DOCSLIB.ORG

Masterpieces of the Present, Surrounded by the Past

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masterpieces of the Present, Surrounded by the Past MATINEE 3 MASTERPIECES OF THE PRESENT, Viva SURROUNDED BY THE PAST. España SATURDAY 17 SEPTEMBER 2.30PM FEDERATION CONCERT HALL HOBART Richard Mills conductor RAVEL Sue-Ellen Paulsen cello Don Quichotte à Dulcinée Nathan Lay baritone Chanson romanesque DELIBES Chanson épique Sylvia – Suite Chanson à boire Prelude – Les Chasseresses Duration 7 mins Intermezzo et Escarpolette (Valse lente) FALLA Pizzicato The Three-Cornered Hat, Suites 1 and 2 Marche et Cortège de Bacchus Suite No 1 Duration 17 mins Introduction Afternoon LALO Dance of the Miller’s Wife Cello Concerto The Magistrate Prelude (Lento – Allegro maestoso) The Grapes Intermezzo (Andantino con moto – Suite No 2 Allegro presto) 28120 The Neighbours’ Dance Introduction (Andante) – Allegro vivace The Miller’s Dance Duration 24 mins Final Dance Imaginative art in historic spaces. Duration 24 mins INTERVAL Unforgettable waterfront wining and dining. Duration 20 mins This concert will end at approximately 4.30pm. A gateway to southern Tasmania’s finest experiences. thehenryjones.com Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Only at The Henry Jones Art Hotel. Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 25 Hunter St Hobart Tasmania. (03) 6210 7700 STEPH HOUSTEIN 18 19 28120 HJAH_TSO_Ad_A5.indd 1 11/04/2016 4:52 pm RICHARD MILLS SUE-ELLEN PAULSEN NATHAN LAY Richard Mills has pursued a diverse career Sue-Ellen Paulsen studied at the Queensland Nathan Lay has recently been named the as a composer, conductor and artistic Conservatorium of Music where she had 2016 recipient of the Australian International director which has seen him working lessons with Richard Dedecius. As an Opera Award. Since graduating from the Melba Conservatorium of Music, he has with almost all of the nation’s music undergraduate she appeared as soloist established his career in the Melbourne organisations. Currently Artistic Director with the Queensland Symphony Orchestra, of Victorian Opera, he has been Artistic opera and oratorio scene. He has won Queensland Conservatorium Orchestra Director of the West Australian Opera and the National Liederfest, Australian Music and Queensland Youth Orchestra. In 1980 Director of the Australian Music Program Events’ Opera Scholar of the Year, the she won the ABC Concerto Competition for the Tasmanian Symphony Orchestra. Royal Melbourne Philharmonic Aria, and (now the Young Performers Award) and He has received Helpmann Awards for was placed 3rd in the Herald-Sun Aria. was awarded a scholarship enabling her to his work as a composer (Batavia) and During his time at Melba Conservatorium, he was awarded the Melba Conservatorium conductor (Tristan und Isolde and The Love pursue postgraduate study in Vienna with Scholarship and was awarded the Robert of the Nightingale). Other awards include André Navarra. Her professional career Salzer Scholarship a number of times. the Sir Bernard Heinze Award, Don Banks began in Armidale with the New England With a Gertrude Johnson Scholarship he Fellowship and the Ian Potter Foundation String Quartet. She assumed her current attended The Opera Studio Melbourne in Award for Established Composers. He was position with the Tasmanian Symphony 2010, where he performed Polypheme in Musica Viva’s Composer of the Year in 2008. Orchestra in 1986. Since then she has been Acis and Galatea, Masetto in Don Giovanni, In 2009 he conducted the world première guest principal with the Sydney Symphony, Peter in Hansel and Gretel, Pluto in Orpheus of his Passion According to St Mark with Adelaide Symphony and Australian Chamber in the Underworld and Don Parmenione in the Tasmanian Symphony Orchestra and Orchestra. An experienced soloist, she L’occasione fa il ladro. He has performed TSO Chorus, and in 2010 his song cycle has performed concertos by Shostakovich, with Opera Australia (A Masked Ball, Songlines of the Heart’s Desire received Walton, Mills and Ligeti among many others Aida, Falstaff, Tosca), Melbourne Opera its European première at the Edinburgh and is featured as soloist on several of the (Schaunard in La bohème and Guglielmo Festival. Many of his works have been TSO’s Australian Composer Series CDs. in Così fan tutte), and has just completed recorded and released on ABC Classics and A strong advocate for contemporary music, the Developing Artist Program at Victorian other labels, and he has made a significant Opera, having performed The Baker/Billy she has commissioned and premièred many contribution as a composer and conductor Webster in Sondheim’s Sunday in the Park new Australian works including one written of recordings in the TSO’s Australian Music with George, The King in Puss in Boots, especially for her by Andrew Ford. She has Series, including Concertos for Strings Barone Douphol in La traviata, Peter in (featuring his own music), Quamby (Peter recently recorded the Schumann piano Hansel and Gretel, Bunyip Bluegum in Sculthorpe) and Etruscan Concerto (Peggy trios with the Kingfisher Trio (ABC Classics). The Magic Pudding – The Opera, and Glanville-Hicks). He was made a Member She is lecturer in cello at the Tasmanian Young Recruit in Richard Mills’ of the Order of Australia in 1999. Conservatorium of Music. Remembrance. 