LYREBIRD COMMISSION with CONCERT CALENDAR CRANIA BURKE, Clarinets
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Adams & Shostakovich
27 May 2021 Sydney Town Hall ADAMS & SHOSTAKOVICH Principal Partner Presenting Partner SYDNEY SYMPHONY ORCHESTRA PATRON Her Excellency The Honourable Margaret Beazley AC QC Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the Orchestra worldwide recognition for artistic excellence. The Orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenêk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra’s concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations with guest artists from all genres, reflecting the Orchestra’s versatility and diverse appeal. Its award-winning education program is central to its commitment to the future of live symphonic music, and the Orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. -
Notes on Contributors
Notes on Contributors Patricia Shaw’s reseach interests lie in the history and analysis of twentieth-century music, including music in Australia. She has taught at ACU Melbourne and the University of Melbourne, has published on Australian composers including Sitsky, Conyngham and Sculthorpe, and is completing a doctoral thesis examining Ravel’s orchestration aesthetics and technique orchestration in its historical context. Kate Bowan is a pianist and musicologist who has studied and taught in Australia and the USA. She completed her PhD in the Research School of Humanities at the Australian National University, where she is currently a Visiting Fellow. Her research interests include early twentieth-century Western art music and music and politics in the nineteenth century. Denis Collins is Senior Lecturer in musicology in the School of Music at the University of Queensland. He studied music and classical history at University College Dublin, and was a Fulbright Scholar at Stanford University, USA, where he received his AM and PhD degrees. His research interests are in the history of music theory, renaissance and baroque counterpoint and computer applications to music research. Ian Burk completed a doctorate at the University of Melbourne in 2003, and is currently lecturer in music at the Australian Catholic University (ACU National), Melbourne. His main field of research has been the contribution of A.E. Floyd to the Australian musical landscape. Stephanie Rocke completed a BMus (Hons) degree at the University of Melbourne in 2007 and is currently a religion/music Master’s candidate at the Centre for Studies in Religion and Theology at Monash University. -
Illuminating the Dark Side: an Interview with Brenton Broadstock
Illuminating the Dark Side: An Interview with Brenton Broadstock Linda Kouvaras Over the last fifteen years, I have been an avid follower of the music of Brenton Broadstock, Associate Professor and Reader, and Co-ordinator in Composition at the Faculty of Music, University of Melbourne. I have commissioned and recorded a work for piano, In the Silence of Night (1989), performed his piano music on a number of occasions, and written several articles about his music and liner notes for two of his CDs. An interview at this point seemed a good idea, Broadstock having recently returned from an extended composing sojourn overseas. In 1998, he spent three months composing in Italy on fellowships given by the Civitella Ranieri and Rockefeller Foundations. In 1999, he received the prestigious Don Banks Award from the Australia Council, which enabled him to compose for the year, including visits to the USA (Indiana University), England and Russia. I wanted to know whether andlor how this time overseas had had an impact on his artistic direction. I was also interested to see whether his perceptions of the existence of 'Australian-ness,' in music and in general, had changed since we last spoke of these matters some years ago. This interview was recorded on 24 August 2000 at the University of Melbourne's University House over a glass of their finest, then transcribed and edited. I asked Brenton what he set out to achieve compositionally on his overseas residencies. I had a major orchestral commission to fulfill from Andrew Wheeler and the Krasnoyarsk Symphony Orchestra in Russia. -
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. -
Towards a Reflexive Paradigm for the Study of Musics in Australian Colonial Societies (1788–1900)*
2020 © David R.M. Irving and Alan Maddox, Context 46 (2020): 51–73. Towards a Reflexive Paradigm for the Study of Musics in Australian Colonial Societies (1788–1900)* David R.M. Irving and Alan Maddox Let no one say the past is dead. The past is all about us and within. — Oodgeroo Noonuccal1 When contemplating the musical activity of past cultures across vast geographical spaces and from before the era of sound recording, music researchers are confronted with multiple challenges. They must take into account the memories stored in oral histories and textual sources, recognise the plurality of cultural influences and performance practices in complex networks of personal interaction, and grapple with the representational limitations of staff notation and struggle to interpret iconography before and after the age of photography. They must understand how sounds and emotions are linked to places and spaces, and explain how they move and migrate. * We pay our respects to Elders past, present, and future of all Aboriginal and Torres Strait Islander peoples mentioned in this article and the traditional custodians of the land on which the research for the article was primarily undertaken, the Gadigal people of the Eora nation. Thanks go to the University of Sydney for supporting this research through an International Research Collaboration Award (no. 63714). We are also grateful to the anonymous readers of the manuscript for their input and feedback, and especially to Graeme Skinner for generously sharing his advice and expertise. 1 Oodgeroo Noonuccal (Kath Walker), ‘The Past,’ originally published in The Dawn is at Hand: Poems (Brisbane: Jacaranda Press, 1966). -
