Bach's St Matthew Passion

Total Page:16

File Type:pdf, Size:1020Kb

Bach's St Matthew Passion WASO & ST GEORGE’S CATHEDRAL PRESENT Bach’s St Matthew Passion Tuesday 16 April 2019, 7.30pm Perth Concert Hall West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music. Julia Brooke – WASO Horn Welcome Dear Patrons, I am thrilled to welcome you to Perth Concert Hall tonight for this West Australian performance of Bach’s monumental masterpiece, St Matthew Passion. Symphony Orchestra It has been 33 years since WASO performed Bach’s St Matthew Passion. and Wesfarmers Arts, That I have been afforded the opportunity to direct and collaborate with so many creating the spark fine West Australian musicians tonight is a that sets off a lifelong great honour. On behalf of WASO and St George’s Cathedral I would like to thank love of music. Mr. and Mrs. Julian and Alexandra Burt whose generous support has made this performance possible. edition from a performance I conducted at St George’s Cathedral during the 2014 The St Matthew Passion was first Concert Series. I originally reviewed performed in 1729 at Bach’s church of St Mendelssohn’s version for our 2014 Thomas, Leipzig, astonishingly receiving performance, but found it too fragmented. muted reactions from the congregants. To my mind it is essential that the Many of Bach’s contemporaries who mainframe of the story remains intact and analysed the score after the performance that the key relationships are seamless. deemed the work unmanageable and too large in scale to perform; as a Some audience members may be consequence, it was largely overlooked surprised to hear the chorales being sung until championed by a young Mendelssohn a cappella tonight. Of course, these were a hundred years later in 1829. sung, devotionally, by the congregation accompanied by the orchestra as part of Mendelssohn was barely 20 years of age the Good Friday service. However, as this when he led a very abridged version of the is a concert performance, I prefer to give St Matthew Passion in Berlin, and from that you, the listener, an opportunity to hear moment, Bach was reborn in Europe. how beautifully Bach marries the texts As you might imagine, WASO’s rehearsal with his peerless talent for harmony. schedule is not limitless, so this evening Dr Joseph Nolan you will be hearing my own abridged Julia Brooke – WASO Horn 3 The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia and on whose Lands we work. SPECIAL EVENT West Australian Symphony Orchestra and St George’s Cathedral Present Bach’s St Matthew Passion BACH J.S. St Matthew Passion First Half (60 mins) Interval (20 mins) Second Half (57 mins) Joseph Nolan conductor Paul McMahon tenor (Evangelist) Andrew Foote baritone (Jesus) James Clayton bass-baritone (Pilate) Sara Macliver soprano Fiona Campbell mezzo soprano Richard Butler tenor St George’s Cathedral Consort Brianna Louwen Ancilla 1 Katie How Ancilla 2 Thomas Friberg Pontifex 1 Jonty Coy Pontifex 2 Wesfarmers Arts Pre-concert Talks Find out more about the music in tonight’s concert with this week’s speaker, Prue Ashurst (see page 9 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer. Listen to WASO This performance is being broadcast live on ABC Classic and repeated as a delayed broadcast at 12pm AWST (or 10am online), Sunday 5 May 2019. For further details visit abc.net.au/classic 4 About The Artists Joseph Nolan Conductor British-Australian organist and choral conductor Dr. Joseph Nolan has been hailed by ABC Classic as ‘an extraordinary musician’, by BBC Radio 3 Record Review as ‘Magnificent’, byLimelight Magazine as ‘a Colossus’ and by Gramophone as ‘Perceptive and intensely musical’ Twice nominated for Artist of the Year in 2016 and 2018 by Limelight Magazine, Joseph Nolan’s disks for Signum Records UK have won Recordings of A scholarship organ student at the Royal the