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. His seconds until audience thinks that the the so-called ‘good’ and the ‘bad’ — inspirational sources cover an enormous piece has ended… then STRIKE!”, as those opposite facets of our human range — from aphoristic maxims, to though to remind the listener that even nature which are constantly struggling literary titles and philosophical quotations. after the initial devastation from the for supremacy.” But any initial impression of random ignition of the bomb, aftermaths eclecticism gives way under closer continue. In Aureoles 1 and 2, the demarcation examination to reveal the consistency in between contradictory musical elements compositional impetus. Particularly, A great part of Broadstock’s is clearly delineated; the juxtaposition of Broadstock explores in different ways compositional output has been the opposites is maintained. A clear concepts of “freedom” and its antithesis: exploration of the visual metaphor of compositional development occurred in the suffering that is caused when freedom light. “Light” has always been present, Aureole 3 (1984-85), which Broadstock is impeded for whatever reason — either from his later-period student works (the describes as the first of his mature-style organic and internal or external and first two from the Aureole series) of the pieces. In this piece, as in Aureole 1 political. early 1980s, but it is now developed in and 2, the two solo instruments are cast the recent works; the concept of as musico/dramatic protagonists in Titles of Broadstock’s works such as freedom is still at the core but the order to reflect the contemplation of Deserts Bloom....Lakes Die (1990), And pictorial image has been abstracted into duality; but unlike the earlier works, the No Birds Sing and From the Skies (1987) a generalised metaphor, which manifests boundaries between their disparate and Beast from Air portray the in many of the titles on this recording. characteristics are blurred; cross- composer’s sense of outrage concerning Dating from the earliest Aureoles, the pollination takes place constantly; global pollution caused by industrial concept of “duality” has served as a positions of respective supremacy are in waste and nuclear testing: acts of metaphorical vehicle for Broadstock’s a state of flux throughout — in fact, it is political neglect and/or irresponsibility exploration of “freedom” — in all its not until the end of the piece that the which are contributing gradually to the various manifestations. An “Aureole” is actual natures of the protagonists lack of “free”, unpolluted air on earth, defined as “... a border of light or emerge unambiguously. with consequences for everyone. In radiance enveloping the head or Beast from Air, stabbing percussion and sometimes the whole of a figure Beast!

Mushroom of repugnant residue…

Nebulous… malicious… I have but one friend, Echo, and why is Echo my friend?

Because I love my sorrow and Echo does not take it Malevolently meandering… away from me. I h a v e b u t o n e I have only one confidant, the silence of night; Mindless mogul of decay… beast from air friend, E c h o , and why is it my confidant? Because it is silent. Fatal… fearful of phalanx… and why i s E c h o ______

Fingers gouging at our existence. my friend?

I see — through eyes opaque Deformity — infertility — pollution — B e c a u s e I l o v e ...... yet see clearly

my sorrow and I hear — with muffled ears

...... yet hear clearly E c h o d o e s n o t I feel — constrained, torn t a k e i t a w a y ...... yet feel passionately I touch — with ambivalence

from me...... yet touch honestly

I h a v e o n l y o n e I know — what should be, cannot ...... yet know there burns a clear flame within

c o n f i d a n t , t h e I am —- alone

...... yet not alone silence of

night; death, a n d w h y i s i t Slow agonising death, my confidant? The harvest… Because i t i s

A millennium of harvests… silent.

