Australian Music Calendar South Australia 2011
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tivoli Dances
476 6502 GRAEME KOEHNE tivoli dances TASMANIAN SYMPHONY ORCHESTRA The selection of pieces recorded here forms a on-stage by a piano quintet. The ballet explored survey, ranging across 20 years, of Graeme themes of the continuities between the past Koehne’s engagement with an aesthetic of the and the present, and Murphy called it Old ‘lighter touch’. Graeme’s turn towards ‘lightness’ Friends, New Friends. Graeme (Koehne) chose began in the early 1980s, when he moved from to write in a ‘Palm Court’ style both because it Adelaide to the university town of Armidale in suited the ensemble and had an appropriately New South Wales. Here he encountered, on the nostalgic quality – hence the title Palm Court Graeme Koehne b. 1956 one hand, a withdrawal from the support Suite when the work appears without dancers. Tivoli Dances [20’39] network of Adelaide’s then thriving ‘new music’ The piece was the surprise success of the 1 I. Santa Ana Freeway 4’46 scene; and on the other, a small, close-knit but program and Murphy decided to expand it into a 2 II. Forgotten Waltz (Tivoli Memories) 5’52 musically active community. The change of social full evening work called Nearly Beloved, which 3 III. Salvation Hymn and Whistling Song 5’10 environment prompted Graeme to re-evaluate his has had several seasons, including at the Créteil 4 IV. Vamp ’Til Ready 4’51 aesthetic priorities, leading progressively to his Maison des Arts. rejection of the ideology of ‘heroic’ modernism Shaker Dances [21’14] The return to simplicity and vernacular musical in favour of a new, more modest aim of 5 I. -
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. -
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. -
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. -
Compositions by Matthew Hindson
Compositions by Matthew Hindson Matthew Hindson, M. Mus. (Melb), B.Mus. (Hons.) (Syd) A folio of original musical compositions and accompanying introductory essay submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Music University of Sydney July 2001 Volume I: Introductory Essay N.B.: This submission comprises a folio of creative work. It is in two volumes and includes two accompanying compact discs, musical scores and an introductory essay. © Matthew Hindson Certification I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due references has been made in the text. ____________________________ Matthew Hindson 31st July 2001 Possible works to be included on the CD and in the folio of compositions: • Speed (1996) – orchestra – 16 minutes [YES] • RPM (1996) – orchestra – 4 minutes [DO I NEED THIS ONE?] • Techno-Logic (1997) – string quartet – [no recording] • technologic 1-2 (1997) – string orchestra – 8 minutes [YES] • Night Pieces (1998) – soprano saxophone and piano – 8 minutes [YES] • Rush – guitar and string quartet – 9 minutes [YES] • In Memoriam: Concerto for Amplified Cello and Orchestra (2000) – 34 minutes [YES] • Moments of Plastic Jubilation (2000)– solo piano – 5 minutes [???] • Always on Time (2001) – violin and cello – 2 minutes [???] • The Rave and the Nightingale (2001) – string qt and string orch – 18 min. [???] [CONCERNS: IS THIS CONCENTRATED TOO MUCH ON ORCHESTRAL AND STRING WORKS? – THEY ARE THE BEST PIECES THOUGH] Chapter 1: Introduction As an Australian composer living at the end of the twentieth / start of the twenty-first centuries, I believe that there is an obligation embedded in musical art that is created in this era: to impart and explore musical and extra-musical ideas that are directly relevant to, and representative of, the society in which I live. -
Beethoven: the Piano Concertos
ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 SPECIAL EVENT Beethoven: The Piano Concertos June Wed 5 – Sat 15 7pm Elder Hall CONTENTS ARTIST BIOGRAPHIES 3 Nicholas Carter Conductor Jayson Gillham Piano CONCERT ONE 5 June Wed 5, 7pm CONCERT TWO 11 June Sat 8, 7pm CONCERT THREE 16 June Wed 12, 7pm CONCERT FOUR 21 June Sat 15, 7pm ABC Classic is recording the concertos for CD release in early 2020 – the 250th anniversary of Beethoven’s birth. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 2 ARTIST BIOGRAPHY Nicholas Carter Conductor Newly appointed as Chief Conductor of the In Australia, he collaborates regularly with Stadttheater Klagenfurt and the Kärntner many of the country’s leading orchestras Sinfonieorchester, Nicholas Carter will lead and ensembles and led the 2018 Adelaide three new productions per season and Festival’s acclaimed full staging of Brett appear regularly in the orchestra’s concert Dean’s Hamlet. Past engagements have series. In his first season, he conducts included the Melbourne, Sydney, West Rusalka, La Clemenza di Tito and Pelléas Australian, Queensland and Tasmanian et Mélisande, and concert programmes Symphony Orchestras with soloists such include Haydn’s Die Schöpfung and Mahler’s as Michelle de Young, Simon O’Neill, Alina Symphony No. 1. Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov Since his appointment as Principal (Queensland Symphony) and Anne Sofie von Conductor of the Adelaide Symphony Otter (Sydney Symphony). -
Forbidden Colours
476 3220 GERARD BROPHY forbidden colours TASMANIAN SYMPHONY ORCHESTRA Almost every Australian composer born literature, made Sculthorpe (vernacular) and between the end of the First World War and the Meale (international) obvious first generation end of the baby-boomer generation owes even leaders. The upheavals of 1968, and the social their most modest reputation to a half-truth: that revolution that followed in their wake, helped it was only in the early 1960s that our post- convince their students that their Australian colonial music culture caught up with the world identity should derive from looking both inward and produced its first distinctive national school and outward. But to Brophy in the next Gerard Brophy b. 1953 of composers. In press columns, and in his generation, the first to grow up in a multicultural 1967 book Australia’s Music: Themes of a New globalising environment, such a self-conscious 1 The Republic of Dreams 8’32 Society, Roger Covell gave culturally literate pursuit of Australianness came to seem not only Genevieve Lang harp, Philip South darabukka Australians their first reliable list of composers creatively irrelevant, but a failure of imagination. worth following, most of them contemporary. For Brophy, what would once have been Mantras [14’36] And what Donald Peart dubbed ‘The Australian described as a ‘cosmopolitan’ outlook comes 2 Mantra I 3’42 Avant-garde’ owed as much to frustrations of naturally to a contemporary Australian artist. 3 Mantra II 3’10 journalists, academics and conductors with the 4 Mantra III 7’44 deadening local cult of ‘musical cobwebs’ as it Born into an ‘ordinary Anglo-Irish family’ in did to the talents of the new movement’s Sydney’s eastern suburbs, Brophy grew up in 5 Maracatú 11’11 anointed leaders, Peter Sculthorpe, Richard country Coonamble. -
Sydney Symphony Limited ANNUAL FINANCIAL REPORT
Sydney Symphony Limited ABN 50 121 561 528 ANNUAL FINANCIAL REPORT 31 December 2020 0 Sydney Symphony Limited ABN 50 121 561 528 Contents Page Directors Report 2 Corporate Governance Statement 10 Auditor’s Independence Declaration 13 Income Statement 14 Statement of Comprehensive Income 15 Statement of Financial Position 16 Statement of Changes in Equity 17 Statement of Cash Flows 18 Notes to the Financial Statements 19 Directors’ Declarations 39 Independent Auditor’s Report 40 1 Sydney Symphony Limited ABN 50 121 561 528 Directors Report The Directors present their report together with the financial report of Sydney Symphony Limited, the parent entity, and its controlled entity Sydney Symphony Orchestra Holdings