DOCSLIB.ORG

Cimf20201520program20lr.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cimf20201520program20lr.Pdf CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. year. Not only is this my first year Under the leadership of its as President of Pro Musica, new Artistic Director, Roland taking over from our supremely committed last Peelman, the 2015 Festival has a program that President, Dorothy Danta: it is also the first year ranges across the centuries, from Hildegard for our new Artistic Director, Roland Peelman. of Bingen to Deborah Conway. For lovers With the invaluable support of our General of the classical canon, it will provide a rare Manager Kathleen Grant, Roland has produced pleasure: the complete cycle of Beethoven’s a program continuing the traditions built up by piano sonatas, as well as three Bach cantatas, our previous artistic directors, as well as striking chamber music by Brahms, and a program from out in new and exciting directions. the Russia of 1915. The CIMF prides itself on being a festival which Taking its inspiration from the centenary of truly reflects the national capital and its ideals. Einstein’s General Theory of Relativity, this Thus, the 2015 Festival draws its inspiration year’s Festival celebrates the links between from the connections between music and science, with their shared ambition for pursuing music and science. It will visit several of truth, the one in knowledge, the other in art. Canberra’s leading scientific institutions, and will feature the music of Australia’s most This festival has two other main features. The enterprising composers and performers. first is the number of new works specially commissioned for the Festival, and supporting Canberra is delighted to extend a welcome the ongoing development of Australian music. to the first-class international musicians The second is our deep commitment to young participating in the Festival, and to the many performers, and to integrating them in rehearsals young musicians from across the country and performances with more experienced and overseas who will join the seasoned musicians. Watch out for these young artists professionals on the Festival stages - not least during the Festival concerts: you will be seeing the remarkable Moorambilla Voices. and hearing the stars of the future. I encourage Canberrans and visitors to this city I wish to express Pro Musica’s deepest thanks to to make the most of the many musical delights our sponsors and supporters across government on offer, and wish everyone involved all the and the corporate sector, and particularly to the large number of individuals who have best for the 2015 Canberra International Music contributed finance and resources. In addition Festival. I wish to pay tribute to the large number of volunteers and billeters who have committed Andrew Barr MLA their time and their hospitality to the Festival. ACT Chief Minister Without this level of community commitment the Festival could not go ahead. So, like you, I will sit back, take in a deep breath, and enjoy the 10 days of music making ahead of us. Arn Sprogis President, Pro Musica, Inc. 2 Artistic Director’s Message Whether we like it or not, Canberra is a city of government and governance. But equally, Canberra is a city of knowledge, a city of science and serious fact- seeking, whether on terra firmaor in the depths of outer space. Canberra is also a place where the nation keeps its treasures, its bank accounts, its jewels, its books, archives and artworks, an enviable wealth of relatively recent history. Barely one hundred years old, she bears the imprint of Burley-Griffin’s vision combined with the presence of a strong international community and a sense of duty, service and scholarship amongst its citizens. The result remains a work in process, but Canberra strikes me as an a-typically modern city that has proven remarkably resilient, given its proximity to the political epicentre and the inevitable ebbs and flows of the electoral cycle. But none of this would mean anything if we could not stand back and admire the sunset, or wonder at those mountain peaks around Canberra. They remind us of an ancient land with a history that looms much larger than our mere century-old construct. All the things we have built and achieved would mean nothing if we did not have the time or space to think beyond that which meets the eye – if it weren’t for our ability to listen and to imagine. This Festival carries music in its heart. Unashamedly it celebrates the great Western classical tradition, not just because we love it, or because so many great musicians have a past or current association with Canberra’s School of Music. We have a Music Festival because the way we enjoy and make music remains one of the most potent, even wilful steps in the march of history. Its central tenet is the ability to create something out of nothing, and in doing so to explore uncharted territory. Hence Albert Einstein’s thoughtful frown and rigorously unkempt mane of hair gracing our posters this year. During his formative years leading up to the 1915 publication of the General Theory of Relativity, he saw more than any of his learned contemporaries did. Even amidst the ravages of war he still could imagine a greater world – a more peaceful world. Einstein too was a musician. Roland Peelman Artistic Director 2015 Canberra International Music Festival 3 Beethoven and the Piano Sonatas court musicians. Thus, even before travelling to Vienna, Beethoven was able to gain a considerable knowledge and mastery of the principles of composing in what we now call ‘sonata form’, a sophisticated way of constructing large-scale musical forms through the rhetorical coordination of melody and rhythm grounded in musical tonality – a sense of home ‘key’. Beethoven’s first piano sonatas, juvenilia for which the composer did not give an ‘opus number’, date from this time. His self-conscious coming-of-age as a composer would only hatever views we might hold about the begin in earnest when he travelled to Vienna in Wongoing significance of classical music 1792. The court in Bonn sponsored him to go in, and for, Australian society, we need have no there, as one patron famously put it, ‘to receive doubt about that of Ludwig van Beethoven (1770- Mozart’s spirit from Haydn’s hands’; in the end 1827). He is one of the few composers whose he would not so much absorb their influences as completely transform them. In Vienna Beethoven image, basic biography and of course music is also began a career as a virtuoso pianist and widely known far beyond the concert hall. For brilliant improviser, and from 1795 his published classical musicians and music lovers alike, his compositions attracted increasingly favorable standing is colossal. If all Western Philosophy attention – among them his first ‘official’ piano is a footnote to Plato, all classical music since sonatas, the two that make up his Opus 2, both c.1800 is a footnote to Beethoven. To understand dedicated to Haydn. the reasons for this, we must consider both the music itself and the world that surrounded it. One way to understand how Beethoven’s composition developed from these two sonatas Unlike his older contemporaries, Mozart and across the 30 sonatas that followed is to map Haydn, Beethoven was a child of the French them onto the traditional ‘three periods’ division Revolution, and in the midst of those best and used both by scholars and biographers.
