The ongoing journey of 'Carol's Piano'

January 2008 was an extraordinaryyyyy month with much to do about plenty, as quite opposed to 'much to do about nothing'. The new yyyyyyyear began at quite a pace with extra activities in Hobart that included meeting up with old Papua New Guinea friends, a delightful re-union with one of my granddaughters whom I had not seen for over nine months and visiting Sydney where I re-connected with a very special and important link of the past. Let me talk about the last one first and write another chapter later about the other two re-unions.

Anyone who knows anything about Carol will tell you that she had many interests. They would tell you about her extensive range of creativity in handwork, cooking and especially music, which already started early in her life. Eisteddod and competing on radio programmes were actively pursued, including appearing on the nationally broadcast of 'Amateur Hour' with Host, Terry Dear in the early fifties:When she left Tasmania in 1956 for Sydney, her ambitions were to become a concert pianist.To that end, she enrolled at the Sydney Conservatorium of Music and studied there for three years. During that time, her mother & father bought her a new baby-grand piano - a Moore & Moore, which became her favourite treasure. She loved that instrument for its tone, its feel and for its special part in her musical journey.

Carol took to the Sydney music scene with relish and could be found frequently in the organ gallery of the Sydney Town hall (cheapest tickets) to soak up as much music she was able. After the concert she would go backstage to meet the artists. One of her favourite conductors was Maestro Nicolai Malko in the next photo, and again in another photograph with internationally acclaimed pianist Claudio Arrau. I still have the programmes of those concert, most of them signed by famous musicians like Barenboim, Oistrach, Germani, Menuhin, Badura-Skoda etc.In 1959, she felt a strong call to offer herself for missionary service in Papua New Guinea. Being the pragmatist, she chose to place her music ambitions on hold and returned to Tasmania to become a nurse.Well, all of you who read this story know that I came back into her life and, having a similar call for missionary service, we came to the conclusion that God would have us go as a couple to that wonderful country of Papua New Guinea and serve the people there for a period of time - eleven and half years (the half is important!).

When we returned on first leave to Tasmania, Carol made straight for the loungeroom to play her 'baby' only to find to her dismay that it was gone. Yep, her mum & dad decided that, in view of Carol's longterm commitment to Papua New Guinea, to sell this unique and special instrument without asking her. Nor did they inform her. She was devastated and while I purchased her another fine instrument in due time, it hurt so much. Something special was gone.

When she learned that Peter Sculthorpe had found the instrument irresistible and purchased it, she, being the amazing person she was, thought perhaps that Mr Sculthorpe would put it to good use and compose fine music for the world to enjoy. Little did she realise at that time what a fine and acclaimed classical composer Peter Sculthorpe would become. Keith Jackson, on his blog, commented on this story and described Peter Sculthorpe as follows:

"A 30-something Launceston boy – who, as a child had been severely reprimanded by his piano teacher for not practising, so took to writing music under the bedclothes with a torch – saw the ad, saw the piano and concluded that “it was asking me to play it”.

The young man was Peter Sculthorpe, now approaching 80, one of Australia’s 100 Living National Treasures, one of only four Australians to be made life members of the American Academy of Arts and Letters, and much honoured in this country as perhaps our greatest composer ever."

In September 2007, I saw an interview on the ABC programme 'Talking Heads', where Peter was asked about the special piano in his life. He gave a brief answer, but what really stuck in my mind was when he said, 'the moment I played it, that was it. There was something about the treble that... It almost seemed to want music to be written on it.' Now there is a real connection and for me is very characteristic of Carol. Yep, that's my girl! The following is a part transcript of that interview:

ER THOMPSON: Tell us about the baby grand that you're playing there.
PETER SCULTHORPE: When I came back from Oxford, I thought, well, it's time... I'm grown up - it's time that I had a grand piano, even if it was just a baby grand. And I answered ads all over the place in Tasmania and finally there was one advertised at Burnie. I went down, played it, and the moment I played it, that was it. There was something about the treble that... It almost seemed to want music to be written on it. The bass strings, because they're not so long, weren't as resonant as I'd like, but I mean, baby grands are like that. And I've loved that piano dearly. I've written most of my music on it over the years. Oddly enough, it was bought in Sydney and taken to Tasmania, and then, of course, I brought it back to Sydney.

I took the opportunity to write to the ABC asking them to convey my greetings to Peter and included a brief background of Carol's journey with the 'Moore & Moore'. Peter was most kind and wrote back to me. We agreed to meet in Sydney in January. FINALLY.....I am getting to what I want tell you. I was most cordially received by Peter and he took me straight into his studio where indeed this lovely instrument just waited to be re-introduced to an acquantance of long ago. It was quite an emotional moment to see, touch it and even play a couple of chords on it. I had forgotten what a lovely mellow sound it was and so very characteristic of Carol who preferred the mellow to the harder piano sound.

Peter informed me that, since he purchased the instrument all his music was composed on 'Carol's piano. She could not have asked for a better home and purpose. Her wish was truly realised, as many have come to enjoy Peter Sculthorpe's music. Carol herself played his music at functions and recitals, constantly wondering whether the piece she was playing was composed on THAT piano, which she always referred to as her 'baby'.Peter most kindly played me one of his compositions which was in fact, the very first piece he had composed on THAT piano. What more could I have asked for.
Peter, his assistant Adrienne and I wondered whether Carol was aware of our being together. We hoped so!
Our conversation was wonderful and I am just very privileged to share the ongoing journey of this lovely piano. Thanks Peter & Adrienne! The journey does indeed continue!

I like to finish this chapter with one of Carol's favourite flowers that she planted in our garden in 2003. It has just come out and seems a fitting conclusion to this special chapter of SAMTINGBILONGMI: