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The Consul Always Is, Always Was, and Always Will Be Aboriginal Land
To this we’ve come, that men withhold the world from men ... The Cooperative presents We perform today on the land of the Gadigal people of the Eora Nation. We offer our utmost respect to the custodians of this land, their Elders past and present, and acknowledge that this The Consul always is, always was, and always will be Aboriginal Land. Sovereignty was never ceded. Words and music by Gian Carlo Menotti About The Cooperative The Cooperative is a brand new Sydney opera company with a passion for social justice. Our mission is four-fold: The Consul To provide performance opportunities for young and emerging artists To perform politically and/or socially relevant productions To increase opera’s accessibility; and, Musical Drama in Three Acts To use opera to benefit the world around us. Our auditions are open to all, and our cast comprised of experienced and Words and music by young artists, those well versed in opera, and those experienced in other art forms but making their operatic debut here. All our performances aim to remove the financial barriers of opera, with entry on a pay-as-you-feel Gian Carlo Menotti scale, and all our profits taken at the door go to a charity or charities connected to the ideas we’ve explored onstage. We believe that theatre has a unique power to illumine, explore, and challenge injustices within our society in a public dreaming. We have the privilege of performing an incredibly beautiful art form, and it is our duty to use that privilege for the benefit of our global society. -
THIS IS CONGO a Film by Daniel Mccabe
PRESENTS THIS IS CONGO A film by Daniel McCabe Running Time: 91 minutes Language: English, French, Swahili and Lingala with English subtitles The Democratic Republic of the Congo / United States / Canada PRESS CONTACT: SALES CONTACT: Dogwoof. Dogwoof Yung Kha +44(0)20 7253 6244 Ana Vicente +44 7977 051577 CONFIDENTIAL: The information contained in this document may contain confidential information and is intended only for the individual(s) or entity(ies) to whom it is addressed. The information contained in this document may also be protected by legal privilege, federal law or other applicable law. Any distribution, dissemination or duplication of this docu- ment is strictly prohibited. SYNOPSIS Why is it that some countries seem to be continually mired in cyclical wars, political instability and economic crises? The Democratic Republic of the Congo is one such a place, a mineral-rich Central African country that, over the last two decades, has seen more than five million conflict-related deaths, multiple regime changes and the wholesale impoverishment of its people. Yet though this ongoing conflict is the world’s bloodiest since WWII, little is known in the West about the players or stakes involved. THIS IS CONGO provides an immersive and unfiltered look into the Africa’s longest continuing conflict and those who are surviving within it. By following four compelling characters — a whistleblower, a patriotic military commander, a mineral dealer and a displaced tailor — the film offers viewers a truly Congolese perspective on the problems that plague this lushly beautiful nation. Colonel ‘Kasongo’, Mamadou Ndala, Mama Romance and Hakiza Nyantaba exemplify the unique resilience of a people who have lived and died through the generations due to the cycle of brutality generated by this conflict. -
Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance. -
Bankks Butterley Mealee Werder
BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Koorie Perspectives in Curriculum Bulletin: January - February 2021
Koorie perspectives in Curriculum Bulletin: January - February 2021 This edition of the Koorie enrich your teaching program, see VAEAI’s Perspectives in Curriculum Bulletin Protocols for Koorie Education in Primary and features: Secondary Schools. For a summary of key Learning Areas and − Australia Day & The Great Debate Content Descriptions directly related to − The Aboriginal Tent Embassy Aboriginal and Torres Strait Islander histories − The 1939 Cummeragunja Walk-off & and cultures within the Victorian Curriculum F- Dhungala – the Murray River 10, view or download the VCAA’s curriculum − Charles Perkins & the 1967 Freedom guide: Learning about Aboriginal and Torres Rides Strait Islander histories and cultures. − Anniversary of the