AUSTRALIAN COMPOSERS ONLINE & Other University Library Accessible Resources for Australian Compositions
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St Paul's Cathedral Melbourne
T AUL S ATHEDRAL Dean: The Very Revd Dr Andreas Loewe S P ’ C Precentor: The Revd Canon Heather Patacca MELBOURNE Director of Music: Mr Philip Nicholls CONVERSION OF ST PAUL TO EPIPHANY 5: 29 JANUARY TO 5 FEBRUARY, WEEK 5, 2017 Canon in Residence: The Dean Sunday 29 January CONVERSION OF PAUL THE APOSTLE W Thursday 2 February THE PRESENTATION OF CHRIST IN THE TEMPLE W 8am BCP Holy Communion 12.15pm Eucharist 9am Sung Eucharist: Gloria: TiS757b; Grad: Christ is our cornerstone 5.10pm Choral Evensong: Lay Clerks Off: We know God’s love; Dis: Thy hand, O God, has guided (vv.1-2&5) Responses: Ferial 10.30am Choral Eucharist: Boys’ and Men’s Voices Psalm: 48 Chant: William Russell (1777–1813) Setting: ‘Collegium Magdalenae Oxoniense’ – Kenneth Leighton (1929-88) Hymns: Proc: All who walk; Grad: Christ is our cornerstone (GA: G); Anthem: Hail, gladdening light – Charles Wood (1866-1926) Off: We know God’s love; Dis: Thy hand, O God, has guided Hymn: Sing how the age-long promise of a Saviour Setting: Mass, Op. 36 – Charles-Marie Widor (1844-1937) Psalm: 117 Chant: Pelham Humphrey (1647-74) Friday 3 February FIRST ANGLICAN SERVICE AT SYDNEY COVE (1788) W Motet: Te Deum from the Morning Service in B Flat – 12.15pm Eucharist Charles Villiers Stanford (1852-1924) 5.10pm Choral Evensong: Boys’ and Men’s Voices Postlude: Toccata from the Symphony No. 5, Op. 42 – Responses: Ferial Charles-Marie Widor (1844-1937): Mr Lachlan Redd, Sub–Organist Psalm: 14 Chant: John Goss (1800-80) 6pm Choral Evensong: Boys’ and Men’s Voices Setting: Evening Service -
Australian Music Calendar South Australia 2011
australian music calendar South Australia 2011 The Australian Music Calendar lists events from around Australia which feature music by one or more Australian composers, sound artists or improvisers. Events are sorted by state and further information on each event can be found online at http://www.australianmusiccentre.com.au/calendar * denotes World premiere ; ** denotes Australian premiere SOUTH AUSTRALIA 26 February 2011 - Australian String Quartet : Performance in Campbell Park Venue: Campbell Park Station - Lake Albert, Meningie, 7pm Program: Graeme Koehne - Shaker dances. Also: Glazunov, Boccherini. Performers: Australian String Quartet. Tickets: $70. Phone number for further information: 1800 040 444. 10 March 2011 - Australian String Quartet: Shaker Dances Venue: Adelaide Town Hall - 128 King William St, Adelaide, 7pm Program: Graeme Koehne - String quartet no. 2. Also: Boccerini, Shostakovich, Glazunov. Performers: Australian String Quartet. Tickets: Adult $57 / Concession $43 / Student $22 (service fee applies). 20 March 2011 - Masquerade : Kegelstatt Ensemble Venue: Pilgrim Church - 12 Flinders St, Adelaide, 3.00pm Program: Paul Stanhope - Shadow dancing, Brett Dean - Night window. Also: Kurtag; Mozart. Performers: Leigh Harold, Kegelstatt Ensemble, Stephanie Wake-Dyster, Anna Webb, Kegelstatt Ensemble. Tickets: $25/$18. 27 March 2011 - AdYO: Beginnings Venue: Elder Hall - Elder Conservatorium of Music, University of Adelaide, Adelaide, 6.30pm Program: Natalie Williams - Fourth alarm. Also: Respighi, Sejourne. Performers: Adelaide Youth Orchestra, Keith Crellin. Tickets: Adults: $25 | Concession: $20 | Students: $10 | Group (8+): $22 | Family: $60. Phone number for further information: 131246 (Tickets). 1 April 2011 - Adelaide Symphony Orchestra: Grandage premiere Venue: Adelaide Town Hall - 128 King William St, Adelaide, 8pm Program: Iain Grandage - Spindle*. Also: Lalo, Dvorak, Tchaikovsky, Elgar. -