20 21 LÉO DELIBES (1836–1891) EDOUARD LALO (1823-1892) Sylvia – Suite Cello Concerto in D minor explores a kind of Romantic neo-classicism, Prelude – Les Chasseresses Prelude (Lento – Allegro maestoso) as did colleagues like César Franck and Intermezzo et Escarpolette (Valse lente) Intermezzo (Andantino con moto – Allegro Camille Saint-Saëns, or even Brahms (whose music Lalo detested). Pizzicato presto) Marche et Cortège de Bacchus Introduction (Andante) – Allegro vivace The concerto is in three substantial movements. The first begins with a slowish The ballet Sylvia counts among those staged Writing in 1903, Claude Debussy looked introduction with a mildly louring orchestral works that have survived only in the exquisite back on an incident in his youth when, at a theme in unison that is illuminated by music that accompanied them. (The play performance of music by Lalo, he “showed terse flashes of brass and wind colour. Rosamunde, with music by Schubert, is a noisy but forgivable enthusiasm” and was (A feature of Lalo’s orchestration is that it another.) Even then, it is probably only the escorted out of the theatre. Debussy loved never overwhelms the cello: the soloist famous Pizzicato that would prompt a smile to remember the incident, explaining that speaks against quiet backgrounds, with of instant recognition. time had not diminished his admiration for powerful tutti effects used as punctuation.) Lalo at all. Sadly, posterity has not been so The plot – after Tasso’s pastoral drama LÉO DELIBES The soloist enters soon after, offering kind to Lalo, who these days is most often Aminta – dredges up a world in which the ruminative glimpses of the themes to come; represented on concert programs by his the subsequent Allegro pits a strongly nymphs and shepherds of Greek mythology The score for Sylvia is a mix of music to Symphonie espagnole and sometimes the profiled first theme against a more lyrical cavort in woodland glades and indulge in accompany dramatic mime – the most overture to his opera Le Roi d’Ys that tells second subject, which is often accompanied riotous bacchanals. The principal characters emotional and musically adventurous of the submerged city of Breton legend. by winds in simple hymn-like harmony. are chaste Sylvia and courting Amyntas, while sections – and diverting dances suited to the During Lalo’s lifetime the opera was his Diana, Eros, the Black Hunter Orion, and stylised plot. The Prelude introduces the first The second movement continues the use of greatest, if belated, success, but he was also Bacchus each play their parts. of the three acts, warning us with a simple structural contrast, with alternating episodes highly respected for his instrumental music, horn motif of the huntress Diana’s presence of traditional lyrical slow-movement and The ballet was conceived on a grander scale especially with the premières of several in the story. More elaborate hunting music faster, dance-like scherzo material. It is in than perhaps its banal libretto could support, concertos in the 1870s. and in the end only Delibes’ “charming and from the horns signals the entry of Sylvia – the lyrical section that the music reaches supple” music was deemed a success. a nymph of Diana and vowed to chastity – Lalo, who was born in Lille, was descended a majestic climax, but the movement “M Léo Delibes has written a score which and her companions as they dance in honour from a Spanish family that settled in the concludes with a diaphanous reprise of the reveals the hand of a master symphonist,” of the chase (Les Chasseresses). Netherlands in the 16th century. He studied faster music. Like the first movement, the finale begins with a ruminative introduction, declared L’Opinion after the première in 1876. A wistful Intermezzo leads to a slow waltz, violin and cello, first at the Lille Conservatoire for solo cello, before a rondo whose main “The picturesque choice of themes, the highly- whose melody captures the typically French and then, despite his military father’s strong material gives ample opportunity for the coloured orchestration make this ballet to my characteristics of aristocratic distinction opposition, in Paris, where he supported soloist to shine. Again, there are powerful mind an exquisite work, perhaps too refined and popular appeal. Imagine, if you will, himself by teaching and as a freelance player. full-orchestral effects but these throw the and delicate for the glare of the footlights.” Sylvia swinging in the vines above a cooling In the 1850s he was founding member (as sparsely accompanied cello episodes into stream, dipping her toes in the water.
