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White Ghost Dancing

TASMANIAN SYMPHONY Based in , Ross Edwards is one of music was featured at the 2001 Glamorgan ’s most distinguished , Festival in Wales, a highlight of which was a having emerged as a highly distinctive voice in performance of his Symphony No. 2 by the the generation of Australian musicians who soprano Emma Bell and the BBC NOW began to make an impact during the 1970s. Orchestra conducted by Brad Cohen. More Building on the groundbreaking music of Peter recent works include Mountain Chant, Sculthorpe, and Nigel Butterley, Symphony No. 4 Star Chant, a major work for Ross Edwards b. 1943 he and colleagues such as and Brian chorus and orchestra to a text by the astronomer Howard sought new modes of expression which 1 White Ghost Dancing 7’30 , which was presented at the 2002 simultaneously built on cross-cultural influences accompanied by deep space Veni Creator Spiritus (Come, O Creator Spirit) [15’51] while reflecting their identity as Australians. photographic images by , and an Through three decades of an inspired career, 2 Puro e tranquillo 7’35 Concerto for , the Sydney Ross Edwards has demonstrated his 3 Ritmico 7’56 Symphony Orchestra and conductor . commitment to the ideal of music as a positive Concerto for Guitar and Strings [18’36] and regenerative force within society. His Recordings of Edwards’ chamber music have 4 First Maninya 5’43 aesthetic journey has led him not just to explore been released by Tall Poppies Records, the most 5 Arafura Arioso 7’38 beyond the confines of Western art music but to recent of which, Raft Song at Sunrise, was a 6 Second Maninya 5’15 develop his own unique compositional styles. prizewinner at the 1998 Classic FM Recording of the Year Awards. guitar By no means restricted to the concert hall 7 Mountain Village in a Clearing Mist 14’50 (although this is where many of his greatest Edwards is perhaps best known for his successes have occurred), his music is orchestral music, including Enyato III (1995), Chorale and Ecstatic Dance (Enyato I) [13’51] frequently used to accompany dance and film – composed for the Sydney Symphony Orchestra’s 8 I. Chorale (Sereno) 8’03 a list of credits which notably includes the European tour in 1995, Symphony No. 2 Earth original score for the feature film Paradise Road 9 II. Ecstatic Dance (Animato) 5’48 Spirit Songs (1997) for soprano directed by Bruce Beresford. At the dawn of the and the Sydney Symphony, and Symphony No. 3 Total Playing Time 70’17 new millennium, his Dawn Mantras (also known Mater Magna (2000) for the Melbourne as Breath of the Spirit) was telecast to Symphony. The ABC Classics CD featuring the Tasmanian Symphony Orchestra international acclaim from the sails of the Sydney Symphony Orchestra performing conductor Sydney House. Symphony No. 1 Da Pacem Domine (1991) He has twice received a Keating Fellowship (the received the highest accolade as Editor’s Choice Australia Council’s highest award) and in 1997 in the 1996 Cannes Classical Awards in France, he was awarded the Order of Australia. His having already won an ARIA award in Australia.

