Graeme John KOEHNE Curriculum Vitae
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Australian Music Calendar South Australia 2011
australian music calendar South Australia 2011 The Australian Music Calendar lists events from around Australia which feature music by one or more Australian composers, sound artists or improvisers. Events are sorted by state and further information on each event can be found online at http://www.australianmusiccentre.com.au/calendar * denotes World premiere ; ** denotes Australian premiere SOUTH AUSTRALIA 26 February 2011 - Australian String Quartet : Performance in Campbell Park Venue: Campbell Park Station - Lake Albert, Meningie, 7pm Program: Graeme Koehne - Shaker dances. Also: Glazunov, Boccherini. Performers: Australian String Quartet. Tickets: $70. Phone number for further information: 1800 040 444. 10 March 2011 - Australian String Quartet: Shaker Dances Venue: Adelaide Town Hall - 128 King William St, Adelaide, 7pm Program: Graeme Koehne - String quartet no. 2. Also: Boccerini, Shostakovich, Glazunov. Performers: Australian String Quartet. Tickets: Adult $57 / Concession $43 / Student $22 (service fee applies). 20 March 2011 - Masquerade : Kegelstatt Ensemble Venue: Pilgrim Church - 12 Flinders St, Adelaide, 3.00pm Program: Paul Stanhope - Shadow dancing, Brett Dean - Night window. Also: Kurtag; Mozart. Performers: Leigh Harold, Kegelstatt Ensemble, Stephanie Wake-Dyster, Anna Webb, Kegelstatt Ensemble. Tickets: $25/$18. 27 March 2011 - AdYO: Beginnings Venue: Elder Hall - Elder Conservatorium of Music, University of Adelaide, Adelaide, 6.30pm Program: Natalie Williams - Fourth alarm. Also: Respighi, Sejourne. Performers: Adelaide Youth Orchestra, Keith Crellin. Tickets: Adults: $25 | Concession: $20 | Students: $10 | Group (8+): $22 | Family: $60. Phone number for further information: 131246 (Tickets). 1 April 2011 - Adelaide Symphony Orchestra: Grandage premiere Venue: Adelaide Town Hall - 128 King William St, Adelaide, 8pm Program: Iain Grandage - Spindle*. Also: Lalo, Dvorak, Tchaikovsky, Elgar. -
Tivoli Dances
476 6502 GRAEME KOEHNE tivoli dances TASMANIAN SYMPHONY ORCHESTRA The selection of pieces recorded here forms a on-stage by a piano quintet. The ballet explored survey, ranging across 20 years, of Graeme themes of the continuities between the past Koehne’s engagement with an aesthetic of the and the present, and Murphy called it Old ‘lighter touch’. Graeme’s turn towards ‘lightness’ Friends, New Friends. Graeme (Koehne) chose began in the early 1980s, when he moved from to write in a ‘Palm Court’ style both because it Adelaide to the university town of Armidale in suited the ensemble and had an appropriately New South Wales. Here he encountered, on the nostalgic quality – hence the title Palm Court Graeme Koehne b. 1956 one hand, a withdrawal from the support Suite when the work appears without dancers. Tivoli Dances [20’39] network of Adelaide’s then thriving ‘new music’ The piece was the surprise success of the 1 I. Santa Ana Freeway 4’46 scene; and on the other, a small, close-knit but program and Murphy decided to expand it into a 2 II. Forgotten Waltz (Tivoli Memories) 5’52 musically active community. The change of social full evening work called Nearly Beloved, which 3 III. Salvation Hymn and Whistling Song 5’10 environment prompted Graeme to re-evaluate his has had several seasons, including at the Créteil 4 IV. Vamp ’Til Ready 4’51 aesthetic priorities, leading progressively to his Maison des Arts. rejection of the ideology of ‘heroic’ modernism Shaker Dances [21’14] The return to simplicity and vernacular musical in favour of a new, more modest aim of 5 I. -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
Participating Artists