Beast from air! In the Silence of Night (1989) belongs which was transformed into a I touched your glistening tears.... breathless surging forth at the climax, to the genus of his output Broadstock I stroked your hair calls his “Life Cycle” series, along with and transfigured again at the end into E Clear Flame Within (1996). Light is major sixth sonorities, becalmed at last. helpless, here perhaps muted, perhaps non- watching as the life ebbed from your existent, in a physical sense, but in a Clear Flame Within (1996) maintains a body metaphorical sense it could be delicately-honed balance in the cello representing emotional clarity — it is part resulting in what could be termed a Your eyes, like mirrors possible to gain the clearest insights “relaxed intensity”. It is accompanied lifeless, and elucidations when alone at night. by another poem by the composer: reflecting only the life outside of you In an instance of those rare yet The sun shone through a nearby intriguing coincidences in the creative I touched your glistening Tears (1998) process, no sooner were the title and is accompanied by the following lines window piece written than the pianist came — a heart-wrenching verse, penned by giving radiance to your face, across this poem from Søron the composer, first meditating on the making the tears in your eyes glisten Kiekergaard: Either/Or, A Fragment of subject of Matthew, his multiply- Life (1843), which the composer agrees handicapped son, then generalised into I wiped away your tears..... is an apt reflection of the central notion the thoughts of a carer of a person who I can do no more..... of the piece. has an incurable illness. Light touches the son’s/sufferer’s tears, reaches the The music unfolds over slowly altering, father/carer; both parties in either minimalist-structured ostinato patterns. situation are bonded by their They shall grow not old as we that Cast in the aeolian mode, it proceeds in helplessness. a hypnotic yet wistful fashion, until it are left grow old, reaches its climax at two-thirds of the This is a more intimate musical essay on way through, conforming as usual to Broadstock’s feelings about Matthew Age shall not weary them nor the Broadstock’s predilection for the Golden than in his First Symphony, Toward the Mean form. The intensity of dynamics Shining Light (1988), which tracks not years and harmony at this point suggest that only the parents’ own struggle towards the meditator, experiencing the silence acceptance of a tragic situation, but also condemn. of night, is very much awake and is celebrates the achievements and perhaps using this time to make deeply developments that Matthew has made. At the going down of the sun and private reflections. After the turbulence In the present work, characteristic subsides, the original mood returns; Broadstockian appoggiatura grace notes in the morning, this time the ostinato patterns have decorate the soprano saxophone melody swapped between the hands. The that maintains a pure innocence and is We will remember them. piece concludes with a recapitulation of accompanied by a gently supportive the opening, gentle chimes-effect, piano comprised of continuous quavers in a modern, also Broadstockian Alberti- the organ part and the muted dotted expanded to a much fuller bass type minimalist texture, reminiscent rhythms in the trumpet part. chromaticism, the three instruments are of another work on this disc dealing with more independent but the meditative loneliness, In the Silence of Night (1989), I touched your glistening tears, Clear effect remains. Each time the music for solo piano. The joyous, almost Flame Within, and At the Going Down of establishes itself it “melts” into a single ecstatic mid-section of Tears defies the the Sun are all very much melodically- tone. notions expressed in the poem — until based. They provide a challenge to the the texture of the first section returns lyrical qualities of the instruments for The 14 Stations of the Cross were and, in retrospect, one feels more a which they are written, focusing commissioned from fourteen Australian sense of yearning in the central section especially on their upper registers and composers by the Song Company in rather than an attainment of unmitigated potential for passionate rendition. 1993. Broadstock was asked to write positivity. the setting of the 14th Station. In its use All that is Solid Melts Into Air (1992) of modally-inflected organum, the In another rare deviation from the normal highlights notions of political freedom elegaic music has an archaic sense to it, course of compositional events for along with In Chains (1990) and but in postmodern fashion it does not Broadstock, the title for At the Going Fahrenheit 451 (1992). The title is taken seek to recreate any existing style from Down of the Sun (1998) emerged after from The Communist Manifesto by Karl the past. the music was written. The work had Marx, written in 1848, and now has a resonances of war for Broadstock, certain irony with the demise of Rather, it is more like the imagined perhaps because of the sound of the communism in Eastern Europe. memory of a distant genre, which never instruments for which it is written, and actually existed. At the request of Ingrid the trumpet plays, in a happy The work is to be played quietly and Leibbrandt, formerly the director of coincidence, a fanfare reminiscent of The gently throughout, with a very breathy Chora Australis, he is currently Last Post; and when he heard the ritual and “un-solid” tone from the flute and completing his own settings of the other on Anzac Day the answer seemed bass clarinet, except for the sections thirteen Stations. obvious; it fits the mood of the music which are bracketed and marked agitato very well. The title is taken from the or feroce. The treatment of pentatonic The media hype, hysteria and bigotry Returned and Services League Burial scale structures traces the dissolution of surrounding the AIDS virus has waned Ritual: the “solidity” of the essentially monodic but the suffering of those who have woodwind lines with gently piano contracted the disease continues. The Once again, then, the themes of light accompanimental figures. In contrast to title Dying of the Light... comes from a and freedom — political freedom, once the meditative first and third sections, poem of Dylan Thomas and is a tribute more — intertwine. The opening organ the second contains much more and reminder that many HIV sufferers augmented chords create an elegiac contrapuntal, ferocious and agitated are still raging against the dying of their feel, the muted trumpet sounds distant: slabs of material, the eastern, meditative light, still fighting to maintain their a new interpretation of typical qualities shaken from the structure. The health, their dignity and their humanity. associations with The Last Post is final section defies east-west The extra-music-structural trajectory is effected in the simple arpeggiation in dichotomies: the melodic structure is clear in this work, particularly at the end where despite the bursts of life and the And you, my father, there on the sad angry and at times confused attempts of height, will to overcome the decaying process Curse, bless, me now with your fierce of the disease, death overtakes. And yet tears, I pray. beyond the sense of tragedy and Do not go gentle into that good night. I h a v e b u t o n e outrage at untimely suffering and death, Rage, rage against the dying of the light. friend, E c h o , there is a feeling of transcendent positivity. The suffering caused by schizophrenia and why i s E c h o could be described as the internal “dark my friend? (or even overly-neon-hued) prison” of an

