The following brief essay was written on Percy Grainger's request, presumably with a view to inclusion in Grainger's extensive and scrupulously ordered archive of materials relating himself and his mother. It is possibly the connection to Percy's mother, Rose Grainger, that prompted the request, given Kitty's close acquaintance with her and the likelihood that the two women shared conversations and views about Percy during his absences on tour. Kitty writes mainly of her admiration for Grainger, eschewing the opportunity for detailed and lengthy descriptions. There is an unfortunate absence of dates; Kitty clearly did not regard her role as an historian and treated the exercise in a naive and informal way, taking every opportunity to let her friend know how highly she thought of him. Grainger, in his turn, added a brief paragraph of sincere praise of Kitty, leaving no doubt as to his high regard for her. The document is held in the Grainger Museum, University of Melbourne.

[sent in letter of Feb 7, 1936] [Dorum acquisition]

by Kitty Eisdell (before marriage: Katharine Parker)

I had just arrived in London from Tasmania, the place of my birth, and where I spent the greater part of my childhood, to continue my piano studies, and become a solo pianist. I had made up my mind to study with Percy Grainger if he could take me, as I had the greatest admiration for him, and had followed his career very closely. I knew he had an enormous number of pupils, also that he was continually playing at concerts, and giving recitals both here and all over Europe, and lastly that he was composing and orchestrating his own works as well. How he was doing all this, I can't imagine. A few weeks later I was lunching with Mr and Mrs Theodore Byard, to whom I had a letter of introduction. He had been in the same regiment as an uncle of mine, and had taken up singing as a profession instead of soldiering. He was a delightful singer, and his wife a charming American lady. During luncheon they asked me about my future plans and whether I intended studying in England, or abroad. I then told them how very anxious I was to meet Percy Grainger, and that I had always hoped there might be a chance of his being able to take me as a pupil. Mr Byard said he knew him well and would write to him about me.

A few days later I had a letter from Mrs Grainger, Percy's mother, arranging an appointment. Percy was going to hear me play. He, and his mother, were then living in Sloane Square. They had a very attractive house with a beautiful studio. In fear and trepidation I sallied forth - I was terribly shy and nervous in those days (unfortunately I still am). I arrived at their house and was shown upstairs to the studio where I was greeted by Percy in the most charming and friendly way. He had a wonderful manner and very great charm, and made me feel welcome at once. He looked like a young Apollo, his hair was gloriously golden, his eyes blue and very penetrating, his figure was strong and very broad, tho' not very tall, rather the type of figure of a Rugby football player. He has the great gift (which I think all really clever people have) of intense concentration. I told him all I had done abroad in the world of music, and where I had studied. I played for him Chopin's G minor Ballade and several other things, and then I asked him if he would play for me. He was utterly unspoilt then, as he is today, and sat down at once and played the Jeux d'Eau of Ravel. I was completely spellbound, and if I shut my eyes now, and think of that afternoon, I am back in the studio. The light was fading, it was winter, and was growing darker and darker outside, and the firelight was throwing its shadows here and there. Until then I had never heard any modern music, and the modern French school of Debussy and Ravel was quite new to me. Percy Grainger's playing of that music was a pure revelation. The water-like effects he produced in that "play of the fountain" is quite indescribable. How glorious it was, and from that day I began my musical education. Before leaving Percy took me upstairs to meet his mother. She was an extremely pretty woman, and as fair as Percy was. They were both extraordinarily Scandinavian in appearance, and I always felt a very strong Scandinavian influence permeating round them. I am sure they belonged to the Nordic races, both in this existence, and in the past. They were both so full of life, yet always seemed to be looking on as spectators rather than being a part of it all. I can't explain this; it wasn't aloofness, but just as if only one part of them was given out when they were with others, and yet they both had that intense gift of concentration which I spoke of before (on whatever subject one was talking of, no matter how trivial). Perhaps they had advanced much farther in the scale of evolution, and had to keep on coming back a little.