Pty Limited (the Group) for the year ended 31 December 2020. Directors The Directors in office, at any time during or since the financial period until the date of this report, are: Terrey Arcus AM (Chairman) Geoff Ainsworth AM Andrew Baxter Kees Boersma Ewen Crouch AM (resigned 18 June 2020) Emma Dunch Catherine Hewgill The Hon Justice A J Meagher Samantha Meers AO (appointed 3 November 2020) Karen Moses Dr John Vallance Geoff Wilson Qualification of Directors Director Experience and Qualifications Terrey Arcus AM BSc, BE (Hons) Syd; MBA (Dist) Harv. Founder & Consultant to Port Jackson Partners Limited Emma Dunch (CEO) B A (Communications) B Music Performance (Opera) Managing Director, Sydney Symphony Orchestra Director, Symphony Services Australia Limited Geoff Ainsworth AM BA (Hons) UNSW, MA Macq, Dip. Fin. Mgt. UNE Director, -
Sydney Symphony Fellowship
2020 IMPACT REPORT “ The concert marked the SSO’s return to its former home... the Sydney Town Hall is an attractive venue: easy to get to, grandly ornate, and nostalgic for those who remember the SSO’s concerts there in earlier years. The Victorian-era interior was spectacular... and it had a pleasing “big hall” acoustic that will lend grandeur and spaciousness to the SSO’s concerts of orchestral masterworks.” The Australian, 2020 2 Ben Folds, The Symphonic Tour, in Sydney Town Hall (March 2020). Photo: Christie Brewster 3 2020: A TRUE ENSEMBLE PERFORMANCE On 13 March 2020, the Sydney Symphony Orchestra was silenced for the first time in its 89-year history by the global COVID-19 pandemic. Andrew Haveron performing Tim Stevenson’s 4 Elegies as part of the Sydney Symphony at Home series. Filmed by Jay Patel The year had started boldly, with the Orchestra With a forward path identified, the Orchestra In August, Chief Conductor Designate Simone opening its 2020 Season in Sydney Town Hall quickly pivoted to digital concert production Young braved international travel restrictions as its temporary home for two years while the and expanded its website into an online concert and a two-week hotel quarantine to travel to Sydney Opera House Concert Hall was renovated. gallery. Starting in April, the Orchestra delivered Sydney and lead the musicians in their first Thirty-four season performances had already 29 Sydney Symphony at Home performances, full-group musical activities since lockdown. taken place by the time COVID-19 emerged. four Cuatro performances with the Sydney Dance There were tears of joy and relief as instruments However, that morning’s sold-out performance of Company, 18 Chamber Sounds performances were raised under her baton for rehearsals Rimsky-Korsakov’s Scheherazade would turn out recorded live at City Recital Hall with a focus and recordings at City Recital Hall and in to be the Orchestra’s final performance for 2020. -
Heaven's Burning Music Credits
music by Graeme Koehne and Michael Atkinson Music "The In Crowd" written by Billy Page, performed by Bryan Ferry published by Hill & Range Songs Inc./J. Albert & Son Pty. Ltd. courtesy of EG Records & Virgin Records Australia Pty. Ltd. "The Honeydripper" written by Joe Liggins, performed by Jo Jo Zep & The Falcons published by Northern Music Corporation, administered by MCA Music Australia Pty. Ltd. courtesy of EMI Music Australia Pty. Ltd. "Bayou Pon Pon" Trad. arrangement by Menard/Le Juene/Smith, performed by Le Trio Cadien published by Happy Valley Music, courtesy of Rounder Records "Another Spring, Another Love" written by Gloria Shayne/Noel Paris, performed by Marlene Dietrich, published by Robert Mellin Inc. administered by Warner/Chappell Music Aus. Pty. Ltd. courtesy of MCA Records, by arrangement with Universal Special Markets "Soave Sia Il Vento" from "Cosi fan Tutte" written by W. A. Mozart, performed by Lucia Pohl/Brigitta Fassbaender, Tom Krause and the Vienna Philharmonic Orchestra/Ivan Kertesz, courtesy of Decca Record Company Ltd (U.K.), under licence from PolyGram Pty. Ltd. "Song for a Dreamer" written by Robin Trower/Keith Reid, performed by Procol Harum published by Bluebeard Music/PolyGram Music Publishing courtesy of EMI Records Ltd (U.K.) "Surfin' Bird" written by Alfred Frazier/John Earl Harris/Carl Whyte/Turner Wilson Jnr. performed by The Trashmen, published by EMI Music Publishing Aust. Pty. Ltd. courtesy of Sundazed Music Inc. "Don't Forget to Remember" written by Barry & Maurice Gibb, performed by The Bee Gees published by Gibb Bros. Music/BMG, courtesy of PolyGram International BV, under licence from PolyGram Pty. -
Here in 1913, Studied Composition, Piano and Mathematics at the Conservatory and University of Warsaw, and Lived There During the Nazi Occupation
THE BOURBAKI ENSEMBLE light and dark: music for strings Witold Lutos lawski Musique Fun`ebre Bernard Herrmann Prelude to Psycho Michael Berkeley Coronach Greg van der Struik Trombone Concerto Graeme Koehne Divertissement Joan Trimble Suite for Strings Greg van der Struik, trombone David Angell, conductor 2.45 pm, Sunday 22 April 2018 St. Stephen’s Church, Newtown Welcome to the first Bourbaki concert for 2018! Our pro- gramme contrasts works expressing darkness, grief and horror with compositions of a much lighter character. In the for- mer category, Michael Berkeley’s Coronach, evoking a High- land lament, and Lutos lawski’s Funeral Music in memory of Bart´ok; also, the opening titles from Alfred Hitchcock’s classic Psycho, the music written by Bernard Herrmann. In a gen- tler vein, we present Irish composer Joan Trimble’s enchanting Suite for Strings, and Graeme Koehne’s (mostly) light–hearted Divertissement. To complete the programme, we are delighted to welcome back leading Sydney trombonist Greg van der Struik for his third appearance as soloist and composer with Bourbaki. We are sure that you will enjoy the varied moods of Greg’s recently written concerto. There will be two further Bourbaki concerts this year. The next, to be given on Sunday 5 August, will be another pro- gramme of contrasts: music by P¯eteris Vasks and Betty Beath conveying the suffering of war is juxtaposed with works by Carl St. Jacques (a member of the Bourbaki Ensemble) and Arvo P¨art praying for peace. We hope to be joined by a choir for the P¨art piece – watch this space. -
10 Great Books 2018 Melbourne Masterclass
Faculty of Arts Melbourne Masterclass 10 Great Books 2018 Melbourne Masterclass 10 Great Books 2018 February – November Wednesdays 6.30pm–8.30pm The Faculty of Arts proudly presents 10 Great Books: a Melbourne Masterclass designed to challenge, revise, and reveal the legacy of great books. Each month, from February to November, we explore a text in a lively masterclass environment, guided by internationally renowned academics and industry experts. In 2018, we celebrate the 200th anniversary of Shelley’s classic gothic novel Frankenstein; explore the re-working of Chaucer’s epic poem, Trolius and Criseyde and Joyce’s re-working of Homer’s Ulysses; we will unpack Shakespeare’s Julius Caesar with the associate director of Bell Shakespeare; assess Tennessee William’s Cat on a Hot Tin Roof; confront several controversial political works including Orwell’s Nineteen Eighty-Four and Arendt’s Eichmann in Jerusalem: a report on the banality of evil; we will debate the revolutionary social commentary of Swift’s A Modest Proposal and Las Casas’ sixteenth century indictment of Spanish colonialism, A Short Account of the Destruction of the Indies. Our Australian text is Patrick White’s novel about a doomed nineteenth century expedition into the outback: Voss. Monthly Program Wednesday 14 February Lavinia Greenlaw, A Double Sorrow: Troilus and Criseyde, 2014 (A re-working of Geoffrey Chaucer’s Troilus and Criseyde, 1380s) by Professor Stephanie Trigg Wednesday 21 March Mary Shelley, Frankenstein, 1818 by Professor Deirdre Coleman Wednesday 18 April James