The Music of David Ahern JHB Humberstone Thesis submitted in partial fulfillment of the degree of Master of Music. Faculty of Arts University of Sydney March 2003 Illustration E.1. A young David Ahern 2 ABSTRACT David Ahern (1947-1988) was a composer who spent most of his life in Sydney, Australia. He achieved a sudden and extraordinary prominence as a young composer following the success of his first two orchestral works, After Mallarmé and Ned Kelly Music. In 1968 and 1969 he travelled to Europe where he studied with Karlheinz Stockhausen and Cornelius Cardew. On return from Europe Ahern began several performance and improvisatory groups which were modeled on what he had learned in Europe, in particular the recent inception of Cardew’s Scratch Orchestra. After three tumultuous years of performances from 1970 to 1972, AZ Music, the only one of these groups remaining, threw off its ‘Cardewian’ influences and began to professionally perform new music. It folded in 1976 and it appears Ahern wrote no more music. After 12 years of unsuccessful career changes caused by severe alcoholism Ahern died and is little spoken of any longer in Australian contemporary musical circles. The surviving documentation of Ahern’s achievements in his short career are limited to a small number of journal articles by members of his performance groups, a few pages in a book on Australian composers, and the newspaper reviews that were published at the time. This thesis draws together the existing published information that there is of Ahern’s work and through creation of new source material (namely the documentary archiving of his estate onto CD-Rom and the recording of a series of interviews with some of those who worked with the composer) fills gaps left in the information 3 available. It also seeks to discuss the influence, importance and individuality of Ahern’s work and life. The Prologue describes how I have divided Ahern’s creative life from 1965 to 1976 into three distinct periods. Chapter 1 contains a literature review and a detailed explanation of my approach to creating and archiving new primary source material. Chapter 2 describes the first period of Ahern’s career, and chapters 3 and 4 the second and third periods respectively. An Epilogue serves to draw together the threads of Ahern’s work and life, and discusses its influence and significance not only in Australia but more broadly in an international context – a theme that pervades this entire thesis. 4 ACKNOWLEDGEMENTS Geoffrey Barnard for unlimited access to David’s estate, generosity beyond limit with his own resources, and information that now exists only in his head. The Australian Music Centre for their records of the few articles written about David and access to the score of Music for Nine and recordings. Professor Anne Boyd for her careful guidance through this entire project. Greg Sheimer, Peter Sculthorpe, John Hopkins, Geoffrey Collins, Geoffrey Barnard, Richard Meale, Phillip L. Ryan and Nigel Butterly for their time to record interviews and permission to reproduce and quote the interviews. Richard Toop for a copy of his recorded conversations with David. Pam Dunne for her excellent transcriptions of a selection of the interviews conducted as part of this project. 5 TABLE OF CONTENTS ABSTRACT 3 ACKNOWLEDGEMENTS 5 TABLE OF CONTENTS 6 LIST OF ILLUSTRATIONS 7 PROLOGUE 8 CHAPTER 1 12 Literature Review and Approach to Primary Sources CHAPTER 2 36 The First Period, 1965-1969 CHAPTER 3 59 The Second Period, 1970-1972 CHAPTER 4 75 The Third Period, 1973-1976 EPILOGUE 84 BIBLIOGRAPHY 88 APPENDIX 1 92 Interviews Conducted to Form an Oral History APPENDIX 2 149 Documents on CD-Rom from the Estate of David Ahern 6 LIST OF ILLUSTRATIONS E.1. A young David Ahern 2 1.1 Summary of the approach taken to creating an oral history 21 1.2 Teletopa in rehearsal 31 1.3 Extract of a letter from Victor Schonfield 35 2.1 David Ahern and John Hopkins at Ned Kelly Music premiere 36 2.2 List of works by David Ahern 39 2.3 Letter from Stockhausen to Ahern June 16th, 1968 43 2.4 Letter from Stockhausen to Ahern June 29th, 1968 43 2.5 The influence of Stockhausen’s Aus den Sieben Tagen on Ahern 46 2.6 An excerpt from the original score of Network 47 2.7 Reference for David Ahern from Stockhausen 50 2.8 Ahern’s ‘open letter’ for the course 54 2.9 Letter from Joseph Post to Ahern 55 3.1 Teletopa on tour in Japan 59 3.2 The first two pages of notes taken by Ernie Gallagher 60 3.3 David Ahern’s Reservoirs 62 3.4 Similarities of the Scratch Orchestra and AZ Music 64 3.5 List of AZ Music concerts 65 3.6 Two excerpts from a letter from Cardew to Ahern 68 3.7 A page from Ahern’s Rudiments of Music 71 4.1 David Ahern in his kitchen 75 4.2 AZ Music concerts in the third period 77 4.3 Excerpt from a letter from Ahern to Reich 78 E.1 Gallagher, Barnard and Ahern at the West End Hotel 84 7 PROLOGUE The story of the life of David Ahern is both a fairytale and a tragedy. I discovered it while beginning research on a broader history of experimental music in Australia, and never proceeded any further, so incredible did I find it that there existed no objective account of this man’s life. The intention of this thesis, then, is to map as objectively and factually as possible the life of an undoubtedly talented man, and also to make some subjective judgments about that talent. The research project, in this form