462 017-2 NIGEL WESTLAKE

out of the blue

TASMANIAN SYMPHONY ORCHESTRA One of my earliest encounters – so I thought – was shot over a three-year period. The team with the music of Nigel Westlake was at a music travelled 20,000 kilometres in and around the camp, when four camp percussionists southern polar ice cap to look beyond the known, entertained us at lunch with a performance of ‘past the edge of everything’, and capture Omphalo Centric Lecture. The music was as visually the spirit of exploration and inquiry that compelling as its title – the performers were has always been associated with Antarctica. In clearly having tremendous fun and so were we, 1991 the brief was passed to Westlake: ‘to Nigel Westlake b. 1958 the listeners. They had to play it at least once compose music that captured the awe-inspiring Invocations [20:35] more, for dessert. grandeur, beauty, desolation and harshness of the images.’ Concerto for bass clarinet and chamber orchestra What I didn’t realise at the time was that I had 1 I 3:49 already been hearing Nigel Westlake’s music in Westlake’s original sketches were scored for solo 2 II 2:23 the various signature themes on SBS-TV and guitar and orchestra, and John Williams became 3 III 7:58 ABC Radio and Television. Most of the latter involved early on, viewing the rushes of the were written in 1987 when Westlake was picture and agreeing that it would make a 4 IV 6:25 composer-in-residence for ABC Radio, and he marvellous vehicle for solo guitar. As it turned Nigel Westlake bass clarinet was subsequently to win the gold medal for out, practical constraints meant that Westlake had Alison Lazaroff-Somssich obbligato violin Best Original Music at the New York to abandon this plan for the score, at least International Radio Festival Awards. temporarily. But the following year the Antarctica [22:01] Australian Broadcasting Corporation suggested Suite for guitar and orchestra Nigel Westlake is one Australian composer whose presence extends well beyond the concert hall. that he write a guitar concerto for Williams and 5 The Last Place on Earth 6:36 He has composed incidental music for the Bell the Tasmanian Symphony Orchestra as part of the 6 Wooden Ships 4:16 Shakespeare Company, television ABC’s sixtieth birthday celebrations, providing the 7 Penguin Ballet 3:10 documentaries, the Flying Fruit Fly Circus, for opportunity to revisit his original ideas and 8 The Ice Core – cadenza – Finale 7:59 four Imax films devised for super screens and 3D resume the collaboration as originally planned. (Around the same time Westlake joined Williams’ Timothy Kain guitar technology and for the film Babe and Babe II: Pig group Attacca as a performer and composer for Alison Lazaroff-Somssich obbligato violin in the City. When, in 1982, Westlake studied film music at what was then the Australian Film and tours of the UK and Australia.) Vanessa Souter obbligato harp Television School, it represented his first formal The resulting concert suite is far more than an 9 out of the blue ... [10:23] musical education after leaving the New South arrangement of selected movements from the Wales Conservatorium High School at the age of for string orchestra original film score. Rather it is a reworking of the sixteen to work as a freelance musician. Total playing time 52:59 music, incorporating material that was not Antarctica, the earliest of the three works on this included in the film. Dissociated from the Tasmanian Symphony Orchestra disc, began life in the cinema, as the score for imposing images on the Imax screen, Westlake’s conductor John Weiley’s film Antarctica. Filmed in Imax, it music has been able to take on a life of its own

