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Frederick Morse
Grainger: Pianist, Composer 1920s
lithograph
Grainger Collection, the University of Melbourne


Wurlitzer, Knoxville, United States
Butterfly Piano 1940s
Small semi-circular piano adjusted by Grainger and tuned to sixth tones for use in his ‘free music’ experiments
wood, ivory, paint, steel/iron frame, nails, screws
Grainger Collection, the University of Melbourne


Unknown maker
Cast of Percy Grainger’s hands undated
plaster, gold paint
Grainger Collection, the University of Melbourne

Grainger the Performer

Grainger first performed in public in 1894 when he was 12 years old. Twenty-one years later, in 1915, his New York debut left the audience ‘stunned, bewildered, delighted’. Despite playing up to 120 concerts per year at the height of his performing career in 1920­–22, it became a matter of regret to Grainger that his public reputation was as a pianist rather than a composer. He also had a poor view of the role of the conductor, believing that ‘all the conductor has to do is listen to the orchestra, follow along with it and look inspired’.

Grainger played as the mood took him. Although he could be charming and lyrical at the keyboard, his preference was for a more attacking and forceful style. He could be, as one critic put it, ‘as hard as nails’. While not apologising for his overemphatic manner, Grainger claimed it originated from performing in large halls as a youngster. Nonetheless Grieg, the famous Norwegian composer, felt Grainger’s playing was ‘like the sun breaking through the clouds’. He claimed: ‘It is a human being, a great soul, an aristocrat that is playing.’

Grainger was somewhat cursed by his ‘prodigious’ talents and, while touring and recording were lucrative opportunities for him, he was a reluctant public performer. Instead he favoured teaching at music camps or schools and travelling to obscure locations where he could perform his own more experimental repertoire. His final performance was in 1960, the year before he died.