at least, was always intended to be a jumping-off platform for future more detailed work on Ahern’s life and music. There is little detailed musical analysis, little theoretical discourse, and little information which might be of biographical (not musical) import only. What is achieved is the plugging of gaps in the available literature, and the addition of a large body of new source material: so that the movements and development of this complex character from 1967 to 1976, the short nine years in which Ahern was genuinely musically active, are comprehensively summarised. The new source material which was created for this project was essentially found in two mediums: in Ahern’s estate, which was inherited by his close friend Geoffrey Barnard (the greatest documenter of Ahern’s life to date), and in interviews conducted by the author, to form an oral history. To this end this thesis includes two appendices: the first appendix includes copies of the original interviews with Peter Sculthorpe, John Hopkins, Greg Sheimer, Geoff Collins, Geoffrey Barnard, Philip Ryan and Nigel Butterly (Richard Meale was interviews but did not want to be recorded). It also includes copies of an interview Richard Toop conducted with Ahern himself. Selected transcriptions of these interviews are also included in appendix 1 and this collection will be lodged at the 8 Australian Music Centre in their archives and in the oral history section at the National Library. The second appendix is in the form of a CD-Rom. On it are Ahern’s private letters, photographs, notes and original compositions, scanned and embedded in PDF (Portable Document Format). The letters especially give us an insight to the private Ahern, and the insecurities that his publicly projected self did not reveal: correspondence from Cornelius Cardew and Leo Schonfield is especially importance in this way. The PDF is interactive, and works on an Apple Mac or IBM compatible computer running OS8.6 or Windows 95 or later, respectively. Adobe’s Acrobat reader 5 or 6 must be installed to open the PDF and can be downloaded without charge from www.adobe.com/acrobat. James Murdoch’s book Australia’s Contemporary Composers1 was published in 1972, at the height of Ahern’s experimental activities, and is the only book with mention of his work. Unfortunately it only reviews with any accuracy the first few years of his career: there is no way Murdoch could have fully understood the breadth of thought Ahern brought back from Europe in 1972 at the time without further exploration. Nearly every journal article on Ahern’s music and life has been written by a member of one of his performance groups, and while many of these are detailed and accurate (especially those by Geoffrey Barnard and Ernie Gallagher) they are no doubt also reflections of their personal regard for a man who, as Barnard said, would “walk through walls to get to where he needed to go”2. This thesis attempts to draw both facts and opinions on Ahern’s personality from the literature, as two separate threads. 1 Murdoch, James. (1972). Australia’s contemporary composers. Sydney: The Macmillan Company of Australia Pty Ltd. 2 Barnard, Geoffrey. In interview: see appendix 1. 9 The content is not, however, a principally biographical story. While some mention needs to be made of Ahern’s relationships with his peers and lovers to understand his state of mind at different times, it does not concern itself with his personal life. To this end, the three chapters on Ahern’s life do not deal with his youth before he sprang onto the Australian and international stages, or after 1976, when AZ Music, Ahern’s principal performance group, folded and Ahern took heavily to the bottle. They deal instead with the thrust of his musical life during the intense period of activity. It was Geoffrey Barnard who first identified the two distinct phases of AZ Music in his article “AZ it was”: …AZ actually compromised two distinct phases in its (almost) six year history: the first running from its inception in February 1970 to August 1972, and the second roughly from the beginning of 1973 to the end of 1975. 3 While AZ bore the same name in 1973, at the beginning of the second phase Ahern had abandoned the very aesthetic which had lead to the creation of the group, namely the Cardewian philosophy applied to the Scratch Orchestra of allowing anyone with any musical expertise and experience to perform. Instead AZ Music turned to performing existing, mostly through-composed repertoire with a body of nearly entirely new and paid performers. Ahern himself also took less of a performance role and dealt with choosing repertoire and directing the group. I have labelled these two periods of Ahern’s life the second and third periods, because Ahern had already enjoyed a successful four years in Australia and Europe before he began what later became known as “the course”4 and AZ Music. In this first period he quickly emerged as a young composer. His music was championed 3 Barnard, Geoffrey. (1989). AZ it was. NMA, 7, 17-20. 4 Ahern’s course in experimental music began at the NSW State Conservatorium in February 1970, where it was free. The performers in AZ Music and Teletopa were drawn from these classes, and when time ran out at the Con, Ahern taught the class briefly from his home and then as an approved WEA course. This is discussed in detail in chapter 3. 10