Year, Recordings of the Month, College of Music, London and of Marie Editor’s Choices and innumerable five Claire Alain and Dame Gillian Weir in star reviews in Gramophone, BBC Music Paris, Joseph was appointed to Her Magazine, Limelight and MusicWeb Majesty’s Chapels Royal, St James’s International. Palace in 2004. Joseph then accepted the Joseph has also performed as a position of Master of Music at St George’s concerto soloist with orchestras Cathedral, Perth in 2008 at the invitation such as the Malaysian Philharmonic of the Dean Emeritus, Dr John Shepherd. at Petronas Concert Hall, the West Joseph Nolan was made a Chevalier Australian Symphony Orchestra at Perth des Arts et des Lettres by the French Concert Hall. This coming July will see government for services to French music Joseph make his debut as soloist with in 2015 and became an Honorary Fellow the Sydney Symphony Orchestra at of the University of Western Australia in Sydney Opera House under their chief 2013. The University awarded Joseph its conductor, David Robertson. prestigious higher doctorate, the Doctor of Letters, in 2018. 5 About The Artists Paul McMahon Andrew Foote Evangelist Jesus Performing regularly as a soloist with Helpmann Award-winner Andrew Foote symphony orchestras, chamber music is one of the most experienced singers groups and choirs throughout Australia, and teachers of voice in Australia. For New Zealand and Asia, tenor Paul more than 30 years he has been a regular McMahon is one of Australia’s finest guest artist for Western Australian arts exponents of baroque and classical companies, a national broadcast artist repertoire, particularly the Evangelist role for ABC Classic FM, a freelance opera in the Passions of J. S. Bach. principal artist performing throughout Australia with Opera Australia, OzOpera Career highlights include Bach’s St John and West Australian Opera, a regular Passion with the Australian Chamber recitalist and oratorio soloist, and Orchestra under Richard Tognetti; Bach’s more recently as an opera director and St Matthew Passion under Roy Goodman; choral conductor. In his professional Haydn’s Die Schöpfung under the late concert and operatic career, Andrew has Richard Hickox, Mozart’s Mass in C Minor performed more than 40 operatic roles under Masaaki Suzuki and Mozart’s for professional companies throughout Requiem with the Hong Kong Philharmonic Australia - including his acclaimed Ned Orchestra under Manfred Honeck. Keene in Peter Grimes for which he Paul’s discography includes the solo received a 2010 Helpmann Award. His album of English, French and Italian lute soloist and concert repertoire, including songs entitled A Painted Tale; a CD and recordings for ABC Classic FM, have DVD recording of Handel’s Messiah; consistently drawn superb accolades. Handel’s Semele; Monteverdi’s L’Orfeo; In 2014 he was appointed Chair of Vocal Purcell’s The Fairy Queen; Mozart’s Studies at the University of Western Requiem and Idomeneo, Carl Orff’s Australia (UWA) Conservatorium of Music Carmina Burana and Fauré’s La naissance and Vocal Coach to the WASO Chorus. de Venus. © Patrick Togher Artists’ Management 2019 6 Photo: Rhydian Lewis Rhydian Photo: James Clayton Sara Macliver Pilate Soprano In 2018, James Clayton sang Marcello (La Sara Macliver is one of Australia’s most bohème), Escamillo (Carmen), Leporello popular and versatile artists, and is (Don Giovanni) and The Forrester (The regarded as one of the leading exponents Cunning Little Vixen) for West Australian of Baroque repertoire. Opera; he appeared in concert with Sara is a regular performer with all the the Tasmanian and West Australian Australian symphony orchestras as well Symphony Orchestras and Orchestra as the Perth, Melbourne and Sydney Wellington. In 2019, he sings Germont (La Festivals, Pinchgut Opera, the Australian traviata), Judge Turpin (Sweeney Todd) Chamber Orchestra and Australian and the title role in Macbeth in Perth, The Brandenburg Orchestra, Musica Viva, and Forrester in Adelaide and Peter (Hansel a number of international companies. and Gretel) in Melbourne. Recently Sara has sung for the Sydney, James made his Opera Australia debut as Melbourne and Tasmanian Symphony Baron Douphol in La traviata (in Handa Orchestras, West Australian Opera, the Opera on Sydney Harbour) and his Australian String Quartet, Auckland Japanese debut as Don Alfonso in Cosi Philharmonic, Australia Ensemble, fan tutte for Biwako Hall. Melbourne Chamber Orchestra, 2016/2017 appearances included Tonio Australian Haydn Ensemble, St George’s (Pagliacci) for Victorian Opera, Scully Cathedral, Sydney Philharmonia Choirs, (The Riders) for West Australian Opera, Southern Cross soloists and with the The Speaker (The Magic Flute), Escamillo Bangalow Festival. Sara has recently and the title role in The Mikado for New released a CD of Calvin Bowman songs. Zealand Opera. Sara has been awarded an honorary © Patrick Togher Artists’ Management 2019 doctorate from the University of Western Australia and records for ABC Classics with more than 35 CDs and many awards to her credit. 7 About The Artists Photo: Steven Godbee Photography Steven Photo: Fiona Campbell Richard Butler Mezzo Soprano Tenor Fiona Campbell is one of Australia’s most Richard Butler made his WASO debut in versatile and beloved classical singers 2014 singing Handel’s Messiah in a joint - a producer and guest ABC presenter, concert series with Melbourne and Adelaide accomplished international performer, Symphony Orchestras. He returned recently recitalist and recording artist. Fiona was to sing Bach’s St John Passion and has been a the winner of the national Limelight Award soloist for various projects for Joseph Nolan for Best Solo Performance 2011 and vocal at St George’s Cathedral in Monteverdi’s winner of the ABC Young Performer of the Vespers, St Matthew Passion and Judas Year Award and the ASC Opera Awards. Maccabaeus. Also in Perth, Richard sang Britten’s War Requiem at the University of Fiona sings regularly as a principal Western Australia.
Recommended publications
  • A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989
    CHRISTCHURCH COLLEGE OF EDUCATION LIBRARY A HISTORY OF MUSIC EDUCATION IN NEW ZEALAND STATE PRIMARY AND INTERMEDIATE SCHOOLS 1878-1989 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Susan P. Braatvedt B.A. (Natal), Dip.Arts (Auckland), B.A.Rons (Canterbury) VOLUME II University of Canterbury 2002 Chapter Five 1950-1968 266 The growth ofschool music Chapter Five 1950 -1968 The growth of school music "music is fmnly established as an integral part of the school curriculum."l 5.1 Introduction This 18-year period was dominated by the National Party except for one term when Labour was voted back into office from 1958? When the National Party took office in December 1949, they inherited an educational system in which school music had not been particularly well served. Robert Chapman comments: The underlying changes in the golden 1960s were social rather than political, technological rather than legislative, individual rather than public ....The tertiary education boom, television, and the contraceptive pill were transforming family and personal relationships as well as the method by which politics were perceived. Government expenditure underwrote the surging development of health and education ... 3 In chapter one section 1.2 it was pointed out that the influence of English music education endured for many years. It is in this period that we begin to see a development of a more innovative approach which was more eclectic in its character. 1 AE. Campbell, Director-General of Education, AJHR. E-1, 1966, p.17. 2 R Chapman, 'From Labour to National,' The Oxford History ofNew Zealand, W.H.