The Flowers of War – Participating Artists Christopher Latham and in 2017 he was appointed Artist in Ibrahim Karaisli Artistic Director, The Flowers of War Residence at the Australian War Memorial, Muezzin – Re-Sounding Gallipoli project the first musician to be appointed to that Ibrahim Karaisli is head of Amity College’s role. Religion and Values department. Author, arranger, composer, conductor, violinist, Christopher Latham has performed Alexander Knight his whole life: as a solo boy treble in Musicians Baritone – Re-Sounding Gallipoli St Johns Cathedral, Brisbane, then a Now a graduate of the Sydney decade of studies in the US which led to Singers Conservatorium of Music, Alexander was touring as a violinist with the Australian awarded the 2016 German-Australian Chamber Orchestra from 1992 to 1998, Andrew Goodwin Opera Grant in August 2015, and and subsequently as an active chamber Tenor – Sacrifice; Race Against Time CD; subsequently won a year-long contract with musician. He worked as a noted editor with The Healers; Songs of the Great War; the Hessisches Staatstheater in Wiesbaden, Australia’s best composers for Boosey and Diggers’ Requiem Germany. He has performed with many of Hawkes, and worked as Artistic Director Born in Sydney, Andrew Goodwin studied Australia’s premier ensembles, including for the Four Winds Festival (Bermagui voice at the St. Petersburg Conservatory the Sydney Philharmonia Choirs, the Sydney 2004-2008), the Australian Festival of and in the UK. He has appeared with Chamber Choir, the Adelaide Chamber Chamber Music (Townsville 2005-2006), orchestras, opera companies and choral Singers and The Song Company. the Canberra International Music Festival societies in Europe, the UK, Asia and (CIMF 2009-2014) and the Village Building Australia, including the Bolshoi Opera, La Simon Lobelson Company’s Voices in the Forest (Canberra, Scala Milan and Opera Australia. -
Mozart Beethoven
Beethoven WITH RACT FAMILY ROADSIDE & When you take out RACT Roadside for your family, Mozart we’ll be watching over them – which means you can rest easy, knowing we’ll be ready to swoop in and help when they need us most. MASTER 1 • LAUNCESTON 1 Friday Saturday 1 March 7.30pm 2 March 7.30pm Federation Concert Hall Albert Hall Hobart Launceston Richard Tognetti conductor and violin INTERVAL - 20 mins To mark the opening of the 2019 concert BEETHOVEN season, complimentary sparkling wine will be Coriolan, Overture served in the foyer. Duration 8 mins MEALE Cantilena Pacifica MOZART Violin Concerto No 5, Turkish Duration 8 mins Allegro aperto – Adagio – Allegro aperto BEETHOVEN Adagio Symphony No 1 Rondeau. Tempo di Menuetto – Allegro Adagio molto – Allegro con brio – Tempo di Menuetto Andante cantabile con moto Duration 31 mins Menuetto (Allegro molto e vivace) Adagio – Allegro molto e vivace Duration 26 mins RACT3889 • BC This concert will end at approximately 9.30pm. Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic. We would appreciate your cooperation in keeping In branch | ract.com.au | 13 27 22 | ROADSIDE by coughing to a minimum. Please ensure that your mobile phone is switched off. 3 Ludwig van Beethoven (1770-1827) Coriolan, Overture, Op 62 immediately dissolve into a nervous Heinrich von Collin (1771-1811), a civil violin theme that manically yo-yos servant, minor playwright and friend of between loud and soft. A sighing motive Beethoven, had something of a hit with heard in the woodwinds is the basis for his tragic play, Coriolan (a free gloss the second theme, Volumnia’s plaint, gaining urgency as it rises tone by tone. -
English Prgram
Biennale Team Director of the Arts Center Maestro Sherif Mohie Eldin Deputy Director of the Arts Center Dr. Azza Madian Curator of Biennale Sherif El Razzaz Compiling & Editiing Biennale's Booklet Dr. Nahla Mattar Executive Assistant Iman Hosny Reem Kassem Budget Officer Rasha Eid Graphic Designer Asmaa Haggag Head of Technical Unit Eng. Mohamed Taha Specialist Mostafa Saad Stage Manager Mayada Saeed Technicians Ahmed Aly Ahmed Ezzat Atef Sabry Essam Fathy Hamada Elkomi Mohamed Farrag Remon Kadry Aly Mahmoud Saeed Mohamed Documentary Film-maker Ahmed Nabil PR Officer Yasmin Aly Special thanks to: Mr. Yahia