1 3 October 2008 SELECT LIST of WORKS

Total Page:16

File Type:pdf, Size:1020Kb

1 3 October 2008 SELECT LIST of WORKS Australian Music Centre, PO Box N690 Grosvenor Place, NSW, 1220 email: [email protected] web: http://www.amcoz.com.au phone: (02) 9247 4677 or 1300 651 834 This list includes scores suitable for HSC performance and available for purchase or borrowing from the Australian Music Centre. Where available, library numbers for matching recordings have also been listed (eg. CD245 or C2003). 3 October 2008 SELECT LIST OF WORKS WRITTEN IN THE LAST 25 YEARS FOR VOICE HELD AT THE AUSTRALIAN MUSIC CENTRE LIBRARY (PLEASE NOTE: this list includes works for voice with piano only. If you are looking for works with accompaniment other than piano, please contact the Centre) ALLEN, GEOFFREY Bredon Hill, opus 10 : eight songs for tenor voice and piano to poems of A. E. Housman / by Geoffrey Allen. - 1995 Perth : Keys Press, 1995. 1 score (36 p.) ; 30 cm. Tenor voice, piano. When I came last to Ludlow -- Loveliest of trees -- Twice a week the winter thorough [sic] -- Reveille -- On the idle hill of summer -- White in the moon -- 'Tis time I think -- Bredon Hill. 783.87542/ALL 1 CD 1337 Four songs : to poems of Rosemary Dobson / by Geoffrey Allen. - 2006 Perth : Keys Press, 2006. 1 score (20 p.) ; 30 cm. ISMN: M-720052-55-7 Keys Press: KP 0278. Voice, piano. 1. A fine thing -- 2. The bystander -- 3. The alphabet -- 4. Ampersand. Includes programme notes. 783.2542/ALL 1 Songs that mother never taught me, opus 17 : for soprano and piano / by Geoffrey Allen. - 1993 Perth : Keys Press, 1993. 1 score (25, [i], p.) ; 30 cm. Soprano voice, piano. Love letters -- Heart attack -- The vampire's lullaby -- The dangers of love. Includes song texts. 783.66542/ALL 1 Speaking of the snow : a song cycle for voice and piano to poems by Kevin Crossley-Holland / by Geoffrey Allen. - 2007 Perth : Keys Press, 2007. 1 score (21 p.) ; 30 cm. ISMN: M-720052-63-2 Keys Press: KP 0280. Voice, piano. 1. Prism -- 2. Snowman -- 3. Lover -- 4. Old man -- 5. He who hesitates -- 6. Prisoner -- 7. The fair field Includes programme note. 783.2547/ALL 1 1 Stile and stump : five songs to poems of Kevin Crossley-Holland / by Geoffrey Allen. - 2007 Perth : Keys Press, 2007. 1 score (20 p.) ; 30 cm. ISMN: M-720052-69-4 Keys Press: KP 0281. Voice, piano. 1. Shadows -- 2. Every stile and stump -- 3. Leaf girl -- 4. Grace -- 5. The Jesus of Norton. Includes programme note. Based on poems by Kevin Crossley-Holland. 783.2542/ALL 2 Two songs for a wedding / by Geoffrey Allen. - 2008 Perth : Keys Press, 2008. 1 score (9 p.) ; 30 cm. ISMN: 979-0-720080-05-5 Keys Press: KP 0303. Voice, piano. Smile o voluptuous cool-breath'd earth -- Love's coming. "These two songs were written for the wedding, in May 2008, of Lisa Crossett and Michael Sparrow, to whom they are dedicated" -- T.p. verso. Includes programme note. Settings of poems by Walt Whitman and John Shaw Neilson. 783.2542/ALL 4 AUSTIN, RICHARD Two songs of summer / music : Richard Austin ; words : Patricia Austin. - 1993 1 facsimile score ([10] p.) ; 30 cm. Computer-notated score. ISMN: M-67309-041-5 Voice, piano. 1. English summer -- 2. Australian summer. English summer: 2 min., 40 sec. ; Australian summer: 1 min., 30 sec. Revised in 2007. 783.2542/AUS 3 BARBELER, DAMIAN Figs : song cycle for high voice and piano / Damian Barbeler. - 2002 1 facsimile score ([ii], 34 p.) ; 30 cm. Computer-notated score. ISMN: M-67300-259-3 High voice, piano. 1. Figs -- 2. Shaving -- 3. Shopping -- 4. White -- 5. Sleep -- 6. Feet. 15 min. Poems from 'Figs' by Kate Llewellyn. Includes text of poems. 783.3547/BAR 1 BATTERHAM, ANDREW This is my time / words and music by Andrew Batterham. - 2005 1 facsimile score (9 p.) ; 30 cm. Computer-notated score. ISMN: M-67300-470-2 Voice, piano. 