EXTRACTS FROM MY TEENAGE DIARIES – OCTOBER 1962

We discuss picture of Anne and Webster which appeared in the Star and she says she thought Webster looked “mouldy”! Anne looks too gorgeous for words. It was taken at the wedding of Margaret Inglis and Robert Langford in Brian Brooke’s garden. We have a good laugh about Mabel Fenney’s fascination with Webster, although we understand her feelings about him!

1 October – Go up to the studio for report cards and Webster answers looking quite well. He greets me with, “I don’t know what Ruth is going to say when she hears but you’ve beaten her.” I say, “But she sang nicely – much better than I did.” “The examiner didn’t seem to think so!” he says with a hollow laugh. Anne brings in the cards. I have 76% and Ruth has 72%. We have exactly the same for our exercises which I think is rather unfair considering how well Ruth sang them.

Go to SABC and when Ruth arrives I give her the report and she is thankful to have passed. Iris and Ila Silansky talk to us at interval and I get rather carried away defending Webster (whom Ila and Iris don’t like for some unknown reason).

There is a rumour that Johan is leaving the SABC. I see the Ormonds’ new black Rover.

2 October – I work hard in the morning and then Mum and I go to Ansteys for lunch. I’m at the studio first. Webster and Anne arrive, looking very smart. I tell them of my desire to do Higher Local and skip Senior. Webster says, “I see no reason why you shouldn’t.” I add that I want to do it in April and they are still quite complacent and pleased about the idea.

They look out all the Bach and Handel arias and try to decide which one to do. We swither over Father of Heav’n but they decide it is too long. “When I played the record Kathleen made of it, I had to cut it,” Webster tells me. We decide on an aria from the Christmas Oratorio by Bach called Prepare Thyself Zion. It is very nice and he sings it for me very softly and sweetly. There is another aria in the work that is beautiful and I must look at it at home when I’m copying out the Zion one – Slumber Beloved. The book belonged to Mabel Fenney (who taught at our school. Webster says he’d like me to do the same aria as she did for my final exam.

They tell me to get The Swan by Grieg. “I can tell you before we start that any song by Granville Bantock would be difficult, so we won’t do that one,” says he flatly.

They tell me that another of their pupils has just started on the exam I have finished and is doing Polly Oliver. He told her that he had another pupil who would probably be delighted to throw the old music at her!

We talk about Mrs Fenney and Anne tells me that she worked very hard indeed and used to come into the studio before they arrived and practised like mad. She adds that the tragedy of it was that she fell madly in love with Webster and showered him with so much attention that the poor darling was very embarrassed. I roar with laughter and look at him and he looks rather uncomfortable and says he must confess he felt rather flattered. Anne says that towards the end it was rather awful – not that she blamed her for she had such an awful husband! Everyone falls for Webster. “She was a bit mad,” says Anne. I think I’m a bit mad myself to be doing this exam. We have a good laugh and I depart feeling quite elated.

3 October – Work hard in the morning copying from the Christmas Oratorio. After lunch, I say goodbye to Mum and toddle into town to purchase The Swan and the new vocal studies.

Go up to studio and Gill is there in the midst of practising for a last minute accordion duet she is to play at the SA Championships. Miss Margaret Cameron comes up and takes a fancy to me and shows me her book of kitchen tea verses with illustrations by Heather McDonald-Rouse. Apparently she has known her for years. Shealso did the script for Mrs McD-R’s concert on Saturday night in Malvern.

Gill departs to practise with her partner – a chap called Lynn from Durban – “Who would just suit you,” she says. She tells me that Johan has been given the sack. I am so sorry.

I am left alone in the studio and Arnold Fulton phones to inquire about speech exams – he seems to haunt me and I’m sure I’m haunting him.

I come home and try over songs and studies – all most complicated and heaven knows why I have decided to torture myself once more.

4 October – Go to SABC at night. Ruth doesn’t come. Johan works us hard and plays the organ beautifully – I’m so sorry he’s leaving. I really can’t understand that he would have been “given the sack”!

5 October – Work. Dad takes Mum and me for a run to Pretoria which is fun despite the rain.

I listen to recorded version of G and S from last night. Patience is very good. I think Dennis (the boy whose mother made apple tart for Anne, Webster and me) sings Danny Boy on Stars of Tomorrow.

6 October – Go to town and music library. I get three very dry, highly scientific music books. I have to take one back on Monday as it is a work of reference.

Meet Gill who is delighted to have come second in the accordion duet competition. Lynn bought her a brooch to say thank you for playing with him.

Have lunch in Capinero with Mum and Dad and then we see Black Tights, a ballet affair with Cyd Charisse and Moira Shearer. Meet Iris there with her family.

8 October – Go into town with Mum. We have lunch in Ansteys and then go to hear organ recital given by Harry Stanton in the city hall. Very few attend but he plays wonderfully all the same and we enjoy it.

Webster, Petrina Fry and Anne at the wedding of Margaret Inglis and Robert Langford.

At night go to SABC – we work madly on Ninth Symphony and Messiah. Talk to Ruth who is feeling very miserable because she has broken up with Alan as he was getting a bit too serious. She had a lesson on Saturday and is going to do the next exam – Senior. We discuss picture of Anne and Webster which appeared in the Star and she says she thought Webster looked “mouldy”! Anne looks too gorgeous for words. It was taken at the wedding of Margaret Inglis and Robert Langford in Brian Brooke’s garden. We have a good laugh about Mabel Fenney’s fascination with Webster, although we understand her feelings about him!

9 October – I manage to get the diploma syllabus from Mannings. The contents frighten me to death but I’m determined to see it through.

Go up to studio and Webster is there by himself. He tells me that Anne has gone shopping and should have been back hours ago – he is quite worried about her.

He is in the middle of mending a plug which has lost its screw and he seems to find this a most complicated procedure. He curses it in no dignified terms. I ask him how he enjoyed Margaret Inglis’ wedding and he says, “Oh, it was jolly! We had such a delightful time. It was a very small affair.”

He makes me a cup of tea and we take it over to the piano. He starts to get very agitated about Anne and says, “I always worry about her when she doesn’t get back in time. She could easily have been run down by a car.” Knowing Anne, I doubt whether that would be at all likely.

We start on the HL studies and exercises with him playing the piano with sausage fingers. They go quite well, but he says I must learn to cut out the intrusive ‘h’ – it’s bad. Remember what the examiner said in the report.

