1924 UNA MABEL BOURNE PIANO Cyril Scott Impromptu (A Mountain Brook) A Little 78

$

25

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UNA MABEL BOURNE Australian Child Prodigy, and touring pianist with her fellow Melbournian Dame Nellie Melba had an astounding numbers of records both with the acoustic process and the early electric recordings.

It is a testament to her popularity that a lot of her late acoustic sides were immediately re recorded once the electric process came along

 Here in a program of her contemporary English Composer Cyril Scott

Impromptu (A Mountain Brook)/ A Little Waltz No 1 (Fr three little waltzes) - Water Wagtail

acoustic 10" 78 rpm record

Condition: Excellent plays very quiet, hint of crackle

Una Mabel Bourne (1882-1974), pianist and composer, was born on 23 October 1882 at Mudgee, New South Wales, daughter of James George Bourne, store-keeper, and his wife Margaret, née Webber. The family moved to Melbourne when Una was a child. An infant prodigy, she was playing by ear when 4. She was taught first by her elder sister, and later by Benno Scherek; in the 1890s Una made her first public appearances in orchestral concerts under his conductorship. In her mid-teens she gave many solo recitals which established her as an artist of considerable promise. In May 1899 she was enthusiastically praised for her contribution at a benefit concert for the soprano Amy Castles.

In 1905 Una Bourne undertook an eighteen-month study tour during which she visited Leipzig, Dresden, Berlin, Prague, Vienna, Paris and London. She had not intended to perform publicly but, before her return home, friends arranged recitals in the Bechstein Hall, London, which were acclaimed by English critics. (Dame) Nellie Melba selected her as her associate artist for tours of Australia in 1907, 1909 and 1912. She occasionally accompanied Melba and these engagements established her as a solo performer. Their lifetime association and friendship contributed substantially to Una Bourne's international repute as a concert pianist.

In November 1912 Una sailed for England to pursue her career. On her arrival she was engaged by Melba for a provincial tour, during which she performed many of her own compositions with success. In February 1914 she gave concerts in Berlin, Dresden and Leipzig, as well as a command performance before Queen Mary at Buckingham Palace. Throughout World War I she remained in England, giving many concerts for hospitals and the Red Cross. She established herself as a pioneer recording artist when in 1915 she began a thirteen-year association with the English Gramophone Co. (His Master's Voice). She recorded over eighty titles, including many works by Chaminade as well as several duets with the violinist Margaret Hayward, and her own compositions — Caprice, Petite Caprice Valse, A Little Song, Cradle Song, Humoreske, Gavotte, Marche Grotesque and Nocturne. Unfortunately, most of her forty-four recordings were deleted from the H.M.V. catalogue by 1930 and no long-playing reissues of her discs have been made.

Following a tour of Australia in 1920 with Melba, Una Bourne performed both on the Continent and in North America. In the United States she made player-piano rolls for the Duo-Art Co. and emerged as an important broadcaster. She made several return visits to Australia, including one in 1939 when she gave celebrity concerts under (Sir) Bernard Heinze and Eugene Ormandy. She remained in Melbourne to work throughout World War II giving concerts and broadcasts; in 1942 she established a master school of piano-playing at the Melbourne Conservatorium of Music, Albert Street, and a scholarship bearing her name. After the war she gave private piano tuition and continued to write and broadcast. Her declining years were spent at her South Yarra home with a lifetime friend and companion artist, Mona McCaughey (d.1964). She died on 15 November 1974 and was cremated. Her estate, much of it inherited from Miss McCaughey, was valued for probate at $169,168.
Bourne was already a child prodigy by the age of four, at which point her family moved to Melbourne where she received lessons from Benno Scherek. By the age of ten she was playing concertos with orchestra. She then began touring, but in 1905 she went to Europe to study, making her London debut in October of the following year. ‘Miss Bourne has a beautiful touch, especially for the softer and mezzoforte passages, and plays with a great deal of ease and fluency; her runs and shakes and rapid scale passages in such things as the ‘Appassionata’ Sonata or the Chromatic Fantasia and Fugue come off very well, and, though her broad, sustained tone is not quite so good and her rhythm at times is a little uncertain, yet she plays without any affectation or exaggeration, and quite gives the impression of being a musician.’ (The Times)

Before World War I Bourne toured with fellow Australian Dame Nellie Melba. They gave joint concerts, within which Bourne would also perform solo piano works. During the war Bourne gave many recitals in London for charity and the war effort, but thereafter her career was mainly in America and Australia. She gave further charity concerts in Australia during World War II and remained there after 1939. She established a school of piano playing at the Albert Street Conservatorium in Melbourne and spent the rest of her career teaching, as well as occasionally giving concerts and broadcasting.

Bourne recorded for HMV in London and appeared on their less expensive, popular plum label. Her first recording was made in 1914: a disc of her own compositions Caprice and Petite Caprice Valse. This was followed a year later by a similar disc, containing her Cradle Song and Little Song. Most of Bourne’s recordings are of popular encores and lighter classics: many works by Chaminade, with whom she studied, as well as pieces by Paderewski, Scharwenka, Smetana, Cyril Scott, Sinding and Sydney Smith. In fact, nearly all her recordings were made acoustically, and amongst these there exist Schumann’s Kinderszenen Op. 15, paraphrases by Liszt of Wagner’s Liebestod from Tristan und Isolde, Entry of the Guests from Tannhäuser, the Spinning Song from Der fliegende Holländer and Verdi’s Rigoletto.

A work that suits her better is what must be the first recording of Grieg’s Piano Sonata in E minor Op. 7, which she plays in a rhythmic and clear style. One of her best discs is of Tchaikovsky’s Humoresque in G major Op. 10 No. 2. Her most successful recordings are those in which she partners violinist Marjorie Hayward, namely Beethoven’s ‘Kreutzer’ Sonata Op. 47, and the Violin Sonata by César Franck. One electrical recording which displays Bourne in a superior light is that of Mozart’s Sonata for Violin and Piano in B flat K. 378. Her warm tone and articulation, most evident in the slow movement, are in close harmony with Hayward.

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