The Consul Always Is, Always Was, and Always Will Be Aboriginal Land
To this we’ve come, that men withhold the world from men ... The Cooperative presents We perform today on the land of the Gadigal people of the Eora Nation. We offer our utmost respect to the custodians of this land, their Elders past and present, and acknowledge that this The Consul always is, always was, and always will be Aboriginal Land. Sovereignty was never ceded. Words and music by Gian Carlo Menotti About The Cooperative The Cooperative is a brand new Sydney opera company with a passion for social justice. Our mission is four-fold: The Consul To provide performance opportunities for young and emerging artists To perform politically and/or socially relevant productions To increase opera’s accessibility; and, Musical Drama in Three Acts To use opera to benefit the world around us. Our auditions are open to all, and our cast comprised of experienced and Words and music by young artists, those well versed in opera, and those experienced in other art forms but making their operatic debut here. All our performances aim to remove the financial barriers of opera, with entry on a pay-as-you-feel Gian Carlo Menotti scale, and all our profits taken at the door go to a charity or charities connected to the ideas we’ve explored onstage. We believe that theatre has a unique power to illumine, explore, and challenge injustices within our society in a public dreaming. We have the privilege of performing an incredibly beautiful art form, and it is our duty to use that privilege for the benefit of our global society. -
The Diggers' Requiem 5 the Diggers' Requiem
HONOUR THEIR SPIRIT 1918-2018 AUSTRALIAN PREMIERE THE DIGGERS’ REQUIEM SATURDAY 6 OCTOBER 2018 CANBERRA PROGRAM GUIDE The Diggers’ Requiem has been co-commissioned by the Australian War Memorial and the Department of Veterans’ Affairs. The Diggers’ Requiem a été commandé par le Mémorial de guerre d’Australie (Australian War Memorial) et le ministère australien des Anciens Combattants (Department of Veterans’ Affairs). The Diggers’ Requiem wurde vom australischen Kriegerdenkmal und dem australischen Veteranen-Ministerium in Auftrag gegeben. The Diggers’ Requiem band arrangements and concerts in Melbourne and Sydney as well as tonight’s concert in Canberra have been generously supported by the Australian Defence Force. MESSAGE FROM THE GOVERNOR GENERAL OF AUSTRALIA The Diggers’ Requiem is a new and bold musical and artistic work. It is evocative and reverent. A century after the Armistice, Australia’s leading composers take us through the brutality, loss and tragedy of the battles of the Somme and beyond, but ultimately also offer solace, hope and peace. This performance, produced by Chris Latham, the Australian War Memorial’s first musical artist-in-residence, boasts a choir of 70 voices, the ringing of 62,000 bells – one for each Australian life lost, and a stirring lone piper lament. It offers a unique opportunity to remember and reflect on the fate of those whose lives were lost and forever changed by this “war to end all wars”. The diggers we are thinking of are now long past, but their contribution remains with us, their spirit lives in us, and tribute is paid to their memory in the fourteen stirring, touching and reflective movements of The Diggers’ Requiem. -
2008 ANZARME Conference Proceedings
