In the second and final portion of the "Two Tall Poppies" performance, Nadia dedicates, narrates and performs the life and music of Miriam Hyde, who dedicated her entire life to the arena of music.

Miriam Hyde was born January 15, 1913 in Adelaide. She had a happy childhood with gracious parents. Her loving mother was her very first piano teacher. Her father loved wood-carving and nature. She possibly inherited a dash of Spanish temperament and colouring from her grandfather Hyde, who migrated to South Australia in 1864.

Miriam says "that she was 4 years old when her daddy took her to the seaside and, on return from the contact with the natural environment, I went to the piano and produced my first composition: 'Evening Primroses'.

"The next composition was a setting of a poem from my own childhood book:
"Apple mellow, apple high above my head
Hanging on the branches, shining rosy red"

"Next came 'A Bird Song', which I dedicated to my mother. I seemed to be setting my footsteps on the way to becoming a composer, and I have never thought of any other vocation during growing up".

At the age of 15, Miriam finished the Associate Diploma, and obtained a Bachelor of Music degree. At that time, she composed some sea numbers for the piano like: 'Along The Coast', 'A River Idyll', 'The Sea' and 'Breakers'. By 1930, she was truly immersed in her compositions.

Miriam was always longing to go to England and, in 1932, her dream came true when she won a scholarship to England for 3 years. It was a big adventure for a 19 year old girl. London gave her valuable time to develop and opportunity to compose on a big scale - especially her piano concerto No. 1 and No. 2, her 'Fantasy Trio' and 'Heroic Elegy' for orchestra. At the end of the 3 years she stayed in England, she was sad to leave England and her many friends. But, upon her ship reaching Australia, she said "I could smell the bush, the strong aroma of gum leaves. This, after all, was my country, my home".

Back in Adelaide, Miriam was involved in creative writing for a project called "Heritage". It was done for children primarilly. The music she wrote included 'A Spirit of South Australia', 'A Romance of Industry', 'A Heady Waltz', 'A Short Overture' and 'Fantasia on Waltzing Matilda'.

It was a beautiful spring morning when Miriam came to Sydney for the first time in 1936. She said: "…that the time leading up to the beginning of the Second World War was very busy, intense and exciting. It was a time which changed my life forever. I met my future husband, Marcus Edwards, towards the end of 1938. We became engaged and decided to get married".

Because Marcus was joining the army, such a decision was ratified, since such a destiny took him away to distant lands for 5 ½ years. In the meantime, Miriam's career was blossoming, in addition to teaching at the prestigious Kombala Private School. Then, the news came that her husband was taken taken a prisoner of war. She went back to Adelaide and began teaching at the Adelaide Conservatorium. Her dramatic 'Piano Sonata in G Minor'. During that time, she was also composing songs, 50 in all, and she published 3 books of her own poetry, some of which she used in her songs.

Marcus returned home in 1945. He was 44 and Miriam was 37 when the first child, Christine Carolyn, was born. As a result, Miriam wrote the piano piece 'Lullaby For Christine'. 16 months later, her son Robert was born, and she wrote the following poem to Robert:
'To My Son'
"The sweetest songs may never find a singer
But you, my son
Are a new bringer of life
And through the maze of man's endeavour
The Stream of life
Will onward flow forever"

There was a lot of love and happiness in their home, said Miriam. In 1959, the family moved to a residence in Kelso Street, in the Sydney suburb of Burwood Heights, which has been their residence ever since. Miriam even wrote 'The Kelso Overture' for orchestra. During that time, her life was very much involved in the The Australian Music Examination Board, which was time-consuming musical work.

In 1973, she was invited to Indonesia, where she gave 3 recitals of her own music and a lecture demonstration. It was an unforgettable trip.

Back home, the children were growing. Miriam's musical life was very busy but, Marcus was always very restless. Eventually, they went on their dream trip to Europe. They went to London, where Miriam gave a recital at Australia House. They then went to Greece, Spain and Italy but, the most memorable place was Switzerland, which affected their life and brought so much heartache and drama in her future life. A tragic episode gravely disrupted their marriage. In Zurich, Marcus met his 'woman friend' from the past. He found that she needed his sympathy, attention and protection and, in 1978, he went to Europe indefinitely.

Miriam's children and her music were a great and important support for her in those difficult years. Her musical life did not stop and she was still teaching and composing. In 1980, she received an OBE and also secured an Order of Australia, which gave her immense pleasure and moral support.

Miriam and Christine continued to live one day at a time. She also dedicated a poem to her daughter:
"We are riding the storm still,
My daughter but,
The longer the darkness
The closer the light
Stay with me till it burns
Till we arrive at the end of the long night
And the loved one returns"

4 years later, Marcus returned home after his friend died, and Miriam wrote another poem:
"I feel renewed in spirit and in power
And while within this sanctuary of art
A peace and deep thanksgiving
Fills my heart"

These words tell us everything about Miriam's forgiving and compassionate nature.

Her 80th anniversary in 1993 was celebrated by a concert of her works in Adelaide. She was awarded an honorary Doctorate by Macquarie University.

The Australian Broadcasting Corporation (ABC) produced a CD of her 'Fantasy Trio' and Sydney Chamber players have produced a CD of her chamber works. In 1996, Film Australia made a documentary of Miriam Hyde.

In conclusion, Nadia read a few words from Miriam's autobiography, "Complete Accord", which was published in 1991, with regards to what she said about composition:

"I suppose there is something mysterious to create up sounds out of silence and nothingness. There is a special joy in creating music with fingers. There is always more than one idea (that) rapidly springs to the ear and the first script may look very sketchy but, the composer may smile on, making a happy ending. I like to feel that music, and my music can be a refuge for what beauty and peace can still be omnipresent. In other words, the triumph of good over evil. I make no apologies for writing from the heart".

Additionally, Nadia read an excerpt from Hyde's poem 'Before The Recital':

"God made these hands of mine
Now pressed in prayer
Soon to release, the silent keys
Pregnant with mighty power
Yet capable of utmost tenderness
Await my touch
I would be, through this hour
Thy servant
To inspire, console or bless"

These words certainly inspired Nadia Kokot to go to the piano and play Miriam's enduring Spanish piece 'Evening in ???", thus beginning her performance and tribute.

Read the previous section of 'Two Tall Poppies'

Miriam Hyde