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Forty Thousand Horsemen Music Credits
Musical Score Lindley Evans in collaboration with Willy Redstone • Alfred Hill Harry Lindley Evans was a pianist, and amongst many other musical things, an accompanist for Dame Nellie Melba. The ADB contains a detailed biography. Evans alternated between working for Chauvel and producer director Ken G. Hall at Cinesound. He first worked with Chauvel on Uncivilised. Evans also has a wiki here, and there is a short form biography here (there's also a sample of one of his works at this location) which reads: Lindley Evans, born in Capetown on 18th November, 1895, began his musical career very early, and at nine was already a member of St. George's Cathedral choir, Capetown. He later became a timpanist, but after moving to Australia in 1912 he studied piano performance and composition with Frank Hutchens at the NSW Conservatorium of Music. He was to play together with Frank Hutchens as duo- pianists for 40 years until Hutchens' death in 1965 in a car accident. After his studies with Hutchens, Evans later went to study in London with Tobias Matthay. For many years, from 1922, Evans was accompanist to Dame Nellie Melba. As a leader of the Australian Music Camp movement, as the "Melody Man" on the ABC Children's Session, and as duo-pianist with Hutchens, Lindley Evans became known to thousands of Australian music lovers, young and not so young. He met with pianist Isador Goodman in 1930 upon Goodman's appointment to the NSW Conservatorium and they remained friends to their deaths, within hours of each other, on 2nd December, 1982. -
Brahms Symphony No. 4 in E Minor, Op. 98 Mozart
L BRAHMS SYMPHONY NO. 4 L PASC 231 PASC 231 KRIPS MOZART SYMPHONY NO. 39 LONDON SYMPHONY ORCHESTRA 1BRAHMS BRAHMS Symphony Symphony No. 4 - 1st 4 in mvt. E minor, - Allegro Op. non 98 troppo (11:34) 21 BRAHMS1st mvt. - AllegroSymphony non 4 troppo - 2nd mvt.(11:34) - Andante moderato (11:17) 32 BRAHMS2nd mvt. -Symphony Andante moderato 4 - 3rd mvt. (11:17) - Allegro giocoso (6:41) 43 BRAHMS3rd mvt. - AllegroSymphony giocoso 4 - 4th (6:41) mvt. - Allegro energico e passionato (10:03) 5 54 MOZART4th mvt. - AllegroSymphony energico 39 - 1st e passionato mvt. - Adagio (10:03) - Allegro (8:47) 6Recorded MOZART 17th, Symphony 19th & 20th 39 April, - 2nd 1950, mvt. Kingsway - Andante Hall, Londoncon moto (8:16) 7First MOZART issued in October Symphony 1950 39as Decca - 3rd LXT2517 mvt. - Menuetto and Trio (4:11) 8Transferred MOZART from Symphony Ace of Clubs 39 ACL.132 - 4th mvt. - Allegro (4:05 MOZART Symphony No. 39 in E flat major, K.543 5 1st mvt. - Adagio - Allegro (8:47) 6 2nd mvt. - Andante con moto (8:16) 7 3rd mvt. - Menuetto and Trio (4:11) 8 4th mvt. - Allegro (4:05) Recorded 18th December, 1951, Kingsway Hall, London Transfered from and first issued in the UK in June 1952 as Decca LXT2689 London Symphony Orchestra conducted by Josef Krips Transfers by Andrew Rose from the Pristine Audio collection XR remastering by Andrew Rose at Pristine Audio, April-June 2010 Cover artwork based on a photograph of Josef Krips BRAHMS SYMPHONY NO. 4 IN E MINOR, OP. 98 Total duration: 64:54 ©2010 Pristine Audio. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Welcome Guide for Researchers Getting Started in Dresden‘S Research Landscape
WELCOME GUIDE FOR RESEARCHERS Getting started in Dresden‘s research landscape 1 INDEX Rector´s statement..................................................................................4 Before arrival Visa and entry..........................................................................................5 Travel health insurance and important documents..............................6 Family After arrival Dual Career Service ...................................................................30 Local registration .....................................................................................8 Childcare.................................................................................... 31 Residence and work permit .......................................................................9 School system........................................................................... 