B e c a u s e I l o v e Do not go gentle into that good night, individual who has lost the grasp of Old age should burn and rave at close of reality. During his work as a music my sorrow and day; therapist, Broadstock worked with many E c h o d o e s n o t Rage, rage against the dying of the light. schizophrenics; but it was twelve years later, while browsing through a second- t a k e i t a w a y Though wise men at their end know dark hand bookshop in Carlton, that he was f r o m m e . is right, struck by the title of an obscure book: I h a v e o n l y o n e Because their words have forked no Stars in a Dark Night. The book is a lightning they collection of letters by English poet and c o n f i d a n t , t h e Do not go gentle into that good night. composer/songwriter Ivor Gurney, a silence of night; poet and musician who suffered from a n d w h y i s i t m y Good men, the last wave by, crying how schizophrenia; the “stars” represented bright both the precious letters he received confidant? Their frail deeds might have danced in a while in the “dark night” of the trenches Because i t i s green bay, during World War 1, and also the ever- silent. Rage, rage against the dying of the light. decreasing periods of sanity in the “dark night” of his mental deterioration. Wild men who caught and sang the sun Gurney’s book inspired Broadstock’s in flight, Second Symphony (1989) which borrows And learn, too late, they grieved it on its the same title; in the earlier work as in way, Bright Tracks, the dynamics of the Do not go gentle into that good night. schizophrenic condition — lucidity and Grave men, near death, who see with rationality degenerating quickly and blinding sight unpredictably into irrationality and mental Blind eyes could blaze like meteors and distress — constitute the structural be gay, processes of the music. Bright Tracks Rage, rage against the dying of the light. (1994) contains a mix of tonally stable sections where the tortured protagonist’s mind comes to rest for brief moments of Brenton Broadstock’s later compositions. saddened reflection. These alternate The works on this recording explore with mental frenzied out-pourings as the concepts of metaphorical “prisons” and protagonist rails against the confinement “freedom”, “tragedy” and “transcendence of the mental asylum, the injustices of anguish” — and the way that one state wrought by human against human and can impinge upon and ultimately the prison of (her/)his own mind. overtake another. His mature style, more direct, less cluttered, more lyrically The words are taken from the many based, presents the realisation that poems of Gurney. Gurney suffered from innate, oppositional qualities are schizophrenia and spent the latter part of mutually-interactive and can adopt or his life in a mental asylum. The poems absorb their own antithesis, and it is this chosen (particularly “To God”) reflect which, in a dialectical fashion, constitutes Gurney’s mental instability, frustration, the human condition. anger and a pathetic sense of hopelessness. One of the greatest dangers for humanity is history’s potential to In this work, Broadstock reflects on the “forget” such atrocities as the Holocaust, fact that there is no cure for to ignore such potentially devastating schizophrenia; and the fluctuations situations as global pollution. It might between the representations in the be argued that Broadstock’s music — music of ‘insanity’ and ‘sanity’ mirror indeed, any music — cannot the fine line between control and the indisputably and intrinsically “mean”, for lack of it that exists — Broadstock example, someone being shot!, or, say, believes — for indeed all of us, not only the emission of greenhouse gasses: for those diagnosed as schizophrenic. indeed, Broadstock does not intend to brenton broadstock So, once again, Broadstock explores the portray in real terms these concerns. idea of positivity (light) and negativity Rather, he alludes musically to them (darkness) which may unpredictably and, further, through programme notes, dominate our psyche at any given titles, and associations built up through period in our lives. culture — through concerts, radio broadcasts, recordings, teaching — From its abstract manifestation in the history’s lessons do not die; they are seminal Aureole series, the exploration of not buried underneath the often the Manichean preoccupation with palliative blanket of “high art”: they