Load more

Recommended publications
  • Auckland at 7.00Pm
    Wagner Society of New Zealand Patron: Sir Donald McIntyre NEWSLETTER Vol. 13 No. 4 April 2017 President’s Report for 2016 AGM - 21 May 2017 Formal Notice The Wagner Society of New Zealand AGM is to be held on Sunday 21 May 2017 in St Heliers Community Centre, 100 St Heliers Bay Road, Auckland at 7.00pm. So far, Committee and Office-Bearer nominations have been received as follows: President ................. Chris Brodrick Vice President ............ Ken Tomkins Secretary ....................... Peter Rowe Treasurer ................. Jeanette Miller PR/Liaison ..................Gloria Streat Bob O’Hara Committee . John Davidson, Lesley Kendall, Juliet Rowe Bob O’Hara as Uberto (La Serva Padrona.) Michael Sinclair If you wish to make a nomination: In this, the 22nd President’s report to opera trips including both Adelaide Phone: Peter at 09-520 4690 or the Wagner Society of New Zealand, I Rings, the 2013 Melbourne Ring and he Email: [email protected]. would like, among all the thank yous, to has plans to attend the San Francisco to be sent a form. Nominations can focus some attention on two members. Ring next year. also be made from the floor at the One has been with us from 1995 and Bob and other WSNZ members’ ability meeting. after many years of service has recently to attend these overseas productions stepped down from the committee. The is enabled by the wonderful work of Membership renewals other, who may not have been with us Michael Sinclair, as the organising force Included with this newsletter is a from the start, has nonetheless made a behind our overseas trips.
    [Show full text]
  • 'Wagner on a Shoestring' by Suzanne Chaundy, 25 March 2018
    'Wagner on a Shoestring' by Suzanne Chaundy, 25 March 2018 12.30pm: DVD: 'Das Liebesverbot', Act 2 2.00pm: Presentation by Suzanne Chaundy DVD: Das Liebesverbot Act 2 Wagner's rarely performed early comic opera (1836), based on Shakespeare's Measure for Measure, enjoys its Spanish debut in a new production by director Kaspar Holten. The lively score boasts clear Italian, French and Weberian influences that predate the composer's mature voice, yet the music continually delights with the unmistakable emergence of Wagner's precocious genius. His adaptation of the Bard's play reflects the rebellious mood of a revolutionary Germany, vindicating sensual love and attacking the fanatical repression of sexuality by a puritanical and hypocritical authority. Ivor Bolton conducts a vibrant cast with the chorus and orchestra from the Theatro Real, Madrid (2016). 'Wagner on a Shoestring' by Suzanne Chaundy Suzanne Chaundy is a highly regarded director of opera, drama, outdoor spectacle and special events, and will speak about her Wagner productions for Melbourne Opera. Miki Oikowa and Suzanne Chaundy She began directing as an undergraduate at the University of Melbourne and was subsequently fast-tracked into the NIDA Directing Course. Best known as an opera director, she began on this path as a trainee director with the Victorian State Opera. Her 2012 production of Cosi Fan Tutte for Melbourne Opera at Melbourne’s Athenaeum Theatre (nominated for Best Director – Green Room Awards) resulted in her becoming something of a regular for the company directing new productions of Der Freischütz and Maria Stuarda in 2015,The Abduction from the Seraglio, Tannhäuser and Anna Bolena in 2016, Lohengrin in 2017 and Tristan und Isolde in 2018.