    [Show full text]
  • ISME History Summary (English): Toward a Global Community: the History of the International Society for Music Education 1953-2003 by Marie Mccarthy
    Toward a Global Community: The International Society for Music Eduction 1953-2003 by Marie McCarthy Celebrating 50 years 1953–2003 ISME History Summary (English): Toward a Global Community: The History of the International Society for Music Education 1953-2003 by Marie McCarthy Greetings On July 9, 2003, ISME celebrates 50 years since it was established in Brussels, Belgium, in 1953. It has been my privilege and honour to have been associated with ISME since its formation. A history such as this puts the work and achievements of the Society into perspective; it gives us an opportunity for reflection, and to acknowledge the contributions of so many loyal members and major organisations which have been players in the development of the Society. There could be no better choice of author to write this history than Marie McCarthy, who in its preparation has shown a deep interest and dedication to the task. This history is one of the many exciting projects celebrating the Golden Jubilee of ISME, and I commend it to you, the reader. Share it with colleagues and pass on the torch to your students who are the future of the Society. Encourage them to continue to work to uphold the fine aims and ideals of ISME. Frank Callaway Honorary President, ISME February 2003 Preface and Acknowledgments The idea of writing this history originated in the mind of then Honorary President, Sir Frank Callaway, to whom this book is dedicated. He approached me with the idea at the biennial conference in Amsterdam in 1996, and I am indebted to him for constant support and guidance right up to the end of his life.
    [Show full text]
  • An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
    AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years.
    [Show full text]
  • View David J. Elliott's Full CV
    1 DAVID J. ELLIOTT Office Department of Music & Performing Arts Professions Steinhardt School of Education, Culture and Human Development New York University 35 West 4th Street New York, NY USA 10012 email: [email protected] Research Interests The Philosophy, Psychology, and Sociology of Music and Music Education; Community Music; Artistic Citizenship; Music Composition in Middle and Secondary Schools; Intercultural Music Education; Musical Emotions; Music Education Curriculum Education 1983 Doctor of Philosophy (Ph.D.) in Music Education Case Western Reserve University Advisors: Bennett Reimer and Peter Webster 1973 Bachelor of Education (B.Ed.) University of Toronto 1972 Master of Music (Mus.M.) in Music Education University of Toronto 1971 Bachelor of Music (Mus.B.) in Music Education University of Toronto Employment Summary: NYU 2002- Full Professor of Music & Music Education Department of Music & Performing Arts Professions New York University University of Toronto: Assistant Professor (1973) Associate Professor (1983) and Full Professor (1989) of Music and Music Education ________________________________________________________________________________ 2013- Distinguished Visiting Professor, Central Conservatory of Music, Beijing, PRC 2 2009-10 Visiting Professor, University of Guangzhou, PRC 2005-2008 Distinguished Visiting Professor, Puerto Rico Conservatory of Music 2002- Full Professor of Music & Music Education Department of Music & Performing Arts Professions New York University 1996-97 Visiting Professor of Music Irish
    [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]
  • Investigation Into Nigel Butterley's Pentad
    INVESTIGATION INTO NIGEL BUTTERLEY’S PENTAD Bryan Wayne Griffiths A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music, University of Sydney. 2017 This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any other degree or other purpose. In addition to the statement above, in cases where I am not the corresponding author of a published item, permission to include the published material has been granted by the corresponding author. Abstract Nigel Butterley’s Pentad (1968) was one of the many compositions to be commissioned by Australian institutions during the 1960s. Yet, in spite of its regular performance in the first twenty years following its premiere, its extant sources are not in a reasonable condition for faithful performances today. Following James Grier’s methodology upon the subject, along with direct consultation with the composer, this study primarily documents the critical examination in preparing a new edition of Pentad. New analytical perspectives of the work prompted by this investigation, are included in this discussion. Although Pentad’s orchestration for twenty-seven woodwind and brass instruments fits it within the category of a wind band work, its abstract aesthetic, instrumentation and commission more appropriately suggests it be regarded as work for orchestral winds. This study also reports the determination of this finding, along with an assessment of the background and context of the composition in Australian music at the time. Consequently, new findings on the Australian wind band movement from 1945–1970 are presented, and new light is shed on Pentad, a unique composition in Butterley’s oeuvre.