33 Funding...........................................................................................................10 School registration..................................................................... 34 Social security system.............................................................................12 Benefits for families...................................................................35 Health insurance.....................................................................................13 Having a baby............................................................................. 37 General information on housing................................................................14 -
CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
BRUCE CALE, SERIALISM and the LYDIAN CONCEPT by Eric Myers* ______
BRUCE CALE, SERIALISM AND THE LYDIAN CONCEPT by Eric Myers* ____________________________________________________ [This article appeared in the October, 1985 edition of APRA, the magazine of the Australasian Performing Right Association.] hen the Australia** Music Centre's film on Australian composers Notes On A Landscape came out in 1980, it was apparent that most of the ten W composers included, picked themselves: Don Banks, Anne Boyd, Colin Brumby, Barry Conyngham, Keith Humble, Elena Kats, Graeme Koehne, Richard Meale, Peter Sculthorpe. In addition to them, there was one composer who, on the face of it, might not have been regarded as such an automatic choice: Bruce Cale. Bruce Cale on the verandah of his house in the Blue Mountains, with his dog Muffin… PHOTO CREDIT MARGARET SULLIVAN __________________________________________________________________ *When this was written in October, 1985, Eric Myers was editor of the Australian Jazz Magazine, and writing jazz reviews for The Australian. **Australia Music Centre was at the time the correct spelling. Sometime later ‘Australia’ was changed to ‘Australian’. 1 After all, he was principally known as a jazz composer and performer, and when the film was planned, had been back in Australia only two years, following 13 years in Britain and the United States. On the other hand, there were some eyebrows raised in the Australian jazz world that Cale was "the only jazz composer" included in the film. But those who were aware of Cale's work knew that he had been included because of his orchestral writing as well as his jazz composition; his work had certainly emerged from jazz but, in a highly individual way, he was seeking to merge jazz and classical traditions. -
Indigenous Encounters in Australian Symphonies of the 1950S
Symphonies of the bush: indigenous encounters in Australian symphonies1 Rhoderick McNeill Dr Rhoderick McNeill is Senior Lecturer in Music History and Music Theory at the University of Southern Queensland, Toowoomba. His principal research interest lies in Australian symphonic music of the earlier 20th century, with particular study of Australian symphonies of the 1950s. Between 1985 and 1995 he helped establish the Faculty of Performing Arts at Nommensen University in Medan, Indonesia. Dr McNeill’s two volume Indonesian-language textbook on Music History was published in Jakarta in 1998 and has been reprinted twice. Landscape was a powerful stimulus to many composers working within extended tonal, nationalist idioms in the early 20th century. Sibelius demonstrated this trend in connection with Finland, its landscape, literature, history and myths. Similar cases can be made for British composers like Elgar, Vaughan Williams, Bax and Moeran, and for American composers Copland and Harris. All these composers wrote symphonies and tone poems, and were important figures in the revival of these forms during the 1920s and 30s. Their music formed much of the core of „modern‟ repertoire heard in Australian orchestral concerts prior to 1950. It seemed logical for some Australian composers -by no means all - to seek a home-grown style which would parallel national styles already forged in Finland, Britain and the United States. They believed that depicting the „timeless‟ Australian landscape in their music would introduce this new national style; their feelings on this issue are clearly outlined in the prefaces to their scores or in their writings or by giving their works evocative Australian titles. -