Australian and New Zealand Association for Research in Music Education Proceedings of the XXXth Annual Conference Innovation and Tradition: Music Education Research 3 – 5 October 2008 Melbourne, Victoria, Australia 1 All published papers have been subjected to a blind peer-review process before being accepted for inclusion in the Conference Proceedings Publisher Australian and New Zealand Association for Research in Music Education (ANZARME, Melbourne, Australia Editor Dr Jane Southcott Review Panel Prof. Pam Burnard Prof. Gordon Cox Dr Jean Callaghan Dr James Cuskelly Associate Prof. Peter Dunbar-Hall Dr Helen Farrell Dr Jill Ferris Professor Mark Fonder Dr Scott Harrison Dr Bernard Holkner Dr Neryl Jeanneret Dr Anne Lierse Dr Sharon Lierse Dr Janet McDowell Dr Bradley Merrick Dr Stephanie Pitts Dr Joan Pope Assoc. Prof. Robin Stevens Dr Peter de Vries Assoc. Prof. Robert Walker Printed by Monash University Format CD ROM ISBN: 978-0-9803116-5-5 2 CONTENTS Keynote Address: The First Musical Festival of the Empire 1911: 1 Tradition as innovative propaganda Thérèse Radic, University of Melbourne The artist as academic: Arts practice as research/as a site of 15 knowledge Diana Blom, University of Western Sydney Dawn Bennett, Curtin University David Wright, University of Western Sydney Aural traditions and their implications for music education 26 Roger Buckton, University of Canterbury, New Zealand A retrospection of the 1960s music education reforms in the USA 36 Harry Burke, Monash University Through the Eyes of Victor McMahon: The Flute -
Don Burrows Quartet
DON BURROWS QUARTET: SHOWCASE FOR A TALENTED NEWCOMER by Eric Myers _______________________________________________________________ The Don Burrows Quartet with James Morrison The Rothbury Estate, Pokolbin Sydney Morning Herald, April 8, 1980 _______________________________________________________________ t is difficult to imagine a more pleasant afternoon than one spent on the Rothbury Estate, with the sun shining, the wine flowing, and jazz provided I by Don Burrows, George Golla and their colleagues. At this concert, Burrows (clarinet, flute and alto saxophone) and Golla (guitar) gave a roaring display of the swinging, mainstream jazz that is appealing and relaxing for so many people. In their playing, there are few signs of the atonality, chromaticism and dissonance which characterise much contemporary modern jazz, and this perhaps explains their great popularity with middle-of-the-road jazz lovers. Don Burrows (left, flute) and George Golla (guitar): a roaring display of the swinging, mainstream jazz that is appealing and relaxing for so many people…PHOTO COURTESY JAZZ AUSTRALIA Tony Ansell, as always, played the keyboards with high energy and vitality. For many years now, he has been astounding orthodox pianists by playing the keyboard bass with his left hand, while producing brilliant accompaniment and solos on electric piano or synthesiser with his right hand —in effect, playing an instrument with each hand, and enabling either to function independently of the other. I was often surprised to hear the drummer, Stuart Livingston, -
CHOIR MUSIC ANDREW NUNN (Dean)
