The Memory of Music

by Andrew Ford

Composer and broadcaster Andrew Ford tells his life story through the lens of music – what it is, why it means so much to us and how it works in our lives. From his early childhood in the Beatles-crazy Liverpool of the 1960s to his evolving work as a composer, choral conductor, concert promoter, critic, university teacher and radio presenter, he shares the vivid musical experiences that have shaped his life.

Memory of Music is a moving and evocative memoir that will appeal to music lovers everywhere. Ford excels at capturing the way different kinds of music affect us – how a piece of religious music can transport us regardless of our beliefs, or how a pop song can call up an instant recollection from the past (a family holiday, a girlfriend).

Genres: Music, Biography

288 pages, Paperback

Published August 1, 2017

About the author

Andrew Ford is a composer, writer and broadcaster. For twelve years he was in the Faculty of Creative Arts at the University of Wollongong. He has written nine books and, since 1995, has presented The Music Show each weekend on Radio National.

Reviews

[Caitlin · Rating 4 out of 5]

This is a marvellous book. As with all Ford's writing, it is clear and enjoyable. He describes this book as a sort-of memoir, which I feel describes it well. It's a book about music and writing music and it provides a superbly accurate picture of a composer's life. I would recommend it to anyone who is curious about what a composer's life is actually like - how we juggle day-jobs with composing, how we interact with performers, how we came to be composers in the first place. Ford's account shows clearly the hard work, lucky breaks and curious connections that come together to form a career in composition, and he does so in always elegant and delightful prose.

While I am myself a composer, and as such, reading this book was a comfortable and comforting experience as I recognised the blend of accidents and risks taken that have characterised my own (much less developed than Ford's!) career, this is a book that would be accessible to anyone with an interest in music and a curiosity about what a contemporary composer's life is like. This is not a technical book, and it does not analyse Ford's works from a musical perspective and so it should be accessible to music-lovers as well as trained musicians as it focuses on circumstances, process, inspiration and the joys and frustrations of composition. Certainly I believe this should become required reading for anyone contemplating a life as a composer, as it entirely shelves the archaic romanticised image of the composer as a genius seated at the piano, to replace it with something much more real and satisfying.

[Lyle · Rating 5 out of 5]

Page 34
But the element of Scouse I am most aware off is the fluctuating ‘er’ sound, particularly when several similar words come in a row. ‘Her hair is fair’ would be an example. As far as I can tell, everywhere in the English speaking world, the word ‘hair’ is pronounced with a more open palette than the word ‘her’. Everywhere except Liverpool, where for reasons that elude me, it is the other way around. A Liverpudlian is more likely to say ‘Hair her is fur’ and ‘I went to the fun fur’ and ‘She’s whirring a fair coat.’ Small children tell their mothers: ‘But it’s not fur!’ I am still occasionally tripped up by the ‘er’ sounds, especially if I am obliged to read a sequence of them off the page.

Page 99
The novelist Peter Carey once spoke about the danger of reading other writers’ books while engaged in writing your own. You come across a beautiful description of rain and are suddenly, sickeningly struck by the complete absence of weather in your novel.

We may work best when we’re feeling confident, but the motivation to work comes when we’re vulnerable … vulnerability is also important to art it self. Art that is only a series of bold statements, brooking no opposition, might dazzle us for a moment, but will eventually push its audience away. The best art asks questions and opens its audience to doubt.

[Peter Longworth · Rating 5 out of 5]

I was thoroughly fulfilled by this superb, beautifully written and measured memoir. I enjoyed Andrew Ford's sense of humour and the manner in which he crafted sections of the book as descriptions of how music is formed, played and collaborative artistic approaches taken.

The memoir is also about key figures who have loomed large in Andrew's life (many will be familiar) as well as how music has enriched his personal life. Andrew states anyone can enjoy music in all its forms and wonderment from classical to modern.

This is a book for music lovers who are passionate about music and admire seriously good writing.

Bravo Andrew....

[Colin · Rating 5 out of 5]

This is a most excellent book. A memoir of a modern composer's life through music, from his earliest encounters as a child growing up in Liverpool; his schooldays; his developing knowledge of music through lessons and attending concerts; to his work in Bradford and now in Australia where he has lived for over thirty years and become an highly respected composer and broadcaster.

I loved the frankness and easy manner of the way Andrew Ford describes his evolution as a composer and how music has played such a central role in his life. This is most informative and interesting account.

[Patrick Johns · Rating 4 out of 5]

I felt at times there was a bit of name dropping going on, but that was fine for me as I love to read about people in the music world. Not sure if I believe the Peter Sculthorpe "party trick" anecdote (you have to read it). Overall really enjoyed this and found it well written and easy to read. I particularly liked the bit where he compared multiculturalism and racism in Britain to the (easy going) multiculturalism and (lack of) racism in Australia, and how this may have shaped an Australian musical style.

[Ben Thurley · Rating 3 out of 5]

This is an enjoyable, musically-infused memoir by an Australian music journalist/broadcaster and, at least to me, lesser-known composer.

You would certainly need an interest in music, and a certain level of engagement with musical concepts to get the most from this memoir. But it's not heavy-going, technically, and there are some lovely insights into the life and work of a composer, lots of engagement with music and musicians and what they have meant to Ford, and mean to us.