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Ht Tracks Bright Tracks bright tracks I h a v e b u t o n e friend, Echo, I have but one friend, a n d w h y i s bright tracks Echo, andbr whyight i s Etr c hacks o m y E c h o m y f r i e n d ? f r i e n d ? Because I love my sorrow B e c a u s e I l o v e and Echo does not take it my sorrow and away from me. E c h o d o e s n o t I have only one confidant, t a k e i t a w a y the silence of night; f r o m m e . a n d w h y i s i t m y I h a v e o n l y confidant? o n e c o n f i d a n t , Because it is silent. the silence of night; music by a n d w h y i s i t brenton my confidant? broadstock B e c a u s e i t i s silent. CD 1 CD 2 1 1 All That is Solid Melts Into Air — 13’30” Clear Flame Within — 9’10” Megan Kenny, alto flute, Clara Schütz, cello, Julie Haskell, Grania Burke, bass clarinet, piano Bruce Petherick, piano 2 2 Aureole 3 — 11’15” Dying of the Light — 12’40” Genevieve Lacey, recorder, Ann (1997 Jean Bogan Prize) Murphy, harpsichord Ian Holtham, piano 3 3 In the Silence of Night — 9’28” Fourteenth Station of the Cross — 5’03” Linda Kouvaras, piano Choir of Ormond College 4 directed by Douglas Lawrence Bright Tracks — 14’50” 4 (1994 Paul Lowin Song Cycle Prize) Beast From Air — 11’52” Merlyn Quaife, soprano, Barrie Webb, trombone, Stephanie Lindner, violin, Annelies Julian Warburton, percussion Billeter, viola, Rachel Page, cello 5 5 I touched your glistening tears... — 8’17” At the going down of the sun — 6’40” (1998 Michelle Morrow Memorial Award) Anthony Pope, trumpet, Barrie Cockcroft, soprano saxophone, Dominic Perissinotto, organ Ian Holtham, piano 6 6 bonus track bonus track Aureole 4 — 11’02” String Quartet #2 — 17’00” Josephine Tan, piano Petra String Quartet Recorded live in Melba Hall in 1985 Recorded live in Melba Hall in 1985 Recording and editing by Vaughan McAlley and Martin Wright of Move Records. Cover photo, design and layout by Kate Mansell. Other photos by Howard Birnstill P 1998 Move Records & Brenton Broadstock All rights of the owner and producer of the works reproduced are reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this recording is prohibited. move.com.au As a human being, I Amongst many Australian composers of brenton brenton broardstock believe that I have a prior generations — not least among moral obligation to do those, Brenton Broadstock’s former what I can to improve teacher, Peter Sculthorpe — has been composing freedom the society I live in. The the attempt to reflect “Australian” corollary of this, as a themes, centering on geographical or human being who is historical aspects of this country. predominantly involved Formerly, Broadstock has seemed to in the artistic expression stand apart from this approach in his of music composition, is music. Rather, Broadstock’s works in that I am morally obliged fact, can be likened to “a good, long to improve society novel, progressing through impediments through my art. to some kind of resolution ... romantic (Broadstock, 1992) metaphors of destination.” (Musicologist, Roger Covell.) Over the past few years, however, Broadstock has I h a v e b u t o n e been keen to explore what he perceives as a kind of psycho-geographical friend, E c h o , a n d Australianness in our nature. why i s E c h o m y While he was in the USA at Penn State in 1993, during a six-months’ study-leave friend? use Iveo period from his lecturing position at Melbourne University, he observed a II h a v e o n l y o n e group of Americans immersed in Australian studies (a very healthy Centre for Australian Studies thrives there). c o n f i d a n t , t h e They described Australian society as embodying a certain directness of silence of night; attitude and approach, an almost naive quality; they concluded that we “don’t suffer fools gladly”, we have an element a n d w h y i s i t m y of “brashness” to our nature. These are very broad generalisations, of course — confidant? open to argument and, finally, unprovable. But Broadstock found useful the truism that people overseas can be Because it is silent. more objective about another country; While he was in the USA at Penn State in mean” climax roughly two-thirds of the this can also occur in the case of an 1993, during a six-months’ study-leave way through the work. But the means Australian reflecting about his/her home period from his lecturing position at of expression is more direct, less country from thousands of miles away Melbourne University, he observed a cluttered; the gestures and flow of over a period of time. group of Americans immersed in material less complicated. There is less Australian studies (a very healthy Centre tendency to use twentieth-century, for