Load more

Recommended publications
  • Roger Smalley: a Case-Study of Post -50S Western Music
    Research Report: Roger Smalley: A Case-Study of Post -50s Western Music Christopher Mark When I gave a seminar on Roger Smalley's Concerto for Piano and Orchestra at the University of Melbourne in April 1992, a number of people asked me 'Why Smalley?' I'm still not sure quite how to take this. The general reaction to the work, and to my presentation, was positive (at least, that was the impression I gained), and I don't think the question was of the 'why are you spending your time on this drivel' variety. I think it arose because very few people in the audience of staff and graduate students had heard the work-which is remarkable given its high prominence as winner of the Paris Rostrum, its relatively heathy number of broadcasts and its wide availability on an Australian Music Centre CD (Vox Australis, VAST 003-21988)- and were puzzled as to how I had heard of him. My answer, which I suspect they may have found naive, was simply that I had known of Smalley when he was still in the LJK, and had heard a few of the early Australian pieces (such as the Symphony and the Konzertstiidc for solo violin and orchestra) when they were broadcast on BBC radio. I had liked the music and wanted to get to know it better. I still hold that this is the most important impulse for the academic study of music. It drives all my research. And with Smalley I can be very precise about what drew me to his scores: the expressive range of both the Concerto and the other work on the CD I have mentioned, the Symphony, and the sense that every note has been fully considered.
    [Show full text]
  • Teaching Electronic Music – Journeys Through a Changing Landscape
    Revista Vórtex | Vortex Music Journal | ISSN 2317–9937 | http://vortex.unespar.edu.br/ D.O.I.: https://doi.org/10.33871/23179937.2020.8.1.12 Teaching electronic music – journeys through a changing landscape Simon Emmerson De Montfort University | United Kingdom Abstract: In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: ‘learning by doing’ as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and synthesizers; the current tendencies of what he calls the ‘age of the home studio’; the awareness of sonic perception, as opposed to the danger of visual distraction; questions of terminology in electronic music and the shift to the digital domain in studios; among other things. [note by editor]. Keywords: electronic music in UK, contemporary music, teaching composition today. Received on: 29/02/2020. Approved on: 05/03/2020. Available online on: 09/03/2020. Editor: Felipe de Almeida Ribeiro. EMMERSON, Simon. Teaching electronic music – journeys throuGh a chanGinG landscape. Revista Vórtex, Curitiba, v.8, n.1, p. 1-8, 2020. arly learning. The remark of Arnold Schoenberg (in the 1911 Preface to his Theory of Harmony) – “This book I have learned from my pupils” – is true for me, too. Teaching is E learning – without my students I would not keep up nearly so well with important changes in approaches to music making, and it would be more difficult to develop new ideas and skills.