duality, manifested in the metaphor of remain as a constant in our culture. light and its implied opposite, darkness, acquires a more unified application in ©1998 Linda Kouvaras SONG 1 - ‘THE SONGS I HAD’ SONG 3 - ‘TO GOD’ The songs I had are withered or vanished clean God! Why have you made life so intolerable I h a v e b u t o n e Yet there are bright tracks where I have been And set me between four walls friend, E c h o , And there grow flowers for others’ delight Where I am able not to escape meals without prayer, Think well O singer soon comes the night. For that is possible only by annoying an attendant. and why i s E c h o And tonight a sensual hell has been put upon me, bright tracks ‘SONG 2 - HAD I A SONG’ So that all has deserted me my friend? Had I a song I would sing it here And I am merely crying and trembling in heart Four lined square shaped utterance dear. For death B e c a u s e I l o v e But since I have none well regret in verse And cannot get it. Before the power’s gone And gone out is part of sanity my sorrow and Might be worse, might be worse. And there is dreadful hell within me E c h o d o e s n o t And nothing helps Forced meals there have been and electricity t a k e i t a w a y And weakening of sanity by influence That’s dreadful to endure. f r o m m e . And there is orders and I am waiting for death And dreadful is the indrawing or outbreathing of breath I h a v e o n l y o n e Because of the intolerable insults put upon my soul, Gone out everything from my mind c o n f i d a n t , t h e All lost that ever God himself designed Not half can be written of cruelty of man on man silence of Not often such evil guessed as between man and man. night; SONG 4 - ‘THE SONGS I HAD’ a n d w h y i s i t The songs I had are withered or vanished clean Yet there are bright tracks where I have been my confidant? And there grow flowers for others’ delight Think well O singer soon comes the night. Because i t i s silent. Brenton Broadstock is now one of St Lawrence String Quartet (Canada), numerous Australian Performing Rights Australia’s most well-established, Foris String Quartet (Japan), Lark String Association awards. He was the first respected, and successful mid- Quartet (USA), Gruppo Bruno Maderna Australian composer to be signed by the generation composers, commissioned (Italy). publishing house of G. Schirmer. by a steady stream of established Several works are published by: S. P. & bodies such as The Song Company, He is the Coordinator of Composition, S. (London), Muso’s Media, Reed Music, Australian Broadcasting Corporation; Associate Professor and Reader in Music Red House, Currency Press, The Melbourne Symphony Orchestra; at Melbourne University’s Faculty of Australian Music Centre, Australia Music Seymour Group; Musica Nova Festival; Music; he has served on a number of Pty Ltd. At the prestigious International Musica Viva; Olivetti Company; British arts committees as Chair and adviser. Rostrum of Composers in Paris, Music Society/Australian Natives He instigated and compiled the Broadstock’s Stars In A Dark Night: Association; Chamber Strings of reference book, Sound Ideas: Australian Second Symphony, was selected by the Melbourne; A.H. Maggs Award; Composers Born Since 1950, furthering ABC as Australia’s entry in 1990. He Melbourne Youth Music Council; the dissemination of art music in this was awarded a Composer Fellowship to Victorian Recorder Guild; Elision country. attend the inaugural 1990 Pacific Ensemble; Queensland Wind Soloists; Composers’ Conference in Sapporo, Melbourne International Chamber Music Japan, and he has represented Australia Competition; David Kinsela (organ); at several ISCM World Music Days in AMC/Sydney Metropolitan Opera Europe and Asia. Broadstock was the Company; Symeron, Perihelion, initiator of and the Inaugural Composer- Camerata of the Australian Youth in-Residence with the Melbourne Orchestra; Musica Viva (Australia Symphony Orchestra in 1989. His Tuba Ensemble). His reputation is growing Concerto won equal First Prize in the overseas too, with performances and 1987 Hambacher International commissions from prominent musical Broadstock has been awarded Composers Competition, West Germany. groups increasing yearly, such as from numerous prizes and fellowships, a BBC Symphony Orchestra, the Ulster selection of which follow. His most Works from this recording have received Orchestra, the Bavarian Radio