5 min. Difficulty: Professional. 783.2542/BAT 1 2 BEATH, BETTY The bride of Byfield : for soprano voice and piano / music by Betty Beath ; poem by Jennifer Woodhouse. - 1988 1 facsimile score ([iv], 4 p.) ; 30 cm. Soprano, piano. 3 min., 30 sec. The composer has included the following details. The work is the setting of a poem by the Queensland poet, Jennifer Woodhouse. 'Byfield' is the name of a great forest area near Rockhampton, and is currently (1988) the subject of controversy. Loggers want to go in to take the timber and conservationists want to preserve the forest. Jenny Woodhouse grew up near there and the forest has been a strong influence in her life. Difficulty: Composer's note: accessible performers, reasonable technique. 783.66542/BEA 1 CD 209 A garland for St. Francis : for voice and piano / Betty Beath ; words by David Cox. - 2003 1 facsimile score ([i], 2, 3, 4, 4, 2, 5, 1, 4, 3 p.) ; 30 cm. Computer-notated score. ISMN: M-67301-841-9 Soprano voice, piano. I had a dream -- Yes, my friends of Assisi, I have gone mad -- Francis and the leper -- Sermon to the birds -- How sweet to feel -- Psalm 96, 11/12 -- Meditation (piano solo) -- Soliloquy: Francis -- Prayer: St Francis. I had a dream: 1 min., 10 sec. ; Yes, my friends of Assisi, I have gone mad: 1 min., 45 sec. ; Francis and the leper: 2 min., 45 sec. ; Sermon to the birds: 3 min. ; How sweet to feel: 1 min., 10 sec. ; Psalm 96, 11-12: 1 min. ; Prayer: St Francis: 2 min., 40 sec. Includes programme notes. Individual movements may be performed separately. Text of 'Yes, my friends of Assisi, I have gone mad' and 'How sweet to feel' by Carlo Carretto ; text of 'Sermon to the birds' by Giovanni Pascoli, translated by John Gransden ; text of 'Francis and the leper' by Brother William SSF. Difficulty: AMEB Grade 7-8/Professional. 783.66547/BEA 3 CD 1635 Genesis / music: Betty Beath ; words: Subagio Sastrowardojo. - 2006 1 score ([i], 4 p.) ; 30 cm. Computer-notated score. ISMN: M-67305-906-1 Voice, piano. 3 min., 18 sec. Commissioned by Queensland Conservatorium of Music, Griffith University, for 50th Anniversary Celebrations -- Composer's note. From the poem 'Genesis' by Subagio Sastrowardoyo - English translation by Dr. Harry Aveling. Includes text of poem. 'Genesis' is the voice/piano score of a work which was later realised for voice and orchestra to become the first of six songs for a cycle titled 'Gambar, gambar Jawa' (Images of Java). Difficulty: AMEB Grade 7/8. 783.2542/BEA 19 CD 1920 (orchestral version) Little song / Betty Beath ; poem by Carmen Bernos de Gasztold. 1 facsimile score ([3] p.) ; 30 cm. Voice, piano. 2 min. First performed by Janet Delpratt (soprano) and regis Danillon (accompanist) at New Conservatorium Auditorium, Brisbane on 23 August 1975 -- Composer's note. 783.2542/BEA 15 3 Peace of the running waves to you : voice and piano / Betty Beath. - 2005 1 facsimile score (2 p.) ; 30 cm. Computer-notated score. ISMN: M-67305-049-5 Voice, piano. 2 min. Written for Bridie Murphy -- Composer's note. Words: Traditional Gaelic blessing -- Caption. This is one of several works inspired by my association with the Franciscan Community at St. Phillips, Annerley, Brisbane where I often play the organ for services -- Composer's note. Difficulty: AMEB grade: 7. 783.2525/BEA 1 Richard Want, Esquire : for voice and piano / music by Betty Beath ; words by Franz Holford. - 2004 Wollongong, N.S.W. : Publications by Wirripang, 2007. 1 score ([i, 3] p.) ; 30 cm. ISMN: M-720072-90-6 Voice, piano. c. 1 min., 20 sec. "For Cathy Aggett" -- Caption. "Written at the invitation of Cathy Aggett who was seeking material suitable for students in their first years of vocal study" -- p.[i]. Includes program note, and biography of composer. 783.2542/BEA 17 River songs : a cycle for soprano voice and piano / Betty Beath ; words by Jena Woodhouse. - 1991 Wollongong, N.S.W. : Publications by Wirripang, 2007. 