National Apology − International Mother Language Day January − What’s on: Tune into the Arts Welcome to the first Koorie Perspectives in Australia Day, Survival Day and The Curriculum Bulletin for 2021. Focused on Great Debate Aboriginal Histories and Cultures, we aim to highlight Victorian Koorie voices, stories, A day off, a barbecue and fireworks? A achievements, leadership and connections, celebration of who we are as a nation? A day and suggest a range of activities and resources of mourning and invasion? A celebration of around key dates for starters. Of course any of survival? Australians hold many different views these topics can be taught at any time on what the 26th of January means to them. In throughout the school year and we encourage 2017 a number of councils controversially you to use these bulletins and VAEAI’s Koorie decided to no longer celebrate Australia Day Education Calendar for ongoing planning and on this day, and since then Change the Date ideas. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Jerzy Kozlowski Michael Kieran Harvey New Song Cycles
ASTRA 2010 6 pm, Saturday 19 June, 6 pm, Sunday 20 June ELEVENTH HOUR THEATRE Fitzroy, Melbourne Jerzy Kozlowski bass Michael Kieran Harvey piano new song cycles: Michael Bertram at 75, Lawrence Whiffin at 80 Michael Bertram UNDERGROUND SONGS (2008) first performance Everyone Sang (Siegfried Sassoon) Trail all your pikes ( Anne Finch) He wishes for the Cloths of Heaven ( W.B.Yeats) I saw a peacock with a fiery tail (Anon. 17thC) Lawrence Whiffin PIANO SONATA NO.1 (1961/2006) I. Allegro molto II. Andante – Theme and Variations I N T E R V A L Lawrence Whiffin TIME STEALS SOFTER (2009) poems by George Genovese first performance Time Steals Softer (I) Walking Patriots Two Lives A Poet's Office Medi-Whinge 2004 Time Steals Softer (II) UNDERGROUND SONGS / TIME STEALS SOFTER … Sets of songs provoke a special relation between music and poetry – the choice and the order of poems has a formative influence on the trajectory and characters of the music that enters into their space. In the two new song cycles of this concert another influence is at work as well: the voice of the singer himself. Jerzy Kozlowski’s singing has become a well-known part of Astra programs over a long time and a wide terrain, from mediaeval music and Monteverdi to Reger (Eichendorrf), Busoni (Faust), Elisabeth Lutyens (Auden) and Helen Gifford (Shakespeare). Specifically, his two previous Astra solo recitals performing the late song-cycles of Shostakovich (Michelangelo and Dostoyevsky) made a remarkable impression for the possibilities of the medium of bass voice and piano, and stimulated both Michael Bertram and Lawrence Whiffin to compose new sets of songs particularly for him. -
An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years. -
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. -
14Th Annual Peggy Glanville-Hicks Address 2012
australian societa y fo r s music educationm e What Would Peggy Do? i ncorporated 14th Annual Peggy Glanville-Hicks Address 2012 Michael Kieran Harvey The New Music Network established the Peggy Glanville-Hicks Address in 1999 in honour of one of Australia’s great international composers. It is an annual forum for ideas relating to the creation and performance of Australian music. In the spirit of the great Australian composer Peggy Glanville-Hicks, an outstanding advocate of Australian music delivers the address each year, challenging the status quo and raising issues of importance in new music. In 2012, Michael Kieran Harvey was guest speaker presenting his Address entitled What Would Peggy Do? at the Sydney Conservatorium on 22 October and BMW Edge Fed Square in Melbourne on 2 November 2012. The transcripts are reproduced with permission by Michael Kieran Harvey and the New Music Network. http://www.newmusicnetwork.com.au/index.html Australian Journal of Music Education 2012:2,59-70 Just in case some of you are wondering about I did read an absolutely awe-inspiring Peggy what to expect from the original blurb for this Glanville-Hicks Address by Jon Rose however, address: the pie-graphs didn’t quite work out, and and I guess my views are known to the address powerpoint is so boring, don’t you agree? organisers, so, therefore, I will proceed, certain For reasons of a rare dysfunctional condition in the knowledge that I will offend many and I have called (quote) “industry allergy”, and for encourage, I hope, a valuable few.