Orchestra, recent awards are a 1998 Civitella the following awards: the highly sought- the Moldovan Philharmonic, the Ranieri Fellowship which will take him to after Paul Lowin Song Cycle Prize was Tampere Philharmonic (Finland), the a composing residency in the idyllic awarded for Bright Tracks in 1994, I Sendai Philharmonic (Japan), the Pacific setting of Umbria in central Italy, touched your glistening tears.. received Ocean Orchestra (Russia), Oopera followed by another at the Bellagio the 1998 Michelle Morrow Memorial Skaala in Helsinki, Barrie Webb Centre on Lake Como in northern Italy, Composition Award sponsored by the (trombone, England), Ensemble on the Swiss border. In 1994 he was Anti-Cancer Council, while Dying of the Australis (London), Berlin Wind Players, named ‘Best Composer’ (Melbourne) in Light won the 1997 Jean Bogan Prize (for Cikada Ensemble (Norway), Hong Kong the Herald Sun (Newspaper); he has solo piano) and Beast from Air was Ensemble, Leningrad String Quartet won several National Critics’ Circle performed at the ISCM World Music Days (USSR), Sorrel String Quartet (England), ‘Sounds Australian Awards’ and in Hong Kong in 1988. Other major performances include: Spain, New Zealand, Brisbane and Melbourne Symphony Orchestra. Dr International Festivals 1984 Stroud Melbourne. He studied with Peter Clinch Holtham is on the Board of the AMEB, has Festival, England; 1985 11th Berlin and for two years in France with Jacques published a text on piano technique and has Biennale; 1988 Festagge fur Musik, East Net, Marie-Bernadette Charrier and Jean- released four compact discs to very high Berlin; 1988 World Music Days in Hong Marie Londeix gaining the coveted critical acclaim. He is currently a Senior Kong; 1988 Music Today Festival, Tokyo; Medaille d’Or for saxophone Lecturer in Music and Coordinator of 1988 Darmstadt Summer School; 1990 performance. Barry teaches at the Practical Studies in the Faculty of Music, World Music Days, Oslo; 1990 Asian University of Melbourne and the Victorian University of Melbourne. Music Festival, Sendai, Japan; 1991 College of the Arts and has received Asian Music Festival, Seoul, Korea; 1994 critical acclaim for his contemporary Megan Kenny (alto flute) studied flute BBC Proms; 1994 Asian Music Festival, compositions for saxophone. with Louise Dellit at the University of Seoul, Korea; 1994 Musica Viva, Munich. Adelaide graduating with a Bachelor of Julie Haskell (piano) was State winner of Music. She comes from an orchestral Annelies Billeter (viola) graduated with the ABC Young Performer Competition at background having performed with the Honours from the University of 15. She has performed extensively in Australian Youth Orchestra on their 1998 Melbourne. She has much orchestral recitals, radio broadcasts, as a concerto world tour and with major Australian experience, touring with the Australian soloist, orchestral pianist and chamber orchestras, including the Melbourne Youth Orchestra twice, leading the violas musician in Europe and Australia. Julie is Symphony. She has also recorded for in the Faculty Orchestra, and playing for on the piano staff at the University of ABC radio and television. She is currently the Melbourne production of Sunset Melbourne and works regularly as an a member of the Khamaileon Chamber Boulevard for a year. She is presently accompanist for the National Academy of Ensemble and is a freelance performer freelancing and teaching and studying Music and the University of Melbourne. and teacher. with Katherine Brockman. Recent performances include the complete violin and piano sonatas of Linda Kouvaras (piano) is a pianist, Grania Burke (bass clarinet) is a freelance Beethoven with Carl Pini and the composer and musicologist, with musician and teacher living in Melbourne. complete Schubert and Brahms violin particular interests in contemporary She has played in the Melbourne sonatas with her husband Gerard van der music. She has recorded, Symphony Orchestra, the State Orchestra Weide. commissioned, and premiered numerous of Victoria, for Chamber Made Opera and contemporary Australian works for piano, for various contemporary ensembles Ian Holtham (piano) is renowned for his performing extensively in city and including Tri Duo and Streaming, and has innovative programming and remarkable regional centres. Her recordings appear performed and recorded many new performances. His enormous repertoire on