Rachel Lemon turns 100

Pictured: Sir Edgar Bainton (Courtesy of State Library of NSW)

During World War II, I performed in concerts for the Defence Forces, for radio broadcasts, civic concerts, oratorios and eisteddfod competitions. Dr Edgar Bainton, Director of the NSW Conservatorium of Music in Sydney from 1933 to 1946, was a regular examiner and encouraged my singing studies.

In 1946, Dr Bainton awarded me a scholarship to the NSW Conservatorium of Music in Sydney and I entered the diploma class. His successor, Sir Eugene Goossens, subsequently extended my scholarship term to three years. My studies involved Italian and German, harmony and counterpoint, aural training, history of music, ensemble work, piano and operatic training. My private singing lessons were with Miss Ruth Ladd, a former pupil of Dame Nellie Melba. This involved preparation for a concert career with ballads, art songs, lieder, oratorio and opera progressing simultaneously.

Pictured:The Devil Take Her rehearsal 1954

I initially accepted a singing position with JC Williamson’s (a theatrical management company and theatre owner) which gave me valuable experience in professionalism and stagecraft. Then, in 1952, I was accepted as a singer by the National Opera of Australia: a highlight was to perform in the 1954 gala opera performance before the Queen and the Duke of Edinburgh of Arthur Benjamin’s opera The Devil Take Her.

Marriage and Music Appreciation Classes

I married my late husband in January 1955 and settled down to married life and raising our son, David. I was actively involved at our local church, where I played the organ, gave singing classes to children at Sunday School, and was a member of the Mothers’ Union. It was through my association with our local church that I was introduced to the Reverend Geoffrey Feltham (the Chaplain at the University of New South Wales) who in 1963 invited me to be involved in an educational and rehabilitation project he was associated with at Callan Park Hospital. From 1963 to 1965, I conducted musical expression and musical appreciation classes for patients and gave instruction in singing and piano for those who needed encouragement. As a result, it was suggested that I should use my talents to become a music teacher in the educational field.

Pictured: Edgecliff Preparatory boys rehearsing in 1980

Particularly for Third Class boys, I was keen for them to feel a sense of achievement by learning to read and understand the words and sing with the older boys, thereby gaining confidence in performing in the presence of the Headmaster and their form teachers. I made no distinction in terms of ability among them to ensure that no boy felt intimidated. My general aim was to give the boys an advantage when or if the time came for them to take up a musical instrument by having a stronger sense of pitch, tonal ability and breathing control.

My initial ten hours a week soon increased to three full days a week, when it was decided to include the three infant classes in the music programme. This coincided with a rapid uptake of private music tuition. My class music lessons expanded to include music ensemble practice for boys learning to play musical instruments. These class musical ensembles were designed to enable the boys to practise music in the format of a regular weekly ensemble tutorial in preparation for larger scale orchestral performances at School events. It was during this period that Mr Billing asked me to also include teaching the recorder, as he wanted to give boys who had no interest in string instruments an opportunity to choose to learn a woodwind or brass instrument instead.

The Music Room

Until the school extensions were completed in 1982, there was no dedicated music room. To enable music to be taught in the school, Mr Billing divided the Assembly Room into segregated areas using concertina folding doors. Music classes were initially held in one of those segregated areas, while the other segregated area became the school library when Mr Hugh O’Keefe was appointed School Librarian. A temporary rectangular stage was erected in the southwest corner of the Assembly Room for annual concerts, plays and musical performances. The stage subsequently became a permanent fixture and music classes were then held here, with the music teacher’s piano adjacent on the floor.