1 score ([v], 35) ; 30 cm. ISMN: M-720065-90-8 Soprano, piano. River mother, river child -- Boy and the river -- River nocturne -- House by the river -- Tree of two souls -- Swift tide -- River voices before dawn. 22 min., 15 sec. First performance at Basil Jones Theatre, Queensland Conservatorium of Music, during Performance Week, 9th-13th September, 1991, with Janet Delpratt, soprano and Betty Beath, piano. Includes program note, text of poems and biographical notes on composer. Difficulty: Advanced student / professional. 783.66547/BEA 1 CD 130, CD 517 St. Brigid's blessing : voice and piano / Betty Beath. - 2006 1 facsimile score (3 p.) ; 30 cm. Computer-notated score. ISMN: M-67305-050-1 Voice, piano. 2 min. Written for Bridie Murphy -- Composer's note. Words: Anon. This is one of several works inspired by my association with the Franciscan Community at St. Phillips, Annerley, Brisbane -- Composer's note. Difficulty: AMEB grade: 7. 783.2542/BEA 18 4 Towards the psalms : a cycle of six songs for voice and piano / music by Betty Beath ; words by Anne Michaels. - 2004 Wollongong, N.S.W. : Publications by Wirripang, 2007. 1 score ([iii], 18 p.) ; 30 cm. ISMN: M-720072-60-9 Voice, piano. No-one is born just once -- Bella and I enter a dream -- The lament of Ovid -- Mones and I ... best friends forever -- Love makes you see a place differently -- Towards the psalms. No-one is born just once: 2 min., 15 sec. ; Bella and I enter a dream: 2 min. ; The lament of Ovid: 2 min., 20 sec. ; Mones and I - best friends forever: 2 min., 15 sec. ; Love makes you see a place differently: 3 min., 10 sec.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka
    \ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues.
    [Show full text]
  • Etruscan Concerto
    476 3222 PEGGY GLANVILLE-HICKS etruscan concerto TASMANIAN SYMPHONY ORCHESTRA As a still relatively young nation, Australia could composing that they had no option but to go be considered fortunate to have collected so away. Equally true, relatively few of our few notable dead composers! For most of the composing women flourished ‘abroad’ for long, 20th century, almost every composer we could though Tasmanian Katharine Parker (Longford- claim was very much alive. Yet, sadly, this did born and Grainger protégée) did, and Melburnian not stop us from losing track of some of our Peggy Glanville-Hicks is the notable other. Peggy Glanville-Hicks 1912-1990 most talented, who went away and stayed Indeed, Edward Cole’s notes for the 1956 away, as did Percy Grainger and Arthur Benjamin American first recording of her Etruscan Etruscan Concerto [15’17] (the only Australian composer blacklisted by Concerto make the unique claim: ‘Peggy 1 I. Promenade 4’05 Goebbels), or returned too late, like Don Banks. Glanville-Hicks is the exception to the rule that 2 II. Meditation 7’26 And we are now rediscovering many other women composers do not measure up to the 3 III. Scherzo 3’46 interesting stay-aways, like George Clutsam (not standards set in the field by men.’ Caroline Almonte piano just the arranger of Lilac Time), Ernest Hutchinson, John Gough (Launceston-born, like Talented Australian women of Glanville-Hicks’ 4 Sappho – Final Scene 7’42 Peter Sculthorpe) and Hubert Clifford. generation hardly lacked precedent for going Deborah Riedel soprano Meanwhile, among those who valiantly toiled abroad, as Sutherland, Rofe and Hyde all did for away at home, we are at last realising that a while, with such exemplars as Nellie Melba 5 Tragic Celebration 15’34 names like Roy Agnew, John Antill and David and Florence Austral! Peggy Glanville-Hicks’ Letters from Morocco [14’16] Ahern might not just be of local interest, but piano teacher was former Melba accompanist 6 I.
