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												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. - 
												
												Download Publication
(~2C i ~c Co P / The Arts Council of Great Britai n Twenty fourth The Arts Council of Great Britai n s 105 Piccadilly annual report and account London W1 V OA U year ended 31 March 1969 01-629949 5 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE . FROM THE LIBRA] Membership of the council, committees and panels Council The Lord Goodman (Chairman ) Professor Sir William Coldstream, CBE, DLitt (Vice-Chairman ) The Hon . Michael Asto r Frederic R . Cox, OB E Colonel William Crawshay, DSO, T D Miss Constance Cumming s Cedric Thorpe Davie, OBE, LL D Peter Hall, CB E The Earl of Harewoo d Hugh Jenkins, M P Professor Frank Kermod e J. W. Lambert, DSC Sir Joseph Lockwoo d Colin H. Mackenzie, CMG DrAlun Oldfield-Davies, CB E John Pope-Hennessy, CB E The Hon . Sir Leslie Scarman, OB E George Singleton, CB E Sir John Witt Scottish Arts Counci l Colin H. Mackenzie, CMG (Chairman ) George Singleton, CBE (Vice-Chairman ) Neill Aitke n J . S . Boyl e Colin Chandler J. B . Dalby, OB E Cedric Thorpe Davie, OBE, LL D Professor T . A. Dun n David A . Donaldson, RSA, R P The Earl Haig, OB E Douglas Hall, FM A Clifford Hanley William Hannan, M P R . D . Hunter, MB E Ronald Macdonald Neil Paterso n Alan Reiach, OB E Professor D . Talbot Rice, CBE, TD, DLitt, FS A Dame Jean Roberts, DBE, DL, J P Alan Roger Ivison S . Wheatley Thomas Wilso n Welsh Arts Counci l Colonel William Crawshay, DSO, TD (Chairman ) Alex J . - 
												
												Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, - 
												
												City of Birmingham Choir Concerts from 1964
City of Birmingham Choir concerts from 1964. Concerts were conducted by Christopher Robinson and took place in Birmingham Town Hall with the CBSO unless otherwise stated. Messiah concerts and Carols for All concerts are listed separately. 1964 Mar 17 Vaughan Williams: Overture ‘The Wasps’ Finzi: Intimations of Immortality Vaughan Williams: Dona Nobis Pacem Elizabeth Simon John Dobson Peter Glossop Christopher Robinson conducts the Choir for the first time Jun 6 Britten: War Requiem Heather Harper Wilfred Brown Thomas Hemsley Performed in St Alban’s Abbey Meredith Davies’ final concert as conductor of the Choir Nov 11 & 12 Britten: War Requiem (Nov 11 in Wolverhampton Civic Hall Nov 12 in Birmingham Town Hall) Jacqueline Delman Kenneth Bowen John Shirley-Quirk Boy Choristers of Worcester Cathedral CBSO concert conducted by Hugo Rignold 1965 Feb 27 Rossini: Petite Messe Solennelle Barbara Elsy Janet Edmunds Gerald English Neil Howlett Colin Sherratt (Piano) Harry Jones (Piano) David Pettit (Organ) Performed in the Priory Church of Leominster Mar 11 Holst: The Planets CBSO concert conducted by Hugo Rignold Mar 18 Beethoven: Choral Symphony Jennifer Vyvyan Norma Proctor William McAlpine Owen Brannigan CBSO concert conducted by Hugo Rignold Mar 30 Elgar: The Dream of Gerontius Marjorie Thomas Alexander Young Roger Stalman May 18 Duruflé: Requiem Poulenc: Organ Concerto Poulenc: Gloria Elizabeth Harwood Sybil Michelow Hervey Alan Roy Massey (Organ) 34 Jun 2 Rossini: Petite Messe Solennelle Elizabeth Newman Miriam Horne Philip Russell Derek - 
												