PETER WRIGHT (Organist) STEPHEN DISLEY (Assistant Organist) FEBRUARY 2019 SOUTHWARK CATHEDRAL RACHEL YOUNG (Succentor) GILLY MYERS (Canon Precentor) CHOIR MUSIC ANDREW NUNN (Dean) DAY SERVICE RESPONSES PSALMS HYMNS SETTINGS ANTHEMS 1 Friday 5.30pm Evensong Smith 62 157 Stanford in B flat Look up, sweet babe (Lennox Berkeley) 3 SUNDAY 11.00am Eucharist 24 (7-end) 336; 44; SP 13 Missa Aeterna Christi munera O thou, the central orb (Charles Wood) CANDLEMAS (Palestrina) O nata lux (Thomas Tallis) Nunc dimittis (Dyson in F) 3.00pm Evensong Smith 132 (1-10) 156 (t. 288); CP 65 (t. 33) Stanford in A When to the temple Mary went (Johannes Eccard) 6.00pm Eucharist (Trad Rite) (men’s voices) 157; 57; 373 (t. CP 466); Missa Aeterna Christi munera Tout puissant (Francis Poulenc) 338 (Palestrina) Seigneur, je vous en prie (Francis Poulenc) 4 Monday 5.30pm Evensong Rawsthorne 4 457 (ii) Rubbra in A flat Mother of God, here I stand (John Tavener) 5 Tuesday 5.30pm Evensong Smith 9 (1-12) 346 Wise in F Hail, gladdening light (Charles Wood) 6 Wednesday 5.30pm Evensong (Cranleigh Voices) Byrd 34 373 (t. Coe Fen) Stanford in G And I saw a new heaven (Edgar Bainton) 7 Thursday 5.30pm Evensong (treble voices) Plainsong 118 (19-end) 338 (omit *) Rawsthorne in F Auf meinen lieben Gott (J. S. Bach) 8 Friday 5.30pm Evensong (men’s voices) Moore 22 245 Tonus peregrinus (Plainsong) Laudem dicite Deo (John Sheppard) 10 SUNDAY 11.00am Eucharist 138 377; CP 390; Darke in F Let all mortal flesh keep silence (Edward Bairstow) IV BEFORE 353 (omit v.3); CP 470 Ave verum corpus (William Byrd) LENT 3.00pm Evensong Shephard 2 254 (t. -
Bankks Butterley Mealee Werder
BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’. -
Publications for Jeanell Carrigan 2021 2020 2019
Publications for Jeanell Carrigan 2021 Carrigan, J., Caillouet, J. (2021). Innovation. In Anna Reid, Carrigan, J. (2020). The Composers' Series: Volume 8 (a) - Neal Peres Da Costa, Jeanell Carrigan (Eds.), Creative Piano Solos Advanced - Frank Hutchens [Portfolio]. The Research in Music: Informed Practice, Innovation and Composers' Series: Volume 8 (a) - Piano Solos Advanced - Transcendence, (pp. 95-99). New York, USA: Routledge. <a Frank Hutchens, (pp. vi - 103). Wollongong, Australia: href="http://dx.doi.org/10.4324/9780429278426-10">[More Wirripang Pty Ltd. Information]</a> Carrigan, J. (2020). The Composers' Series: Volume 8 (b) - 2020 Piano Solos Intermediate - Frank Hutchens [Portfolio]. The Composers' Series: Volume 8 (b) - Piano Solos Intermediate - Carrigan, J. (2020). Sea Impressions: Piano Miniatures by Frank Hutchens, (pp. vi - 71). Wollongong, Australia: Australian Composers, Wollongong, Australia: Wirripang Pty Wirripang Pty Ltd. Ltd. Carrigan, J. (2020). The Composers' Series: Volume 9 Piano Carrigan, J. (2020). Reverie: Piano Music by Australian Solos - Lindley Evans [Portfolio]. The Composers' Series: Women, CD, Wollongong, Australia: Wirripang. Volume 9 Piano Solos - Lindley Evans, (pp. 1 - 81). Wollongong, Australia: Wirripang. Carrigan, J., Choe, M. (2020). [1-3] Sonata for Cello and Piano: Allegro ritmico; Lento; Allegro [5-8] Four Aspects: Grieving; 2019 Stress; Hope; Healing [10] An Evening Stroll [11] The Lake [12] Nocturne for Piano Carrigan, J. (2019). Meta Overman: Sonata for Viola and [Portfolio]. On In Tribute: Music by Dulcie Holland, CD, Piano, (pp. 1 - 28). Wollongong, Australia: Wirripang Pty Ltd. Wollongong, Australia: Wirripang Media Pty Ltd. Carrigan, J. (2019). 1. Scherzo No. 1 in B minor, 3. Through Richter, G., Carrigan, J., Choe, M. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright ALFRED HILL’S VIOLA CONCERTO: ANALYSIS, COMPOSITIONAL STYLE AND PERFORMANCE AESTHETIC Charlotte Fetherston A thesis submitted in partial fulfillment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music, University of Sydney, NSW 2014 STATEMENT OF ORIGINALITY ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at the Sydney Conservatorium of Music or any other educational institution, except where due acknowledgement is made in the thesis. -
