Capuccino Music Credits

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Music by William Motzing Operatic excerpts supplied with the kind permission of The Australian Opera 'Il Trovatore' by Giuseppe Verdi Conductor: Richard Bonynge Cast: Joan Sutherland, Jonathan Summers, Kenneth Collins, Lauris Elms, Donald Shanks 'Lucia di Lammermoor' by Gaetano Donizetti Conductor: Richard Bonynge Cast: Joan Sutherland, Richard Greager, Malcolm Donnelly, Clifford Grant, Patricia Price, Sergei Baigildin 'La Traviata' by Giuseppe Verdi Conductor: Carol Felice Cillario Featuring: Joan Carden, Richard Greager The Australian Opera Chorus The Elizabethan Sydney Orchestra Opera Liaison Cheryl Forrest-Smith 'Cars & Planes' - Machinations/John Ferris Published by Mushroom Music Performed by Machinations Courtesy of Mushroom Records Music Score performed by 'The Flat White Band' Bob Bertles Saxes Dave Macrae Keyboards Dave Colton Guitars Phil Scorgie Basses David Jones Drums Bill Motzing Drums John Hoffman Flugelhorn Peter Schaefer Sitar Keith Manning Tabla, Tamboura Michael Askill Percussions Music recorded and mixed by Richard Lush Composer's assistant Bette Motzing Music recorded at Paradise Studios, Sydney Music mixed at EMI Studios 301 Composer William Motzing: Composer William Motzing was on something of a roll in the early 1980s in terms of scoring feature films. In short order, he composed the score for the cult film The Return of Captain Invincible, the admittedly woeful comedy Stanley - Every Home Should Have One, the under-appreciated story of Berlei bras in Australia, Undercover, John Duigan's One Night Stand, Silver City, and The Coca-Cola Kid, though in the latter case he shared duties with Tim Finn, who did the end titles song and a few other bits, including a Coca-Cola advertising ditty seen in the body of the film. However, Cappuccino would be Motzing’s last feature film score (he subsequently only did the telemovie Police State and the 1990 miniseries Birds of Christ) and thereafter he worked in the music department as orchestrator, conductor or musical director. William Motzing's site, Spare Parts Productions, active as of May 2016, provided this short CV: William Motzing (BMus, MMus) was born in the USA. He graduated with a Bachelor of Music from Eastman School of Music in Rochester, New York and continued his studies earning a Masters Degree from Manhattan School of Music.He went on to study conducting with Ernest Matteo, Nicholas Flagello, Ionel Perlea and Olga von Geczy; composition with Ludmila Ulehla and John Mayer at Birmingham Conservatoire(UK) and arranging with Rayburn Wright. During his career as a professional trombonist Bill performed with Kai Winding Septet, Jon Eardley Quintet, Gerry Mulligan Big Band,Bill Russo Big Band, Sal Salvador Big Band, Eastman-Rochester Symphony and the Pittsburgh Symphony. His diverse career has also included being the sound designer for Blood,Sweat and Tears for three years. In the classical arena Bill has conducted major symphony orchestras including the Australian Chamber Orchestra and the Australian Opera and Ballet Orchestras. In Europe he has conducted the BBC Radio Orchestra,the Irish Radio/Television Concert Orchestra, the Czech Philharmonic, the Budapest Opera Orchestra and the Babelsberg Film Studio Orchestra in Berlin. Bill has composed, arranged, produced and conducted stage productions including Academy Award presentations and over 100 albums and CDs in the USA, Australia and Europe. As a composer/arranger his film credits include The Quiet American, Soul Food and the Simpsons. In Australia he is well represented via film scores and television series including Mother and Son, Come in Spinner, Brides of Christ and Young Einstein. He currently teaches theory, arranging, modern jazz history, improvisation and ensembles at the Sydney Conservatorium of Music. Bill continues to perform his works regularly in Sydney and inspires all musicians he comes in contact with. Motzing died January, 2014. He has a wiki here. (Below: William Motzing) (Below: William Motzing on the right, here conducting the music for the Australian feature film Kokoda at Studios 301, with composer John Gray on the left). .
Recommended publications
  • Season of Song 2010