Melbourne Symphony Orchestra Annual Report
2009 Melbourne Symphony Orchestra Annual Report 2009 Melbourne Symphony Orchestra PTY LIMITED Annual Report Contents Page Chairman’s Report 3 Corporate Governance Statement 5 Directors 7 Managing Director’s Report 8 The Year in Performance 10 Artistic Self-Assessment Processes 17 Audience Access to the MSO 18 Education and Community Outreach 19 Government and Private Sector Support 24 Patrons 26 Key Performance Statistics 27 Annual Financial Report 29 Page 1 2009 Melbourne Symphony Orchestra – Annual Report Page 2 2009 Melbourne Symphony Orchestra – Annual Report Chairman’s report The 2009 concert year was one of The Company is well positioned to return transfers plus a seating plan for the tremendous success on many fronts for the to profitability as the economy recovers. Melbourne Town Hall. MSO. Our contributions to the opening There are many positive indicators for our season of the Melbourne Recital Centre, the current season, including strong renewals Early in this process, the then-Managing Orchestra’s involvement in the 50th by subscribers and an increasing return of Director and I met with the Lord Mayor anniversary celebrations for the Sidney Myer confidence in the financial sector. Interest rate of the City of Melbourne, Robert Doyle, Music Bowl, the two programs conducted by increases are anticipated to have a positive and his Chief of Staff, to discuss the extended Sir Andrew Davis and the new Ears Wide effect on reserves. use of the Town Hall during the Hamer Hall Open concert format with Richard Gill were closure period. The continued assistance from the Australian some of the highlights in an exciting season By mid-2009, as we worked through the Government, through the Australia Council, for the Orchestra. -
26 November 2007 Federation Square Melbourne
Finalist exhibition 12 – 26 November 2007 Federation Square Melbourne Melbourne Prize for Music 2007 fi nalists / Brenton Broadstock / Paul Grabowsky / David Jones / Paul Kelly / Richard Mills Outstanding Musicians Award fi nalists / Clare Bowditch / David Chisholm / The Cat Empire / Luke Howard and Leonard Grigoryan / Cameron Hill / Andrea Keller / Genevieve Lacey / Stephen Magnusson / Geoffrey Morris / Flinders Quartet Development Award fi nalists / Sam Anning / Sophie Brous / Aura Go / Julian Langdon / Tristram Williams The Melbourne Prize for Music 2007 The free public exhibition of fi nalists will be catalogue provides a review of the fi nalists held in the Atrium at Federation Square in the following award categories: between 12 – 26 November 2007. Visitors can read about each fi nalist and listen to examples / Melbourne Prize for Music 2007 of their music. / Outstanding Musicians Award For further information on the Melbourne Prize / Development Award Trust and Melbourne Prize for Music 2007 please visit www.melbourneprizetrust.org or call 03 9650 8800. The Melbourne Prize for Music 2007 is made possible by the support of our partners and patrons. The Melbourne Prize Trust would like to thank all partners for their generosity. Government Partner Founding Partners Patrons Diana Gibson AO Megg Evans Melbourne Prize for Music 2007 Partners Venue & Exhibition Partner Exhibition Design Exhibition Construction Digital Printing & Banners Exhibition Photography Exhibition Consultants Coleby Consulting Audio Equipment PartnerMedia Communications Professional Services Print Partner Winners Trophies Website Fundere Foundry The Melbourne Prize for Music 2007 celebrates excellence and talent in music and demonstrates the value our community places on its creative resources. With the generous support of all our partners, we have been able to recognise and reward the abundant and diverse musical talent we have in Victoria and make this accessible to the public. -
Louise Ans Son-~~Er.~ Science'
'Spread this notion of the music club': dynamics of class and patronage in Melbourne 1900-1940. Monique Geitenbeek In 1939, Thorold Waters, editor of The Australian well-being of individuals. Choral societies,brass bands Musical News, wrote two editorials which appealed to and community singing provided inexpensive forms his readers to renew their interest in the music club of entertainment which gained popularity during the movement. His reasons for the revival of music 'clubs' depression. Community-based music activities pro- echoed the sentiments of earlier campaigns used by vided a musical education for all members of the musical societies during their heyday in the twenties. community, rich and poor alike. I Waters drew attention to the need for Australian mu- The principle of educating the wider public, sicians to participate in music clubs in order 'to provide particularly the less affluent, found expression in the the happy combination of relaxation and artistic stimu- mutual improvement societies of the mid 1800~~which lusl.l According to his article entitled 'Spread this 'assisted personal ad~ancement'.~The Musical Asso- notion of the music club: Sydney's activity is one for all ciation of Victoria, later to become the Musical Society to follow', the aim of the music club movement was to of Victoria, applied the same principle to music educa- spread and promote the broader concept of music as tion. Established in 1861by 'a group of leading muscians 'one of the valuable essentials in the plan of life, not and music lovers', the -
