Phobia Music Credits

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Composer Ross Edwards Musicians Michael Askill Lawrence Dobell Ross Edwards Special Thanks to (amongst many others, film composer) Chris neal Composer Ross Edwards: Ross Edwards devised a relatively experimental score for the film. Edwards is a well-known composer of classical music, and he has his eponymous website here. The site contained this short bio: One of Australia’s best-known and most performed composers, Ross Edwards has created a distinctive sound world which reflects his interest in deep ecology and his belief in the need to reconnect music with elemental forces, as well as restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region. Ross Edwards’ compositions include five symphonies, concertos, choral, chamber and vocal music, children’s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the dawning of the new millennium from the sails of the Sydney Opera House in a worldwide telecast. His compositions often require special lighting, movement and costume. A recipient of the Order of Australia and numerous other awards, he lives in Sydney and is married with two adult children. Recent commissions include Sacred Kingfisher Psalms for The Song Company, Ars Nova Copenhagen and the Edinburgh Festival; a Piano Sonata for Bernadette Harvey commissioned by the Sydney Conservatorium; Full Moon Dances, a saxophone concerto for Amy Dickson, the Sydney Symphony and the Australian symphony orchestras; Five Senses, a song cycle for female voice and piano to poems of Judith Wright; The Laughing Moon for the New Sydney Wind Quintet; Zodiac, an orchestral ballet score commissioned for Stanton Welch by the Houston Ballet; String Quartet No. 3, Summer Dances, commissioned by Kim Williams for Musica Viva Australia; and Animisms, for the Australia Ensemble. Frog and Star Cycle, a double concerto commissioned for saxophonist Amy Dickson, percussionist Colin Currie and the Sydney Symphony had its resoundingly successful premiere in the Sydney Opera House in July 2016. Bright Birds and Sorrows, a major work for Amy Dickson, saxophone, and the UK based Elias Quartet, will be premiered in April 2017 at the Musica Viva Festival in Sydney. He has recently completed Entwinings for the Australian Chamber Orchestra, to be premiered in October 2017. Edwards is represented at the Australian Music Centre here, where his works can be found, and he has a wiki here. There are many other details about him easily available by googling. For example, at time of writing, he was listed as a casual lecturer at the Sydney Conservatorium of Music here. (Below: Ross Edwards). .

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'Nura' Ross Edwards for Flute & Piano Ross Edwards, Born December 23, 1943. Edwards Was Born in Sydney and Studied at Th
‘Nura’ Ross Edwards for Flute & Piano Ross Edwards, born December 23, 1943. Edwards was born in Sydney and studied at the Sydney Conservatorium of Music. Edwards studied with well known Australian composer Peter Sculthorpe, and also worked as assistant for Sir Peter Maxwell Davies. Ross Edwards output is substantial including symphonies, concertos, chamber and vocal works, film scores, and operas. Edwards has a handful of very famous compositions including his Piano Concerto, a violin Concerto ‘Maninyas’. His oboe concerto has probably received the most high acclaim, it was performed by oboe sensation Diana Doherty under the baton of Lorin Maazel and the New York Philharmonic. Edwards has also received many APRA Art Music Awards, his oboe concerto being one of the winners. Edwards works often require the performer to undertake special movements, sometimes dancing, and also often special lighting and costumes are used during the performance. Nura was composed in 2004 as apart of the Six Continents project that was commissioned by two Dutch musicians, flutist Eleonore Pameijer and pianist Marcel Worms. The Six Continents was a project where composers from six different continents were invited to compose pieces that portrayed their feelings about their own cultural identity in an age of receding borders and globalisation. Ross Edwards music in general always came from inspiration that he found around himself, the environment. This made him the perfect choice as composer for this project and he was able to portray Australia (and especially the Blue Mountains where he lives) in this piece for flute and piano. Nura translates to ‘place’ or ‘country’ in the language that was once spoken by the people living in the area that we now know as Sydney.
