NEWLY RELEASED

FRITZ HART: AN ENGLISH MUSICAL ROMANTIC AT THE ENDS OF EMPIRE

By Peter Tregear (University of Melbourne/University of Adelaide) and Anne-Marie Forbes (University of Tasmania)

Fritz Bennicke Hart (1874–1949) stands as one of the more astonishing figures of the so-called English Musical Renaissance. This long-overdue biographical study explores and assesses the substantial and lasting contributions he made to the musical life of England, Australia and Hawai’i. As Tregear and Forbes have richly documented, Hart was a charismatic, and extraordinarily productive, composer, conductor, educator and institutional leader whose life-journey in music throws new light on the aesthetic concerns of early twentieth-century imperial Britain and how they were received and refracted at that empire’s farthest extent.

Peter Tregear is a singer and conductor, Principal Fellow of the University of Melbourne and an Adjunct Professor of the University of Adelaide. He is the author of Ernst Krenek and the Politics of Musical Style (Scarecrow, 2013) and Enlightenment or Entitlement: Rethinking Tertiary Music Education (Currency House, 2014), and writes regularly for the Australian Book Review and The Conversation.

Anne-Marie Forbes is a singer and researcher in music history, and music and health, at the University of Tasmania. She has published widely on Australian and British music, including editions of Fritz Hart’s songs and choral works, and co-edited Joseph Holbrooke: Composer, Critic and Musical Patriot (Rowman & Littlefield, 2014) with Paul Watt, and Heart’s Ease: Spirituality in the Music of John Tavener (Peter Lang, 2020) with June Boyce-Tillman.

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This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.

Edited by Kerry Murphy and Jennifer Hill. Including chapters by Kerry Murphy, Gerard Vaughan, Sarah Kirby, Catherine Massip, Susan Daniels, Rachel Orzech, Thalia Laughlin, Carina Nandlal, Madeline Roycroft and Isabelle Ragnard.

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