Women in the Creative Arts Conference Australian National University, 10-12 August 2017
Women in the Creative Arts conference Australian National University, 10-12 August 2017 ~SCHEDULE~ as at 2 August 2017 http://music.anu.edu.au/news/women-creative-arts THURSDAY 10 AUGUST 2017 9.00 – 10.30am Conference Registration | Athenaeum, School of Music (ground level) Foster Larry Sitsky Recital Room Lecture Theatre 1 Lecture Theater 3 Room SESSION 1A SESSION 1B SESSION 1C Muses Trio Performance Practice Dance and the body Chair - Prof. Cat Hope Chair – Dr. Julie Rickwood 10.30am Jacinta Dennett Jane Ingall (Somebody’s Aunt) (University of Melbourne) Somebody's Aunt - dancing the personal Illuminating Significative Utterance in and the political Performance: Helen Gifford’s Fable (1967) for Harp 11.00am Emily Bennett Carolyn McKenzie-Craig (University of Melbourne) (National Art School) Muses Trio The machine and the message; the role Performative modes of research and rehearsal of electronic sound processing in Jenny practice in the work of feminist (closed), no Hval’s vocal performance art practice collective Bruce and Barry composers 11.30am Janet McKay Emma Townsend (University of Queensland) (University of Melbourne) Dreams, Layers, Obsessions: A flutist’s Confirming, contesting and unsettling role in collaboration with four female compositional gender stereotypes in the composers ballet Sea Legend by Esther Rofe 12.00 – 1.00pm LUNCH | Athenaeum, School of Music (ground level) (ARC Cinema, National Film and Foster Larry Sitsky Recital Room Lecture Theatre 1 Sound Archive, Canberra) 2C only Room SESSION 2A SESSION 2B SESSION -
Constellation
constellation: Ros Bandt Carolyn Connors Rohan Drape Madeleine Flynn A DURATIONALRobin Fox Sebastian Harris Tim Humphrey Anita Hustas Neil Kelly Graeme Leak CHAMBER WORKKate Neal Wang Zheng Ting David Young constellation As a commissioned collection within an interactive sound The gallery space is set like an emptied chamber orchestra, with twelve ‘orchestral desks’ and a small work, constellation creates an experience that is a commentary grand piano, representing each composer. When an on the presence and absence of composers in the realisation of audience member/gallery-goer sits at a desk, a recorded version of the composer’s work is heard. Each desk their work, as well as the role of a spectator/listener’s personal also features an artefact associated in some way with spatial and bodily configuration in the unfolding of the work. the respective composer; for example, a notated score, a composer’s autograph, the modified wind electronic The title constellation refers to the entanglement of controller that is used as an instrument in the piece, artist connections; to the zodiac signs; to the cooperative the graphic score, or the wind-up tin rabbit. These are processes that exist in the creation of new work in music available as items to hold, use or peruse within the piece. between composers and performers; and to the body of work in composition that exists which reference the The initiating of each recorded performance uses the form of the zodiac. custom playback system we have developed for previous works, incorporating the Arduino physical computing The work is then an installation, with its attendant platform and the Pure Data software environment using material and spatial siting within a gallery space, to embedded small computers and remotely triggered be discovered and received by gallery-goers. -
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. -
An Australian Composer Abroad: Malcolm Williamson And
An Australian Composer Abroad: Malcolm Williamson and the projection of an Australian Identity by Carolyn Philpott B.Mus. (Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Tasmania October 2010 Declaration of Originality This dissertation contains no material that has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information that is duly acknowledged in the text. I declare that this dissertation is my own work and to the best of my knowledge it contains no material previously published or written by another person except where clear acknowledgement or reference is made in the text, nor does it contain any material that infringes copyright. This dissertation may be made available for loan and limited copying in accordance with the Copyright Act 1968. Carolyn Philpott Date ii Abstract Malcolm Williamson (1931-2003) was one of the most successful Australian composers of the latter half of the twentieth century and the depth, breadth and diversity of his achievements are largely related to his decision to leave Australia for Britain in the early 1950s. By the 1960s, he was commonly referred to as the “most commissioned composer in Britain” and in 1975 he was appointed to the esteemed post of Master of the Queen’s Music. While his service to music in Britain is generally acknowledged in the literature, the extent of his contribution to Australian music is not widely recognised and this is the first research to be undertaken with a strong focus on the identification and examination of the many works he composed for his homeland and his projection of an Australian identity through his music and persona.