The studies are fairly complicated and he says that he thinks I should turn the acciacatura into an appoggiatura seeing the note is dotted – I hope he’s right. He suddenly turns round to me and asks whether I read music better with my eyes or my fingers. I say, “My fingers!” He says “I can’t read music with my fingers – they’re too stiff now and I don’t practise much on the piano, but I don’t find it at all difficult to sing at sight!”

He goes to phone the garage because their car is there. Anne arrives in in the middle of the call and tells me she has had to spend forty minutes in Kelly’s – they’re so stupid.

We go through studies and The Swan and he says I must sing it in German. He asks about solo parts in Ninth Symphony. I say that I think Gé Korsten and Graham Burns are going to sing the tenor and bass roles – he looks quite crestfallen at this.

A woman they both detest arrives and Webster gives her a cup of tea. Anne talks to me about the heat and I say that there will probably be a storm later. There always seems to be a storm on the evening of her programme. I tell her that we all enjoy it very much. She is pleased and tells me that although it is a great success the SABC is taking it off at Christmas. I say that it’s about the most enjoyable programme on the radio and it’s a shame to have it taken off so quickly. Needless to say, we part on very friendly terms.

Listen to Anne at night and she is quite wonderful – conjures up London Palladium memories with Tommy Trinder, and them singing So Deep is the Night.

Plays Lock Up Your Daughters – a mistake – and My Fair Lady. She tells us about Rex Harrison almost becoming her brother-in-law. He worked in the Liverpool Repertory company, lived near them and took a fancy to her sister Phyllis. Perhaps it’s just as well that he didn’t marry her sister, judging by his amorous adventures.

I felt sorry for Webster today. He looked so old and tired and acted in a doddery manner, merely a skeleton of the former man. He has to go to Bloemfontein to direct The Pirates of Penzance soon so perhaps that will put some life into him.

11 October – Go to Mrs S in the afternoon. She had bad weather when she was away in Cape Town. We go through the piles of theory I have completed while she was away. I have to go on Saturday for ear tests.

Listen to Webster on G and S at night – he repeats about half of last week’s programme but still manages to get through the first act of Patience after three weeks at it, after much twisting of the tongue over “The Dragoon guards.”

13 October – Go to SS studio in morning. Margaret is there so I go through some of her ear tests with her.

We lunch in Capinero and Mum brings me a letter from Suzanne Pitchford my old Winchester Castle pal whom I haven’t heard from for almost three years. She’s working in Barclays Bank and seems very happy in Brighton and has a steady boyfriend with whom she intends to “rest her case”.

We see Sergeants Three which I enjoy and hear Only a Rose at night sung by my two pals.

14 October – Go to Sunday School and practise for anniversary.

We go to Diamonds in afternoon and pass Anne’s car outside the SABC. Webster is going to Bloemfontein soon so perhaps he is recording his G and S programme today.

15 October – Go to SABC at night and Ruth tells me that Webster went to Bloemfontein to produce Pirates of Penzance on Friday. He might have said goodbye! We pretend to mope about it and Gill asks why I’m sad. Ruth says, “Because her lover is away!” Have a laugh.

At interval, Ruth says she much prefers Webster to Anne. She has a laugh when I imitate him talking about Margaret Inglis’ wedding.

16 October – Go to the studio in the afternoon and Anne is there in a crimson dress looking hot and flustered. We have tea and moan about the heat. She says it is so hot and dry that she could cry at the slightest provocation.

We start on scales and I sing them to “mee” – I tell her I sound like a sheep. I manage to reach top C. I do exercises and studies and decide that they are quite nauseating. She tells me that Mabel Fenney got her diploma in Berlin and is now going to London to carry on studying either with Keith Faulkner or at the Royal Academy. Her husband is still here, stuck outside of PE managing a cheap hotel. She has been away for over two years and the only way he manages to support her is by gambling on the stock exchange. She flew over here last year and the first thing she did was to drive straight to their house and sat with Webster (who had ‘flu at the time) for practically the whole day. She says it was really very painful for everyone and the more Webster snubbed her, the more she made up to him. He practically ignored her in the end but nothing put her off.

She says that Ruth is having a swimming pool – have I seen it yet? That is the first I’ve heard of it. We discuss the Rover and she says that they’re being quite sensible with their money and not buying another house.

17 October – I work in the morning and then have lunch with Mum in Ansteys. We buy a gorgeous hat afterwards.

Go to SS studio where Gill tells me that Tufty is thinking of following Johan when he goes overseas. I have a good lesson and then have tea with Miss Cameron and Mrs S.

18 October Go to SABC at night and possibly due to the horrors of Latin or a compelling desire to listen to G and S, Ruth doesn’t come.

Roger O’Hogan (choirmaster at St Mary’s, Yeoville) takes us, and is excellent. He was one of the judges in the recent hymn competition. I talk to Tufty and Gill but they’re not as much fun as Ruth.

19 October – I listen to a recorded version of G and S. Webster finishes Patience at last and says that next week he has something interesting for the listeners but he imagines some eyebrows will be raised at it. If he’s going to start playing jazzed up G and S I shall die.

Have lunch with Mum and then go to Piccadilly to see Raising the Wind, a British comedy about music students with James R. Justice, Kenneth Williams and Liz Fraser. It is a wonderful film. How I’d adore to go to a London music college.

20 October – Go to SS studios and work with Margaret and then sing in ensemble. Margaret tells us corny jokes just as she used to do at school.

Go to see Roman Holiday in the afternoon.

22 October – Go to SABC. Pieter de Vaal takes us. Ruth tells me that her singing is growing harsh owing to her mother forcing her to sing high notes. She was talking to Anne and saying how depressed she felt and Anne said, “Well, never mind. You’re not the only one. I get depressed with all these pupils. I can’t stand any of them. There’s only four I like and that’s you, Jean, Lucille and someone else.” (she couldn’t remember the name). Ruth told her that she was only including our names to be polite and Anne replied, “No, darling. I really mean it.” Well, that is something!

23 October – Go to the studio in the afternoon and Anne is there by herself in a shocking pink hat. She makes tea and phones about the car – they’ve bought a new Anglia and it’s giving them a lot of trouble. It has to be ready for next Wednesday because she’s driving down to Bloemfontein to fetch Webster.

We have tea and she is very depressed. “I’ve never felt so unhappy in all my life. I hate this city and the whole country. The people are so inconsiderate and rude here and I loathe it. I’ve hated it from the very first but now here, by myself, I hate it more than ever. If I had a family it might be all right but for a woman all by herself, it’s awful.” I feel very sorry for her.