Mansour- Head of Finance and Administration Sector The mission of the Alexandrina Contemporary Music Biennale is consistent with the mission of the Bibliotheca to be “the window of the world on Egypt, and the window of Egypt on the world.” This Biennale is another addition to the Arts Center unique international activities. Without doubt, the founding of the Alexandrina Contemporary Music Ensemble is a real contribution to the musical life in Egypt, as well as an attempt to connect the present with the future and at the same time connect to the past. We hope it would prove successful and become a permanent event in our calendar. Dr. Ismail Serageldin Director Bibliothca Alexandrina It has always been a source of pleasure to be part of the support process devoted to the contemporary arts in our Arts Center. In the field of Theater, we did establish “The Creative Forum for Independent Theater Groups”, to make sure that a fair chance is given to the experimental and contemporary theatrical groups. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
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. -
Compositions by Matthew Hindson
Compositions by Matthew Hindson Matthew Hindson, M. Mus. (Melb), B.Mus. (Hons.) (Syd) A folio of original musical compositions and accompanying introductory essay submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Music University of Sydney July 2001 Volume I: Introductory Essay N.B.: This submission comprises a folio of creative work. It is in two volumes and includes two accompanying compact discs, musical scores and an introductory essay. © Matthew Hindson Certification I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due references has been made in the text. ____________________________ Matthew Hindson 31st July 2001 Possible works to be included on the CD and in the folio of compositions: • Speed (1996) – orchestra – 16 minutes [YES] • RPM (1996) – orchestra – 4 minutes [DO I NEED THIS ONE?] • Techno-Logic (1997) – string quartet – [no recording] • technologic 1-2 (1997) – string orchestra – 8 minutes [YES] • Night Pieces (1998) – soprano saxophone and piano – 8 minutes [YES] • Rush – guitar and string quartet – 9 minutes [YES] • In Memoriam: Concerto for Amplified Cello and Orchestra (2000) – 34 minutes [YES] • Moments of Plastic Jubilation (2000)– solo piano – 5 minutes [???] • Always on Time (2001) – violin and cello – 2 minutes [???] • The Rave and the Nightingale (2001) – string qt and string orch – 18 min. [???] [CONCERNS: IS THIS CONCENTRATED TOO MUCH ON ORCHESTRAL AND STRING WORKS? – THEY ARE THE BEST PIECES THOUGH] Chapter 1: Introduction As an Australian composer living at the end of the twentieth / start of the twenty-first centuries, I believe that there is an obligation embedded in musical art that is created in this era: to impart and explore musical and extra-musical ideas that are directly relevant to, and representative of, the society in which I live. -
Beethoven: the Piano Concertos
ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 SPECIAL EVENT Beethoven: The Piano Concertos June Wed 5 – Sat 15 7pm Elder Hall CONTENTS ARTIST BIOGRAPHIES 3 Nicholas Carter Conductor Jayson Gillham Piano CONCERT ONE 5 June Wed 5, 7pm CONCERT TWO 11 June Sat 8, 7pm CONCERT THREE 16 June Wed 12, 7pm CONCERT FOUR 21 June Sat 15, 7pm ABC Classic is recording the concertos for CD release in early 2020 – the 250th anniversary of Beethoven’s birth. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 2 ARTIST BIOGRAPHY Nicholas Carter Conductor Newly appointed as Chief Conductor of the In Australia, he collaborates regularly with Stadttheater Klagenfurt and the Kärntner many of the country’s leading orchestras Sinfonieorchester, Nicholas Carter will lead and ensembles and led the 2018 Adelaide three new productions per season and Festival’s acclaimed full staging of Brett appear regularly in the orchestra’s concert Dean’s Hamlet. Past engagements have series. In his first season, he conducts included the Melbourne, Sydney, West Rusalka, La Clemenza di Tito and Pelléas Australian, Queensland and Tasmanian et Mélisande, and concert programmes Symphony Orchestras with soloists such include Haydn’s Die Schöpfung and Mahler’s as Michelle de Young, Simon O’Neill, Alina Symphony No. 1. Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov Since his appointment as Principal (Queensland Symphony) and Anne Sofie von Conductor of the Adelaide Symphony Otter (Sydney Symphony). -
