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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. -
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an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research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. -
The Life and Times of the Remarkable Alf Pollard
1 FROM FARMBOY TO SUPERSTAR: THE LIFE AND TIMES OF THE REMARKABLE ALF POLLARD John S. Croucher B.A. (Hons) (Macq) MSc PhD (Minn) PhD (Macq) PhD (Hon) (DWU) FRSA FAustMS A dissertation submitted for the degree of Doctor of Philosophy University of Technology, Sydney Faculty of Arts and Social Sciences August 2014 2 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: 12 August 2014 3 INTRODUCTION Alf Pollard’s contribution to the business history of Australia is as yet unwritten—both as a biography of the man himself, but also his singular, albeit often quiet, achievements. He helped to shape the business world in which he operated and, in parallel, made outstanding contributions to Australian society. Cultural deprivation theory tells us that people who are working class have themselves to blame for the failure of their children in education1 and Alf was certainly from a low socio-economic, indeed extremely poor, family. He fitted such a child to the letter, although he later turned out to be an outstanding counter-example despite having no ‘built-in’ advantage as he not been socialised in a dominant wealthy culture. -
The Pleyel Harpsichord Roger Heagney George Frederic Handel (1685–1759) Suite in a Major 1 Präludium 2’06” 2 Allemande 3’36” 3 Courante 2’43” 4 Gigue 3’23”
The Pleyel Harpsichord Roger Heagney George Frederic Handel (1685–1759) Suite in A major 1 Präludium 2’06” 2 Allemande 3’36” 3 Courante 2’43” 4 Gigue 3’23” Nicolas Le Bègue (1631–1702) Prelude en D la re sol 5 Prelude en D la re sol 2’09” 6 Allemande 3’09” 7 Courante - grave 1’36” 8 Courante - gaye 1’22” 9 Sarabande 2’20” q0 Gavotte 0’55” qa Chaconne - grave 3’22” Francois Couperin (1668–1733) qs Les Baricades Mistérieuses (Sixième Ordre) 2’47” qd Passacaille (Huitième Ordre) 6’55” Baldassare Galuppi (1706–1785) Sonata in C minor qf Larghetto 2’23” qg Allegro 2’36” Sonata in C major qh Andante 3’55” qj Allegro 2’04” THE PLEYEL HARPSICHORD • Roger Heagney MD 3428 P 2018 Move Records ... move.com.au The Pleyel ‘Concert Grand Harpsichord’ used for this recording was originally bought for the Canberra School of Music in 1965 by its founder and Director, Ernest Llewellyn. In the 1990s it was purchased by Melbourne based harpsichord maker Alastair McAllister, who restored it over the next several years. Importantly, it was revoiced with ‘Delrin’ plectra in place of the original leather used by Pleyel. Manufactured in 1963 this was one of the last harpsichords made by Pleyel although the company, which was founded in 1807, did continue to make pianos until its doors were closed for the last time on 14 January 2014. Alastair prepared the harpsichord for Roger Heagney, who played it for his ‘Harpsichord Masters’ programme as a part of the 1998 Melbourne International Festival of Organ and Harpsichord. -
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. -
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). -
Iasinstitute for Advanced Study
G13-15849_FacultyMembersCOV-12_Layout 1 10/28/13 12:26 PM Page 1 IASInstitute for Advanced Study INSTITUTE FOR ADVANCED STUDY EINSTEIN DRIVE PRINCETON, NEW JERSEY 08540 (609) 734-8000 www.ias.edu Faculty and Members 2013–2014 G13-15849_FacultyMembersCOV-12_Layout 1 10/28/13 12:26 PM Page 2 It is fundamental in our purpose, and our express desire, that in the appointments to the staff and faculty as well as in the admission of workers and students, no account shall be taken, directly or indirectly, of race, religion, or sex. We feel strongly that the spirit characteristic of America at its noblest, above all the pursuit of higher learning, cannot admit of any conditions as to personnel other than those designed to promote the objects for which this institution is established, and particularly with no regard whatever to accidents of race, creed, or sex. —Louis Bamberger and Caroline Bamberger Fuld, in a letter dated June 4, 1930, to the Institute’s first Board of Trustees Cover: Kazuya Yonekura (kneeling), Member in the School of Natural Sciences, with Yuji Tachikawa (Member, 2006–11) Photo: Andrea Kane Contents Mission and History . 2 School of Historical Studies . 4 School of Mathematics . 21 School of Natural Sciences . 41 School of Social Science . 58 Program in Interdisciplinary Studies . 68 Director’s Visitors . 70 Artist-in-Residence Program . 71 Trustees and Officers of the Board and of the Corporation . 72 Administration . 74 Past Directors and Faculty . 76 Index . 77 Information contained herein is current as of September 23, 2013. Mission and History The Institute for Advanced Study is one of the world’s leading centers for theoretical research and intellectual inquiry. -
Australian National University Acton Campus — Site Inventory
Australian National University Acton Campus — Site Inventory Study Item/ Area School of Music Acton Campus Precinct BALDESSIN Precinct Building Nos. & Names 100 (Canberra School of Music), 121 (Peter Karmel Building), 105B (National Institute of the Arts (NITA) (Administration), 123 (Section 16/28, Canberra City) Figure 1: Location of study area within the ANU Acton Campus site. Heritage Ranking School of Music—High—Meets the criteria for Commonwealth Heritage List Peter Karmel Building—Neutral—Does not meet criteria for Commonwealth Heritage List Heritage Listing The School of Music is listed on the Commonwealth Heritage List (CHL). Condition—Date The condition noted here is at December 2011. The extant buildings and trees of the Canberra School of Music continue to be well maintained for academic study and research and are in good condition. Relevant Documentation A (draft) Heritage Management Plan was prepared for the School of Music in 2010 by the ANU Heritage Office. 1 ANU Acton Campus — Site Inventory — School of Music (100, 121, 105b & 123) Australian National University Acton Campus — Site Inventory Context of the Buildings Figure 2: Canberra School of Music in its setting of the Baldessin Figure 3: Canberra School of Music in its setting off Childers Street near Precinct. the School of Art (Building 105). Brief Historical Overview The idea for a school or Conservatorium of Music for Canberra can be traced back to the foundation years of the city. In March 1926 the Secretary of the Federal Capital Commission (FCC) CS Daley wrote to Dr WA Orchard, then Director of the NSW State Conservatorium of Music. -