We start on Ein Schwan and it goes fairly well. We go through it a few times and it improves. She says that Ruth’s voice is tending on the harsh side, probably owing to the Ninth symphony (Probably owing to her mother more likely!) She’s terribly depressed with the weather and Alan. I say – at Ruth’s bidding from last night – that she was much cheerier now. Anne says, “Oh, how sweet. I’m very fond of her indeed.”

She tells me that a shop in Edinburgh sent her a parcel of white heather and she had to pay 20 cents on it because the intimation from the post office never arrived. She says heather tends to get very messy.

We work on the Bach aria and take down Mabel’s breath marks. She tells me that Mabel had wonderful breath control. They had a letter from her the other day and it was quite sensible. “Whether it’s because she’s found a new boyfriend or not, I don’t know, but it was a normal letter, like you or I would write!”

We work at the aria and Anne says, “Mum’ll have to work at the accompaniment of that soon!” We do study and she says that it is really excellent and I have memorised it well for it is very difficult indeed.

There is a picture of Anne in the paper in connection with Music for Romance, and Webster sings Love, Could I Only Tell Thee on the radio. Her programme is wonderful. She plays Blossom Time with recordings by Richard Tauber and says she went to see the film with the “young man of the moment after a lovers’ quarrel”.

Plays Annie, Get Your Gun and talks of attending the London first night. Goes on to Merrie England and tells of the production which took place in the grounds of Luton Hoo with a chorus of 600 including the Luton Girls’ Choir and a seating capacity for thousands. She plays his recording of The English Rose, and The Night Was Made for Love, which he made in 1935 with George Melachrino in the orchestra playing the clarinet. He had a cold when he made it.

I’ll bet they will go back to England the moment he gets his post-war credits, and good luck to them!

24 October – In the morning Mum and I go to get registered as aliens which, as someone remarked, is rather like going to prison. We have lunch in Ansteys to cheer us up and this is nice.

Go to SS studio and talk to Gill who runs down Mrs S and raves about Gerrit Bonn, whom she calls by his Christian name now. She does some ear tests with me. I have a good lesson but I have a cold coming on – my third this year. I ask Gill to excuse me from choir tomorrow night if I don’t manage to get there.

25 October – Stay in bed in the morning with ghastly cold – feel stiff, cold, achy and miserable. In the afternoon I phone Ruth to tell her that I can’t go tonight and we talk for half an hour.

She says Anne is going to Bloemfontein so she’s going to miss a lesson as there are 5 weeks in the month. We talk of her picture being in the paper and she tells me about the scrapbook she has full of press-cuttings. I relate a story of my own scrapbooks. She says that some girls at her school don’t like them and one said she heard them sing at the Wanderers and though they were dreadful. Ruth says she was so cross that she nearly slapped the girl in question. We decide that they are lucky to have at least two people who’ll stick up for them, come hell or high water. She tells me jokingly that with Webster being away my resistance is low and that explains my cold. Her mother met Diane Todd (who starred in My Fair Lady and thought she was common.

Listen to Webster at night and he does give us a surprise by playing a version of Mikado recorded for American TV and produced by Martyn Green, with Stan Holloway as Pooh-Bah and Groucho Marx as Ko-Ko. Next week he’s playing Pirates of Penzance as he is “having the pleasure of producing it in the charming new Bloemfontein Civic Theatre.”

27 October – Go to SS studio. Elaine and I spend time doing technical exercises and after tea, I play ear tests for everyone.

28 October – Go to Sunday school and we have our last practice before the anniversary. One little girl tells me that she knows I take singing lessons because they heard me singing when I played the piano and heard how beautifully I could sing!

David Cross tells me that I’ve been nominated to stand for literary CCD minute secretary. I don’t commit myself to anything.

In the paper, Gary A says that G and S is finishing at the end of the year and will be replaced with Webster presenting a programme called Great Voices. Gary A thinks it will run even longer than G and S.

Lord Oom Piet!
Lord Oom Piet

29 October Go to SABC. We rehearse with Pieter de V. At interval I am introduced by Ruth to Hester, the new girl who sits next to her. She informs us that she pays £1-10-0 a month for singing lessons with a Mrs du Preez in Roodepoort. Ruth remarks patronisingly that when she improves she can always go into town and learn with someone great!

30 October – Anne phones early in the morning and tells me that “something has come up” and she can’t possibly go into the studio at all today, but could I come next Monday at 3.30 to make up for it. I could. She says that Ruth told her I wasn’t keeping very well. I say, no, I’m not – next Monday will be better. She says she hopes I’ll be better. Degenerate into a state of illness and nausea. Mum has to come home. Spend day in sheer torture.

31 October – Ruth phones me at night to worry me further. The Performing Arts Council is holding auditions on Monday evening for singers. She’d like to audition – would I? I don’t commit myself. Evidently she had a grand lesson this afternoon and got in at 3.50. Anne had already phoned her mother to see what the matter was. Anyway she had a charming time having a little tea party with Anne and singing intermittently. Evidently Anne is missing Webster in the worst way and says she loathes teaching without him and if he goes away again she feels like refusing to teach. His first night is on Saturday and they are coming back on Sunday. She told Anne to send Webster all her love!

EXTRACTS FROM MY TEENAGE DIARIES – MAY 1962

23 May – Dora S praises Stravinsky to the heights but thinks Robert Craft and choir were bloodless and insignificant.

Oliver
Walker praises Stravinsky but says Robert Craft is no “sorcerer’s
apprentice”. He says that the third movement of the Psalms was good
although the diction was poor. We sounded – says he – more
harassed than exalted!

1 May – I go to the Durban icerink in the morning. It is delightfully modern and I skate well.

2 May – We go to the beach in the morning and swim in the surf. We meet Lyndith Irvine and her parents there. They live in Salisbury now. Dad and I see Light on the Piazza in the afternoon and at night the Irvines visit us at the hotel and I play the piano.

3 May – Am listening to Drawing Room with Peggy Haddon and Anna Bender playing duets. Webster says, “I give you – the misses Haddon and Bender!” Signor Vitali plays the trumpet – he remarked on the wonderful playing when we met him on that memorable evening last month. He says, “Wonderful! You make it sound so easy.” After Sarie Lamprecht sings, he says, “Bravo, Miss Lamprecht! That was quite charming.” He sings three Irish songs – the Ballymure Ballad, Trottin’ to the Fair and Maira, My Girl. I wish I could have recorded them.