    [Show full text]
  • An Australian Composer Abroad: Malcolm Williamson And
    An Australian Composer Abroad: Malcolm Williamson and the projection of an Australian Identity by Carolyn Philpott B.Mus. (Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Tasmania October 2010 Declaration of Originality This dissertation contains no material that has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information that is duly acknowledged in the text. I declare that this dissertation is my own work and to the best of my knowledge it contains no material previously published or written by another person except where clear acknowledgement or reference is made in the text, nor does it contain any material that infringes copyright. This dissertation may be made available for loan and limited copying in accordance with the Copyright Act 1968. Carolyn Philpott Date ii Abstract Malcolm Williamson (1931-2003) was one of the most successful Australian composers of the latter half of the twentieth century and the depth, breadth and diversity of his achievements are largely related to his decision to leave Australia for Britain in the early 1950s. By the 1960s, he was commonly referred to as the “most commissioned composer in Britain” and in 1975 he was appointed to the esteemed post of Master of the Queen’s Music. While his service to music in Britain is generally acknowledged in the literature, the extent of his contribution to Australian music is not widely recognised and this is the first research to be undertaken with a strong focus on the identification and examination of the many works he composed for his homeland and his projection of an Australian identity through his music and persona.
    [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]
  • From 2000 Known As Perth International Arts Festival)
    FESTIVAL OF PERTH PROGRAMMES (FROM 2000 KNOWN AS PERTH INTERNATIONAL ARTS FESTIVAL) Date Venue Title & Author Director Producer Principals 1953 Undated His Majesty’s Theatre When we are married by Frank Ponton Michael Langham Bernadette Pratley; J.B.Priestley Raymond Murr 2 Jan-14 Mar 1953 University of W.A. Various Adult Education Board 3-17 Jan 1953 Sunken Gardens Dark of the Moon by David Lopian David Lopian Phillip Edgley; Sylvia Sharp Henry Richardson & William Berney 15 Jan 1953 Somerville Auditorium An evening of ballet and Adult Education Board W.G.James Aina Reega & Arvids Fibigs dance – Dancers Barbara Tyler - Violinist 17 Jan 1953 Somerville Auditorium Open air concert of the Festival of Perth 1953 Conductor – Joseph Post Isador Goodman - Piano Beethoven Festival 20-23 Jan,27 Jan-7 Feb Somerville Auditorium King Richard III by William Michael Langham James Bailey; Faith 1953 Shakespeare Clayton 24 Jan 1953 Somerville Auditorium Beethoven Festival W.G.James Joseph Post – Conductor Isador Goodman - Pianist 18-28 Feb 1953 Sunken Gardens Twelfth Night by William Jeana Tweedie Neil Hunsley; John Shakespeare McCrackan 3-14 Mar 1953 Somerville Auditorium Born Yesterday by Garson David Lopian Hazel Lewis; Fred Kanin Goddard & Cast 12 Mar 1953 Sunken Gardens Psyche – based on Fairy Frank Ponton – Stage Meta Russcher Poole Johnson; Phyllis Tale by Louis Couperus Director Everett 20-21 Mar 1953 Repertory Club The Brookhampton Peter Kemmis - Compere Bellringers and The Ukrainian Choir & Dance Group PR10960/1953-1969 - 1 - 28/10/2020 FESTIVAL OF PERTH PROGRAMMES (FROM 2000 KNOWN AS PERTH INTERNATIONAL ARTS FESTIVAL) 25 Mar 1953 Repertory Theatre The Picture of Dorian Sydney Davis Ronald Grahame; Ivan Gray by Oscar Wilde Smith; Wilfred Dowsett Undated Not stated Vienna Boys Choir Festival of Perth 1954 Robert Kuhbacher Boys of the Choir 1954 30 Dec-20 Mar 1954 Flyer Various Various Jan 1954 Sunken Gardens Peer Gynt by Henrik Ibsen Adult Education Board David Lopian Paul Nayton; Chris Pendlebury 7-31 Jan 1954 Art Gallery of W.A.