An Identification of Past Influences and Current Trends in Australian Piano Pedagogy
An Identification of Past Influences and Current Trends in Australian Piano Pedagogy Monika Rutkowska BMus (Hons)(Newcastle) A thesis submitted in fulfilment of the requirements for the degree of Master of Philosophy (Music) June 2018 This research was supported by an Australian Government Research Training Program (RTP) Scholarship Master of Philosophy (Music) The University of Newcastle (Australia) Statement of Originality I hereby certify that the work embodied in the thesis is my own work, conducted under normal supervision. The thesis contains no material which has been accepted, or is being examined, for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968 and any approved embargo. Monika Rutkowska June 2018 Monika Rutkowska - 3145630 ii Master of Philosophy (Music) The University of Newcastle (Australia) Acknowledgements I would sincerely like to thank my principal supervisor Conjoint Associate Professor Rosalind Halton and co-supervisor Nathan Scott for their valuable insights, guidance and willingness in helping me to grow both as a researcher and a writer. I would like to extend thanks to Dr Gian-Franco Ricci, who was the inspiration for studying this topic, and also my principal supervisor for the first half of this research project. A warm thank you to the survey and interview participants in this study, who generously gave their time, their reminiscences, and thoughts on teaching to this project. -
HIGH MUSIC RINGING Jubilee of the Queensland Conservatorium
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Queensland eSpace 14 HIGH MUSIC RINGING Jubilee of the Queensland Conservatorium by SIR DOUGLAS FRASER, l.S.O. presented to a Meeting of the Society on 27 May 1982. Amongst the works of the poet Arthur O'Shaughnessy is a most expressive ode to the Music Makers which opens with these words: We are the music makers. And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams, World-loosers and world forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems. Doubtless it was the beauties of music and its powerful influence upon the spirit and culture of our national life which in the first quarter of the present century promoted the thoughts and represen tations of musicians in Queensland upon the establishment of a Conservatorium of Music. Over the period 1905 to 1921 there were expressions of thought by the former Musicians Association (which later became the Music Teachers Association) upon the desirability and indeed the necessity for a Conservatorium within our State. In this the association had the support of the Brisbane Music Council. Then in 1928 the late George Sampson, F.R.CO., that grand pioneer of music in Queensland, mentioned the need for a conservatorium or school of music in the book, Brisbane Music Week Programme, The real drive, however, commenced at the conclusion of the Second World War (1939-1942) when musicians embarked upon a campaign for the promotion of public interest and support and Sir Douglas Fraser, as Deputy Public Service Commissioner, was on the first Advisory Council for the Conservatorium's establishment and vnas associated throughout with the initial planning. -
2015 Annual Report
2015 Annual Report Patron His Excellency the Honourable Paul de Jersey AC Our mission is to: Deliver an international chamber music festival and related experiences to Townsville Enrich the cultural life of North Queensland; and Create compelling reasons for diverse audiences to visit from across Australia and around the world We aim to enrich lives, educate and excite people about chamber music by presenting great artists in innovative and creative programming. We value: Artistic Integrity Engagement Education Professionalism Openness Accountability Piotr Anderszewski Our Strategic Objectives are to: Create a unique festival experience Educate and enrich key stakeholders from artists and audiences to sponsors and supporters. Grow and diversify our audiences Increase consumer awareness and Festival audience through effective marketing and communications and innovative music programs of a broad repertoire that appeal to a wide audience. Secure long-term sustainability Maintain a sound business model and operating system that guarantees future financial stability and a successful artistic programme Australian Festival of Chamber Music - Annual Report 2015 Page 1 Chair’s Message The 25th anniversary of the Australian Festival of Chamber Music was an exciting affair. Our enhanced community engagement strategy saw a wonderful free concert in Queen’s Park with more than 4,000 people enjoying a relaxed and engaging afternoon with the stars of the Australian Festival of Chamber Music, ably supported by the 1 RAR Band, and the Barrier Reef Orchestra. The Festival garnered respectful reviews in national and international media, and as ever, we received excellent support from local media, particularly the Townsville Bulletin. Government funding is becoming both more uncertain, and harder to obtain. -
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.