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Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies
Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies Paul Ballam–Cross B.Mus (Performance), M.L.I.S A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music Abstract This thesis examines how contemporary composers approach the guitar and counterpoint. An historical overview of the guitar is provided at the outset of the thesis, leading to detailed examination of contrapuntal technique in an extended twentieth-century work by Miklós Rózsa, and addresses effective guitar performance techniques in relation to different kinds of contrapuntal textures. These historical, technical and performance considerations then inform a series of interviews with six contemporary composers (Stephen Hough, Angelo Gilardino, Stephen Goss, Tilmann Hoppstock, Ross Edwards, and Richard Charlton). These interviews aim to provide insight into how 21st century composers approach contrapuntal writing for the guitar. The interviews are paired with detailed discussions of representative works for guitar by each composer. These discussions deal particularly with difficulties in practical performance and with how the composer has achieved their compositional goals. This thesis therefore seeks to discover how approaches to the guitar and counterpoint (including challenges, limitations and strategies) have changed and evolved throughout the instrument’s existence, up to some of the most recent works composed for it. i Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly–authored works that I have included in my thesis.
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Sydney Symphony Fellowship
2020 IMPACT REPORT “ The concert marked the SSO’s return to its former home... the Sydney Town Hall is an attractive venue: easy to get to, grandly ornate, and nostalgic for those who remember the SSO’s concerts there in earlier years. The Victorian-era interior was spectacular... and it had a pleasing “big hall” acoustic that will lend grandeur and spaciousness to the SSO’s concerts of orchestral masterworks.” The Australian, 2020 2 Ben Folds, The Symphonic Tour, in Sydney Town Hall (March 2020). Photo: Christie Brewster 3 2020: A TRUE ENSEMBLE PERFORMANCE On 13 March 2020, the Sydney Symphony Orchestra was silenced for the first time in its 89-year history by the global COVID-19 pandemic. Andrew Haveron performing Tim Stevenson’s 4 Elegies as part of the Sydney Symphony at Home series. Filmed by Jay Patel The year had started boldly, with the Orchestra With a forward path identified, the Orchestra In August, Chief Conductor Designate Simone opening its 2020 Season in Sydney Town Hall quickly pivoted to digital concert production Young braved international travel restrictions as its temporary home for two years while the and expanded its website into an online concert and a two-week hotel quarantine to travel to Sydney Opera House Concert Hall was renovated. gallery. Starting in April, the Orchestra delivered Sydney and lead the musicians in their first Thirty-four season performances had already 29 Sydney Symphony at Home performances, full-group musical activities since lockdown. taken place by the time COVID-19 emerged. four Cuatro performances with the Sydney Dance There were tears of joy and relief as instruments However, that morning’s sold-out performance of Company, 18 Chamber Sounds performances were raised under her baton for rehearsals Rimsky-Korsakov’s Scheherazade would turn out recorded live at City Recital Hall with a focus and recordings at City Recital Hall and in to be the Orchestra’s final performance for 2020.
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Landscape, Spirit and Music: an Australian Story
Landscape, Spirit and Music: an Australian Story ANNE Boyo* (An accompanying compact disc holds the available music examples played. Their place is indicated by boxes in the text.) We belong to the ground It is our power And we must stay close to it Or maybe we will get lost. Narritjin Maymuru Yirrkala, an Australian Aborigine The earth is at the same time mother. She is mother of all that is natural, mother of all that is human. She is the mother of all, for contained in her are the seeds of all. Hildegard of Bingen1 The main language in Australia', David Tacey writes, 'is earth language: walking over the body of the earth, touching nature, feeling its presence and its other life, and attuning ourselves to its sensual reality'.2 If Tacey's view might be taken to embrace all the inhabitants from diverse cultural backgrounds now living in this ancient continent, then the language that connects us is what he calls 'earth language'. Earth language is a meta-language of the spirit which arises as right-brain activity based upon an intuitive connection with our natural environment, the language of place. Earth language has little to do with the left-brain language of human intellectual discourse. It is the territory of the sacred, long known to artists and deeply intuitive creative thinkers from all cultures through all time. It is the territory put off-limits by the * Anne Boyd holds the Chair of Music at the University of Sydney. This professorial lecture was delivered to the Arts Association on 16 May 2002.