												Etruscan Concerto
476 3222 PEGGY GLANVILLE-HICKS etruscan concerto TASMANIAN SYMPHONY ORCHESTRA As a still relatively young nation, Australia could composing that they had no option but to go be considered fortunate to have collected so away. Equally true, relatively few of our few notable dead composers! For most of the composing women flourished ‘abroad’ for long, 20th century, almost every composer we could though Tasmanian Katharine Parker (Longford- claim was very much alive. Yet, sadly, this did born and Grainger protégée) did, and Melburnian not stop us from losing track of some of our Peggy Glanville-Hicks is the notable other. Peggy Glanville-Hicks 1912-1990 most talented, who went away and stayed Indeed, Edward Cole’s notes for the 1956 away, as did Percy Grainger and Arthur Benjamin American first recording of her Etruscan Etruscan Concerto [15’17] (the only Australian composer blacklisted by Concerto make the unique claim: ‘Peggy 1 I. Promenade 4’05 Goebbels), or returned too late, like Don Banks. Glanville-Hicks is the exception to the rule that 2 II. Meditation 7’26 And we are now rediscovering many other women composers do not measure up to the 3 III. Scherzo 3’46 interesting stay-aways, like George Clutsam (not standards set in the field by men.’ Caroline Almonte piano just the arranger of Lilac Time), Ernest Hutchinson, John Gough (Launceston-born, like Talented Australian women of Glanville-Hicks’ 4 Sappho – Final Scene 7’42 Peter Sculthorpe) and Hubert Clifford. generation hardly lacked precedent for going Deborah Riedel soprano Meanwhile, among those who valiantly toiled abroad, as Sutherland, Rofe and Hyde all did for away at home, we are at last realising that a while, with such exemplars as Nellie Melba 5 Tragic Celebration 15’34 names like Roy Agnew, John Antill and David and Florence Austral! Peggy Glanville-Hicks’ Letters from Morocco [14’16] Ahern might not just be of local interest, but piano teacher was former Melba accompanist 6 I. - 
												
												Final Thesis
Appendix – Compositions included in this study Date of Title Composer Ensemble Type Instrumentation Composition 1/01/1972322 Doubles for Wind Quartet Colin Brumby Quartet Flute, Oboe, Clarinet, Bassoon 1/01/1972 Pas De deux Malcolm Williamson Duo Clarinet, Piano 2/10/1972 Divertimento Raymond Hanson Wind Quintet Flute, Oboe, Clarinet, Alto Saxophone, Bassoon Horn 1/01/1973 Carrion Comfort Felix Werder Septet Voice (Treble), Flute, Oboe, Clarinet, French Horn, Percussion, Piano 1/01/1973 Chromatalea Haydn Reeder Quartet Flute/ Alto Flute, Clarinet (A)/ Bass Clarinet, Violin/ Viola, Violoncello 1/01/1973 Concert music for five solo Felix Werder Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn instruments, op.60 1/01/1973 Portraits of my friends and others Eric Austin-Phillips Quintet Flute, Oboe, Clarinet, Bassoon, Piano 322 Works where only the year of composition has been able to be determined have been given the default date of 01/01/YEAR. The date of composition has been left blank for works that have been unable to be definitively dated at this time. 1/01/1973 Recollections of a Latvian song Ann Ghandar Quartet Flute, Oboe, Clarinet, Piano 1/01/1973 Scherzo Felix Gethen Trio Oboe (or Flute or Violin), Clarinet, Bassoon (or Violoncello) 1/01/1973 Waltz: three instruments in and out Richard Peter Maddox Trio Flute, Oboe, Clarinet of three-quarter time 1/05/1973 Shadows Theodore Dollarhide Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn 20/06/1973 5 inventions Frederick Hill Duo Clarinet, Clarinet/ Bass Clarinet 4/09/1973 - 
												