2 3 without losing the qualities that made it, in John elements – an unexpected harmony, a strange the ‘Finale’. This final section of Antarctica is lively Invocations, a concerto for bass clarinet and Weiley’s words, ‘wild, funny, dangerous, colour – which are then assimilated in the return and rhythmic, its uplifting mood reflecting the chamber orchestra. exhilarating and deeply moving.’ of the opening theme. optimism that surrounded the signing of the Invocations is in four movements, following an Antarctic Treaty just as the film was being The four movements of Antarctica are drawn One of the wittiest moments in Westlake’s original overall pattern of slow, fast, slow, fast. Westlake completed. from the primary themes of the film: the desolate film score is the ‘Penguin Circus’, guaranteed to describes it as deliberately sparse, emphasising grandeur of the pole, the life it sustains and provoke a smile if not a giggle. ‘Penguin Ballet’ John Weiley describes Antarctica as a noisy place instrumental colour and ‘intimate interplay’ human presence in the region, both historically shows another, less comical side of these – citing the sounds of human presence: between the soloist and orchestra. This gives and today. curious birds – so clumsy on land, so graceful generators, motors, shrieking stoves. He might the work chamber-like qualities and a delicately in the water. John Weiley’s film captures a In its original guise ‘The Last Place on Earth’ was also have mentioned the natural sounds of wind poised sound world, even when the music is at normally unseen aspect of penguin behaviour, and cracking ice. But, he says, ‘when it stops accompanied by an aerial of the ice cap, shot in its most energetic. what can only be described as a kind of the full daylight of the midnight sun. In a there is a kind of epiphany. You are here. That’s underwater ballet below the ice cap. But leopard when the music starts.’ Nowhere is this more apparent than in the first luminous opening the guitar freely plays a simple seals are well familiar with this display, and the movement. It begins with cunning unisons – the motive above a repeated harp pattern and the For Nigel Westlake music started with the emperor penguins must leave the water at piano doubling the solo bass clarinet, joined by unearthly effect of strings playing without clarinet, under the inspiring tutelage of his father fantastic speeds, escaping through a hole in the vibrato. The sparseness of the textures suggests Don Westlake. As a clarinettist he worked with marimba, solo violin and harp, then by the lower ice to avoid being eaten. the isolation of the ice cap; the building of numerous orchestras, chamber groups and strings. Their colours exposed by the absence of a orchestral sound to crashing chords and anxious Westlake mirrors the mercurial fluidity of the session bands. But it was the bass clarinet in traditional bass line or accompanying chords, these tremolos, its savage power. In close up, we hear penguin ballet with a rippling ‘pas de deux’ for particular that captured his imagination, and in instruments stake out the striding opening theme. fragments of melody and small musical motives solo guitar and harp, playing in the highest part 1983 he travelled to Amsterdam to study with Later, sinuous string melodies, hovering around just combined, tossed about by harsh rhythms; a of its range. The full strings are entrusted with a Harry Spaarnay, that instrument’s greatest a few notes, provide contrast. brief cadenza for the guitar; and a brazen swaying ritornello, and ominous rumblings from advocate. In exploiting the bass clarinet’s six- The agitated second movement develops more pounding theme that emerges from the opening the lower strings warn of the presence of the octave range and its impressive palette of tone complex textures as the bass clarinet and solo idea. The music then ‘pans’ away, ending in the leopard seals. colours, Spaarnay had rescued the bass clarinet violin engage in a dialogue. And there is a spirit of transparency with which it began. from a mundane role as an ‘adjunct’ to the The final movement comprises two sections, ‘Ice adventure in the bass clarinet’s special technical symphony orchestra and given it credibility as a ‘Wooden Ships’ is a tribute to those first Core’ and ‘Finale’, linked by a formal cadenza for effects as the soloist plays with harmonics, solo instrument. explorers who bravely risked their lives in the guitar. An ice core extracted by Antarctic multiphonics, flutter-tonguing and swooping vessels that would splinter under the pressure scientists can reveal changes in the earth’s Years later invited Westlake to glissandi above a relentless accompaniment atmosphere and phenomena such as the hole in of the frozen ice. Harp and pizzicato strings as write a concerto incorporating the entire clarinet from the strings and snare drum. well as guitar create a delicate effect in a the ozone layer. For this section of the music family. Westlake found, however, that once he movement that is lyrical, even nostalgic. In the Westlake creates ethereal effects with pitch began to explore ideas for the piece his The third movement begins with the bass clarinet central section the comfortable harp bending from the guitar and hypnotic repeated fascination with the bass clarinet and the alone – here cast in a meditative and accompaniment and wind counter-melodies are patterns in the harp. The cadenza gradually builds enthusiasm Spaarnay had imparted took over. introspective role. Important harp and piano disturbed by the guitar introducing ‘foreign’ momentum, anticipating the main melodic idea of The concerto for the whole family became parts provide a bell-like accompaniment, over

