The Monash University Flute Ensemble training, these musicians are provided with was established in 2010 as an ensemble the opportunities to experience real-world course-unit within the Monash University performance settings, and this recording School of Music program. The student-based process has given this platform to their ensemble is open to all flutists, both in education. Performance and Arts degrees. The ensemble The ensemble ranges in size and timbral has recorded creative compositions by colour as all members double or triple both faculty and student composers on Piccolo, Eb flute, C flute, Alto, Bass, and has made appearances at the 2009, Contrabass and Subcontrabass flutes. With 2011 and 2103 Australian Flute Festivals. their unique sound, and commitment to new The group is featured on the University’s music, the Monash Flute Ensemble is poised ‘Sound Series’ programs and plans to visit to be one of the leaders of new music for the United States in 2014 to premiere multiple flutes in Australia. several commissioned works. As students in bass, contra and subcontrabass flute parts Fanfare for Uncommon Flutes by Houston all having important parts to add to this Dunleavy is a pure burst of flashy and unique sound world. The ensemble is greatly Fantasie Australis furious flute sounds. Commissioned by indebted to Mr Giles for his fine contribution Peter Sheridan, the piece was the opener and continued inspiration. This recording features compositions by for the ensemble’s 2013 Australian Flute www.vincentgiles.com living Australian composers, mostly whom Festival appearance. Composed in binary are based in Melbourne, Victoria. The form, the work explodes in a frenzy of off- Chaconne was originally composed for flute ensemble repertoire of Australia is beat rhythmic patterns that drive with double string orchestra, and was easy to rather minor compared to other national momentous energy. A battery of low flutes adapt for double flute choir. Listeners familiar musical genres, though the country has a enters almost in a united gang formation, with Bach’s famous chaconne (from the rich and vibrant source of fine woodwind and support, if not even challenge, the Partita for solo violin in D minor BWV 1004) composers. A strong growing interest in high octane energy that bubbles above may notice allusions to Bach’s rhythm and the extended flute ensemble is taking place their sound world. The B section pushes the structure, which are themselves part of the here in Australia and worldwide, as multi- boundaries of any large ensembles virtuosity, chaconne tradition. This chaconne consists award winning composers are exploring and as the melodic intervals become wider and of twenty-one cycles, a Fibonacci number investigating the sonic possibilities of the more complex. The energy of the dense that is broken down into successively smaller extended flute family with fresh ears. This texture suddenly dissipates and the low Fibonacci numbers to provide the structure album displays a variety of musical styles flutes drag us down into the recapitulation. of the piece. Most notable is three cycles of from driving rhythmic pieces to works based An exciting tour-de-force this work features strict canon between the two choirs leading around pure lyricism and improvisation. over 8 octaves of flute sound, from piccolo into the climax: three cycles worth of ten- These imaginative creations can take the down to hyperbass. part counterpoint. Non-technical readers listener on a journey into the Australian www.houstondunleavy.com are advised not to worry about cycles and landscape, to explore the wild bird-calls, Fibonacci numbers, and are encouraged just the driving the waves, and the howling Fantasie Australis is a lyrical contemporary to enjoy the music! www. southern winds of a land as old as time. parody based loosely around the tune of mcalley.net.au Australia is a land filled with natural sounds ‘Australia Fair.’ Composed by third year that can permeate the psyche and open new composition major (of 2010), Vincent Giles, Aerofoil is arranged from an electro-acoustic thoughts of sonic possibilities. the work opens and closes with some very composition of the same title (2008) by This recording provides both student unique clustered sonorities from c flutes to student composer Emma Rogers. The performers and composers the opportunity subcontrabass and incorporates different piece opens with fluttering flutes playing to experience, and publicise their musical uses of the flutist’s airstream (jet whistles, harmonics which quickly form a tight unified training and aptitudes on the international flutters etc.). The central section hints at rhythmic groove. As this ostinato gradually stage. It is our vision that this CD will the National Anthem, yet never quotes develops, fragmented melodic shapes enter inspire new generations of composers and any phrase in its full capacity, yet the ear in and allow the sonic structure to morph performers to explore the traditional sounds can still discern its presence and sense of into something new, yet at the same time of the Western flute, as well as showcase the beautiful lyrical musical direction. The score remain stable. A most effective and unique abilities of the power and sensitivity of the is weighted towards the low end, with alto compositional device for multiple flutes, as entire flute family. the colours of the various flutes blend well Elspeth Goodin. It is with great pleasure that sonorities of the piccolo, C flutes and alto into the texture of the whole, yet remain I dedicate this work to her, with love and flutes. As the rhythms and tempos grow individual in their register voicings. thanks.” slightly faster so does the sound of the www.thomasreiner.com.au ensemble and melodies appear in the bass Short and quirky, Blow Pipes by the and contrabass parts, giving the movement a A somewhat abstract