Forbidden Colours
476 3220 GERARD BROPHY forbidden colours TASMANIAN SYMPHONY ORCHESTRA Almost every Australian composer born literature, made Sculthorpe (vernacular) and between the end of the First World War and the Meale (international) obvious first generation end of the baby-boomer generation owes even leaders. The upheavals of 1968, and the social their most modest reputation to a half-truth: that revolution that followed in their wake, helped it was only in the early 1960s that our post- convince their students that their Australian colonial music culture caught up with the world identity should derive from looking both inward and produced its first distinctive national school and outward. But to Brophy in the next Gerard Brophy b. 1953 of composers. In press columns, and in his generation, the first to grow up in a multicultural 1967 book Australia’s Music: Themes of a New globalising environment, such a self-conscious 1 The Republic of Dreams 8’32 Society, Roger Covell gave culturally literate pursuit of Australianness came to seem not only Genevieve Lang harp, Philip South darabukka Australians their first reliable list of composers creatively irrelevant, but a failure of imagination. worth following, most of them contemporary. For Brophy, what would once have been Mantras [14’36] And what Donald Peart dubbed ‘The Australian described as a ‘cosmopolitan’ outlook comes 2 Mantra I 3’42 Avant-garde’ owed as much to frustrations of naturally to a contemporary Australian artist. 3 Mantra II 3’10 journalists, academics and conductors with the 4 Mantra III 7’44 deadening local cult of ‘musical cobwebs’ as it Born into an ‘ordinary Anglo-Irish family’ in did to the talents of the new movement’s Sydney’s eastern suburbs, Brophy grew up in 5 Maracatú 11’11 anointed leaders, Peter Sculthorpe, Richard country Coonamble. -
The Conductor-Training for Virtuosity
onductor- Training for Vi uosity An Investigation into Conducting Technique and Pedagogy. Submitted as partial fulfilment of Bachelor of Music with Honours. Tasmanian Conservatorlum of Music, University of Tasmania. Celeste Quinn Contents Page i Abstract Page ii Preface Page 1 Introduction Page 3 Section 1 1.i The role of the professional conductor Page 5 1.2 The Pursuit of Virtuosity Page 7 Section Conducting Skills 2 2. i Aural skill and Inner hearing Page 9 2.2 Score Reading 2.3 Evaluation of Sound Page '10 2.4 Knowledge of Forces Page 12 2.5 Communication Page 14 2.6 Physical Gesture Page 16 2.7 Baton Technique Page 17 2.8 Independence of Arms Page 19 Section 3 3.1 Interconnection of Skill Page 20 3.2 Rehearsal Technique 3.3 Practical Ex perience Page 23 Section 4 Research Technique Page 28 Section 5 5.1 The State of the Profession Page 33 5.2 Training for the Profession Page 35 5.3 Current State of Training for the Profession Page 43 Section 6 The Liszt Academy: A Model for Training Page 50 Conclusion Page 52 Bibliography Page 58 Acknowledgements Page 59 Appendix i ABSTRACT This paper seeks to determine the extent to which one can be prepared for the conducting profession and ex amines the pursuit of virtuosic conducting. The paper identifies and ex amines a range of skills essential to the art of conducting, the interconnection of these skills and discusses the role of practical ex perience in terms of skill development. The paper looks at these aspects in light of demands associated with the conducting profession and investigates aspects of current training for the profession.