Composer, virtuoso pianist, conductor, educator, inventor, collector and transcriber of the folk music of many cultures – Percy Aldridge Grainger was born at Brighton, near Melbourne, Australia, on 8 July 1882. His philandering, alcoholic father left home when Percy was 8 and his mother, Rose Aldridge, assumed total control of every aspect of her son’s life. Discipline was harsh but the bond of affection between mother and son was overwhelming and all-consuming.
After studying at the Frankfurt Conservatory, Grainger settled in England in 1901 and began his career as a professional pianist. His good looks and striking blond hair made him a popular figure in London society. It was during this period that he first began collecting folk songs and from 1905 he travelled extensively in England and Scandinavia, recording and transcribing over 500 songs.
In 1914, Grainger moved to America, eventually settling in White Plains, NY, and taking US citizenship in 1918. For the rest of his life he continued to tour the world as a performer, earning a considerable fortune and giving much of it away to deserving cases. In 1928, on stage at the Hollywood Bowl, in front of an audience of over 15,000, he married Ella Ström, a Swedish artist, who bore a startling resemblance to his mother.
Grainger was a man of contradictions: a professional concert pianist who hated performing in public; a compassionate, vegetarian pacifist and avid reader of bloodthirsty Nordic sagas; a keep-fit fanatic whose sex-life was dominated by sadomasochistic practices. Above all, he was a radical, a visionary and a fearless experimenter, whose musical reputation was for too long defined by that dread term ‘light music’.
Though Grainger remained essentially a miniaturist (none of his works lasts much over 20 minutes), his vast output is brimming with new ideas. These include a totally new approach to orchestration through flexible (‘elastic’) scoring, experiments with ‘chance’ music that startlingly anticipate 1960s aleatoricism, and a vision of a music freed from the constraints of regular pulse and specific pitch. To achieve this ‘Free Music’, he set about designing and building special machines to play the strange, sliding microtonal music he had in mind. A few tapes of these efforts still exist, but at the time of his death, on 20 February 1961, his dream remained only partly realised.
Profile © John Pickard