												Art Music Awards Finalists 2011
2011 Art Music Awards presented by APRA and Australian Music Centre FINALISTS FOR INAUGURAL EVENT ANNOUNCED Australasian Performing Right Association (APRA) and the Australian Music Centre (AMC) are proud to announce the finalists for the inaugural ART Music Awards to be held at Sydney Theatre, Walsh Bay on Tuesday, May 3rd. The ART Music Awards play a critical role in acknowledging the achievements of performers and composers in the genres of contemporary art music, jazz and experimental music. The finalists across the nine categories are a distinguished list of both established and emerging artists, covering composition, performance, and outstanding contributions by individuals and organisations in Australian music, music education and music in a regional area. CEO of the Australian Music Centre, John Davis said, “The range of activity represented not only by these finalists, but also more broadly in the nominations lodged for the Art Music Awards, is truly astounding, and demonstrates the vibrancy and energy of contemporary Australian creative practice in music and sound.” In the category of WORK OF THE YEAR: INSTRUMENTAL composer Damien Ricketson is a finalist for his beautifully crafted and remarkable work, Fractured Again, a striking mixture of live performance with conventional and non-conventional instruments, installation and video art. The work is also a finalist in the Experimental Music category. Also within this category is Paul Stanhope for his composition String Quartet No. 2 – written for the Pavel Haas String Quartet, as part of his activities as Musica Viva Australia’s featured composer in 2010. In the category of WORK OF THE YEAR: ORCHESTRAL, finalist Andrew Ford clearly demonstrates his compositional expertise in complementing the poetry of the text by Tim Winton in the piece A Dream of Drowning. - 
												
												Lyrita New Release Supplement 04 16
New Releases "It is only thanks to Lyrita, the tiny British label founded by Richard Itter in 1959, that we have recordings of some of the finest pieces of British Music…Joubert's [cello concerto], in particular, is as arresting as almost any other such concerto in the English canon…Lyrita offers a gold mine of British Music: get your picks and shovels and discover." Charles Stanford - Piano Concerto No.2 • Gerald Finzi - Eclogue for Piano and String Orchestra • John Foulds - Dynamic Triptych for Piano and Orchestra • Frank Bridge - “Phantasm” Rhapsody for Piano and Orchestra • Ralph Vaughan Williams - Piano Concerto in C Major • Alan Rawsthorne – Piano Concerto No. 1 • Cyril Scott – Early One Morning • John Ireland – Legend for Piano and Orchestra • William Bush – Piano Concerto • E.J. Morean – Rhapsody in F-Sharp Major for Piano and Orchestra • Lennox Berkley – Piano Concerto in B-Flat Major • Alun Hoddinott – Piano Concerto No. 1 • Malcolm Williamson – Piano Concerto No. 3 in E-Flat Major. (4 CDs) SRCD2345 £19.99 Samuel Coleridge-Taylor – Violin Concerto in G Minor • Gustav Holst – Invocation for Cello and Orchestra • Gustav Holst – Lyric Movement for Viola and Small Orchestra • William Bush – Cello Concerto • E.J. Moeran – Concerto for Violin and Orchestra • Edmund Rubbra – Soliloqua for Cello and Orchestra • Roberto Gerhard – Violin Concerto • Peter Racine Fricker – Concerto for Violin and Small Orchestra • Elizabeth Maconchy – Serenata Concertante for Violin and Orchestra • David Morgan – Concerto for Violin and Orchestra • Don Banks – Concerto for Violin and Orchestra • Alun Hoddinott – Nocturnes and Cadenzas for Cello and Orchestra. "The famous Lyrita sound is here in spades, rich, detailed, demonstration class. - 
												
												Australian Chamber Music with Piano
Australian Chamber Music with Piano Australian Chamber Music with Piano Larry Sitsky THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/ National Library of Australia Cataloguing-in-Publication entry Author: Sitsky, Larry, 1934- Title: Australian chamber music with piano / Larry Sitsky. ISBN: 9781921862403 (pbk.) 9781921862410 (ebook) Notes: Includes bibliographical references. Subjects: Chamber music--Australia--History and criticism. Dewey Number: 785.700924 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Cover image: ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgments . vii Preface . ix Part 1: The First Generation 1 . Composers of Their Time: Early modernists and neo-classicists . 3 2 . Composers Looking Back: Late romantics and the nineteenth-century legacy . 21 3 . Phyllis Campbell (1891–1974) . 45 Fiona Fraser Part 2: The Second Generation 4 . Post–1945 Modernism Arrives in Australia . 55 5 . Retrospective Composers . 101 6 . Pluralism . 123 7 . Sitsky’s Chamber Music . 137 Edward Neeman Part 3: The Third Generation 8 . The Next Wave of Modernism . 161 9 . Maximalism . 183 10 . Pluralism . 187 Part 4: The Fourth Generation 11 . The Fourth Generation . 225 Concluding Remarks . 251 Appendix . 255 v Acknowledgments Many thanks are due to the following. - 
												
