them. The impasse was broken in 1890 when the Council obtained private advice from Hallé (then on a concert tour of Australia) and (indirectly) from Mackenzie and the Director of the Royal College of Music, Sir George Grove, all of whom recommended the appointment of Marshall-Hall. Family Marshall-Hall was born on 28 March 1862 in London and died on 18 July 1915 in Fitzroy, Victoria. On 5 April 1884, he married May Hunt at St Matthew's Church, Bayswater, London. She died in 1901. On 6 March 1902, in Melbourne, Marshall-Hall married Kathleen Hoare, who for some time had been passed as his wife. George Marshall-Hall and May Marshall-Hall (née Hunt)'s daughter Elsa Mary Marshall-Hall was born on 17 August 1891. She married John Thomas Inman in Traralgon on 17 August 1917. She was a teacher at a number of Victorian country schools. She also taught piano and, like her father, she was a composer. 29 of her works have been preserved, many at the Grainger Museum at the University of Melbourne. Elsa Marshall-Hall died in 1980, and is buried at Brighton Cemetery, where her father was also laid to rest. Musical contributions in Australia A flamboyant extrovert of immense vitality and exuberance, Marshall-Hall prized "constant activity ... constant striving" that absorbs one's "whole energy", arousing "a condition of ... superabundant life" and enabling one to partake "to the utmost of the joy of living". And this outlook was reflected in the way he lived his life. Contemporaries remarked on his loud laughter and his habit of humming operatic airs as he strode around town, of tapping his baton importunately on the podium and glaring at restive concert audiences to achieve silence when conducting, and of writing explosive comments – such as "O superfine Assiduity" and "monstrous ignorance" – in the margins of books he read, by way of showing his contempt for the writer. This same insatiable energy governed his musical activities in Melbourne, where he arrived to take up his new position at the beginning of 1891. During the following quarter of a century he was to exercise a wide-ranging and deep influence on music education, appreciation and performance in his new home. He soon showed that he would not be satisfied with simply presiding over the university's new music department with its degree and diploma courses. The former was focused on composition, the latter on performance, but there