Australian Studies thrives there). extended techniques for their own sake. The most significant outcome of this They described Australian society as Four works on this recording: Beast time for Broadstock was that the embodying a certain directness of From Air (1984), Aureole 3 (1984-85), conversations spurred him to crystallise attitude and approach, an almost naive String Quartet (1983), Aureole 4 (1985), his own compositional voice, which quality; they concluded that we “don’t come from the composer’s early mature resulted in a turning-point for him. This suffer fools gladly”, we have an element period; the remainder are recent works, turning-point did not result in any shift of “brashness” to our nature. These are representing the fruition of this in raison d’etre, nor a radical re-think of very broad generalisations, of course — compositional development. However, musical language: his music retains the open to argument and, finally, one constant has remained of utmost idiomatically-developed, serialised use unprovable. But Broadstock found useful importance to Broadstock for his of modal structures, for example, and it the truism that people overseas can be compositional process: this is his social has always contained a rich lyricalness; more objective about another country; conscience. he Amongst many Australian composers this can also occur in the case of an of prior generations — not least among Australian reflecting about his/her home Brenton Broadstock is not alone in this those, Brenton Broadstock’s former country from thousands of miles away approach to his art. Throughout this teacher, Peter Sculthorpe — has been over a period of time. century, well-known European the attempt to reflect “Australian” composers such as Dmitri Shostakovich, themes, centering on geographical or The most significant outcome of this Michael Tippett, Hans Werner Henze, historical aspects of this country. time for Broadstock was that the Luigi Nono, Benjamin Britten, Kryztov Formerly, Broadstock has seemed to conversations spurred him to crystallise Penderecki, Cornelius Cardew and stand apart from this approach in his his own compositional voice, which Hanns Eisler, to name just a few, have music. Rather, Broadstock’s works in resulted in a turning-point for him. This been galvanised by the heinousness of fact, can be likened to “a good, long turning-point did not result in any shift their political and social situations. And novel, progressing through impediments in raison d’etre, nor a radical re-think of closer to home, Australian composers in to some kind of resolution ... romantic musical language: his music retains the recent years have written works which metaphors of destination.” idiomatically-developed, serialised use refer to political events in the Pacific (Musicologist, Roger Covell.) Over the of modal structures, for example, and it region: Neil Currie’s Ortigas Avenue past few years, however, Broadstock has has always contained a rich lyricalness; portrays the revolution in the been keen to explore what he perceives he continues to structure his works Philippines; Colin Bright’s opera, The as a kind of psycho-geographical (albeit less consciously these days — he Rainbow Warrior, is concerned with the Australianness in our nature. no longer has to labour over this) in an sinking of the eponymous Greenpeace arch form consisting of the “golden vessel; Martin Wesley-Smith has written several works expressing his concerns grating trombone denote an elemental represented as holy.” Broadstock was over the invasion of Timor; and Ann sense of response to the destruction of inspired by paintings showing figures Boyd’s Black Sun was her response to the planet, specifically against nuclear with this aura around them, and again the massacre in Tiananmen Square. testing by the French in the Pacific. The by examples of Kerlean photography piece progresses organically, a condition which shows this aura around all living In the clear majority of cases, it is a title or of stasis and stability is gradually eroded and some inanimate things. But it was a concept which stimulates the very act and fragmented, replicating the effect of not the sense of holiness which of composition for Broadstock. The nuclear fallout on living things. provoked Broadstock’s compositional extra-musical association will then stimulus. It was rather “the dichotomy continue to influence the work, acting The final score direction to the that exists between holiness and upon structural processes, determining percussionist reads “wait for at least 8 unholiness, radiance and darkness, the dramaturgy of the music itself.
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