												Australian Series Presented by Singapore Airlines
SEASON 2018 AUSTRALIAN SERIES PRESENTED BY SINGAPORE AIRLINES The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body Black Seeds 2017, by Carol McGregor, possum skins, cotton, ochre, ash and resin, Redland Art Gallery Collection, acquired in 2017 with Redland Art gallery Acquisition Fund. REIMAGININGS SO FINE: CONTEMPORARY WOMEN ARTISTS MAKE AUSTRALIAN HISTORY Thursday 30 August, 2018 Gordon Darling Hall, NPG, 6.30–7.30pm Presented by Singapore Airlines Julian Smiles Cello CSO 2018 Artist-in-Focus Bernadette Harvey Piano --- MIRIAM HYDE Sonata in B minor for viola and piano arranged for cello and piano (1937) ELLA MACENS Oh, Sister for cello and piano (2016–17) World Premiere DON BANKS Sequence for solo cello (1967) LEANNE BEAR Art Nouveau (new commission 2018) World Premiere CARL VINE Strutt Sonata for cello and piano (2017) JULIAN SMILES — CELLO Julian Smiles has been a central figure in cello performance and teaching in Australia for over 25 years. He began his professional career when he was appointed principal cellist with the Australian Chamber Orchestra at the age of 19 and rapidly gained prominence as a chamber musician in performances for Musica Viva, Kathryn Selby and Friends and at the Huntington Estate Music Festival. In 1991 he was invited to join the Australia Ensemble@UNSW, and in 1995 formed the Goldner String Quartet with colleagues Dene Olding, Dimity Hall and Irina Morozova. With these two groups he has performed to critical acclaim at major venues and festivals throughout the world, made over 30 CDs on leading labels, and premiered many works by Australian and international composers. - 
												
												Behind the Text, Beyond the Sound: Investigations Into Processes of Creative Musical Interpretation
Behind the Text, Beyond the Sound: Investigations into Processes of Creative Musical Interpretation Author Savage, Stephen Leon Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/983 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366061 Griffith Research Online https://research-repository.griffith.edu.au Behind the Text, Beyond the Sound: Investigations into processes of creative musical interpretation Stephen Leon Savage L.R.A.M., A.R.C.M. Queensland Conservatorium, Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy by Publication. October 2008 Table of Contents Statement of authorship ............................................................ .iv Acknowledgement. ............................... , ............. " .................... v Abbreviation ..........................................................................vi Gender and language ............................................................... vii List of approved Publications .....................................................viii Abstract. .............................................................................. .ix General Introduction ................................................................... 1 PART 1: A MUSICIAN AT WORK IN HIS COMMUNITy .................. 3 Speaking for Myself: an autoethnographic survey .................... .4 Early life ..............................................................................5 - 
												
												Not Just a Pretty Voice: Cathy Berberian As Collaborator, Composer and Creator Kate Meehan Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 Not Just a Pretty Voice: Cathy Berberian as Collaborator, Composer and Creator Kate Meehan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Meehan, Kate, "Not Just a Pretty Voice: Cathy Berberian as Collaborator, Composer and Creator" (2011). All Theses and Dissertations (ETDs). 239. https://openscholarship.wustl.edu/etd/239 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Bruce Durazzi Craig Monson Anca Parvulescu Dolores Pesce Julia Walker NOT JUST A PRETTY VOICE: CATHY BERBERIAN AS COLLABORATOR, COMPOSER AND CREATOR by Kate Meehan A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri copyright by Kate Meehan 2011 Abstract During her relatively brief career, Cathy Berberian (1925-83) became arguably the best- known singer of avant-garde vocal music in Europe and the United States. After 1950, when she married Italian composer Luciano Berio, Berberian premiered almost thirty new works by seventeen different composers and received the dedications of several more. Composers connected to her include: John Cage, Igor Stravinsky, Darius Milhaud, Sylvano Bussotti, Henri Pousseur, Bruno Maderna, Bernard Rands, Roman Haubenstock- Ramati, and of course, Berio.