    [Show full text]
  • Masters File 5
    University of Adelaide Faculty of Humanities and Social Sciences Elder Conservatorium of Music Portfolio of Compositions and Exegesis: Composing for a Choral Spectrum Submitted in fulfillment of the requirements for the degree of Master of Music (MMus) by Callie Wood August 2008 225 Part B Exegesis Composing for a Choral Spectrum 226 B1 Exegesis: Composing for a choral spectrum. 1.1 RESEARCH QUESTIONS The research questions of this thesis were primarily addressed through practical experiments in choral music composition, which resulted in a portfolio of choral works covering a categorized choral spectrum ranging from very simple choral works for young children, to complex works for adult choirs of a professional standard. 1: What are the limitations for a composer in choice of text, text setting, choral groupings, and instrumental accompaniments when composing for a choral spectrum? 2: What are the limitations for a composer in regard to musicianship skills, aural skills, intonation skills, vocal range and ability when composing for a choral spectrum? Each of the works included in the portfolio addresses a particular aspect, or particular aspects, of the above research questions. To make the compositions especially suited to Australian choirs, the lyrics selected for all of the music have been written by Australian poets. To make the music accessible to a wide range of singers, all of the music for the portfolio is non-religious. Some of the compositions included in the portfolio were rehearsed, performed or recorded, which greatly assisted in the revision stage of the compositional process. However, arranging for all of the works in the portfolio to be performed and recorded was beyond the scope of this thesis.
    [Show full text]
  • Canzonetta Canzonetta Iris De Cairos-Rego
    Canzonetta Canzonetta Iris de Cairos-Rego Cairos-Rego Iris de Cairos-Rego was a 20th-century Australian composer, pianist and teacher. She was born in 1894. Her father, George, a composer and music critic who was a driving force behind the establishment of the Sydney Conservatorium, was her first teacher. She under- took further studies in Berlin and London from 1907 to 1910. Returning to Australia, Cairos- Rego taught piano at the newly established Conservatorium in Sydney, and at Frensham School in Mittagong. She frequently performed as a piano soloist and chamber musician, including concerto performances with the Conservatorium Orchestra, ABC radio broadcasts, and as an associate artist with her brother, Rex, who was a singer. She died in 1987.1 Cairos-Rego’s compositions Cairos-Rego’s compositions were mostly for piano; they include: • Arabesque in A minor. • Canzonetta. • English June. • Firelight. • A frolic. • Graneen Vale. • Four sketches: Waltz in A, Song of the trees, Little dog and Country dance. • Tarrel (a highland song). • Toccata (The train). • Waltz caprice. • White cloud. • Bushland Sketches for piano duet. Cairos-Rego’s contemporaries • Roy Agnew (Australian, 1891-1944). • Mirrie Hill (Australian, 1892-1986). • Frank Hutchens (Australian, 1892-1965). • Arthur Benjamin (Australian, 1893-1960). • Lili Boulanger (French, 1893-1918). • Lindley Evans (Australian, 1895-1982). • Margaret Sutherland (Australian, 1897-1984). • Linda Phillips (Australian, 1899-2002). • Esther Rofe (Australian, 1904–2000). • Dulcie Holland (Australian, 1913-2000). • Miriam Hyde (Australian, 1913-2005). 1 For further information about the composer, see www.dictionaryofsydney.org/entry/de_cairos-rego_iris or www.musicaustralia.org. Copyright © 2012 by R. A. Hamilton Canzonetta Title A canzonetta is a short song, or a song-like piece, where the melody is always in the upper voice.