Dad and I have a swim in the afternoon.

4 May – We go to the beach in the morning and have fun in the surf. I am beginning to tan.

At night we go to the Irvines’ hotel and listen to a small band in stuffy “intimate” lounge. Lyndith has a Crème de Menthe. They went to the Oyster Box today. They also visited Anne Ahlers (friend of Penny Berrington)

5 May – Go to town and postcards to friends and then see The Quiet Man with John Wayne and Maureen O’Hara. Good in parts – like the curate’s egg!

The Irvines phone to say the Webbs have arrived so we go to their hotel to see them. Jackie Keenan is with them. I play the piano in the lounge after walk.

6 May – Go to the beach in the morning and then it starts to rain. After lunch I have a rest and then play the “pianoforte” in the “drawing room”!

I listen to Webster at night. He continues with the Mikado.

7 May – Go to town and have lunch in Paynes department store and swim in the afternoon.

8 May – Swim in the surf. Dad and I see The Guns of Navaronne, with Gregory Peck and David Niven.

I am now listening to the Norma Broadcast – the one we did in Afrikaans at the Aula. Mimi is excellent but Jossie B sounds very worried and a little flat.

9 May – Go to town and have tea in Paynes. In the afternoon go on a coach tour to Umhlanga Rocks . We stop at the Chevron Hotel for tea and go onto the beach which is lovely. We pass through Glen Ashley (where Miss Ursula Scott lives).

I listen to Drawing Room (the second programme with Anne singing duets)

10 May – We go to beach and I come back to listen to repeat of Drawing Room. Anne’s Smilin’ Thro’ is beautiful but the other things she sings are shadows of her former glory.

The Irvines call to say goodbye. They leave tomorrow night by train for a long journey to Rhodesia. I play the piano to a packed lounge at night and they applaud loudly.

11 May – In the afternoon we go to the Playhouse to see Lover Come Back, with Doris Day and Rock Hudson.

12 May – Last full day of holiday. We go to town and have tea in Paynes with pianist playing the piano. In the afternoon I go for a ride in a motor boat with Dad then come back to pack.

13 May – Last day. We take a taxi to the airport after delightful holiday. The Marsdens meet us at Jan Smuts and take us home. Shandy is very glad to see us again! I listen to G and S at night.

14 May – Go to SABC at night. Hester and company tell me that Stravinsky is progressing nicely and there are oodles of professional singers augmenting the choir. He will conduct us on Saturday night.

See Gill and Ruth. Latter is thrilled to see me again and tells me she has been busy with exams and was delighted with my card. Johan works us hard, and guess who is singing in the chorus? Jossie Boshoff! Anton H arrives and tells us how honoured we should feel to be singing with Stravinsky who is no conductor but a very great composer and musician.

Ruth says she thinks Webster is being snobbish and big by refusing to sing in the chorus as all the good singers are in it anyway. Anne, says she, is finished and they should both stop singing publicly. “They’ve had their day,” says she.

I suppose it wouldn’t have hurt Webster’s reputation to sing with us. It would have been very sporting of him but I can understand his point of view.

15 May – Listen to half of the English version of Norma in the evening. Mimi and Jossie B’s Afrikaans accents are very much in evidence in their singing. Choir sounds much better here than in the Afrikaans version. I am reminded that at this particular recording, Webster kissed us – just to think of it!

16 May –. Singing practice goes really well and I am quite thrilled with it.

Go to piano in the afternoon. Mrs S kisses me, and when I go in a party is in progress – it is her birthday! Svea gives me cake and coffee. My lesson goes reasonably well and after it I practise scales to put in the time.

We go to Gill’s studio which is in a rather austere, grim building where music teachers of every variety conduct their lessons – Castle Mansions. Polliacks building is a palace compared with it. We go to Hillbrow to visit a friend of Gill’s – Lynn – a rather alarming but fascinating girl with unusual pictures arranged throughout her flatlet on the eighth floor.

We have supper in the Lili Marlene restaurant. We return to SABC after depositing Svea at Blood Transfusion and hang around in the foyer. Ruth arrives looking very smart. The orchestra is there and we practise hard. The tubist (Englishman) does his best to amuse us and Andy Johnson (the drummer) is good fun too. After hearing the piece with orchestra I can only ask, is Stravinsky mad? It certainly looks like it.

Mrs S is there sitting next to Jossie B. She is most affable to Ruth and me.

Ruth says that Drawing Room was a great flop. She hasn’t a good word to say about them, it seems. Iris Williams gives me a lift home.

17 May – I listen to Drawing Room – the one with trumpeter, Signor Vitali, and Sarie Lamprecht. Webster sings Friend o’ Mine and a Tosti song, Beauty’s Eyes.

Go to choir at night. Talk to Andy Johnson and Iris beforehand. We work very hard with Johan. Ruth tells me that she had a big fight with Eleanor (another member of the choir) who kept Ruth and her father waiting for twenty minutes.

18 May – Go to the studio and am greeted by a tired-looking Anne who says, “Hello, stranger.” She thanks me for my postcard and tells me that Piet van Zyl (rugby Springbok who won a prize at the recent eisteddfod) has had a stroke and she is most upset about it. Lucille’s grandmother died last week and Webster is having a most awful time with toothache. “He had toothache a couple of days ago and thought that a few whiskies and soda would sort it out but when it persisted he had to have the tooth out. There was an abscess in the gum and last night he sat up in bed trembling violently and I had to go and fetch two hot-water bottles for him. Today he had a penicillin injection so he’s sleeping now.”

Poor Webster, and poor her having to do all the work and worry about him.

Singing doesn’t go too badly today except for lower register.

We talk of Stravinsky and I tell her about Jossie Boshoff etc. She says that it was a pure cheek to ask Webster and not even offer him a fee – after all, they make their living by singing.

He phones and says he feels a bit better now and has woken up. She talks to him like a mother to her little boy and calls him darling. She says he can stand a lot of pain but this was all too much for him.

Say goodbye – it’s nice to be back but what a lot of bad things have happened since I’ve been away.

Stravinsky by Hilda Wiener
Anton Hartman meets Stravinsky at Jan Smuts Airport – May 1962

19 May – I am up early and go for my piano lesson. My chromatic scales are shocking. Have ear tests wit Elaine Commons and a few others. I hear someone whisper that I have a lovely voice – cheering. Leave with Margaret who tells me that she could sing top C recently but now she’s singing badly.

I go to Ansteys with mother and after lunch we see The Absent Minded Professor which is amusing.

