AMY DICKSON IN CIRCLES Digital Booklet Standard Master Page Size: 11 x 8.264 inches (28 cm x 21 cm) Four-page minimum Horizontal presentation All FONTS are embedded RGB Color All images are full-bleed Final PDF must be no more the 10mb Your background artwork must fill until the red guide line - Bleed 0.125” (3.175mm). Do not place logos, text, or essential images outside of the white space ÉMILE PESSARD 1843–1917 arr. JessicaDigital Wells Booklet Standard MANUEL DEMaster FALLA 1 Andalouse 2’42 w Nana (No. 5 from Siete canciones populares españolas) 2’32 PETER SCULTHORPE 1929–2014 WILLIAM BARTON born 1981 2 Djilile 3’52 e Kalkadunga Yurdu (Kalkadoon Man) 10’16 MANUEL DE FALLA 1876–1946 Page Size: 11 x 8.264 inches (28 cm x 21 cm)RALPH VAUGHAN WILLIAMS 1872–1958 3 Jota (No. 4 from Siete canciones populares españolas) 3’04 Six Studies in English Folk-Song [8’29] Four-page minimum r I. Adagio 1’36 JAMES MACMILLAN born 1959 t II. Andante sostenuto 1’18 4 Horizontal presentation From Galloway 3’27 y III. Larghetto 1’38 All FONTS are embedded u TRADITIONAL arr. Amy Dickson IV. Lento 1’35 i 5 She Moved through the Fair RGB Color 3’23 V. Andante tranquillo 1’32 All images are full-bleed o VI. Allegro vivace 0’51 JAMES MACMILLAN Saxophone Concerto Final PDF must[17’11] be no more the 10mb ROSS EDWARDS born 1943 p Dedicated to Amy Dickson Yanada 5’13 6 I. March, Strathspey and Reel 5’37 7 II. Gaelic Psalm 6’18 Amy Dickson 8 III. Jigs Your background5’10 artwork must fill until the red Soprano saxophone 3-e, p LIVE RECORDING guide line - Bleed 0.125” (3.175mm). Do not place Alto saxophone 1, 2, 9, r-o PERCY GRAINGER 1882–1961 arr. Jessica Wells logos, text, or essential images outside of the white 2 5 e p 9 Shepherd’s Hey 1’47 William Barton didgeridoo , , , space Daniel de Borah piano 1, 3, 0, w, r-o JOHANNES BRAHMS 1833–1897 arr. Joseph Joachim Adelaide Symphony Orchestra 6-8 0 Hungarian Dance No. 4 4’06 Nicholas Carter conductor 6-8 ANONYMOUS q Discovery 1’46 Digital Booklet Standard Master This album unapologetically celebrates folk music and the cyclical and repeated influence it has had on music around the world throughout history. Folk music continues to evoke a touchingly Page Size: 11 x 8.264 inches (28 cm x 21 cm) sincere national optimism and a patriotic passion Four-page minimum for its country of origin. Horizontal presentation Folk music breathes the very identity of a country and in troubled times can be a source of solace, All FONTS are embedded over and over again. This music inspires a more RGB Color egalitarian perspective and can even galvanize All images are full-bleed social change. Final PDF must be no more the 10mb In today’s frenetic digital age, folk music offers us a refuge: the enduring simplicity and nostalgia embodied in this music provides timeless sanctuary from the relentless surge of modernity. Your background artwork must fill until the red It serves as a reminder of the constancy of the seasons and the revolving patterns in our lives. guide line - Bleed 0.125” (3.175mm). Do not place At the core of folk music lies a beating heart logos, text, or essential images outside of the white of humanity to which we return again and space again: the creation itself of this music requires personal, family and social connections – in a word: kinship. Amy Dickson Amy Dickson and William Barton in the recording studio About the music the solo cello piece Threnody (1991) and the piano trio Dream Tracks (1992).’ It also features in the saxophone concerto Island Songs, which Peter Sculthorpe wrote for Amy. During the composition The Prix de Rome was the holy grail for young French composers of the 19th and 20th centuries. process, Peter shared his thoughts on how the melody should be performed; this version for alto Berlioz, Gounod, Bizet, Massenet and Debussy were among its laureates, but for most of those Digital Booklet Standardsaxophone and didgeridoo Master was inspired by those conversations. who received it, the Prix de Rome represented a brief moment in the spotlight before vanishing into obscurity. Such was the fate of the Parisian composer Émile Louis Fortuné Pessard, now remembered principally as Maurice Ravel’s harmony professor at the Paris Conservatoire. After his competition- In his native Spain, the 31-year-old Manuel de Falla was known as a third-rate composer of the popular winning cantata Delilah was performed at the Paris Opera in 1867, he composed another dozen or so musical spectaculars or zarzuelas. But lured to Paris in 1907 by the promise of a performance of his operettas but only one, the now entirely forgotten Captain Fracas, met with any notable success. His opera La vida breve after plans for the Spanish premiere fell