THE NEW ZEALAND OPERA SOCIETY

Donations are being solicited for the purchase of the Wellington house that Douglas Lilburn lived in for over 40 years.

A trust has been set up with the intention of buying it and making it available for the recipients of the composer-in-residence fellowship that has recently been created by Victoria University and Creative New Zealand. (The first composer-in-residence is James Gardner, founder of the Auckland-based contemporary music ensemble, 175 East).

Lilburn’s house is at 22 Ascot Terrace in Thorndon, near the Rita Angus Cottage used by visual artists and the Randall Cottage devoted to writers.

The house is a surprising haven close to downtown Wellington, surrounded by native flora and far enough from neighbours that his piano playing did not prompt complaints. These virtues would give the house a very special value for musicians or composers.

In addition to buying the house, the trust aims to promote the performance of the music of Lilburn and other New Zealand composers and to contribute to the documentation of, and education about, New Zealand’s musical heritage.

The trustees are Leslie Holborow (chair – former vice-chancellor of Victoria University), Jack Body, Margaret Clark, Ian Prior and Scilla Askew.

Enquiries or donations can be sent to the Lilburn Residence Trust, PO Box 10042, Wellington. Phone enquiries: Centre for New Zealand Music (SOUNZ) (04) 801 8602. www.lilburnresidence.org.nz

But how come it has to be bought from the Lilburn estate?

But surely, you will say, there can have been no doubt that Lilburn wanted the house to be used, as is the rest of the Estate, to help the promotion of New Zealand music and that, accordingly, the responsibility of the executors (the Turnbull Library) is to facilitate the establishment of an administration that would see that happen.

How could they possibly imagine that as the owners of the Estate they will not be reviled by future generations if they allow the house to be lost when it could so obviously be used in accordance with Lilburn’s own wishes?

The trustees of the will don’t see it so.

In an interview with Charlotte Wilson on Concert FM’s Upbeat, Jack Body, composer and one of the trustees of the Lilburn Residence Trust, explained his and others’ frustration at the interpretation evidently being placed on the terms of the will.

He explained how, after Lilburn’s death, he called a meeting of people interested in the idea of preserving the house as a residence for Wellington-based composers-in-residence, as well as the beneficiaries under the will, the Lilburn Trust, administered by the Turnbull Library.

“I said we’ve got the ideal use for the house, as a composers’ residence. But [the executors of the will] said, hang on a minute. According to the will the property’s value must be maximised to the benefit of the Lilburn Trust” (which Douglas had set up at the Turnbull Library for the support of New Zealand music).
“We would argue,” Jack continued, “that the house being used by a composer is in fact not contrary to the spirit of the will and to his life.”

Body explained that he and many others knew of the efforts Lilburn had made over the years to find a way for the house to be used as a residence for composers. “But he couldn’t find an institution that would safeguard the house to his satisfaction and he finally gave up and said the Turnbull should have it and sell it and that’s that. That’s the point we’ve reached now.”

Body observed that the land was very desirable and it could be snapped up and town-houses could be built on it.

He continued: “It seems to me a terrible tragedy because this house has such special value as Douglas’s residence over so many years and its perfect use would be as a residence for composers.

“There’s no building like this in the country. There are many houses for writers and artists but not one for composers.”

Moves had been made to have it classified by the Historic Places. Body was not sure of its status, but it was within the Thorndon Historic Precinct and that would discourage speculators. It had some protection against large-scale development.

Nevertheless, there was still the risk the house could be destroyed, he noted. It went on the market in late March with an asking price of $420,000 – a fairly cheap house in Wellington.

“We really need to buy it outright – to secure it.” Body declared.

“When you go to Bonn you go to Beethoven’s birthplace, when you visit Salzburg you’ve got Mozart’s house. It seems to me this house in our culture has that kind of mana. It was the house he lived in for the longest period of his life and he loved it dearly. It has fantastic presence.”