Go to SABC at night. Anna Bender is at one piano; Gordon Beasley at the other, Kathleen Allister on the harp and Andy Johnson on drums. Robert Craft, a thin, pale man with glasses and lovely hands appears and in a soft American accent starts working with us on Symphony of Psalms. Edgar Cree and Johan are seated on the side, and Dora Sowden in a purple turban, sits next to Ruth.

Suddenly Anton H enters with small, stooped little man with large nose, a bald head and high forehead, wearing two pairs of glasses – it is the Maestro Stravinsky, the greatest living composer and musician in the world today. We all stand up and clap violently. I feel quite overwhelmed.

We continue our rehearsal and Robert Craft is very happy with us. Johan talks a lot to Stravinsky who has taken a great liking to him. S follows the score, and beats his music violently.

Ruth tells me that Anne phoned her at 6.30 this morning to say that Webster was sick. Could she go to the house. Ruth agrees. At 8.30 Anne phones once more to tell her that he is far worse than before, very ill indeed in fact, and she is calling the Doctor immediately so don’t come.

There is a picture of Anne in the paper being presented with a bouquet at the Varsity production of Vagabond King. Her dress is very low cut and hair rather strange. She looks tired.

The second half goes well. We do the Bach and Stravinsky looks happy and so does Robert Craft. He lets us depart. “I’ll give a booby prize to the last one out!” says he.

20 May. Sunday school. Afterwards Mr Rainer asks if I would care to take over the post as pianist in junior Sunday School and take a class there. As it will be good experience for me, I accept although I will be sorry to leave the little boys.

When I get home parents tell me that I ought to phone Anne to see how Webster is and if I can do anything at the studio for her. I do so, telling Anne that I heard Webster was not very well yesterday.

“Were you phoning to ask about him – how sweet! He’s still in a lot of pain and getting penicillin but he’s improving slowly.’

“I’m so glad. I wondered, seeing I’ve nothing much to do, if I could help you in the studio next week? I could answer the door and the phone and so on if he wasn’t able to manage in.”

“Oh, Jean, that’s terribly sweet of you and if he isn’t up to it, I’ll phone you by all means, but I think he’ll be able to record his G and S tomorrow morning and he might be well enough to go to the studio.”

“Well, I hope he feels much better soon. Do tell him that.”

“I will, Jean. I appreciate your offer very much and I know he will too. God bless you, Jean. Goodbye.”

Listen to G and S. Webster plays full recording of A Wand’ring Minstrel, “conducted by my old friend and fellow Birmingham citizen, Leslie Heward.” He promises to play Take a Pair of Sparkling Eyes which is on the flip side, shortly.

He continues with Mikado and tells us that Ko Ko means Pickles so if you have a friend called Wilfred Pickles, as I have, it’ll be quite in keeping to call him Ko Ko!”

21 May – Work hard at music. Anne doesn’t phone so I presume Webster is better now or perhaps she thinks I might be more of a hindrance than a help to her!

Parents and self go to final rehearsal for Stravinsky concert in the City Hall. Quite a lot of visitors arrive and sit in the gallery. Robert Craft goes through the whole Symphony of Psalms which takes 25 minutes. Stravinsky and his wife sit in front with Edgar Cree and listen to it all. Stravinsky is very tired and puts his feet up.

At interval Mum and Dad leave and I collect Ruth. We go across to café and she asks about Webster so I’m able to tell her that he’s improving. The Ormonds arrive – he dressed in a duffle coat and cap. Mr O says I brighten up the front row of the choir. They buy us cold drinks and we discuss everything.

Ruth and I return and are overwhelmed by a group of Parktown Girls who are most impressed with Ruth and me. Ruth tells them, “Of course, we’re not just singing in the Stravinsky concert. We’re in the SABC choir all the time.” She tells them that the Bach is pretty dreich! I have a good laugh at the word but she doesn’t even realise how Scottish it is.

We practise walking in. The steps are frightfully steep and we do the Bach again. We get tickets for tomorrow – “With the compliments of the SABC,” and some of them get Robert Craft’s autograph. He is conducting us, and Stravinsky is conducting Petrouchka. Mum and Dad enjoyed the rehearsal but thought it sounds a little weird.

22 May – Practise and then rest in the afternoon ready for the big occasion. I go into the City Hall in my long white dress. I stand with Ila Silansky and Anna Marie and we survey the audience. We go into the mayoral reception rooms to leave our things.

Ruth arrives wearing her mother’s coat so, as I have my coat on as well, we look like peas in a pod together. We go onto the stage of the crammed City Hall prepared for the concert. Anna Bender and Kathleen Allister look quite delightful as does Annie Kossman. Braam Ver Hoef, the orchestra leader, comes on and finally Robert Craft in white tie and tails, still looking very pale. We sing Vom Himmel Hoch and then he conducts the orchestra. After that we sing the Symphony of Psalms, which goes very well. We are given a tremendous ovation and Robert Craft brings Johan on to take a bow as the choirmaster. We all applaud him.

At the interval, we hear from all sides how wonderful everyone in the choir was – so young and talented, and wasn’t the symphony delightful? In the second half we are kept at least 5 minutes waiting for Stravinsky. Anton H leads him on to the stage. He looks around at the audience as though he is frightened and bows and waves his hands to them.

He conducts Fireworks and Petrouchka without a baton. His whole attention is focused on his music and he forgets the huge audience in the City Hall. He licks his finger each time he turns a page.

During Petrouchka he loses his place in the score but manages to find it again. Then it is all over and we hear the greatest ovation, possibly in the history of music in South Africa. Anton H has to lead him on three times more to take bows. The last time he leaves he pats each of the members of the orchestra that he passes, like a father.

We go outside and I wait with Iris for her husband. We see Percy Tucker and Dame Flora Robson with his party. She wears no make-up at all but looks a rather sweet woman.

23 May – Dora S praises Stravinsky to the heights but thinks Robert Craft and choir were bloodless and insignificant.

Oliver Walker praises Stravinsky but says Robert Craft is no “sorcerer’s apprentice”. He says that the third movement of the Psalms was good although the diction was poor. We sounded – says he – more harassed than exalted!

Go to Mrs S in the afternoon and do a lot of ear tests. I’m very good at them. Gill groans and moans about Johan, and Hartman not allowing her to see Robert Craft who has some of her music, and weren’t the write-ups awful?

