Alexander Burnard: A Quiet Musical Genius

Dr Amir Moghadam, Special Collections and Archives

A Life Devoted to Music, Teaching, and Culture

The University of Newcastle’s Special Collections holds the archive of Dr Alexander Burnard (1900–1971), a composer, teacher, and one of the quietly influential figures in twentieth-century Australian classical music.

Although Burnard’s name is not as well known today as some of the musicians he taught or worked with, his life and papers tell a remarkable story. Through his music, teaching, writing, and friendships, Burnard played a key role in shaping Australian musical culture throughout the twentieth century. Recently, Special Collections received an important new addition to the Burnard Collection, making the archive even richer and offering new opportunities for research into his life, work, and musical connections.

From Adelaide to London

Alexander Burnard was born in 1900 and began his musical education in Adelaide. He studied music theory and practice at the University of Adelaide, completing his Bachelor of Music in 1927. In 1929, Burnard went to London to study at the Royal College of Music. There, he studied composition with Dr Ralph Vaughan Williams (1872–1958), a well-known English composer who moved away from the 19th-century German style and brought traditional English folk songs into the symphony. Burnard also studied with George Herbert Fryer (1877–1957), a respected English pianist, teacher, and composer. This time in London brought him into contact with leading figures in British music and shaped his musical outlook. After returning to Adelaide, Burnard completed his Doctor of Music in 1932 and worked as Chief Music Critic for The Adelaide Advertiser from 1930 to 1934.

A Life of Teaching

In 1933, Burnard began teaching composition and orchestration at the University of Adelaide’s Music School. In 1935, he moved to the New South Wales State Conservatorium of Music in Sydney, where he stayed and retired in 1therewn for his modesty. He did not seek the spotlight as a composer, even though he wrote a lot of music. Many students remembered him as a kind man with a pipe, patiently teaching harmony and counterpoint to those who were sometimes reluctant to study music theory. At that time, composition was not offered as a formal subject, so working with Burnard was often the closest students came to learning composition.

Percy Grainger to Alexander Burnard, 2 June 1956

A Composer

Burnard wrote orchestral works, songs, and piano music. His Overture to John Milton’s L’Allegro, finished in 1931 as Op. 12, was performed by the BBC Orchestra. Many of his pieces were played on the radio and in public concerts, and several received praise from audiences. Pianist Raymond Hanson once introduced Burnard’s chorale-preludes in a recital as “amongst the best chorale-preludes ever composed.” This kind of praise shows the deep respect Burnard’s music inspired in those who knew it well.

Burnard was also a prolific writer, producing essays, prose, poetry, and critical studies. In 1950, he published a book on harmony and composition, with a second edition released fifteen years later. His work was recognised in 1953 when he received the Coronation Medal for his service to music as a teacher, lecturer, conductor, and composer. In 1970, he was made a Member of the Order of the British Empire for his contributions to music, literature, and education. One particularly striking tribute survives in a letter from Percy Grainger to Burnard dated 2 June 1956. Grainger wrote:

“You seem to me to be exactly what the highest flight of Australian musical genius should be.” Grainger also compared Burnard’s music to the “tonal counterpoint” found in Norman Lindsay’s most complex and cosmic drawings suggesting Burnard’s elaborate and energetic, musical work.

Burnard’s influence lived on through his students. Some of those he taught, like Malcolm Williamson, Geoffrey Parsons, Barry Tuckwell, Johannes Tall, and Trevor Jones, went on to achieve success in Australia, England, or the United States. Through their work, Burnard’s teaching reached far beyond his own classroom.

The Burnard Collection at the University of Newcastle

The Burnard Collection shows that cultural history is often shaped by people whose influence is lasting rather than obvious. Burnard was one of these people: a teacher remembered fondly, a composer respected by his peers, and a writer whose papers still speak to us today.

The University of Newcastle’s Special Collections has a wide-ranging collection of Burnard’s letters, papers, library materials, and musical scores moved to the university archives in 1998. Before that it was held by the Elder Conservatorium of Music at the University of Adelaide on 20 December 1971, soon after Burnard’s death.

For those interested, the archive contains musical compositions in manuscript score (1918 and 1970), his musical writings, literary prose and poetical works (1917 – 1970), memorabilia and artefacts (1925 – 1970), photographs (1927 – 1972) and sound recordings (1946 – 1956). Also in the collection are some letters and postcards from Percy Grainger and his wife, Ella to Alexander and Phyllis Burnard as well as letters and telegrams sent to Burnard’s widow after his death.

A New Addition

A thank-you note to our colleague Davina

Through work of our colleague Davina Pellatt recently, Special Collections received a new addition to Burnard’s archive, including a music score titled “Puck – prelude No.2 for piano” found in the late Australian composer Malcolm Williamson CBE OAM collection in England. While Malcolm Williamson’s collection will be kept at the British Library, this new material in our collection will help us tell an even richer story about Burnard’s life and achievements. By preserving and expanding this archive, the University of Newcastle highlights the life of a musician who shaped Australian musical culture with quiet dedication, generosity, and creativity.

Hunter Living Histories

University of Newcastle