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570034Bk Hasse 3/1/10 5:00 PM Page 4
570949bk Aus Guitar:570034bk Hasse 3/1/10 5:00 PM Page 4 2000 he returned to Australia to concentrate on composing. and misery through repeated notes and intermittent His works include experimental film and radio projects, strummed chords, drawing on Spanish flamenco idioms. concertos, operas, chamber music, and instrumental pieces. This first Capricho concludes with rapid descending scales, AUSTRALIAN A wide variety of leading orchestras such as the Berlin creating images of menace and exploitation. Dios la Philharmonic, Los Angeles Philharmonic, Concertgebouw perdone: Y era su madre (May God forgive her: and it was Orchestra, and the Cologne Philharmonic, have commis- her mother), shows in the original etching a fashionably GUITAR MUSIC sioned his music. The guitarist, Andrew Booth, gave the attired and sophisticated woman (possibly a prostitute), world première of Brett Dean’s Three Caprichos after being asked for money by an old lady who happens to be her Goya in 2007. The famous eighty Caprichos, featuring mother. It may be that the young woman does not realise it Sculthorpe • Edwards • Dean satirical etchings of aspects of Spanish life, by the painter is her mother or is deliberately ignoring her, a haughty Francisco Goya (1746-1828), have inspired many posture being contrasted against the bent supplicant. Hence composers over the years to interpret them through music. the composition takes the form of a kind of dialogue, the Houghton • Koehne A prerequisite for such pieces is that the listener should pleading voice of the beggar being heard loud and clear. understand the meaning of the original picture. Brett Dean Finally, No te escaparás (You will not escape) is the image begins his trio of compositions with ¡Qué sacrificio! (What of a beautiful dancer pursued by huge ugly birds to whom Aleksandr Tsiboulski a Sacrifice!), which depicts a young and beautiful girl being she will fall prey sooner or later.
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AE News September 2015
Issue 5, 2015: September AE NEWS newsletter of the Australia Ensemble @UNSW Never Stand Still Music Performance Unit September Events The creation of a new pearl Australia Ensemble @UNSW Several years ago, Ross Edwards’ piece Barossa Pearl made its name onto Free lunch hour concert a list of possible works for an Australia Ensemble concert program. It was a quintet dedicated to Edwards’ former teacher, Peter Maxwell Davies, who was Tuesday September 8, 2015 composer in residence at the 2000 Barossa Festival where it was fi rst performed. 1.10 - 2.00pm By contacting Ross Edwards to learn more about the piece’s suitability for the Leighton Hall, Scientia Building Australia Ensemble, it quickly emerged that it was a miniature, only 48 bars in Edwards: Binyang duration, and unfortunately not quite long enough for a subscription concert Moszkovski: Suite program. Maxwell Davies: Nocturne Australia Ensemble Artistic Chair, Paul Stanhope, had other ideas. He proposed Mozart: Trio ‘Kegelstatt’ to Edwards that a new work, perhaps a suite, be written for the Australia Ensemble’s 2015 season including the delightful miniature Barossa Pearl Australia Ensemble @UNSW as one of its movements, for the same colourful combination of instruments. Edwards leapt at the idea, and got straight to work on his fi ve-movement suite, Free lunch hour workshop Animisms, for fl ute, clarinet, percussion, violin and cello. Barossa Pearl was Thursday September 10, 2015 reworked to become the fi rst movement, Bubbles, as a celebration of affordable 1.10 - 2.00pm student wine, easy on the pocket but tough on the head the following morning.
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Field Applications of Low-Cost Air Quality
FIELD APPLICATIONS OF LOW-COST AIR QUALITY MONITORS FOR PM2.5 STUDIES by Semih OZLER A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Civil and Environmental Engineering at the UNIVERSITY OF WISCONSIN-MADISON May 2018 ii FIELD APPLICATIONS OF LOW-COST AIR QUALITY MONITORS FOR PM2.5 STUDIES Approved _________________________ James Jay Schauer Professor at Civil and Environmental Engineering Department Director at Wisconsin State Laboratory of Hygiene School of Medicine and Public Health iii Acknowledgments I would like to offer special thanks to my advisor, Professor James Jay SCHAUER for his cooperation, support, technical assistance and boundless help during my education and research at the University of Wisconsin-Madison. I also would like to express my deep appreciations to my parents; Vural OZLER, Semra OZLER, and my brother; Melih OZLER who have supported and encouraged me to move forward in my career. My sincere gratitude to University of Wisconsin-Madison staff and students who helped me during my education and research especially Alexandra LAI and Muge KAFADAR for their limitless helps, patience, and supports, Michael R. OLSON for sharing his technical knowledge, Christopher WORLEY for his countless logistic supports and helps, Evan CORY for the linguistic help to improve this manuscript, Ghassan Al GHASSANI and Ahlam Al HANAI for their supports, helps and arrangements in Muscat, OMAN. I would not be able to complete my work without their help and cooperation. Many thanks to Associate Professor Ross EDWARDS and Assistant Professor Matthew GINDER-VOGEL for willing to be my thesis defense committee members.