I listen to Drawing Room at night – the second last one, alas. The soloists are Maisie Flink, Walter Mony, Graham Burns and Doris Brasch. It’s the best programme yet – lovely songs and nice instrumental pieces. Webster joins Graham Burns in a duet, Watchman, what of the night?

There is a picture of the choir with Stravinsky in the Star. I can pick myself out from the crowd on the stage quite well.

I am sitting with choir altos behind the orchestra.

24 May Anne phones about 11. “Hello, is that Mrs Campbell?” “No, this is Jean.” “Oh, Jean, this is Anne … Ziegler.”

She tells me she’s phoning about the audition tonight. Did Ruth tell me about it? Evidently they just want to see us if we’re in the SABC choir and we don’t have to sing. Anne says if we get accepted we had better “lie doggo” – an old British expression says she – from Johan for a bit and then talk to him about it afterwards. I tell Anne that we have decided to ask him if we may be excused for a few months but if he refuses we’ll just stay in the choir.

We discuss Stravinsky. She says she listened to the concert but it just isn’t her kind of music. She prefers a little more melody.

We discuss Webster’s sore teeth. She says he sweated it out on Monday morning and was determined to go into the studio in the afternoon but he just couldn’t make it and it was too late to phone me. He was in the whole of Tuesday but had a bad time of it. Today he’s gone to have the other tooth out and feels a little better.

She says she really appreciated my kind offer but didn’t like to phone me so late when I had Stravinsky to worry about. “Bless you,” says she. We spoke for twenty minutes on the phone.

At night Dad takes me to the Duncan Hall. I tell Ruth about Anne phoning and she says she had a lovely lesson. Anne told her that if you are unwell the first thing to go is the voice. She says that she’s unwell at the moment so hopes we don’t have to sing.

She says, “We’re the best-looking girls in the whole hall!” Anton Hartman arrives and tells us they need 7 altos, 8 sopranos, 10 tenors and 10 basses. Evidently we are in and are told to collect our music from Solly Aronowsky, 406 Internation House, Loveday Street. Ask for a Miss Basson. The first rehearsal is 6 June at Duncan Hall.

25 May – I receive £100-0-0 from Aunt Nellie! I nearly faint – my money worries are over for a while.

I go to the studio in the afternoon. Webster answers the door looking very smart in a black pinstripe suit. He says he still feels a bit grim, “But I think I’ll live.”

Boy, Chris, who cannot sing in tune is having a lesson. He is a bass and having awful trouble. Webster sings his song but Chris still cannot get it. Eventually he leaves after telling me I must have suffered and I must remember that he is strictly an amateur!

Anne is in no mood for giggling and tells me that the boy is hopeless and whenever he comes she goes and sits in the office. I say he does sing out of tune. Webster says that Chris is afraid he’ll ruin his piping or his rowing – why does he sing then? Anne says it takes her an hour to get over it every week.

They ask about the opera and I tell them how they want 10 basses and 10 tenors. He says, “Where will they get 10 tenors? There aren’t 10 tenors in Johannesburg!” Bragger!

We do scales and he keeps saying, “We must do set exercises and then record My Mother Bids Me.” He imitates my faults. As far as I can see, his teeth are all there!

Someone phones and Anne answers. He goes to the office and says, “Tell her you can’t talk now. You’re busy giving a lesson.”

She shouts, “I can’t do that. It would be rude!”

He comes out in an awful rage and tells me that it is such a cheek of people to phone in the middle of a lesson for once one runs late it’s quite fatal. He points out the few mistakes and I watch his hand tremble slightly. He fetches tea and Anne returns and we try to record second verse once more.

As I go, he asks, “How did you enjoy yourself? It’s the first time I’ve seen you since you got back from your holiday.” At least he remembered that I did go on holiday in the first place. I say I had a lovely time and he says, “Lucky girl. I wish I could get away!” If only he knew it – his life is an eternal holiday.

David Fletcher gives me a lift down Juno Street. At night I go to guild and we have a braai which is fun. Peter is very much in evidence.

27 May – Go to Sunday School and have my little boys for the last time. Feel quite sad.

I listen to G and S. He must have recorded this last Monday when he was still under the weather. He starts on Ruddigore and says that he never sang the tenor role in this because the tenor has to dance a hornpipe and no one ever took the trouble to teach him the hornpipe!

Of the main character he says, “He has the manners of a Marquis and the morals of a Methodist!”

29 May – In the afternoon I phone Ruth to check on address in International House. Her sister, very nicely spoken, answers the phone. Ruth says she had an awful lesson on Saturday and couldn’t sing to save her life. She also thought that Webster looks far better than usual.

30 May – We see Taxi to Tobruk with Hardy Kruger and listen to the last Drawing Room which is excellent. He sings a duet with Graham Burns – The Battle Eve.

EXTRACTS FROM MY TEENAGE DIARIES – FEBRUARY 1962

Webster as the prison doctor is on stage all the time and speaks hardly twenty words during the whole proceeding. However, as we are sitting practically at eye level to him, he stares at me and gives me a broad grin when he should be concentrating on the bleak trial. My heart jumps madly into my mouth and I blush. Thank heaven for the darkness of the theatre. I smile (a little!) at him and look at someone else when the experience gets too intense for me.

1 February – Lunch with Mum in Ansteys.

I go to singing at night. When I get out of the lift am confronted with an agitated Webster who tells me he can’t stop to let me in now but will be back in a second – I presume he has to put 6d in the meter. He comes back and complains about the heat. We go in and I pour myself tea and wash the cup. Nellie is singing for dear life.

Go in and pay Anne. She looks as gorgeous as she did in the recent photo. She is wearing her mauve dress. We talk of choir and she says I must try to sing in Tales of Hoffman as it is essential that I appear before a huge audience! She says, “I hear you are doing the Bach Passion and Cantata. Webster says, “Charming music, isn’t it?” in sarcastic tones, and he says, “They can keep the Passion – and the tenor role!”

We start on vocalisation studies for Trinity College and they go exceptionally well. Anne says I mustn’t let my chest sag when I sing. She makes me feel above her chest and how she manages to control her breath without her chest sagging! Fantastic – honestly!

I persevere with the exercises and they come right and feel right too! Webster comes in and listens and says that he can hear that I am smiling as tone is much lighter. We do them unaccompanied and all is well.

Do Bedfordshire Carol and she emphasises the diction and this improves. We end with the first vocalisation study. Goes well and they are thrilled and so am I. Webster says it’s glorious. Anne says I’ll go very far and I am elated. She and Webster are going to audition people in Springs for their production of The Vagabond King.