    [Show full text]
  • Including Music and the Temporal Arts in Language Documentation. in N
    Linda Barwick University of Sydney Barwick, Linda. (2012). Including music and the temporal arts in language documentation. In N. Thieberger (Ed.), The Oxford Handbook of Linguistic Fieldwork (pp. 166-179). Oxford, UK: Oxford University Press. Postprint version, with page numbers edited to match the published version. 1 Including music and the temporal arts in language documentation Linda Barwick This chapter is intended for linguistic researchers preparing to undertake fieldwork, probably documenting one of the world’s many small or endangered languages. Recognising that linguists have their own priorities and methodologies in language documentation and description, I will advance reasons for including in your corpus the song and/or instrumental music that you are almost certain to encounter in the course of your fieldwork. I start by providing an overview of current thinking about the nature and significance of human musical capacities and the commonly encountered types, context and significance of music, especially in relation to language. Since research funding usually precludes having a musicologist tag along in the original fieldwork, I will suggest some topics for discussion that would be of interest to musicologists, and make some suggestions for what is needed on a practical level to make your recordings useful to 166 musicologists at a later date. I comment on the technical and practical requirements for a good musical documentation and how these might differ from language documentation, and also provide some suggestions on a workflow for field production of musical recordings for community use. Examples taken from my own fieldwork are intended to provide food for thought, and not to imply that music and dance traditions in other societies are necessarily structured in comparable ways.
    [Show full text]
  • Antarctica: Music, Sounds and Cultural Connections
    Antarctica Music, sounds and cultural connections Antarctica Music, sounds and cultural connections Edited by Bernadette Hince, Rupert Summerson and Arnan Wiesel Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Antarctica - music, sounds and cultural connections / edited by Bernadette Hince, Rupert Summerson, Arnan Wiesel. ISBN: 9781925022285 (paperback) 9781925022292 (ebook) Subjects: Australasian Antarctic Expedition (1911-1914)--Centennial celebrations, etc. Music festivals--Australian Capital Territory--Canberra. Antarctica--Discovery and exploration--Australian--Congresses. Antarctica--Songs and music--Congresses. Other Creators/Contributors: Hince, B. (Bernadette), editor. Summerson, Rupert, editor. Wiesel, Arnan, editor. Australian National University School of Music. Antarctica - music, sounds and cultural connections (2011 : Australian National University). Dewey Number: 780.789471 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 Press Cover photo: Moonrise over Fram Bank, Antarctica. Photographer: Steve Nicol © Printed by Griffin Press This edition © 2015 ANU Press Contents Preface: Music and Antarctica . ix Arnan Wiesel Introduction: Listening to Antarctica . 1 Tom Griffiths Mawson’s musings and Morse code: Antarctic silence at the end of the ‘Heroic Era’, and how it was lost . 15 Mark Pharaoh Thulia: a Tale of the Antarctic (1843): The earliest Antarctic poem and its musical setting . 23 Elizabeth Truswell Nankyoku no kyoku: The cultural life of the Shirase Antarctic Expedition 1910–12 .
    [Show full text]
  • Theory and Analysis of Melody in Balinese Gamelan
    RELATING THE PRESENT TO THE PAST THOUGHTS ON THE STUDY OF MUSICAL CHANGE AND CULTURE CHANGE IN ETHNOMUSICOLOGY Bruno Nettl http://www.muspe.unibo.it/period/MA/index/number1/nettl1/ne1.htm The relationship of past to present is one of the principal issues in all human cultures. It is also perhaps the most important task of many areas of scholarship, and in different ways, of musicology and anthropology. In ethnomusicology and in anthropology, one of the principal ways of associating past to present has been through the concepts of culture change and musical change, the idea that something that a society maintains and shares can change in character or in detail and yet remain essentially the same. I would like to approach the relationship of past and present through this concept. It is an immense subject, and you will understand why I have had problems finding ways to grasp it. To deal with it properly might require that one define culture and music and then change, to say nothing of providing a bibliography. But instead, as a more modest goal, I would like to try to circumscribe the subject by mentioning and discussing a few of the issues that dominate this area of endeavor, phrasing each in terms of a widely accepted generalization and then illustrating each with something from my experience. The ultimate concern of musicology has always been the nature of musical change. The majority of musicologists, who see themselves mainly as music historians, have tried to show that there is a systematic way in which music proceeds from past to present, using, for example, the concept of periods, the significance of biography, the belief that similarity or identity must usually be explained by contact and influence.