    Season of Song 2010

    Art Song Canberra Inc. www.artsongcanberra.org SEASON OF SONG 2010 In 2010 Art Song Canberra will present seven recitals of fine art song by an outstanding array of award-winning, highly-accomplished artists, many of them widely experienced on the world stage. Background Art Song Canberra is a dedicated group of volunteers and lovers of art song. It was founded as the A.C.T. Lieder Society in 1976 by a small group of devotees of art song led by Eleanor Houston OAM of Covent Garden fame. The society changed its name to Art Song Canberra in 2006. Its purpose is to foster and extend the love of art song. This is done mainly by: presenting high quality concerts to its members and the general public. The annual series is called the Season of Song; conducting an annual Festival of Song in which aspiring singers perform to an audience in a relatively relaxed and friendly environment and receive advice and encouragement from an acknowledged expert; providing opportunities for concert performance for dedicated and talented amateur singers. This format has met with considerable audience approval and Art Song Canberra has scheduled another such event in its Season of Song 2010; and conducting Members’ Soirées, social gatherings of members to sing and play together, taking us back to the origin of Lieder societies. The society presents a series of six or seven vocal recitals each year – the Season of Song. Most of the society‟s artists over the years have been have been highly accomplished both in Australia and internationally. Among the many artists who have performed for the society are such noted Australian singers as Eleanor Houston, Michael Martin, Sally-Anne Russell, Tobias Cole, Warwick Fyfe, Christopher Allan, Angela Giblin, Louise Page and Christina Wilson as well as Susan Burghardt from the USA and Thomas Weinhappel from Vienna.
  • Marie Collier: a Life

    Marie Collier: a Life

    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
  • CHAPTER 5 EPILOGUE It Has Been My Aim in This Thesis to Address a Two-Fold Proposition. Informed by My Reading of the Work of Gi

    CHAPTER 5 EPILOGUE It Has Been My Aim in This Thesis to Address a Two-Fold Proposition. Informed by My Reading of the Work of Gi

    CHAPTER 5 EPILOGUE It has been my aim in this thesis to address a two-fold proposition. Informed by my reading of the work of Gilles de Van, I have discovered that Verdi wished to realize a concept which he called posizione. He provided musical strategies which would delineate characters in their subjective and objective ‘position’ with regard to circumstance and to their relationship with other characters at any given moment of the operatic narrative. The term posizione was intended to denote a musico-dramatic mapping of the co-ordinates which could pinpoint this relationship. With Verdi’s concept in view I have investigated the posizione of Violetta Valéry’s character as it has evolved throughout the course of the operatic narrative of La traviata. In addressing the second facet of my proposition I have taken the term posizione into the broader context of its social implications for the character of Violetta and for women of suspect moral status. In order to do this I have investigated the literary and factual provenance of the narrative and the contemporary response of Despite Budden’s own speculative objection to the notion that Verdi compared Violetta with Giuseppina Strepponi, the possibility remains that the courtesan character elicited a special sympathy from Verdi. The life of Alexandre Dumas fils is the origin from which the narrative of La traviata is drawn. Dumas fils turned the experience of his own liaison with the courtesan Marie Duplessis into the novel La Dame aux Camélias which he later adapted for the stage. As characterized by Dumas, Duplessis, transformed into the more noble Marguerite Gautier, renounced her own happiness in order to save the reputation of the family to whom her lover Armand 192 Duval belonged.
  • Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir

    Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir

    Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance.
  • The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory

    The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory

    program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions (CHE) Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 Venues Collaboratory Organising Committee Main Venue Jane Davidson & Penelope Woods, CHE The Rex Cramphorn Studio Alan Maddox, Ian Maxwell & Glen McGillivray, Department of Performance Studies The University of Sydney The University of Sydney The studio is on Level 1 of the John Woolley Building, A20, and is accessed from Manning Rd, down the concrete steps opposite the Old Teachers’ College. sydney.edu.au/arts/about/maps.shtml?locationID=A20 Monday Afternoon Venue The Old School, Building G15 Important Notice Maze Crescent, University of Sydney. Participants can access wifi internet through the The Old School building backs onto Cadigal Green ‘UniSydney’ network, not ‘Uni-Sydney Guest’ network. in the Darlington section of campus, a 5-10 minute account name: historyofemotions walk from Performance Studies. password: 58316659 sydney.edu.au/arts/about/maps.shtml?locationID=G15 program Day 1: Monday 29 September, Rex Cramphorn Studio 8.30am Registration at The Rex Cramphorn Studio 9.15am Welcome 9.30–10.30am Session 1: KeynoTe Chaired by Jane davidson
  • Philharmonic Hall Lincoln Center F O R T H E Performing Arts

    Philharmonic Hall Lincoln Center F O R T H E Performing Arts

    PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con­ certs next October with a subscription season of 16 concerts in eight pairs, run­ ning through early April. The estab­ lishment of a chamber music society completes the full spectrum of perform­ ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin­ coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com­ prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward­ well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec­ retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ­ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap­ pointed Artistic Director of The Cham­ ber Music Society of Lincoln Center. The Society is the outgrowth of an in­ tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr.
  • Francesco Cavalli One Man. Two Women. Three Times the Trouble

    GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication.
  • An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries

    An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries

    AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years.
  • Manyfaces of Inspiration Conversations on Australian Creativity

    Manyfaces of Inspiration Conversations on Australian Creativity

    William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts.
  • Graeme De Graaff Biography

    Graeme De Graaff Biography

    Biography Graeme de Graaff Graeme Ernest de Graaff was born in Melbourne in 1932. the other evenings when he and John scrambled up the stone The youngest of three, he was very close to his younger stairs to the sixpenny gallery of the Royal Opera House. The sister Shirley. They grew up in Dandenong, on the outskirts West London Mission was presided over by Donald Soper, a of Melbourne and went to the local primary school. Graeme charismatic preacher who used to speak outdoors on Tower started school at the age of three. His mother, Isabella, said Hill and in Hyde Park. she could cope no longer with his endless questions. In any case she was an enthusiastic croquet player and she felt he After their time in England, John and Graeme hitch-hiked should be at school instead of watching her play. It was while through Europe. Graeme’s parents came to England and the watching the game that the three year old developed his four drove through Scandinavia. On returning to Melbourne, interest in croquet, which is now a great pleasure. Graeme entered the Methodist Queen’s College at Melbourne University, enrolling for an Honours History Arts Degree In 1937 the children of Victoria had their education as a theology student. At the end of the first year he was interrupted for a year by the polio epidemic which swept invited to transfer to a Philosophy Degree. The head of that through the country. All the schools were closed and Shirley Department, Professor Boyce-Gibson, and the Master of contracted the disease.
  • 75Th ANNIVERSARY 2020

    75Th ANNIVERSARY 2020

    75th ANNIVERSARY 2020 What better time is there to note the history of one of Lane Cove’s icons than a 75th Anniversary? 2020 marks that celebratory year for Lane Cove Music. On 26th March 1946 Reverend Louis Blanchard, Minister of St. Andrew’s Presbyterian Church Longueville, was inspired to call a meeting to form a music club with the object of providing first class classical and semi-classical music and entertainment for church members and friends. Initial meetings were held at the Manse, the Vestry and the Church Hall. The idea was so well received that a group was formed as an organisation of St. Andrew’s Presbyterian Church Longueville and named the “Longueville-Northwood Music Club” with a constitution being drawn up and adopted on 22nd May 1946. Until the end of 1959 concerts were held in the Masonic Hall at 231 Longueville Road, now the Shinnyo Australia Buddhist Temple. Rev. Louis Blanchard 1973 The current name Lane Cove Music dates from 2007, the abbreviated version being in step with the trend set by other music clubs, omission of ‘club’ being deemed to sound less exclusive at a time when all clubs were seeking a membership boost. For expediency the capitals ‘LCM’ or words ‘the club’ will be used henceforth in this text. At that initial meeting in March 1946 it was agreed there would be five concerts held in the first year – subscriptions to be one guinea, being one pound one shilling (£1/1- in pre 1966 currency) with a fee of four shillings for visitors. By the third meeting the Executive Committee had been elected with Rev.
  • INTRODUCTION and LITERATURE REVIEW a Subject

    INTRODUCTION and LITERATURE REVIEW a Subject

    CHAPTER 1: INTRODUCTION AND LITERATURE REVIEW A Subject for Our Time I want plots that are great, beautiful, varied, daring ... daring to an extreme, new in form and at the same time adapted to composing. If a person says I have done thus and so because Romani, Cammarano, and others did so ... then we no longer understand each other. Precisely because of the fact that those great men did it that way, I should like to have something different done. I shall have La Dame aux Camélias performed in Venice. It will perhaps be called La Traviata. A subject from our own time. Another person would perhaps not have composed it because of the costumes, because of the period, because of a thousand other foolish objections. I did it with particular pleasure. Everybody cried out when I proposed to put a hunchback on the stage. Well, I was overjoyed to compose Rigoletto, and it was just the same with Macbeth, and so on ...1 The plot of La traviata centres on its eponymous heroine Violetta and the development of her character whose posizione must be projected musically.2 Verdi used the term posizione to describe the plot-and-character-driven gesture which must be ‘articulated musically’.3 According to Gilles de Van, it ‘arises from a particular moment in the plot; a situation [posizione] almost invariably corresponds to a phase in 1 Werfel, Franz and Stefan, Paul, Verdi: The Man in His Letters, trans. Edward Downes (New York: Vienna House, 1973), p. 373. 2 The term posizione and other Italian terms and expressions will be found in the Glossary at the end of this thesis.