Have supper and then go to the SABC. See Anton Hartman and (presumably) Jossie Boshoff, his wife. See Annie Kossman and Hugh Rouse. The latter dashes in at 7 on the dot for the news and dashes out promptly at a quarter past.

We go to Studio 2c and copy in words of music and sing the Passion. Gill waits with me until Dad arrives and talks of Edgar Cree as “Uncle”.

3 February – Saturday off. Go into town with Dad. Have lunch in Century and then we see The Innocents with Deborah Kerr.

5 February – Work. Choir at night. Have an argument with a woman about Webster and Anne. We have the AGM and I talk to Ruth. She says she doesn’t blush in front of Anne alone but I mustn’t tell anyone – it isn’t that she doesn’t like Webster – she adores him – but she can’t imagine what the answer is to this strange phenomenon. I can imagine vaguely, but I don’t tell her.

8 February – Work. Go to Ansteys for lunch and then go up to the studio in the afternoon. Anne answers door looking gorgeous in white skirt with hair grey-white – lovely. She tells Nellie that Lucille came for her lesson today and had a bad nose bleed.

Go in and Anne makes tea. She washes cups and I dry them and she tells me all about the tank being clogged up with tea leaves put there by Madge Wallace. She says Webster’s play was super and LS gave it a terrific crit. They saw Oliver but it was so amateurish it nearly broke her heart. There wasn’t a good voice in the show and it makes her cry to think of the West End productions she used to go to.

She says that Webster is so tired that he didn’t wake up till ten this morning and consequently didn’t come to the studio. All he seems to do now is sleep and, as I know, he’s no youngster now. She says that Nellie told her that she hardly ever talks to her husband and she thinks she’s getting to be the same now although she expects that after so many years it’s only natural that they don’t have much to talk about any more.

I sing (believe it or not!)and she marks my vowels – all my “ah” vowels (practically) should be “ers”! Singing goes quite well but I too feel desperately tired. She sings to a very top G. Funny, but her voice has returned as though it had never been absent!

When I depart, she says she adores my hair band. The colour is glorious. I say that my hair won’t stay in curls so she says, “Do it in a bun like Hilda, my maid from St Helena, does.”

Says she’s dying for Oliver Walker’s crit.

I meet Joan Armstrong from Vanderbijlpark standing outside the Carlton Hotel in Eloff Street. She is doing a hairdressing course and she makes a note of Penny Berrington’s address in New Zealand.

OW crit is awful. He doesn’t even mention Webster at all. He says the play drags and some of the players took little trouble to disguise their own speech and mannerisms! To think that ten years ago he and Anne were right at the top of the tree and now he has to resort to playing bit parts! The Amorous Prawn was a small part too but he was wonderful in the play. Unfortunately, this part definitely falls into the bit category.

Nellie said to Anne that she felt sorry for her having to teach people to sing and it’s quite true. Had they saved six months’ wages when they were at the top they could be living in luxury in Britain. Instead – what? I know I’m secretly glad that they had to come out here but how I wish they could lead distinguished and comfortable lives. Poor Anne and Webster!

9 February – Go to guild at night and have interesting talk about the Red Cross.

10 February – Work hard in the morning. In the afternoon I go with Betty to the Old Girls’ Reunion at Quondam. All very pleasant. Misses Reid, Allen, Heller, Martin and Hanna turn up in full force as does Margaret Masterton, Yvonne Lautré, Sandra Heyman and Wendy Wayburne. We sit with Margaret, Yvonne, Eugenie Braun, Joyce Aitken and a few others. Margaret sings Nymphs and Shepherds and The Lass with the Delicate Air.

I talk to Margaret about Mrs Sullivan. Apparently, Margaret knows all about what I’m doing at the SABC. She says she’d like to join the choir when she can find the time to do so.

There is a matinee of Webster’s play next Saturday so Betty promises to go with me.

11 February – Sunday School in the morning. I have Betty to visit me in the afternoon and we decide to meet at 1.45pm at the corner of Rissik and Pritchard Streets for Webster’s play.

I listen to Webster at night and before him to Edgar Cree. Webster is excellent as usual and goes on with the Pirates of Penzance. It is really good and he helps the music along with an interesting discussion.

12 February – Work. Book for Webster’s play at Show Service. Have lunch with Mum and go to choir at night. All goes well. I talk to Ruth who tells me she is depressed. School went all wrong today and she had a puncture on her bike. She enjoys tennis and says she only goes to church (St Francis, Parkview) in order to sing in the choir. She would like to make singing her career if her voice develops fantastically and she thinks that when she leaves school, she’ll work for a while. She is going to Webster’s play on Friday first show “because the seats are cheap!” I suppose she isn’t as wealthy as I had imagined.

She is singing The Nightingale by Delius which she hates. “I’ve told the Booths,” says she, Where the Bee Sucks, which we both adore, and Hush My Dear, “It’s easy,” says she.

14 February – Very ill indeed and am incapacitated completely.

15 February – Work. I have a nice lunch in Ansteys with my mother. Go up to the studio and Anne is there alone with Nellie. When I go in Anne remarks on the fact that (as per her suggestion) I am wearing my hair in a bun. She thinks it suits me. She says she feels good with longer hair and I say I like her hair longer. She had it set for a Ciro’s charity performance for David Beattie. This went well, with 400 at Ciros and 25 artistes. The cabaret finished at one but she got home at 4! She had a wonderful time and feels that all work and no play etc. She says, “Webster has got to the stage where he wants to go home, lock the front door and go to bed and doesn’t bother to talk to me but I believe in enjoying life. Theatrical life is the only life I know and I like to have fun.”

We start on scales and she makes me sing to “moo” opening up to “ma” in front of mirror. She puts her arm round my waist and sings with me and I improve. We do vocal studies and I say I haven’t had much time to practise owing to illness. She is charmingly sympathetic. We talk about Ruth, and Anne says she’s quite a character.

We do My Mother which improves today. She says “Did I ever tell you the story of that Craven A advert?” I glance at the bewitching picture of her and say, “No.” “When I was very young and in the chorus of a show professionally for the first time, a photographer discovered me and asked me to pose for this advert. When I went along, he said, ‘Smile!’ I grinned, showing my teeth. He said, ‘That’s not smiling. I want a smile from the eyes.’ I’ve always remembered that advice. You can wangle yourself into many places with a smile and you have a lovely one if only you’d use it more often.”

That picture is truly bewitching so I decide to try to smile!