    [Show full text]
  • Summer on Ice Students Go to Polar Extremes Back to the Future New Chancellor Comes Full Circle Ruapehu Rocks Measuring the Puls
    MAGAZINE FOR FRIENDS AND ALUMNI OF VICTORIA UNIVERSITY OF WELLINGTON Summer 2002 Summer on ice Students go to polar extremes Back to the future New Chancellor comes full circle Ruapehu rocks Measuring the pulse of the mountain E-text centre Victoria establishes electronic archive Classic pieces An exquisite second century AD golden former member of staff Denise Kalfas, whose earring which once adorned the lobe of a family were world-wide collectors of Greek and wealthy Roman noblewoman is the most Roman artefacts. Under the careful stewardship recent donation to the Classics Museum. The of a succession of Classics staff, most recently earring was donated to the Museum by Ilse Dr Judy Deuling, the collection has been Jacoby, daughter-in-law of renowned German selectively developed to become one of the classicist Felix Jacoby. Ilse and her husband most complete teaching collections held by a Peter emigrated from Germany to New New Zealand university. Zealand in 1938, and over the years formed a It is not just Classics students who benefit strong relationship with the University. from the excellent resource. Drama, Art History, Another recent addition to the collection has Religion and English students also make use of been the purchase of a rare and striking sixth the Museum to gain an insight into particular century BC Kalpis—a Greek vase for pouring aspects of their subjects. “There is much to learn water and wine. By fortune and good timing the from these physical objects to bring alive the vase was acquired from a London dealer and is ancient world, its history, art, literature decorated with a dramatically stylised Octopus.
    [Show full text]
  • DOWNLOAD ANNUAL REPORT 2020 Annual Report
    FOR THE YEAR ENDED 31 DECEMBER 2020 G.69 MŌ TE TAU I TE OTI I TE 31 O HAKIHEA 2020 Annual Report 2020 Pūrongo ā-Tau 2020 NEW ZEALAND SYMPHONY ORCHESTRA TE TIRA PŪORO O AOTEAROA NEW ZEALAND SYMPHONY ORCHESTRA Contents Ngā Ihirangi The NZSO: Our Vision, Mission and Values 2 Te Tira Pūoro o Aotearoa: Matawhānui/Whakatakanga/Matawhānui/Whai Painga 2020 Overview 4 2020 He Tirohanga Whānui Organisational Structure 18 Te Hanga o te Whakahaere Governance Statement 20 He Tauākī Kāwanatanga Statement of Responsibility 22 He Tauākī o ngā Haepapa Statement of Service Performance 24 He Tauākī o ngā mahi Financial Statements 30 He Tauākī Pūtea Independent Auditor’s Report 48 Pūrongo a te Kaiarotake Motuhake Organisational Health and Capability 52 Te Ora me te Āheinga o te Whakahaere A Thank You to our Supporters and Partners 56 He Mihi ki a Koe nā Ngā Kaitautoko me ngā Hoa Kaipakihi The Board is pleased to present the Annual Report for the New Zealand Symphony Orchestra for the year ended 31 December 2020 E harikoa ana te Poari ki te whakatakoto i te Pūrongo ā-Tau o Te Tira Puoro o Aotearoa mō te tau i oti i te 31 o Hakihea, 2020 Laurence Kubiak MAICD, GAICD Geoff Dangerfield QSO Schools concert, Wellington Chair/Heamana Deputy Chair/Heamana Tuarua Cover Cheryl Hollinger, 22 April 2021 Chair/Heamana Audit Committee/Komiti Arotake Associate Principal Trumpet Emeritus 22 April 2021 1 1 Our Vision Our Values The NZSO’s Vision, Tā Mātou Matakite Ō Mātou Uara Mission and Values To be Aotearoa New Zealand’s Fresh: We play old music like most loved entertainment brand.
    [Show full text]
  • Download PDF Catalogue
    Important Paintings and Contemporary Art : 26 November 2013 IMPORTANT PAINTINGS AND CONTEMPORARY ART 26 NOVEMBER 2013 art+object Catalogue 72 Gil Hanly Becalmed off Rangitoto: Pat & friends paddle home (early 80s) AO668FA2 Cat 72 cover.indd 1 6/11/13 10:24 AM Important Paintings and Contemporary Art Tuesday 26 November at 6.30pm Richard Killeen Pea Beau acrylic on canvas signed and dated 5 – ’76 1525 x 1020mm 1 AO668FA Cat 72 text.indd 1 11/11/13 9:45 PM Welcome to A+O’s final major art catalogue of Edward Bullmore’s London years traversed the 2013. It is a rare occasion in an auction context to period 1960 to 69 and the exhibition history and be able to present a comprehensive selection of an context of his work in this period is detailed in an artist’s work which encompasses key chronological insightful essay by Penelope Jackson. Bullmore’s periods and stylistic developments. In this current voyage from pure easel painting to surrealist catalogue we are pleased to present body’s of works constructions is one of the most intriguing in by two artists for whom a period of residence in all New Zealand art history. The works in this London during the 1950s and 60s proved decisive catalogue (lots 11 to 14) date from Bullmore’s not only to their practice but also in terms of the Florence and London years and his subsequent international ideas they imbibed and contributed to. return to New Zealand. They reveal his journey Before WWII earlier generations of New Zealand from and to New Zealand as both highly individual artists such as Frances Hodgkins, Rhona Haszard and inspiring.