the Move Records, Cicada and Au Go Australian compositions. encompasses a vast range of the piano Go labels, and she plans to release literature and includes over forty piano another CD in 1998, featuring her own Barry Cockcroft (soprano saxophone) is concertos. He has performed extensively compositions. Following her Master’s at the forefront of classical and in Australia, Asia and Europe and has Degree in piano in 1991, she was contemporary saxophone in Australia. In broadcast regularly for the ABC for two awarded the Hugh Williamson Fellowship 1997 he performed in Germany, France, decades, including appearances with the at the Australian Centre to research contemporary Australian music violinist in Melbourne and studies with graduating from the University of composition. Her PhD examined the Debra Fox. Melbourne she has been busy ramifications of postmodernism and freelancing and teaching as well as being feminism for Sweet Death, a The Choir of Ormond College was a member of Quartet Brunetto which was contemporary Australian chamber opera formed in 1982 and has undertaken formed in 1993 with Stephanie Lindner, by Andrée Greenwell, produced by several international tours, performing in Anna McAlister and Annelies Billeter. The Chamber Made Opera Company. Her New Zealand, Japan, Singapore, England, quartet has won several prizes, performed articles, chapters and criticism have France, Denmark, Austria and Italy. The extensively in Melbourne and around appeared in such publications as Sounds choir sings in the chapel at Ormond Victoria, and as members of the Australian Australian, Journal of Australian Studies, College, presents an annual concert National Academy of Music String Context, Australian Feminist Studies, series and undertakes select Program studied with masters of Cultural Studies: Pluralism and Theory 2, engagements for leading concert international acclaim. APRA, New Music Articles, Aflame with organizations. Its repertoire is wide, Music: 100 Years of Music at the ranging from the earliest choral music to Dominic Perissinotto (organ) is University of Melbourne, Sound Ideas: recently composed works; special completing a Master of Music degree at Australian Composers born after 1950, and interest has been taken in the music of the University of Melbourne. In 1991-92, Ormond Papers, and her compositions are Bach and contemporary Australian music. with the assistance of the Churchill published by Australia Music. She teaches Fellowship, he studied at the Royal at the Victorian College of the Arts and at Rachel Page (cello) is currently College of Music, London, holding the Melbourne University’s Faculty of Music. undertaking post-graduate study at the position of Organ Scholar at Westminster University of Tasmania in Hobart. Since Cathedral. In April 1998 he was appointed Genevieve Lacey (recorder) was as Director of Music at St Patrick’s educated in Papua New Guinea, in Basilica, Fremantle. He is a very active Ballarat and at the University of soloist and accompanist and returns Melbourne where she obtained a regularly to play in Europe. Bachelor of Music degree with Honours specializing on the recorder. In 1995 she Bruce Petherick (piano) is a pianist, produced her first CD (on Move) of composer and musicologist who studied Australian recorder music and went to music at the Victorian College of the Arts, Denmark to continue her studies. La Trobe University and the University of Melbourne. He has a special interest in Stephanie Lindner (violin) graduated the music of Charles Koechlin and music from the University of Melbourne in 1996 of the twentieth century. with Honours in violin performance. In each year of her degree she was awarded Petra String Quartet (now defunct) was a university prize and was concertmaster formed in 1977 from graduates of the of the Faculty Orchestra in her third and Tasmanian Conservatorium and focused fourth years. She is currently a freelance on Australian compositions. They toured the eastern states, then Europe in 1980. Symphony Orchestra. In 1994 she Barrie Webb (trombone) read music at received First Prize in the 1994 National Cambridge University, studied trombone Anthony Pope (trumpet) began playing Cello Competition held in Wagga Wagga, with Denis Wick and Vinko Globokar, and cornet in the Daylesford Brass Band at NSW winning a $13,000 Benedict Lang conducting with Constantin Bugeanu. A the age of ten. He competed in