Mozart Beethoven
Beethoven WITH RACT FAMILY ROADSIDE & When you take out RACT Roadside for your family, Mozart we’ll be watching over them – which means you can rest easy, knowing we’ll be ready to swoop in and help when they need us most. MASTER 1 • LAUNCESTON 1 Friday Saturday 1 March 7.30pm 2 March 7.30pm Federation Concert Hall Albert Hall Hobart Launceston Richard Tognetti conductor and violin INTERVAL - 20 mins To mark the opening of the 2019 concert BEETHOVEN season, complimentary sparkling wine will be Coriolan, Overture served in the foyer. Duration 8 mins MEALE Cantilena Pacifica MOZART Violin Concerto No 5, Turkish Duration 8 mins Allegro aperto – Adagio – Allegro aperto BEETHOVEN Adagio Symphony No 1 Rondeau. Tempo di Menuetto – Allegro Adagio molto – Allegro con brio – Tempo di Menuetto Andante cantabile con moto Duration 31 mins Menuetto (Allegro molto e vivace) Adagio – Allegro molto e vivace Duration 26 mins RACT3889 • BC This concert will end at approximately 9.30pm. Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic. We would appreciate your cooperation in keeping In branch | ract.com.au | 13 27 22 | ROADSIDE by coughing to a minimum. Please ensure that your mobile phone is switched off. 3 Ludwig van Beethoven (1770-1827) Coriolan, Overture, Op 62 immediately dissolve into a nervous Heinrich von Collin (1771-1811), a civil violin theme that manically yo-yos servant, minor playwright and friend of between loud and soft. A sighing motive Beethoven, had something of a hit with heard in the woodwinds is the basis for his tragic play, Coriolan (a free gloss the second theme, Volumnia’s plaint, gaining urgency as it rises tone by tone. -
OBITUARY: JOHN SANGSTER 1928-1995 by Bruce Johnson
OBITUARY: JOHN SANGSTER 1928-1995 by Bruce Johnson _________________________________________________________ ohn Grant Sangster, musician/composer, was born 17 November 1928 in Melbourne, only child of John Sangster and Isabella (née Davidson, then J Pringle by first marriage). He attended Sandringham (1933), then Vermont Primary Schools, and Box Hill High School. Self-taught on trombone then cornet, learning from recordings with friend Sid Bridle, with whom he formed a band. Sangster on cornet: self-taught first on trombone, then cornet… PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM Isabella’s hostility towards John and his jazz activities came to a head on 21 September 1946, when she withdrew permission for him to attend a jazz event; in the ensuing confrontation he killed her with an axe but was acquitted of both murder and manslaughter. In December 1946 he attended the first Australian Jazz Convention (AC) in Melbourne, December 1946, and at the third in 1948 he won an award from Graeme Bell as ‘the most promising player’. He first recorded December 30th, and participated in the traditional jazz scene, including through the community centred on the house of Alan Watson in Rockley Road, South Yarra. 1 He married Shirley Drew 18 November 1949. In 1950 recorded (drums) with Roger, then Graeme Bell, and was invited to join Graeme’s band on drums for their second international tour (26 October 1950 to 15 April 1952). During this tour Sangster recorded his first composition, and encountered Kenny Graham’s Afro-Cubists and Johnny Dankworth, which broadened his stylistic interests. Graeme Bell invited Sangster to join Graeme’s band on drums for their second international tour, October 1950 to April 1952..