    [Show full text]
  • International Undergraduate Student Guide Vice-Chancellor’S Message Vice-Chancellor’S Message
    2010 INTERNATIONAL UNDERGRADUATE STUDENT GuiDE VICE-Chancellor’s Message Vice-Chancellor’s message I am very pleased you are exploring all that Our links with leading universities in Asia, Australia’s national university has to offer. Europe, the UK and the United States provide Your decision about which university to opportunities for collaboration and exchange attend is an important one. It needs to be that enrich the experience of our students, as well informed as possible. This guide is and broaden research avenues for staff. designed to help you make a sound choice. Our study programs cater to high-achieving To begin your introduction to The Australian students; to students who want industry National University (ANU) I’d like to experience as part of their degree; and to emphasise some of the things that set our students looking for the opportunity to University apart. study in two disciplines, through our popular double degree programs. All ANU students ANU is consistently ranked as Australia’s top graduate with a distinctive degree from a university and among the best universities respected university. in the world. The researchers and educators who made this possible are the same As Australia’s national university, ANU people who will teach you and shape the also offers the special focus that stems intellectual climate in which you will learn. from its unique relationship with the Australian government and its national and With fewer students and more academics, international roles. and many of our students living in university accommodation, our campus I encourage you to explore the 2010 affords a highly supportive, interactive and International Undergraduate Student Guide social learning environment.
    [Show full text]
  • Oboe Trios: an Annotated Bibliography
    Oboe Trios: An Annotated Bibliography by Melissa Sassaman A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2014 by the Graduate Supervisory Committee: Martin Schuring, Chair Elizabeth Buck Amy Holbrook Gary Hill ARIZONA STATE UNIVERSITY December 2014 ABSTRACT This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre. The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included. Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work. In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer’s last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
    [Show full text]
  • 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.
    [Show full text]
  • Australian–American Fulbright Commission Annual Report Fulbright Commission Core Sponsors
    REPORT The Australian-American Fulbright Commission PO Box 9541, Deakin ACT 2600, Australia P: 02 6260 4460 F: 02 6260 4461 ANNUAL E: [email protected] W: fulbright.com.au AUSTRALIAN–AMERICAN 2011 2011 COMMISSION AUSTRALIAN–AMERICAN FULBRIGHT COMMISSION ANNUAL REPORT FULBRIGHT CORE SPONSORS Commission Board Members AMERICAN AUSTRALIAN SCHOLARSHIP SPONSORS Professor Don DeBats Professor Steven Schwartz (Chair) Head, American Studies, Flinders University Vice-Chancellor, Macquarie University (from January 2011) Ms Erin Flaherty Mr Marshall Farrer Commercial Manager, Reliance Rail Pty Ltd (until Managing Director, Brown-Forman December 2011) (from January 2011) Ms Jane Hardy Ms Judy Moon Assistant Secretary, United States Branch, Americas and Africa Division, Counselor for Public Affairs, Embassy of the Department of Foreign Affairs and Trade United States of America Professor Margaret Gardner, AO Dr Ian Thomas Vice-Chancellor, RMIT University President, Boeing Australia and (from January 2011) South Pacific Region Mr Colin Walters STATE AND TERRITORY SCHOLARSHIP SPONSORS Mr Michael Thurston Group Manager of International Group, Department of U.S. Consul General, Melbourne Education, Employment and Workplace Relations (until August 2011) NEW SOUTH WALES Mr Frank C. Urbancic, Jr. U.S. Consul General, Melbourne (from September 2011) Commission Staff NORTHERN TERRITORY QUEENSLAND Dr Tangerine Holt Ms Rosemary Schmedding Executive Director (from August 2011) Communication and Marketing Manager Ms Lyndell Wilson Ms Kate Lyall ® Program Manager Program Officer (Special Programs) Acting Executive Director (until August 2011)/ Ms Natalie Collins Manager Scholarships and Strategic Engagement (from November 2011) Program Officer (Core Program) Ms Jenny Street Ms Kate Whitehead Finance Manager Administrative Assistant (until October 2011) SOUTH AUSTRALIA TASMANIA VICTORIA FRONT COVER PHOTOS: 1) Top left: The Prime Minister of Australia, the Hon.
    [Show full text]