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Publications for Damien Ricketson 2021 2020 2019 2018 2017 2016
Publications for Damien Ricketson 2021 Melbourne Recital Centre, Melbourne, Australia: Metropolis Ricketson, D. (2021). Hectic Paprika. Sydney: Self Published. New Music Festival, Melbourne Recital Centre. 2020 Ricketson, D. (2015). Listen with Your Eyes. International Conference on the Multimodal Experience of Music, Sheffield, Ricketson, D. (2020). Hectic Caraway [Portfolio]. London, UK: HRI Online. UK: Self Published. Ricketson, D. (2015). Not by Halves. Sydney, Australia: Ricketson, D. (2020). Hectic Cumin [Portfolio]. Sydney, Curious Noise. Australia: self-published. Ricketson, D., Noble, J., Nightingale, L., Cogill, K., Jigalin, E. Ricketson, D. (2020). Hectic Hyacinth. Melbourne, Australia: (2015). Pipe Dreams Green. Sydney, Australia: Casula Self Published. Powerhouse Arts Centre. Ricketson, D. (2020). Hectic Ras El Hanout [Portfolio]. Ricketson, D. (2015). Rendition Clinic: for three percussionists Sydney, Australia: Self Published. and strobe lights. Singapore: Curious Noise. 2019 2014 Ricketson, D. (2019). Borderlines. Sydney, Australia: self- Ricketson, D., Noble, J., Edwards, C., Molino, K., Scott, B. published. (2014). 1. Chortle Balls 2. Humming Cups 3. Backmask [Portfolio Ricketson, Damien: The Secret Noise]. On The Ricketson, D. (2019). Hectic Cinnamon. Melbourne, Australia: Secret Noise EP, CD, Sydney, Australia: Curious Noise. Self Published. Ricketson, D., Edwards, C., Noble, J., Cogill, K. (2014). Ricketson, D. (2019). Hectic Jacaranda. Guangzhao, China: Calliope's Nest. Micro Parks. Cooper Street Reserve, Surry Self Published. Hills, Sydney, Australia. Ricketson, D. (2019). Hectic Peppermint. Sydney, Australia: Ricketson, D., Noble, J., Molino, K., Scott, B. (2014). CD Self Published. [Portfolio Ricketson, Damien: The Secret Noise]. On The Ricketson, D. (2019). Seated Backwards. Brisbane, Australia: Secret Noise, CD, Sydney, Australia: Curious Noise. self-published. Ricketson, D., Edwards, C., Rose, J., Ughetti, E.
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Paradise Road Music Credits
composer Ross Edwards (cast) Female vocalist Julie Anthony Band Leader Geoffrey Ogden-Brown Band Cafe Society Orchestra The Snake Clyde Kusatsu (Kusatsu is credited below as singing the traditional Japanese folk song The Lullaby of Itsuki) and featuring the voices of Vrouwenkoor Malle Babbe, Haarlem, The Netherlands Musical Director Leny van Shaik Music Supervisor Christine Woodruff Music Engineer & Editor Christo Curtis Ross Edwards music performed by The Tall Poppies Orchestra Conductor David Stanhope Concert Master and Violin John Harding Soloists: Shakuhachi Riley Lee Percussion Ian Cleworth Koto Satsuki Odamura Clarinet Peter Jenkin Piano David Bollard Sound Engineer Michael Gissing Assistant Sound Engineer Neil Sandbach Recording Engineer (Choir) Lex van Diepen arrangements for vocal orchestra by Margaret Dryburgh and Nora Chambers © Universal Songs B.V.-Holland LARGO from NEW WORLD SYMPHONY written by Antonin Dvorak FUNERAL MARCH from the SECOND PIANO SONATA written by Frederick Chopin BOLERO written by Maurice Ravel © Editions ARIMA Corporation/Editions DURAND COUNTRY GARDENS traditional arrangement by Percy Grainger © The Grainger Estate/Schott & Co. Limited. LONDONDERRY AIR - traditional MAD ABOUT THE BOY written by Noel Coward © Chappell Music Limited by kind permission of Warner/Chappell Music Australia Pty Ltd performed by Julie Anthony with the Cafe Society Orchestra CELLO CONCERTO in E Minor, Op. 85 written by Edward Elgar © Novello & Company Limited performed by Michaela Fukacova BRNO State Philharmonic Orchestra conducted by Libor Pesek JUPITER from THE PLANETS written by Gustav Holst © J. Curwen & Sons Limited performed by the Czecho-Slovak Radio Symphony Orchestra, conducted by Adrian Leaper, courtesy of HNH International WHEN YOU COME HOME AGAIN written by Thomas Connor/Edward Lisbona © B.