work, Milford Fall Tasmanian based composer Russell Gilmour blossoming affect. The gesture climaxes with is based around the simple instrumental is originally for flute quartet, though the the opening phrase being tossed around technique known as ‘tremolos’, or shakes. piece works well in a large ensemble setting. the ensemble from piccolo to contrabass These fast alternating notes, are basically The ostinato rhythmic groove is layered by flute. The movement closes with a suddenly much like trills, though some of the spacing melodic interests on the upper flutes. As syncopated rhythmic figure. The second between the notes can be wider than a this opening section comes to a cadence, a movement opens with a driving emotional trill, which makes the resulting sound more new slower feel of time is developed. The C rhythm that is released into a potpourri of complex and even a bit scary. In composer flutes find their voice in a soaring short lived melodic fragments and gestures. A heart-felt Houston Dunleavy’s words, “Milford Fall is, rising melody that brings the return of the passage features the piccolos crying their for the most part, more meditative. Yet it opening ostinato. An accelerando ushers in phrase above the vigor and power of the low is still concerned with sonority: this time, the coda, where the flutist add a singing line flutes as they stomp their rhythmic gesture that which can be built from quarter tones to their ‘blow pipes’ and the work comes to into submission. A short and delicate piccolo through to tremolos. These are heard in the an exciting close. Gilmour has worked as a solo brings the motion to the closing flighty piece as an expanding entity, as if they are teacher, lecturer and arts administrator over syncopations of the coda. The emotional part of a continuum based on the sonorities the years and recently has established the weight of the Andante is immediately felt of intervals. The work grew from my last Gilmour Ensemble in 2003. The score and in the woeful tones of the low flutes, as alto experience of Milford, Pennsylvania, in the parts can be electronically purchased from basses and contrabass flutes pass mournful autumn of 2003. The sights and sounds Pink Chesterfield Music. fragmented phrases between each other. of this small town at that time of year, like www.australianmusiccentre.com.au/artist/ Glimpses of hope can be felt in fast rhythmic the fluttering, rustling autumn leaves, the gilmour-russell gestures, that help move the musical idea bracing cold of the playground and parks, forward. As the sound of the ensemble the quiet of the nearby forests, the sudden, Roses: Potpourri of Pain and Peace by Emma grows, the dark tone remains present chilling winds that promise the bitter winter Rogers, is a cyclical four movement work that and this profound yet simple movement ahead, the giant Sport Utility Vehicles, and features fragmented melodic phrasing and is brought back to its lonely opening. the mighty Delaware River, all compete for fine instrumental blends. In the composers The thematic motive is used to open the space in this little piece. Yet perhaps the words, “Roses is playing with the notion fourth movement is a sombre and almost main reason for writing this work is the of being simultaneously happy and sad. It desolate state. This gives way to a 6/8 dance many pleasant days I’ve spent in Milford takes the imagery of the blood red rose; that seems weighted with pain, though over the years, composing, walking, drinking a delicate, fragile object that is present at continues to march on. A sudden stop, has coffee, and eating pizza and ice cream in the both weddings and funerals and explores it the opening thematic phrase return on the company of my family. I’ve also composed within a musical context.” The opening low contrabass flute to close this emotional this piece to acknowledge the kindness flute solos gently emerge into a forward and passionate work. Ms Rogers is a third and generosity of my mother-in-law, Dr M moving section featuring the combined year undergraduate composition student of Russell Goodwin and Thomas Reiner. She Bach’s Badinerie and the main theme from Monash University is also a fine flute player and has recently the ‘Harry Potter’ movie. This is a great encore Flute Ensemble taken her Associate of Music examination piece, as well as having educational value. Kate Aldred for the Australian Music Examinations Board. It contains a variety of forms like round Jessie Beaty www.emmarogerscomposer.com and fugue as well as plenty of technical Alice Bennett* challenges. Angry Tunes was premiered at Elizabeth Collier Fragments, is a piece for large flute the Australian Flute Festival in Canberra in Jessica Foord ensemble that exploits the wide range of 2011 and has since become a very popular Merrily Hansen this ensembles diverse colours. Vincent Giles’ piece among students and professional Jessica Hateley* composition is designed as a layering of ensembles and the composer himself has Ruth Hill* different sounds within time, that explores created a number of arrangements ranging Emily Huang sonic space with relation to both pitch and from flute quartet to flute choir, including Sabrina Jansen rhythm. It is not written with a harmonic low sounding flutes.” Catherine King structure or progression in mind. The work www.mrflute.com.au Kerryn McDonald* also explores silence and space through the Jazmine Morris range of the instruments. The climax of this Improvised Fragments is an alternative Katie Nestoriwskyj special exploration comes in the form of take of free improvisation section of Daniel Nguyen ‘improvised fragments.’ Each member’s small Vincent Giles Fragments. This track’s unique Maree Pattas fragmented gesture is added to the whole, communication and sonority surprised me at Emma Rogers creating a collage of sounds. The piece calls how well the ensemble can express without Chris Street for a specific stage setup, that provides an written music in front of them. It begins with Cassandra Van Heer antiphonic performance, with sound being a solo on bass flute and adds instruments Grace Wiedemann moved around in a stereo field. one by one, until there is a cluster of sound Sophia Zhou-Ambatsidis that eventually fades away. The possibilities (*guest performers) Angry Tunes by Polish born, Queensland are always endless with improvisation based composer Michal Rosiak features a though this particular take almost feels as if it Peter Sheridan has directed flute ensembles variety of clever compositional tricks and were premeditated … a fine example of what in the United States and Australia, leading parodies. In the composer’s words: “This a University instrumental ensemble can do, groups for the Victorian College of the contemporary composition is addressed to when giving the opportunity. Arts, University of California Los Angeles predominantly younger audiences. The main (UCLA), University of Arizona and La Sierra motive was taken from the popular game For more information about Australian music University. Mr Sheridan was a founding ‘Angry Birds’. The entire composition is based and ensembles: www.australianmusiccentre. member of the innovative Los Angeles Flute on that very motive which is developed com.au Quartet, and recorded with the Hollywood throughout the piece and interestingly Studio Orchestra. A Teaching Associate for becomes the harmonic foundation in both the Monash University School of Music, he the horizontal and vertical lines. The other has lectured in the areas of American Music familiar tunes have also been used in this and Woodwind pedagogue since 2009. Mr composition: Mozart’s G major Concerto, Sheridan is woodwinds instructor and band director at Donvale Christian College and you for your vision, trust and professionalism Mazenod College, and presents lectures and towards the timely completion of this CD. I would like to thank workshops for the low flutes, Internationally. To my colleague Vaughan McAlley, for He has commissioned numerous works for his tireless work and continued patience Peter Sheridan for his the low flutes/flute ensemble and has been with the editing of this disc. Your ‘seasoned- enthusiastic support of an invited guest artist to the Australian, educated-wisdom’ has brought our American, British, Canadian and Japanese performance and these compositions to life! contemporary Australian International Flute Festivals. His flutes can be It is your dedication to sound and overall music. Without his heard on Varese Sarabande, Albany, Innova, details that has created our vision. A deep Warner Bros. (Latina), Forest Glade and Move sincere gratitude is bestowed onto you. boundless energy this Records. www.lowflutes. Thanks also to Move Records employee, Rhys disc would probably not com Boak for his assistance. A warm thank you goes to all the student have been made. And Acknowledgements performers involved in the project. Your contemporary Australian We express our appreciation to the Music work, efforts, talents and expression have Faculty at Monash University, especially made this unique recording a reality. For the music and Australia’s flute David Griffiths, Thomas Reiner and Robert flutists whom gave up their weekend (just ensemble scene would be Burke for their kind assistance in securing before finals!) to play on multiple flutes and the Music Auditorium for these recording never complain but rather push through the poorer for it. sessions. to the other side and complete a very Vaughan McAlley, composer The ensemble wishes to graciously thank demanding recording/ rehearsal schedule, Martin Wright of Move Records for his time, my sincere gratitude. Your contribution is efforts and all round support. You have further-reaching than you can image. Your my friends is artistry. single-handedly added several compositions performance has provided young composers Lastly, a word must be said to our fine to the Australian Flute Ensemble repertoire. with a fine opportunity to share their gifts composers. Your talents are the true show That is a gift we all will never forget. Thank and musical voice and experience the joy, here. With your adventurous sounds worlds love and pure passion and fun, exciting instrumentations, you of hearing their have made an ensemble once deemed as creations come to ‘educational’, a vital and living component of life! For this you have serious composition. It is only with your voice become small heroes that we become performers: and diplomats (if you will) for your countries Benefaciat vobis Deus musical voice and art. et vos inspiratione opus! That goes beyond (May God bless you in your the fifteen hours of work and inspiration!) recording and the years of practice. That Peter Sheridan, director Fantasie Australis Monash University Flute Ensemble directed by Peter Sheridan

Recorded at Monash University, Sir Zelman Cowen 1 Fanfare for Uncommon Flutes (2013)* Houston Dunleavy 2’53” School of Music, Music Auditorium 8/9 June 2013 by Martin Wright (Move Records) 2 Fantasie Australis (2011)* Vincent Giles 4’13” Edited and balanced by Vaughan McAlley 3 Mastered by Martin Wright Chaconne for double flute choir (2010) Vaughan McAlley 5’54” Artwork by Benjamin Thomas 4 Aerofoil (2003/arr. 2011)* Thomas Reiner 4’32” Photographs by Kerryn McDonald and Vincent Giles 5 Milford Fall (2010) Houston Dunleavy 5’12” 6 Blow Pipes (1997) Russell Gilmour 3’45” MD 3366 P 2013 Move Records Roses: Potpourri of Pain and Peace (2011)* Emma Rogers www.move.com.au 7 I. Elegant Utterances 3’15” 8 II. Breathe 2’25” 9 III. Crimson 4’02” q0 IV. Fragments of Dance 2’20”

qa Fragments (2010)* Vincent Giles 6’28” qs Angry Tunes (2011)* Michal Rosiak 3’30” qd Bonus Track: Improvised Fragments (take two) 1’50”

* Denotes commissioned or arranged composition for MUFE