    [Show full text]
  • Ruby Rich Schalit Womens Contribution to Music in AU.Pdf (PDF, 2.35MB)
    WOMEN 1S CONTRIBUTION TO MUSIC IN .AU�'TRALIA Women have contributed to music in Auatralia in a wide field of endeavour. The Billiers, composers, instnimentalists, teachers, administrators and musicolo�ists have all played their part in Australian history and can lay claim to a place on the honours board of their couatry. AM brevity i• the keynote of this report it must of necessity b� selective. I have therefore endeavoured to catalo�ue only some of the outstandiDi women who have helped to make Australia known internationally or who have been responsible for some historic landmark within Australia. The list has been arr&D&ed chronolo�ically to create a aenae of histor�cal deve lopnent. ************************************* ... ;- . \ EMJ\l!ELINE M. WOOLLEY On 29 June, 1895 it was reported in the Sydney Mail a the pleasure · 'for the first· time in the history of N.S.W. we h ve d w r d to record an event which is by no means common,in the o� o l in namely, the production of an orig al cantata by two ladies. verses , The composer , Emmeline Woolley and the author of the Pedl.ey,are professors of music resident in Sydney.• Miss Ethel ,, Emmeline Woolley who gained this notoriety was a person was f d in of diverse musical attributes. She born in Here or appointment 1843 and came to Australia as a very young girl upon the f of her father, Dr. John Woolley, as the first principal o the University of Sydney. Her earliest I'ecollections were of Norwich, where Dr.
    [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 Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No.
    [Show full text]
  • Australian Chamber Music with Piano
    Australian Chamber Music with Piano Australian Chamber Music with Piano Larry Sitsky THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/ National Library of Australia Cataloguing-in-Publication entry Author: Sitsky, Larry, 1934- Title: Australian chamber music with piano / Larry Sitsky. ISBN: 9781921862403 (pbk.) 9781921862410 (ebook) Notes: Includes bibliographical references. Subjects: Chamber music--Australia--History and criticism. Dewey Number: 785.700924 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Cover image: ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgments . vii Preface . ix Part 1: The First Generation 1 . Composers of Their Time: Early modernists and neo-classicists . 3 2 . Composers Looking Back: Late romantics and the nineteenth-century legacy . 21 3 . Phyllis Campbell (1891–1974) . 45 Fiona Fraser Part 2: The Second Generation 4 . Post–1945 Modernism Arrives in Australia . 55 5 . Retrospective Composers . 101 6 . Pluralism . 123 7 . Sitsky’s Chamber Music . 137 Edward Neeman Part 3: The Third Generation 8 . The Next Wave of Modernism . 161 9 . Maximalism . 183 10 . Pluralism . 187 Part 4: The Fourth Generation 11 . The Fourth Generation . 225 Concluding Remarks . 251 Appendix . 255 v Acknowledgments Many thanks are due to the following.
    [Show full text]
  • MAMU Catalogue July 2018
    The Music Archive of Monash University (MAMU) presents Women’s Contributions to Music in the Australian and Korean Contexts An Exhibition in the Foyer, Performing Arts Building, Sir Zelman Cowen School of Music, Monash University, Clayton Campus Australian pianist Vera Bradford with the Korean royal family 6th July — 30th November 2018 Launched in conjunction with the International Conference on Gender Diversity in Music Making Merry Melody Maidens Catalogue Also available online at http://www.arts.monash.edu/music-archive WOMEN’S CONTRIBUTIONS TO MUSIC IN THE AUSTRALIAN AND KOREAN CONTEXTS This Exhibition celebrates the contributions, by women, to the ever-changing musical landscapes of Australia and Korea. Our displays reflect the holdings in MAMU and while diverse, they are but a small sample of the talent, creativity and hard work of the many female composers, performers, entrepreneurs, researchers, conductors and other practitioners of the Performing Arts to have graced Australia’s and Korea’s cultural scenes. Why Korea? MAMU focuses on the music and related arts/artefacts of the Asia-Pacific region and our team includes a specialist on Korean Music, specifically South Korean music, Dr Annette Bowie. We see this Exhibition as a wonderful opportunity to showcase some of the little-known material that has been produced in an Asian country whose music is rarely heard let alone performed in Australia. I am therefore delighted to have Dr Bowie on board as co- curator of this Exhibition. Her ‘Introduction to Korean Music’ below is well worth reading and the content of the captions for the South Korean displays is the result of many years of ongoing research.