HANCOCK's HALF HOUR COLLECTIBLES Notes To
HANCOCK’S HALF HOUR COLLECTIBLES Notes to Accompany Volume 3 All photographs copyright (C) BBC (unless otherwise stated) The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost works of Tony Hancock. Tony Hancock: BBC Publicity Shot for Hancock’s Half Hour, November 1956 The Tony Hancock Appreciation Society (THAS) Since its creation in 1976, the THAS has dedicated itself to preserving and promoting the works of Tony Hancock and, more crucially, to finding his broadcasts that were missing from the archives. Over the decades, these efforts have yielded a wealth of material, most notably lost episodes of his most beloved work on Hancock’s Half Hour for both television and radio. Many of these have now been located and returned to the BBC; some feature in this special series of Collectibles, now into 1 its third volume. However, many still remain lost at this time. In addition, our efforts have found other material – shows recorded before Hancock became a household name – from series such as Calling All Forces, Variety Bandbox and Star Bill. Again, examples of these can be found in this series. In the previous volumes, there was an extensive analysis of missing recordings from Hancock’s radio career, and, as ever, we remain hopeful that some of these recordings will emerge from private collections or, perhaps, the archives of the BBC or other institutions. In these notes, we will focus on a number of missing recordings and shows outside the ‘core’ work Hancock did on his eponymous series and those that preceded it. -
Publications for Jeanell Carrigan 2021 2020 2019
Publications for Jeanell Carrigan 2021 Carrigan, J., Caillouet, J. (2021). Innovation. In Anna Reid, Carrigan, J. (2020). The Composers' Series: Volume 8 (a) - Neal Peres Da Costa, Jeanell Carrigan (Eds.), Creative Piano Solos Advanced - Frank Hutchens [Portfolio]. The Research in Music: Informed Practice, Innovation and Composers' Series: Volume 8 (a) - Piano Solos Advanced - Transcendence, (pp. 95-99). New York, USA: Routledge. <a Frank Hutchens, (pp. vi - 103). Wollongong, Australia: href="http://dx.doi.org/10.4324/9780429278426-10">[More Wirripang Pty Ltd. Information]</a> Carrigan, J. (2020). The Composers' Series: Volume 8 (b) - 2020 Piano Solos Intermediate - Frank Hutchens [Portfolio]. The Composers' Series: Volume 8 (b) - Piano Solos Intermediate - Carrigan, J. (2020). Sea Impressions: Piano Miniatures by Frank Hutchens, (pp. vi - 71). Wollongong, Australia: Australian Composers, Wollongong, Australia: Wirripang Pty Wirripang Pty Ltd. Ltd. Carrigan, J. (2020). The Composers' Series: Volume 9 Piano Carrigan, J. (2020). Reverie: Piano Music by Australian Solos - Lindley Evans [Portfolio]. The Composers' Series: Women, CD, Wollongong, Australia: Wirripang. Volume 9 Piano Solos - Lindley Evans, (pp. 1 - 81). Wollongong, Australia: Wirripang. Carrigan, J., Choe, M. (2020). [1-3] Sonata for Cello and Piano: Allegro ritmico; Lento; Allegro [5-8] Four Aspects: Grieving; 2019 Stress; Hope; Healing [10] An Evening Stroll [11] The Lake [12] Nocturne for Piano Carrigan, J. (2019). Meta Overman: Sonata for Viola and [Portfolio]. On In Tribute: Music by Dulcie Holland, CD, Piano, (pp. 1 - 28). Wollongong, Australia: Wirripang Pty Ltd. Wollongong, Australia: Wirripang Media Pty Ltd. Carrigan, J. (2019). 1. Scherzo No. 1 in B minor, 3. Through Richter, G., Carrigan, J., Choe, M. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright ALFRED HILL’S VIOLA CONCERTO: ANALYSIS, COMPOSITIONAL STYLE AND PERFORMANCE AESTHETIC Charlotte Fetherston A thesis submitted in partial fulfillment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music, University of Sydney, NSW 2014 STATEMENT OF ORIGINALITY ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at the Sydney Conservatorium of Music or any other educational institution, except where due acknowledgement is made in the thesis. -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care