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Aust Trio Booklet
476 5235 THE AUSTRALIAN TRIO A Piano Trio Anthology BRAHMS ❘ TCHAIKOVSKY ❘ HUMMEL ❘ DEBUSSY ❘ ARENSKY SMETANA ❘ BRIMER ❘ EDWARDS ❘ BERNSTEIN CD1 [74’17] CD3 [47’41] JOHANNES BRAHMS 1833-1897 JOHANN NEPOMUK HUMMEL Piano Trio No. 2 in C major, Op. 87 [29’19] Piano Trio No. 4 in G major, Op. 65 [18’22] 1 I. Allegro 9’38 1 I. Allegro con spirito 9’11 2 II. Andante con moto 8’12 2 II. Andante grazioso 4’50 3 III. Scherzo: Presto 4’37 3 III. Rondo: Vivace assai e scherzando 4’21 4 IV. Finale: Allegro giocoso 6’52 BEDŘICH SMETANA 1824-1884 PIOTR ILYICH TCHAIKOVSKY 1840-1893 Piano Trio in G minor, Op. 15 [29’18] Piano Trio, Op. 50 ‘A la mémoire d’un grand artiste’ [44’56] 4 I. Moderato assai 11’01 5 I. Pezzo elegiaco 18’45 5 II. Allegro, ma non agitato 8’53 6 IIa. Tema con variazioni 18’47 6 III. Finale 9’22 7 IIb. Variazione finale e coda 7’24 CD4 [58’47] MICHAEL BRIMER b.1933 CD2 [75’22] Piano Trio No. 1 [23’35] JOHANN NEPOMUK HUMMEL 1778-1837 1 I. Adagio – Larghetto – Allegro – Presto – Andante – Piano Trio No. 1 in E-flat major, Op. 12 [21’11] Larghetto – Adagio 16’43 1 I. Allegro agitato 9’58 2 II. Andante – Allegro 6’51 2 II. Andante 6’18 3 III. Finale 4’55 ROSS EDWARDS b.1943 Piano Trio [19’01] CLAUDE DEBUSSY 1862-1918 3 I. Allegretto 8’27 Piano Trio No. 1 in G major [22’34] 4 II.
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Download the Programme
Telemann - Fantasia in A minor Emily Doolittle - Social Sounds for Whales at Night John Casken - Amethyst Deceiver -interval- Tansy Davies - Forgotten Game (2) Berio - Sequenza Elizabeth Hoffman - athbhreithnigh (w.p.) -interval- Sir Peter Maxwell Davies - First Grace of Light Peter Gregson - Three Questions (w.p.) Melinda Maxwell - Pibroch Ross Edwards - Ulpirra Telemann Fantasia in A minor Taken from Telemann’s collection of twelve Fantasias, this work was originally for solo Flute. Written in Hamburg in 1732 this Fantasia plenty of freedom for the performer to explore the sonorities of their instrument. While the modern oboe performing this evening will have dif- fered greatly from the Baroque Flutes intended for this work, so many extraordinary qualities of the music endure. In many ways the Fantasias remain just as virtuosic as they were nearly three hundred years ago. Compromising four short movements, this work blends and contrasts lyrical melodies with moments of really verve and energy. Emily Doolittle Social Sounds for Whales at Night (Cor Anglais, Percussion and Tape) Both the English horn and the tape part of Social sounds from whales at night are drawn almost entirely from the song of the humpback whale. The English horn begins by playing a transcrip- tion of the humpback whale song, while the tape part begins as an accompanimental background made out of altered recordings humpback whale song, sperm whale clicks, musician wren song, and one grey seal “rup” call. As the humpback whale song itself begins to emerge from the tape part, the oboe d’amore and the whale sing in duet, before the English horn takes over with an improvisation based on the whale’s musical language.
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2019-Programs-Holsts-Planets.Pdf
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