We do Sweet Polly Oliver and it goes well because of the smile. It’s the first time I’ve been able to smile for her! She says she hopes Bill Perry doesn’t come as she can’t stand him. He has a wonderful, God-given voice but he’d rather go for a couple of beers after work rather than work at it. “I am not a deeply religious person but I do believe that when you have a God-given gift like that you should work at it and make something of it.”

17 February –Work in the morning and have lunch with Mum and Dad.

I meet Betty and we go to the Alexander Theatre. Webster’s name is included in the supporting cast and there is a picture of him in very warm clothes in the foyer. We have terrific seats. Mrs Sullivan is sitting a few seats along from us.

Play begins and it is, to say the least of it, a fantastic experience. Webster as the prison doctor is on stage all the time and speaks hardly twenty words during the whole proceeding. However, as we are sitting practically at eye level to him, he stares at me and gives me a broad grin when he should be concentrating on the bleak trial. My heart jumps madly into my mouth and I blush. Thank heaven for the darkness of the theatre. I smile (a little!) at him and look at someone else when the experience gets too intense for me.

After the first act I think that perhaps this is all in my imagination but Betty – without any encouragement – says that she noticed him staring at me when his attention wandered from the stage. In the second act, all is confirmed and I spend a nice time looking affably at him and he at me! This is the first time I have had a tete a tete with a famous actor (singer) with eyes from stage to audience! His acting (when he remembers to act!) is good but as he sat there, looking rather weary with his eyes blinking in the strong stage light, I thought how he had sung with the famous and acted in all the international theatres. This part is hardly better than a walk-on. It’s shameful. He was so apathetic towards the part that instead of concentrating on the proceedings on stage he concentrated on me instead! Poor Webster. I think he would honestly prefer to be sitting at home in front of the fire at night rather than “sit on his behind” – as Ruth said – on the stage of the Alex. Nobody can know how sorry I am for him yet he – in spite of it all – remains, kind, friendly and understanding.

However, although his part was small he certainly gave me “my money’s worth!” If only Anne had seen him!!

18 February – Sunday school.

Listen to Webster at night and he is excellent. He finishes Pirates which is terrific. He says that when he was young and in the chorus of pirates they all used to bang their cutlasses on stage to make a noise! He plays a few things from The Sorcerer – someone has lent him the record.

19 February –  Work. Go to the choir at night. Ruth says she loved the play and I tell her about strange happenings when I went. Gill and I talk to Johan. We see John Silver, Esmé Euvrard, the drummer from the orchestra and Hugh Rouse.

21 February – Work hard and go to my piano lesson. Gill is there and we discuss the Bach. I do quite well at the piano. Mrs S says the play on Saturday was very depressing and Webster had an awful part to play for such a great man!

22 February – Work. Have lunch in Ansteys – gorgeous.

Go to singing at night and Webster is there! After Nellie goes I go in and we discuss the play (with no reference to his unusual behaviour!) Anne is not terribly enthusiastic about it but he says, “It’s well done, isn’t it?” I agree but say it depressed me. He says he nearly falls asleep every night and one chap opposite him actually did fall asleep the other night!

We start on My Mother and then he wades into me, pointing out various faults: diction is not clear. I have hardly any expression and no smile. He enlarges on these things. I should picture what I’m singing about – forget about the audience – OK, so I’m tired, singing should reinvigorate me, not make me think, “Don’t say I have to sing this bloody song again!”

He sings the whole song through and she accompanies him beautifully. Right, so it isn’t a song for a man to sing under any circumstances but he can and does, so beautifully that I am mesmerised and listen as though in a dream. That a man of 60 can produce such beautiful sounds and words is fantastic. Even when he criticises me he still remains my favourite tenor.

During tea he looks at the jasmine on my cardigan and says it looks like an amethyst. He used to have one on a tie-pin but Anne had it set in a ring with two diamonds.

He sings Sweet Polly Oliver for me – again with the required expression and once again it is brilliant. I can’t say I think he is fantastic to him, but he is!

Anne says I must look in the mirror and work everything out for every bar. I depart, determined to bring mind over matter.

23 February – Work and go to guild at night. They have a mock wedding with Leona and David. Ann is the best man and Peter, in long plaits is a flower girl. The Strattons are moving to Brakpan and Ann says she is dreading the move.

24 February –  Go to the doctor in the morning. Evidently I have high blood pressure possibly due to nervous tension.

We go to pictures in the afternoon – The Rebel with Tony Hancock.

Anne is the stage personality for this week in the Star. The interviewer says it amazes him how such an attractive woman is not on the stage more. He mentions the Palladium, Command performances, records etc.

Anne as the SA Showperson of the week.

While I am writing this diary and listening to the radio I hear You, Just You duet – it’s utterly glorious.

25 February – Don’t go to Sunday School today. Listen to Leslie Green in the afternoon. He plays the Booths’ Deep in Your Heart. He first met and interviewed them in 1948. He liked them and they have been friends ever since. I record Webster in the evening singing Sylvia – beautiful. I listen to the G and S programme at night. He plays Patience.

26 February – Work hard. Go to SABC at night. Ruth comes and we greet each other. While waiting for things to start Gill and I talk to a dark woman behind us. She says, “Do you learn with Anne Ziegler?” I agree that I do, and she says, “I thought I’d seen you there. I am Cora Leibowitz!” I remember Anne telling me that Cora Leibowitz sang Oh, Love From Thy Power at an Eisteddfod.

When Johan comes we start on the Stravinsky which grows on me as we go over it. At interval, Ruth and I sit in the foyer and talk gloomily about not being able to smile and we decide that this week we’re going to!” She says, “I look forward to my lesson all week and they are so sweet when I get there but I still can’t smile!”

Ila Silansky talks to us and we talk about eisteddfods and how we dislike them. Ruth won a medal at the Springs one. Ila Silansky says the children in the flat above her imitate her singing. Ruth says her two sisters tell her to shut up even when she knows her voice sounds beautiful. She can reach top G flat. At the Springs Eisteddfod Roselle sang on the same night and Roselle and her mother made Ruth nervous and consequently, Roselle came first. Ruth doesn’t have much of an opinion of her. Ruth will be 17 on sixth April so she’s only about one and a half years younger than me.

28 February – Work hard. Go to piano lesson and girl who learns singing with Mauryn Glenton (who has the studio next door to Mrs S) is singing loudly in the corridor! I see Gill, and Mrs S fills in forms for TC theory exams – two exams on 9 June.