    [Show full text]
  • Victorian Honour Roll of Women 2005
    WWomen W victorian honour roll of women 2005 Contents Scientific research, education and the smell of rain… 1 Foreword 2 Isabel Joy Bear AM 3 Penny Blazey 4 Carolyn Briggs 5 Janice Margaret Dale 6 Anne Davie 7 Rhonda Louise Galbally AO 8 Sandra George 9 Carmel Guerra 10 Ann Jarvis 11 Gertrude Johnson 12 Susan Lockwood 13 Ivy Marks, Josie Mullet & Lorraine Sellings 14 Edith Joyce Morgan OAM 15 Elizabeth O’Brien 16 Anne Robina Sgro 17 Trang Thomas AM 18 Claire Vickery 19 Assoc Prof.Wendy Weeks 20 Messages victorian honour roll of women 2005 W 1 Foreword The Victorian Honour Roll of Women recognises the outstanding contributions made by individual women to our community. I am delighted to present the stories of the women who join the Victorian Honour Roll of Women in 2005. It is fitting that we pay tribute to their many achievements. Their stories reveal the way in which each of these women has used their unique skills, experiences and insights to enrich their world. Whether they have worked behind the scenes in support of local communities or on the international stage, each of these women have created better opportunities for women in Victoria, in Australia and beyond. They have provided leadership, they have touched the lives of those around them, they have helped improve the lives of women and their families and they have helped produce long term change for the better. But these stories will do more than describe achievements. They will remind you, as they remind me, of the strength that resides within women to achieve extraordinary things.
    [Show full text]
  • Participating Artists
    The Flowers of War – Participating Artists Christopher Latham and in 2017 he was appointed Artist in Ibrahim Karaisli Artistic Director, The Flowers of War Residence at the Australian War Memorial, Muezzin – Re-Sounding Gallipoli project the first musician to be appointed to that Ibrahim Karaisli is head of Amity College’s role. Religion and Values department. Author, arranger, composer, conductor, violinist, Christopher Latham has performed Alexander Knight his whole life: as a solo boy treble in Musicians Baritone – Re-Sounding Gallipoli St Johns Cathedral, Brisbane, then a Now a graduate of the Sydney decade of studies in the US which led to Singers Conservatorium of Music, Alexander was touring as a violinist with the Australian awarded the 2016 German-Australian Chamber Orchestra from 1992 to 1998, Andrew Goodwin Opera Grant in August 2015, and and subsequently as an active chamber Tenor – Sacrifice; Race Against Time CD; subsequently won a year-long contract with musician. He worked as a noted editor with The Healers; Songs of the Great War; the Hessisches Staatstheater in Wiesbaden, Australia’s best composers for Boosey and Diggers’ Requiem Germany. He has performed with many of Hawkes, and worked as Artistic Director Born in Sydney, Andrew Goodwin studied Australia’s premier ensembles, including for the Four Winds Festival (Bermagui voice at the St. Petersburg Conservatory the Sydney Philharmonia Choirs, the Sydney 2004-2008), the Australian Festival of and in the UK. He has appeared with Chamber Choir, the Adelaide Chamber Chamber Music (Townsville 2005-2006), orchestras, opera companies and choral Singers and The Song Company. the Canberra International Music Festival societies in Europe, the UK, Asia and (CIMF 2009-2014) and the Village Building Australia, including the Bolshoi Opera, La Simon Lobelson Company’s Voices in the Forest (Canberra, Scala Milan and Opera Australia.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • English Prgram
    Biennale Team Director of the Arts Center Maestro Sherif Mohie Eldin Deputy Director of the Arts Center Dr. Azza Madian Curator of Biennale Sherif El Razzaz Compiling & Editiing Biennale's Booklet Dr. Nahla Mattar Executive Assistant Iman Hosny Reem Kassem Budget Officer Rasha Eid Graphic Designer Asmaa Haggag Head of Technical Unit Eng. Mohamed Taha Specialist Mostafa Saad Stage Manager Mayada Saeed Technicians Ahmed Aly Ahmed Ezzat Atef Sabry Essam Fathy Hamada Elkomi Mohamed Farrag Remon Kadry Aly Mahmoud Saeed Mohamed Documentary Film-maker Ahmed Nabil PR Officer Yasmin Aly Special thanks to: Mr. Yahia Mansour- Head of Finance and Administration Sector The mission of the Alexandrina Contemporary Music Biennale is consistent with the mission of the Bibliotheca to be “the window of the world on Egypt, and the window of Egypt on the world.” This Biennale is another addition to the Arts Center unique international activities. Without doubt, the founding of the Alexandrina Contemporary Music Ensemble is a real contribution to the musical life in Egypt, as well as an attempt to connect the present with the future and at the same time connect to the past. We hope it would prove successful and become a permanent event in our calendar. Dr. Ismail Serageldin Director Bibliothca Alexandrina It has always been a source of pleasure to be part of the support process devoted to the contemporary arts in our Arts Center. In the field of Theater, we did establish “The Creative Forum for Independent Theater Groups”, to make sure that a fair chance is given to the experimental and contemporary theatrical groups.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • Is She Dead Yet? Rehearsing La Bohéme at Opera Australia
    Is she dead yet? Rehearsing La Bohéme at Opera Australia Avi Michael Casebook submitted in partial fulfilment of the requirements of the degree of Bachelor of Arts (Honours). Department of Performance Studies University of Sydney 2009 Many thanks to my supervisors, Dr. Ian Maxwell and Dr. Amanda Card. 2 | Is she dead yet? Table of Contents Introduction ...................................................................................................................................... 4 Introduction ................................................................................................................................................. 4 Causality: My Method of Operating ...................................................................................................... 7 Context .............................................................................................................................................. 12 The Project ................................................................................................................................................. 12 My Musical Inertia ................................................................................................................................... 14 A Rehearsal Space in Surry Hills ......................................................................................................... 15 Personnel ...................................................................................................................................................