through, Falla found a second home skill as a composer of songs, though, is attested by the story of a youngPage Debussy Size: copying 11 x out8.264 one ofinches (28 cmwhere x 21 he cm)was received with warmth and enthusiasm. Although intending to stay for just seven days, his mélodies by hand; when the ‘manuscript’ was discovered half a centuryFour-page later, it was minimum published as he remained for seven years, driven back to Spain only by the war, and it was in Paris in 1914 that he an early Debussy song... Horizontal presentation composed his Siete canciones populares españolas (Seven Spanish Folksongs). Pessard is probably best known today to students of the flute, for his Andalouse, now regularly Falla had a vision of a nationalism made universal, where the characteristics of traditional Spanish included on examination lists for that instrument. It was originally writtenAll in FONTS 1877 for piano are solo,embedded part music would be exploited with the techniques of the great ‘European’ tradition. In Siete canciones, he of a set of 25 salon pieces, several of which respond to the contemporary taste for the exotic: music RGB Color took as his raw material traditional songs and dances from all over Spain; the Jota has its origins in of foreign lands and/or former times. With its sinuous melodic line and strutting rhythms, Andalouse All images are full-bleed the Aragon region and is both a dance (as is clear in the lively piano introduction) and a song – in this references the flamenco music of Andalusia in southern Spain – seen through the prism of late case, a sung by a lover beneath the window of his beloved: ‘They say we’re not in love, since they 19th-century aesthetics of grace, wit and charm. Final PDF must be no more the 10mb never see us talking; let them ask your heart and mine!’ Peter Sculthorpe is generally acknowledged as the first Australian composer to create a distinctly Nana is a lullaby, with the hypnotic quality of the Moorish south. ‘Sleep, little one, sleep, little Australian sound, breaking away from the European musical models that had prevailed in this morning star.’ country until the 1950s. In doing this, he drew his inspiration from theYour Australian background landscape, from artwork must fill until the red the relationship between the land and its people – both Indigenous and non-Indigenous – and from guide line - Bleed 0.125” (3.175mm).James Do MacMillan’s not place music incorporates a broad range of styles, from medieval plainchant to Australia’s location, geographically and culturally, as part of the Pacific region. He first began to modernism, but perhaps his signature trait is the musical language of his native Scotland. (In his youth engage with Indigenous melodies in 1974 with The Song of Tailitnamalogos,; from the text, mid-1980s, or essential this images outside of the white he regularly played and sang in Scottish folk-clubs and pubs.) This can manifest as actual Scottish folk became a focus of his musical language, either quoting directly from Aboriginal and Torres Strait Island space tunes, whether woven into orchestral works or as settings of complete songs, or as folk-style, songs, or composing original melodies that reflected general characteristics of Indigenous musical From Galloway sources. quasi-improvisatory ornamentations and figurations. was written for John Cushing, Principal Clarinet of the Royal Scottish National Orchestra. Djilile was written in 1986; the composer described the work as ‘based upon an adaptation of an Aboriginal melody collected in northern Australia, in the late 1950s by A P Elkin and Trevor Jones. The title means “whistling-duck on a billabong”. I have a special fondness for this melody, having used it in the string work Port Essington (1977), and more recently in the orchestral work Kakadu (1988), She Moved through the Fair is widely claimed as a traditional melody – a ‘medieval-era fiddle tune’ the playing of the fiddler of the Bidford Morris Dancers, J. Mason (Stow on the Wold), W. Hathaway from County Donegal, according to some – but the details are sketchy. The tune was published (Cheltenham) and William Wells (Bampton). by Herbert Hughes, an Irish folksong collector and arranger (and the composer of The Salley Gardens), who is reported to have heard it in DonegalDigital in 1909, but whether Bookletit is a transcription or an Standard‘Morris Dances,’ Grainger Master goes on, ‘are still danced by teams of “Morris Men” decked out with bells arrangement or a completely new melody based on an authentic traditional air is not clear. and quaint ornaments to the music of the fiddle or “the pipe and tabor” (a sort of drum and fife) in several agricultural districts in England.