    [Show full text]
  • CALLAWAY CENTRE ARCHIVE Finding Aid for the Papers of Sir
    CALLAWAY CENTRE ARCHIVE Finding Aid for the Papers of Sir Frank Callaway • SUMMARY • SCOPE AND CONTENT NOTE • BIOGRAPHICAL NOTE • AGENCY LIST • AGENCY AND SERIES DESCRIPTION SUMMARY Creator: Sir Frank Adam Callaway Title: The Papers of Sir Frank Callaway Date Range: ca. 1912 – 1999 Extent: est. 50 lineal metres Provenance/ The Papers are the result of the 1994 amalgamation of two collections, Original Order:one held in the Callaway International Resource Centre for Music Education (CIRCME) and the other located at the domestic residence of the late Sir Frank Callaway. It is likely that only the CIRCME component has been included in this finding aid. In accordance with archival principles, the arrangement and order of the original collection is preserved whenever this is known. Otherwise, the arrangement has been imposed by the archivist. Status: The Papers are partially processed, the result of work by dedicated volunteers in CIRCME. They have not been processed or catalogued to t Callaway Archive standards that were established in 2007. The detail in this Finding Aid is based on an undated document prepared by the volunteers. It describes the existence of 16 Agencies; Agencies 5, 9, 10 and 11 have not been catalogued and are absent from this Finding Aid. SCOPE AND CONTENT NOTE The Papers reflect Sir Frank’s work with international agencies such as the International Society for Music Education, the International Music Council, UNESCO and the Indian Ocean Arts Festival. Nationally and locally it includes papers relating to the National Eisteddfod, other Australian organizations and composers, the University of Western Australia’s Department of Music, and the University Choral Society.
    [Show full text]
  • Cantilena Pacifica
    476 3221 RICHARD MEALE cantilena pacifica TASMANIAN SYMPHONY ORCHESTRA Richard Meale b. 1932 1 Concert Monologue from Mer de Glace 18’52 Merlyn Quaife soprano 2 Cantilena pacifica 7’42 Erica Kennedy violin 3 Variations 13’51 4 Lumen 7’00 5 Clouds now and then 7’50 6 Homage to García Lorca 19’45 Total Playing Time 74’59 Tasmanian Symphony Orchestra Richard Mills conductor Dobbs Franks conductor 6 2 3 Richard Meale’s importance to the burgeoning of collected and arranged folk-music and The work’s five movements nevertheless Lorca appeared in 1964 when it was performed Australian art music in the 1960s was composed some original music as well. His left- represent a tour de force of string sonority: by Joseph Post and the Sydney Little Symphony established by two works: Orenda for piano, leaning politics, and probably his homosexuality, gleaming bands of sound contrast with Orchestra; it was also performed the following composed in 1959 and the Sonata for Flute and led to his murder by Falangist supporters of percussive gestures and the diaphanous quality year in Europe. This initiated some years of Piano of the following year. Orenda was an General Franco in 1936. of harmonics. The second movement, in Meale’s extraordinary fertility for Meale during which attempt to capture ‘the indwelling energy with words, ‘exploits various dynamic implications he composed large-scale orchestral works such which all things are charged’ through the Scored for two string orchestras, arranged and the sonorous possibilities arising from the as Images (Nagauta) in 1966 and Nocturnes a dramatic use of repetition; the Flute Sonata was, antiphonally, the Homage to García Lorca is spacing of the two orchestras.’ The material year later, the overture to a projected series quite simply, the work that launched his career, freely atonal.
    [Show full text]
  • Composing Biographies of Four Australian Women: Feminism, Motherhood and Music
    COMPOSING BIOGRAPHIES OF FOUR AUSTRALIAN WOMEN: FEMINISM, MOTHERHOOD AND MUSIC Jillian Graham (BMus, MMus) Thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy February 2009 Faculty of Music The University of Melbourne This thesis is dedicated with love to my children and to my mother Olivier and Freya Miller Pamela Graham ii ABSTRACT This thesis examines the impact of gender, feminism and motherhood on the careers of four Australian composers: Margaret Sutherland (1897–1984), Ann Carr-Boyd (b. 1938), Elena Kats-Chernin (b. 1957) and Katy Abbott (b. 1971). Aspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others. The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration.
    [Show full text]