Mrs Grainger was a very strong personality, she knew what an abundance of gifts Percy possessed, and she was the handle that turned the wheel towards all the aims and ambitions which she cherished for him. I was awfully fond of her. There is no doubt that she had a tremendously strong influence on Percy's life, but that is only to be expected between a devoted and adoring mother and her only son. Perhaps, also, their having been thro' so much sorrow together works an influence on both which is never eradicated. I am speaking purely from the professional side of his life, as regards his music, for I don't know how much influence dominated his private life. My own experience leads me to affirm that it is essential for genius to be nurtured, fostered and spurred on and on, for that which comes easily is apt to be taken far less seriously than with the less talented individual who very often "gets there" through sheer persistency [sic]. Another most important fact is this - Really great artists suffer from such a variety of moods. One moment in the seventh Heaven, the next down into the depths of despair; therefore, they must have someone who appreciates their work, listens intelligently, criticizes kindly, and fans the flame of enthusiasm again and again. The eternal practising and work necessary for a solo pianist becomes so wearisome day after day unless one is being urged on by someone and stimulated perpetually. Well, having gone on a little reminiscing I must now go back to the time after my first meeting with Percy and Mrs Grainger.

I had lessons once or twice a week, and spent many hours at the Graingers' house. All the world of Art and Literature were to be found there. The great Sargeant (Painter and Sculptor), Gervase Elwes, Cyril Scott, Roger Quilter, Alma Strettel, Balfour Gardiner, and others too numerous to mention. They used to have very amusing students concerts about once a fortnight, and we all performed before a large audience, finishing up with a magnificent tea. Mrs Grainger was a wonderful hostess, and the table always groaned with tempting delicacies. About this time Balfour Gardiner began a series of concerts to be given at the Queen's Hall. They were, I think, primarily given for young British composers' works to be performed. A lot of rehearsals took place in Percy's studio. He was rehearsing his Folk song settings. What fun we had! It was all so thrilling too, as they were brilliant arrangements. Absolutely inspired. The great night at length arrived, and I don't think I have ever heard such enthusiasm at any concerts before. After the performance of Percy's works the Queen's Hall rose and cheer after cheer rang out, and he was recalled again and again, every number to be repeated. The orchestral arrangements were complete masterpieces. "Brigg Fair", "What shall we do with the drunken sailor", "Molly on the shore", etc, etc. Each one was quite unsurpassed in originality of rhythm, beauty of harmony and glorious melodies. The rollicking lilt of the "Drunken Sailor", the haunting beauty of "Willow, Willow", the perfection of the setting of "Brigg Fair", the gurgling rhythm of "Mock Morris" and "Molly oh the shore", bubbling over with a spontaneous enthusiasm seldom heard. The effect was marvellous, and it was a never to be forgotten night. There were many nights which followed that great debut, as these concerts were held frequently, and Percy had success after success. (Dear Cyril Scott and Roger Quilter, too, had their fair share.)

Well, my student days went on. Percy used to give recitals a lot abroad, and was away from time to time, and life was then very quiet and dull, but I would go very often and see Mrs Grainger, and when he came back we began our music again. He was not only a magnificent teacher, but such a great musician, I learnt so much just by listening to him. His harmonies were always so beautiful, and each part brought out its melody from the first bar to the last. He always played like an orchestra. As a teacher he was unique. He never tried to alter one's individuality or turn any of his pupils out of the same mould as so many teachers do. He is a master of "rhythm" and until I went to him, I never realised its great importance or that one can never attain anything far-reaching without it. What a colossal part it plays in the great wheel of life. His playing inspired me always. It was so grand and strong, yet his pianissimos like drops of crystal. His technique is of course faultless, the tone very rich and curiously distinctive, and day after day I absorbed the understanding, which has helped me more than anything, of his musicianship. He was wonderfully kind to me and gave me countless lessons free of charge.

We lost one of our greatest musicians in England when Mrs Grainger decided to live in America, but when I say we lost a great musician, I must add we never lost our friend, for of all the people I have ever met, the loyalty and devotion to the word "friendship" is an outstanding one in Percy Grainger. His kindness, his generosity, his thoughtfulness for others is unbounded, and his largeness of heart supreme. It would be quite impossible for him to say an unkind word of anyone, and I am proud to be able to call him my friend.

[the following in PG's hand]

Note by Percy Grainger: Kitty Parker was the most gifted piano pupil I ever had. She did everything right by nature (or out of the good training she had at the Melbourne University Conservatorium) and I felt a fool trying to teach her because there was never anything to say–except praise. My mother was very fond of Kitty.