    [Show full text]
  • Js Battye Library of West Australian History Ephemera – Collection Listing
    JS BATTYE LIBRARY OF WEST AUSTRALIAN HISTORY EPHEMERA – COLLECTION LISTING FESTIVAL OF PERTH PROGRAMMES (FROM 200O KNOWN AS PERTH INTERNATIONAL ARTS FESTIVAL) Date Venue Title & Author Director Producer 1953 January 2 - March 14 University of W.A. Various Adult Education Board Grounds January 3 - 17 The Sunken Garden Dark of the Moon David Lopian David Lopian by Henry Richardson & William Berney January 15 Somerville Auditorium An Evening of Ballet and Adult Education Board W.G.James, Director of Dance Music January 17 Somerville Auditorium Open Air Concert of the Festival of Perth 1953 Conductor - Beethoven Festival Joseph Post January 20-23 - Somerville Auditorium King Richard III Michael Langham January 27 - February 7 by Wm. Shakespeare January 24 Somerville Auditorium Beethoven Festival W.G.James Director of Music February 18 - 28 The Sunken Garden Twelfth Night Jeana Tweedie by Wm. Shakespeare March 3 –14 Somerville Auditorium Born Yesterday David Lopian by Garson Kanin March 12 The Sunken Garden Psyche - based on Fairy Tale Frank Ponton - Meta Russcher, Director by Louis Couperus Stage Director of Music March 20 – 21 The Repertory Club The Brookhampton Bellringers & The Ukrainian Choir & Dancing Group PR 10960 © Copyright LISWA 2001 1 JS BATTYE LIBRARY OF WEST AUSTRALIAN HISTORY PRIVATE ARCHIVES – COLLECTION LISTING March 25 The Repertory Theatre The Picture of Dorian Gray Sydney Davis by Oscar Wilde Undated His Majesty's Theatre When We are Married Frank Ponton - Michael Langham by J.B.Priestley Stage Director 1954.00 December 30 - March 20 Various Various Flyer January The Sunken Garden Peer Gynt Adult Education Board David Lopian by Henrik Ibsen January 7 - 31 Art Gallery of W.A.
    [Show full text]
  • The Australian Symphony of the 1950S: a Preliminary Survey
    The Australian Symphony of the 1950s: A Preliminary survey Introduction The period of the 1950s was arguably Australia’s ‘Symphonic decade’. In 1951 alone, 36 Australian symphonies were entries in the Commonwealth Jubilee Symphony Competition. This music is largely unknown today. Except for six of the Alfred Hill symphonies, arguably the least representative of Australian composition during the 1950s and a short Sinfonietta- like piece by Peggy Glanville-Hicks, the Sinfonia da Pacifica, no Australian symphony of the period is in any current recording catalogue, or published in score. No major study or thesis to date has explored the Australian symphony output of the 1950s. Is the neglect of this large repertory justified? Writing in 1972, James Murdoch made the following assessment of some of the major Australian composers of the 1950s. Generally speaking, the works of the older composers have been underestimated. Hughes, Hanson, Le Gallienne and Sutherland, were composing works at least equal to those of the minor English composers who established sizeable reputations in their own country.i This positive evaluation highlights the present state of neglect towards Australian music of the period. Whereas recent recordings and scores of many second-ranking British and American composers from the period 1930-1960 exist, almost none of the larger works of Australians Robert Hughes, Raymond Hanson, Dorian Le Gallienne and their contemporaries are heard today. This essay has three aims: firstly, to show how extensive symphonic composition was in Australia during the 1950s, secondly to highlight the achievement of the main figures in this movement and thirdly, to advocate the restoration and revival of this repertory.