4 5 which we hear the moodily expressive melodies but blank pages. It took months for the stream of Nigel Westlake of the solo part. Effective use is made, too, of ideas to re-establish their flow. out of the blue... Nigel Westlake commenced his career in music sustained string chords played without vibrato. was the result.’ in 1975 at the age of 17 as a freelance From its initial flourish the final movement is a This single-movement work draws on the clarinettist, performing with orchestras and whirlwind of changing metres and displaced rhythmic unity of a tightly knit small ensemble: a chamber ensembles. accents. Without being disoriented we are led on standard string orchestra featuring, from time to a sprightly and rhythmic dance where certain time, a solo violin and solo viola. In contrast to In 1983 he studied contemporary music in beats just happen to go missing occasionally! This the other works on this disc, instrumental colour Amsterdam, specialising in the bass clarinet movement brings together elements from the takes a back seat to rhythmic and textural with Harry Sparnaay. preceding movements: the unison colours of the effects emphasised by the homogeneity of the From 1985 to 1992 he was a member of the first movement; the meditative qualities of a ensemble. out of the blue ..., like the ‘Finale’ in Australia Ensemble and toured extensively with lyrical theme suspended above sustained chords; Antarctica, is primarily optimistic. It gains its them throughout Australia and the world. In 1992 and the extended techniques of the bass clarinet, energy from displaced accents and a distinctive he was invited to join guitarist John William’s including an impressive harmonic glissando that piling up of parallel or near-parallel melodic parts leads to the final climax and a magnificent close. group Attacca as a writer and performer for tours to create a sense of propulsion. of Australia and the United Kingdom. As a composer Nigel Westlake is largely self- The central section, by contrast, is fragmented taught and works such as Invocations highlight As a composer he is largely self-taught, having and sparsely textured. Lapsing into ‘introspection the way in which he has developed his craft in the commenced writing for rock bands while still a and reflection’, it is as if the players are pondering context of performance. As a young adult he teenager. He has been commissioned by many over the musical material. Motives are slowed formed an eight-piece fusion band, Magic Puddin’, of Australia’s leading orchestras, chamber down, spread out, and shared between parts. which fostered his interest in composition, ensembles and soloists and has successfully performance, collaboration and improvisation, and There is a feeling of freedom and experimentation, combined writing for the concert hall with his he spent more than six years as a core member room for creativity and a judicious use of silence. passion for film and theatre, having composed of the Australia Ensemble. His intuitive gifts were Dreamy tremolos and floating chords punctuated numerous TV and feature film scores, including enhanced and refined by the opportunity to study by plucked bass pave the way for a return to the the No. 1 box office hits around the world, orchestration with in 1993, and opening ideas by way of a limping ‘waltz’. The Babe and Babe II: Pig in the City and the Imax Invocations and out of the blue... were concluding section once more features the riffs film Antarctica. completed in the following two years. (melodic fragments) and rhythmic patterns derived from blues music – its cumulative textures He has won many awards for his compositions out of the blue ... explains Westlake, ‘was and syncopated rhythms guaranteed to drive out and in 2004 was awarded the HC Combs composed when I was emerging from a “blue” the blues. Creative Arts Fellowship from the Australian period in my life brought on by a car accident. National University. Whole days spent composing left me with nothing Yvonne Frindle

6 7 Timothy Kain Australia for Musica Viva. A third Guitar Trek CD Tasmanian Symphony Orchestra has been recently recorded by the ABC for Initially inspired by popular music and flamenco The Tasmanian Symphony Orchestra is acclaimed as one of the world’s finest small orchestras. future release. to start playing the guitar, Timothy Kain had his German-born Sebastian Lang-Lessing is the orchestra’s Chief Conductor and Artistic Director. first classical guitar lessons with Sadie Bishop at Timothy Kain has also had great success from The TSO presents an exciting and diverse annual concert series in Hobart and Launceston as well the Canberra School of Music. After graduating, his collaborations with other instrumentalists, as concerts in regional centres. With a full-time playing strength of 47 musicians, its core he lived in Spain and England, studying with José most notably flautist Virginia Taylor, with whom repertoire is that of the Classical and early Romantic periods. It is, however, a versatile orchestra, Tomas and Gordon Crosskey, winning first prize he has a popular Tall Poppies release and performing repertoire from Baroque to jazz, popular music, opera and ballet, and is recognised for in the Third International Guitar Competition in Music of the Americas, for ABC Classics. As championing contemporary music. Alicante, Spain, and the Royal Northern College the Austral Trio, they are joined by cellist David of Music Bach Prize. Pereira. Timothy Kain’s recent collaboration The TSO records regularly for radio broadcasts, compact discs and soundtracks for television and with oboist David Nuttall has been something film. It was the first Australian orchestra to record the complete Beethoven symphonies, and its His performing and teaching activities have of a runaway success, with their CD recent recordings on international and Australian labels have been received with critical acclaim. taken Timothy Kain all over the world, building an Romancing the Oboe enjoying regular airplay In 2003, the orchestra launched its Australian Music Program and this year releases the first international reputation as an outstanding soloist and popular interest. recordings of orchestral music as part of the TSO Australian Composer Series. and chamber musician. In 1992 he was invited A long-standing interest in Australian music to join John Williams’ ensemble, Attacca. Encouragement of young talent is of paramount importance to the TSO. It provides an education has seen many fruitful collaborations with The performances proved so successful that program and collaborates extensively on a range of programs with Symphony Australia, the some of Australia’s leading composers and the John Williams and Timothy Kain began touring Australian Youth Orchestra and the Australian Music Centre. commissioning of a large number of solo, extensively together in the UK and Australia. chamber and concerto works for the guitar, The TSO has performed in most of the major Australian festivals and regularly travels to mainland In 1996 they released internationally their award- some of which he has recorded as part of the Australia, touring both capital cities and regional centres. It has performed in Greece, Israel, Indonesia, winning CD The Mantis and the Moon on Canberra School of Music Bicentennial South Korea, China, Argentina, Canada and the USA. Sony Classical. Anthology of Australian Music disc. Timothy A major focal point of Timothy Kain’s musical Kain is also highly regarded as a teacher and activities has been his guitar quartet, Guitar Trek. is currently Head of the Guitar Department at The pioneering work of this group has seen the the Canberra School of Music, Australian National University. development of a specially made family of guitars of different sizes and an exciting new Sponsor of the TSO Australian Music Program repertoire for the medium. Guitar Trek’s strong Powering Australian music into the future popular appeal has led to immense success, with two best-selling CDs available on ABC Classics and regular touring overseas and in