    [Show full text]
  • ACO-114+Baroquevirtuosi Iphone
    NATIONAL TOUR PARTNER The Baroque period was one of great change and is famous for its elaborate fi ne detail in sculpture, architecture and music. The creativity that fosters this kind of innovation continues today. For over 55 years Transfi eld has applied similar creativity to the many engineering projects it has pioneered and today our investment in solar energy technology continues that tradition. Transfi eld’s founder, my father Franco, recognised a very clear link between the creativity expressed in art and that which is applied in business. In 2011 we celebrate the 50 year anniversary of the establishment of the Transfi eld Art Prize, an award created by Franco, which led to the founding of the Biennale of Sydney. Next year marks the 18th Biennale and Transfi eld is proud to remain its founding partner. Transfi eld has supported the ACO for over a decade. In that time Richard Tognetti and his wonderfully talented musicians have not only inspired Transfi eld, they have captivated local and international audiences with their delicately crafted and uniquely magnifi cent music. As Chairman of the ACO, it is a privilege to welcome you to this performance of Baroque Virtuosi. NATIONAL TOUR PARTNER GUIDO BELGIORNO-NETTIS AM JOINT MANAGING DIRECTOR, TRANSFIELD HOLDINGS MESSAGE FROM THE GENERAL MANAGER FREE PROGRAMS During the last couple of seasons, our audiences around To save trees and money, we the country have responded so warmly to the opportunity ask that you share one program to hear members of the ACO stepping into the solo between two people where possible.
    [Show full text]
  • The Australian Violin Concerto Volume 1
    UNIVERSITY OF SOUTHERN QUEENSLAND THE AUSTRALIAN VIOLIN CONCERTO VOLUME 1 A Thesis submitted by Andrew B Lorenz, DSCM (Performance), DSCM (Teaching) For the award of Master of Philosophy 2010 i Volume 1: Contents Page Contents i Definition of abbreviations viii Abstract ix Certification page x Acknowledgements xi Chapter 1.0 Introduction 1 1.1 General introduction 1 1.2 Research rationale 1 1.3 Aims of the research 3 2.0 Research method 5 2.1 Literature review 5 2.2 Overview of the Australian violin concerto 8 2.3 Discussion and analyses of seven Australian violin 12 concertos including some technical and interpretive insights relating to the solo violin part 2.4 General notes on approach to nomenclature regarding 13 instrumentation, thematic material, and technical and interpretive sections 2.4.1 Instrumentation 13 2.4.2 Discussion and analysis 13 2.4.3 Some technical and interpretive insights 14 relating to the solo violin part 3.0 Concerto for Violin and Orchestra – 15 Arthur Benjamin (1893-1960) 3.1 Background to work 15 3.2 Instrumentation 17 3.3 Discussion and analysis 17 ii 3.3.1 1st movement: Rhapsody – Allegro giusto, 18 no key signature, 2/4 3.3.2 2nd movement: Intermezzo – Andante piacevole, 20 no key signature, 9/8 3.3.3 3rd movement: Rondo – Allegro vivace 21 (ma non troppo presto), no key signature, 3/4 3.4 Some technical and interpretive insights relating to 23 the solo violin part 3.4.1 1st movement: Rhapsody – Allegro giusto, 24 no key signature, 2/4 3.4.2 2nd movement: Intermezzo – Andante piacevole, 26 no key signature,
    [Show full text]