmann's article touches a very sensitive nerve in the ANU Choral Society. We have entered this section for the past three years, and we were dismayed to find that it had been withdrawn, leaving our National Eisteddfod without a section for senior mixed secular choirs. We hope that the situation will be remedied next year.
RICHARD DIXON
SUE BALDWIN
Deakin.
Source: scan kindly provided by Deborah Martin.
The letter can be seen in context on Trove: LETTERS to the Editor. (1972, May 6). The Canberra Times (ACT : 1926 - 1995), p. 2. Retrieved May 16, 2013, from http://nla.gov.au/nla.news-article102019815
Sir. - Miss Sue Baldwin and Mr Richard Dixon (Letters, May 6) have expressed concern because the society did not include the City of Canberra Open Choral Championship in the syllabus for the 1972 Eisteddfod. The first prize is a perpetual trophy supported by $120.
A sad consequence of this decision was the absence of the excellent ANU Choral Society from our platform during the Choral Festival.
The reason was simply one of finance and lack of sufficient entries in previous years. The society needs to provide for the other choral sections for which 75 entries were received. Even allowing for the usual withdrawals, this is a large number by Australian standards. The high standard of performance reported by the adjudicator, Mr Foxley, justifies the diversion of available prizemoney to these choral sections on the basis of "the greatest good for the greatest number".
Nevertheless the ANU Choral Society is justified in its complaint. Traditionally it is a contradiction to arrange a National Eisteddfod without an open choral championship. The item should be reinstated, with an increase in prizemoney as soon as a source of funds can be found. If the ANU Choral Society can help in any way, its assistance will be welcomed.
B. T. PENNEY
Chief Executive Officer
Australian National Eisteddfod Society
O'Connor.
Source: LETTERS to the Editor. (1972, May 9). The Canberra Times (ACT : 1926 - 1995), p. 2. Retrieved May 16, 2013, from http://nla.gov.au/nla.news-article102020218
Transcription follows
| Section 68 | Adjudicator's |
Date 27-4-74 1-30pm |
| Competitor No. 1 | Item 'Verses' Richard R Bennett |
Remarks:-
Very beautiful blend in this vocal combination. This was an excellent performance of most difficult choral writing. The observation of expression markings contributed to the formal design of these three Verses.
94
1st
Adjudicator [Leo Demant? Leonard Dommett?]
Source: original kindly supplied by Brian Hingerty.
Transcription follows
| Section 300 | Adjudicator's |
Date 26th April 1-30pm |
| Competitor No. 2 (Adult) | Item City of Canberra Open Choral Championship |
Remarks:-
Brighter soprano tone required at opening to balance the tone of chords. Fair spirit prevails - rhythm generally secure. Personally I would prefer a finer regard for articulation. There was exuberance & fair balance & blend. (You have one sop a shade hard in tone - check.) Detailed finesse [?] could enhance. 84
(b) Chording nicely balanced at opening - Effective entry of Male Chorus - suitable dynamic contrast[s?] & mood. Inner female parts secure. Some long phrases successfully managed & tonal inflections artistically controlled. There is a warmth [?] of devotion underlying this performance. <> were quite symmetrical. Chording fairly secure throughout. Responsive group. Good choice. ([Unaccpd]) 83
(c) There is good clarity in the polyphony. Diction is fairly clear in spite of the overlapping of parts & entries. These have been interwoven with musical thought & an awareness of this style of vocal music. 85
Adjudicator W H Keith Young
Source: original kindly supplied by Brian Hingerty.
Transcription of relevant sections follows
 |
|
 |
Transcription [part][Caption:] Canberra Children's Choir competing in the Australian National Eisteddfod in the City of Canberra open choral championship on Saturday. The choir was second to the ANU Choral Society. [Underlined by hand] [Handwritten:] Canberra Times 28/4/75 Eisteddfod detailsLatest results from the Australian National Eisteddfod being held at the Albert Hall, Canberra, include: [6th para, circled:] City of Canberra open choral championships: ANU Choral Society 1. Canberra Children's Choir 2. Source: photocopy kindly supplied by Robert K. L. Taylor LegendRobert vividly remembers the adjudicator commending SCUNA's "tight inner female parts & excellent male entries"! |
Transcription follows
COMP. NO. 3
SECN 304 VOCAL GRP (3-10 VOICES)
Goodnight, Beloved
double dotted notes
Stronger bass line ([p flat etc?]{to flow etc?])
Stronger observance of dynamics ff > p
Intonation problems
Good blend, particularly in tenor part
Lovely rendering of a moving Victorian ballad
Keep this up.
82
Source: original kindly supplied by Brian Hingerty.
Transcription follows
COMPETITOR NO. 2
SECN 300 CITY OF CANBERRA OPEN CHORAL CHAMPIONSHIP
TIME LIMIT=15 mins
(a) De Lassus Psalms
lovely opening
Not too metrical
inner parts a little "muddy" verse 6
V7 Good. - A little firmer bass.
84
(B) Exsultate Deo - Scarlatti
Excellent pace
I would like clearer words in places
Bass - Page 9 at cadence
Fine ending
88
(C) Kodaly
Not too much "f" at Entered
Watch your intonation Page 6 - 7
Your unison (Page 10) could have been more "Maestoso"
More attack sforzando on Rōbbers
Your last four pages were magnificent but a longer pause on the last chord would have been even more effective
90
Overall - very good training [Initials: PP?]
Source: original kindly supplied by Brian Hingerty.
1The people who run Eisteddfods are working for the community. Even back in the 1970s I imagine it was hard to get people to do the work involved. As in most musical organisations, the condition of being strapped for funds must have been constant. Those workers have my admiration.
Eisteddfods, however, are not something I care for at all. I've sung in many, from Abermain in the Hunter Valley to Leamington in the UK. It seems to me to be against nature to perform music in a competitive situation, with adjudicators ringing bells at you to start and stop. The huge popularity of TV shows like You're the voice and Australia's got talent prove that I am just about alone in my opinion.
I have awful memories of hanging around in the cold and dark waiting to sing with SCUNA in the Open Choral Championship. On one occasion, we didn't arrive on stage till after midnight. My "Never again!" moment occurred after interminable queuing - it must have been half a day standing in the dark! - at the Ainslie Football Club, when my daughter was in the Canberra Children's Choir.
Nevertheless, I went again. I still have a copy of a report from the 1987 National Eisteddfod. The adjudicator announced beforehand that he wasn't going to issue a prize in the Operatic Ensemble section, as there was only one entry. Brilliantly accompanied by Stephen Lawton, Karen McKenzie, Jo Burton and I sang the trio from the first act of The Magic Flute. Our singing teacher, Lois Bogg, had prepared us well, coaching us in a theatrical presentation. It went over so well that the adjudicator jumped up and awarded us first prize. As that's probably the last time my voice worked, I cherish that report!
2I think it's safe to assume this was 1975. SCUNA sang the Bruckner Ave Maria in their April concert in 1975.
3This was probably 1976, when SCUNA sang Jesus and the traders and the Lassus Penitential Psalms in first term.