and won cello. In 1995 she won the Hepzibah leading figure in the development of new numerous trumpet and cornet Menuhin Award for strings and the music for trombone, Barrie’s worldwide competitions throughout Australia. In 3MBS-FM Performer of the Year solo performances include numerous 1986 he moved to Melbourne to study at competition. She completed her Bachelor premieres. His repertoire embraces the Victorian College of the Arts of Music degree with Honours in 1997 popular styles to music at the cutting graduating in 1990 with a Diploma of Arts studying with Nelson Cooke and Christian edge of the contemporary scene and in Music. In 1991 he joined the State Wojtowicz. She has played with the State includes several concertos. He has made Orchestra of Victoria and in 1991 was Orchestra of Victoria and has taken CD recordings for Radio France/CDMC, appointed Associate Principal Trumpet. masterclasses with Georg Faust, Ralph MPS, and plays didgeridoo on the NMC Kirshbaum and Maude Tortellier. In 1997 CD of Michael Finnissy’s Red Earth with Merlyn Quaife (soprano) is a she travelled to England to continue her the BBC Symphony Orchestra. As a distinguished soprano and performer of studies. conductor Barrie directs the British great versatility, encompassing opera, ensemble Firebird, and has conducted oratorio, lieder, chamber music and Josephine Tan is a graduate of the orchestras and ensembles in Australia, contemporary music to great acclaim Faculty of Music at the University of the USA and Europe, especially in throughout Australia, Europe and the Melbourne and since 1988 she has lived Romania where he can be frequently USA. She has recorded a number of CDs, in Holland, studying at the Royal seen and heard on television and radio. including Aria for John Edward Eyre by Conservatory in the Hague. In 1995 he conducted the UK premiere of David Lumsdaine, which won her a Brenton Broadstock’s Symphony #2, Sounds Australian Award, and Night Julian Warburton (percussion) gained a Stars In A Dark Night, which he has Dreams with guitarist Jochen Schubert. First Class Honours degree in music at recorded for release on CD. Her performances of contemporary the University of Huddersfield. He then music are stamped by an intensity of took the advanced soloists course at the Publication and availability of scores and expression and powerful vocal technique. Guildhall School of Music and Drama in parts: She is currently a Lecturer in Voice at the London and in 1996 was the first I touched your glistening tears is published Faculty of Music, University of percussionist to win the Young Concert by Reed Music PO Box 2929 Fitzroy MDC Melbourne. Artists Trust Competition. Under the 3065 All other works are published by management of the YCAT he has Australia Music Pty Ltd PO Box 36 Clara Schütz (cello) began studying cello performed solo recitals throughout the Broadford 3658 at the age of five in Bendigo. She UK, including the Purcell Room, Barbican, travelled to Melbourne between 1987 Wigmore Hall and the Bridgewater Hall, Brenton Broadstock’s music can also be and 1992 to study with Sarah Cuming. Manchester; he has also toured Brazil, found on the following CDs: She gained her AMusA while still in Switzerland, Belgium, China and Cyprus. school and performed with the Bendigo Toward The Shining Light MSO/Richard Mills ABC Classics (426 807-2) For further information about Brenton and keep me sane enough to compose: Broadstock and his music please refer to Professor Warren Bebbington and my Festive Overture MSO/Jorge Mester the websites for the University of faculty colleagues, Peter and Annette ABC Classics (438 611-2) Melbourne’s Faculty of Music — http:// Barlow, Heather and Jim Hoggart, Peter www.music.unimelb.edu.au — and the Sullivan, and Peter Leggett. Aureole 1 Laura Chislett, flute ABC Australian Music Centre — For futher Classics (446 738-2) information about Move Records and its Special thanks to my parents, Valda and extensive catalogue of Australian artists Howard, my brothers, Harvey and Eheu Fugaces Marilyn Richardson, refer to its website — move.com.au Lynden (and Rosemary and Chieko), soprano Vox Australis (VAST018-2) Dianne and my wonderful children, Please support Australian composers and Matthew, Taryn and Callan for their love, Aureole 3 Jeanell Carrigan Vox Australis performers, Move Records and the inspiration and support. (VAST023-2) Australian Music Centre.