    [Show full text]
  • Victorian Honour Roll of Women
    INSPIRATIONAL WOMEN FROM ALL WALKS OF LIFE OF WALKS ALL FROM WOMEN INSPIRATIONAL VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE I VICTORIAN HONOUR To receive this publication in an accessible format phone 03 9096 1838 ROLL OF WOMEN using the National Relay Service 13 36 77 if required, or email Women’s Leadership [email protected] Authorised and published by the Victorian Government, 1 Treasury Place, Melbourne. © State of Victoria, Department of Health and Human Services March, 2018. Except where otherwise indicated, the images in this publication show models and illustrative settings only, and do not necessarily depict actual services, facilities or recipients of services. This publication may contain images of deceased Aboriginal and Torres Strait Islander peoples. Where the term ‘Aboriginal’ is used it refers to both Aboriginal and Torres Strait Islander people. Indigenous/Koori/Koorie is retained when it is part of the title of a report, program or quotation. ISSN 2209-1122 (print) ISSN 2209-1130 (online) PAGE II PAGE Information about the Victorian Honour Roll of Women is available at the Women Victoria website https://www.vic.gov.au/women.html Printed by Waratah Group, Melbourne (1801032) VICTORIAN HONOUR ROLL OF WOMEN 2018 2018 WOMEN OF ROLL HONOUR VICTORIAN VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE 1 VICTORIAN HONOUR ROLL OF WOMEN 2018 PAGE 2 CONTENTS THE 4 THE MINISTER’S FOREWORD 6 THE GOVERNOR’S FOREWORD 9 2O18 VICTORIAN HONOUR ROLL OF WOMEN INDUCTEES 10 HER EXCELLENCY THE HONOURABLE LINDA DESSAU AC 11 DR MARIA DUDYCZ
    [Show full text]
  • Melbourne Symphony Orchestra Chorus 50Th Anniversary
    Melbourne Symphony Orchestra Chorus 50th Anniversary Concert Wednesday 7 October at 8pm Elisabeth Murdoch Hall, Melbourne Recital Centre WHAT’S ON OCTOBER – DECEMBER 2015 AN AMERICAN IN PARIS TCHAIKOVSKY AND GRIEG SIBELIUS’ FINLANDIA Friday 30 October Friday 13 November Thursday 19 November Saturday 14 November Friday 20 November Gershwin’s An American in Paris evokes a journey through the Asher Fisch conducts three Yan Pascal Tortelier celebrates the bustling streets of the French masterworks that defined the 150th anniversary of two Nordic capital, punctuated by taxi horns Romantic era. Tchaikovsky’s masters. Sibelius’ majestic Finlandia and a bluesy trumpet solo. Also stirring Romeo and Juliet is followed is balanced against Nielsen’s spirited featured in this program is by Grieg’s poignant Piano Concerto Violin Concerto. Also featured in this Ravel’s Piano Concerto in G and and the high-voltage intensity program is Sibelius’ Symphony No.5 Saint-Saëns’ Symphony No.3 Organ. of Tchaikovsky’s Fourth Symphony. and tone poem The Swan of Tuonela. BRAHMS AND TCHAIKOVSKY MESSIAH CHRISTMAS CAROLS Thursday 26 November Saturday 5 December Saturday 12 December Friday 27 November Sunday 6 December Sunday 13 December Saturday 28 November Join conductor Bramwell Tovey, Bramwell Tovey joins the MSO Divertimento, Bartók’s dark take the MSO Chorus and renowned as conductor, pianist and host on the Baroque, kick-starts this international soloists for one of in this celebration of the great night of European festivities. the MSO’s most beloved Christmas musical traditions of Christmas, Brahms’ Violin Concerto delivers traditions, Handel’s Messiah. from famous orchestral works and a fiery, gypsy-inspired rondo and favourite Christmas songs to the Tchaikovsky’s Serenade for Strings most beloved of Yuletide carols.
    [Show full text]