8 9 David Porcelijn as Best Opera Conductor at the Munich Biennial Executive Producers Robert Patterson, Lyle Chan for a production with Netherlands Opera. Recording Producers Stephen Snelleman, David Porcelijn is one of the most outstanding Nigel Westlake Dutch musicians of his generation. After several David Porcelijn’s many recordings have been Recording Engineers Andrew Dixon, Peter Cox years conducting mainly outside Europe he has principally made for ABC Classics in Australia. Editing Christo Curtis (out of the blue ... and now returned to regularly work with the Bergen The most recent of these is his complete cycle Invocations), Belinda Webster (Antarctica) Mixing Christo Curtis (Invocations), Philharmonic Orchestra, South West German of Beethoven Symphonies with the Tasmanian Neale Sandbach (Antarctica) Symphony Orchestra, which was released in Radio Symphony Orchestra Baden Baden and Mastering Christo Curtis, Allan Maclean Freiburg, Orquesta Filharmónica de Gran Canaria, 2002. Amongst others are Messiaen’s Eclairs sur Editorial and Production Manager Hilary Shrubb North German Radio Philharmonic Hannover, the l’Au-delà with the Sydney Symphony (which won Cover and Booklet Design Imagecorp Pty Ltd BBC Orchestras of London, Wales and Scotland, the 1994 award for ABC Classic FM Australian Photography Cradle Mountain under dark clouds, the Polish National Radio Symphony Orchestra Recording of the Year) whilst his records with Tasmania © APL/Galen Rowell and the London Philharmonic Orchestra, the Adelaide and Tasmanian Symphony For Tasmanian Symphony Orchestra amongst many others. Beyond his excellent work Orchestras have included CDs of music by the Managing Director Nicholas Heyward in the core repertoire, an abiding interest in new Australian composers Richard Meale, Peter Artistic Administrator Anthony Peluso Orchestra Manager Peter Kilpatrick music has also seen him conducting Sculthorpe (whose Sun Music I-IV won the 1997 Marketing Manager Wes Roach KammerensembleN in Sweden and the Nieuw ARIA award for Best Australian Classical Australian Music Program Director Richard Mills Recording), Nigel Westlake and Matthew Ensemble of his native Amsterdam. A most www.tso.com.au highly regarded orchestral trainer, he has held the Hindson. Other recordings for ABC Classics Recorded 11-15 March, 1997 in the Ballroom, positions of Chief Conductor and Artistic Director include Schubert Lieder (orchestrated by Government House, Hobart. of the Adelaide Symphony Orchestra, Chief Brahms, Reger, Offenbach and Liszt), Overtures by Auber, the first in a series of Showpieces for Print music published by Rimshot Music Australia Conductor and Artistic Director of the Tasmanian Pty Ltd. For more information on Nigel Westlake Piano and Orchestra with Ian Munro as soloist Symphony Orchestra, Music Director and (A.P.R.A.), please visit www.rimshot.com.au and Harp Concertos played by Alice Giles. For Conductor of the Netherlands Dance Theatre and EMERGO he has recorded music by the Dutch 1999 Australian Broadcasting Corporation. been a regular guest conductor of the Sydney © 2004 Australian Broadcasting Corporation. Symphony Orchestra. In recent seasons he has composers Tristan Keuris (with the Netherlands Made in Australia. All rights of the owner of copyright reserved. Radio Philharmonic Orchestra and Chorus) and Any copying, renting, lending, diffusion, toured China as well as North and South America public performance or broadcast of this record without the Hans Kox and he is currently recording with the Tasmanian Symphony Orchestra. authority of the copyright owner is prohibited. symphonies by Christian Sinding with the North He has a broad operatic repertoire, making his German Radio Philharmonic Hannover for the Opera Australia debut in 1991 and conducting German company cpo. This project has been so opera in Britain for the first time in 1994 at successful that cpo has asked him to record on Opera North. In 1992 he was awarded the prize a regular basis.

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