Boolee Darryl Coote, Robert Chamberlain, To the following people, without whose pianos Move (MCD 106) help this CD would not have eventuated, my warmest appreciation: The Music In the Silence of Night is also available Fund of the Australia Council; Martin on the Hamilton CD by the Team of Wright, Vaughan McAlley, Marilyn This recording was made possible by Pianists and is included here with the Thomas and Leonie Goodwin at Move financial assistance from the Performing generous permission of Professor Max Records; Dr Linda Kouvaras, Clara Arts Board of the Australia Council, the Cooke, Darryl Coote and Robert Schütz and the wonderful performers Federal Government’s arts funding and Chamberlain. (see above); my supportive colleagues, advisory body. Dr Ian Holtham and Merlyn Quaife; Aureole 3 is also available on the Phoenix Professor Max Cooke, Darryl Coote, Songs CD (Move MD 3165) by Genevieve Robert Chamberlain and Genevieve Lacey and is included here with her Lacey; photographer Howard Birnstill, generous permission. and graphic designer Kate Mansell. The recording by the Petra String Quartet is used with permission of the Acting To Colin Woods, John Cleary and Director (in July 1998) of the Tasmanian Donald Freund who encouraged my Conservatorium of Music, Christian early composition efforts....and to the Wojtowicz. many people who perform, enjoy and appreciate my music. All scores, parts and CDs are available for purchase from the Australian Music In addition, my love and appreciation to Centre GPO Box N690 Grosvenor Place the following, who are generously Sydney NSW 2000, phone1800 651834 supportive, suffer my inconsistencies