2 3 Such works as Yarrageh – Nocturne for Concerto for Guitar and Strings, for instance, style. The title is taken from Edwards’ arbitrary and ended with a flippant gesture. I remember Percussion and Orchestra (1989) and Tyalgum consist of a lyrical and expressive adagio framed nonsense poem ‘Maninya’ (1981), which has that in obeying my impulse to “destroy” several Mantras (1999) reflect Ross Edwards’ strong by two pulsating maninyas, in which references had a formative influence on much of his months’ work in this way, I experienced a great belief in the therapeutic power of music. to a variety of musical cultures are woven into a instrumental and vocal music. Through their sense of release; perhaps I was unconsciously These works, which have been described as fabric of insect rhythms and drones. But this musical associations the ‘words’ maninya and expressing the waning of my belief in the ‘contemplation objects in sound’, are particular work, written for John Williams and enyato have acquired the meanings musical idiom to which I’d grown accustomed in characterised by a timeless austerity much the 1995 Darwin International Guitar Festival, ‘dance/chant’ and ‘contrast’ respectively. my formative years. At any rate, I came soon influenced by birdsong and the mysterious also has origins in the visual arts. afterwards to the conclusion that my music was An ostensibly straightforward piece, Enyato I polyphony of the insect chorus in the Australian too dense and claustrophobic and that it needed ‘As I composed the Guitar Concerto, I always presents an immediately attractive surface to bush. It’s this distinctive sound-world in which more space to breathe.’ had before me Ian Morris’ photograph of a the listener, and like so much of Edwards’ work shapes and patterns from nature are merged gloriously flowering Red Bud Mallee against a has found an appreciative audience in Australian Composed shortly after Edwards’ return to with harmonies and rhythmic material deep blue sky,’ Edwards says, noting that he concert halls. The first movement is like a Australia following three years of study in celebrating Australia’s cultural diversity that most would like to think that the quintessentially chorale, cast in medieval European modality Europe, Mountain Village in a Clearing Mist embodies the individuality of Edwards’ music. Australian image is somehow captured within tempered by South-East Asian inflections; the heralded that major change of direction. First In his series of maninya (dance/chant) pieces, the music itself. He had enthusiastically second, a joyful dance whose ethos is performed at the 1974 Adelaide Festival of the Edwards has pursued an ideal of wholeness – a accepted the commission from Festival Director distinctively antipodean, and whose subtle Arts by the Adelaide Symphony Orchestra reintegration of mind, body and spirit and a Adrian Walter but felt a certain trepidation in that interfusion of pentatonic modes and sparkling conducted by Patrick Thomas, its gentle sound- restoration back into ‘serious’ music of such he’d never previously written for guitar. ‘As I cross-rhythms specifically aligns it with the world came as a surprise to those who had fundamental musical impulses as lightness, worked on the score I had plenty of advice and school of Sydney-based composers who grown accustomed to its ’s formidable spontaneity and the invitation to the dance. Not encouragement from such members of the emerged during the 1970s. earlier work. ‘It’s a very calm and deliberately surprisingly these works have attracted Australian guitar community as Timothy Kain, understated piece in which sounds and silences Whereas his earliest works had been choreography, notably ’s ballet Phillip Houghton, and of course Adrian himself, are counterpoised,’ Edwards says. ‘It has no characterised by a fierce complexity, the quiet, Maninyas – based on the concerto of the and I was reassured from time to time by John apparent direction, nor any sense of climax lyrical strain that would eventually typify his later same name – for the and Williams’ phone calls from , in the course or resolution: the concept of music as style began to emerge in pieces such as the Singapore Dance Company, as well as of which he’d discuss (and play) problematic bits psychological drama – as structured time – Mountain Village in a Clearing Mist (1973). Chrissie Parrott’s interpretation for the West of the solo part!’ Dedicated to Williams, it was is quite foreign to its aesthetic and it ends as ‘The stylistic leap toward extreme quietude was Australian Ballet. first performed by him in July 1995 on the lawns inexplicably as it begins. of the Darwin Casino, with Martin Jarvis foreshadowed some years earlier in Monos II, Whether bearing the title or not, however, the the Darwin Symphony Orchestra. a compact and rather savage piece which ‘Someone once suggested that this piece, and idea of the maninya permeates many of his I wrote in 1970 for ,’ the several others which I composed later, are orchestral pieces, as this current CD of his The two-movement Enyato I, composed in 1993 composer says. ‘At a certain point, quite concerned primarily with intensifying the works for smaller orchestra so clearly for string quartet and subsequently arranged for unjustified in terms of its overall design, that listener’s perception of the “eternal now” and demonstrates. The three movements of the string orchestra, also derives from the maninya early piece dissolved abruptly into a sort of limbo that they should perhaps be regarded more as

4 5 objects of contemplation than works of art in the name was commissioned by derives explicitly from his homeland. ‘There are processed shapes and patterns from the natural orthodox Western sense. If this is so – and it Australia and the Australia Council for the recorded instances of Aboriginal people world: fragments of birdsong, insect and frog seems to me to be quite a valid opinion – I’d like Academy of St Martin in the Fields Octet, who mistaking early Europeans in Australia for the rhythms, as well as fleeting references to other to suggest that the ideal state of mind for the gave its first performance in the Perth Concert ghosts of their ancestors,’ Ross says, ‘since works of mine, and fusions of Aboriginal and listener is one of calm intensity with attention Hall in November 1993. ghosts were believed to be light-coloured. As I Gregorian chant.’ focused on each detail as it occurs, instead of composed White Ghost Dancing in 1999, the ‘In the first movement (Puro e tranquillo), the projecting the mind back and forth in an attempt concept of a white ghost came to symbolise White Ghost Dancing was commissioned by hymn melody is heard first as a violin solo and to perceive structural connections.’ non-indigenous Australia’s innate aboriginality – Symphony Australia (with assistance from the then treated as a cantus firmus in long values to its capacity to transform and heal itself through Australia Council) especially for the Tasmanian He found the title for the work in a 13th-century form the basis of an austere polyphonic motet,’ spiritual connectedness with the earth. Symphony Orchestra and conductor David Chinese painting by Yu-Chien, a Zen monk. ‘In its Edwards says in his note for the work. ‘Remote Porcelijn, to whom it is dedicated. ability to reveal the essence of nature with the and archaic, this movement sounds like an echo ‘I believe that music, which has enormous utmost economy of means I recognised the from the age of Palestrina (with a tinge of therapeutic properties and, for me, a close And like the other works on this CD, it places goal towards which I’d been working,’ he says. Japanese pentatonicism) whilst preserving my relationship with ritual – and especially dance – the sights and sounds of Australia in a ‘I would emphasise, though, that despite the own musical voice. The Amen of the hymn is is destined to make an important contribution to simultaneous dialogue with the music of both implication of the title, the piece isn’t intended to protracted, elaborated and interfused with this transformation and healing; hence the title. Europe and Asia, to form a highly individual – be either descriptive or impressionistic. In fact, drones and patterns recalling the world of perhaps even unique – language of its own. I chose the title after the score was completed.’ insects, and symbolising eternity. ‘Typical of my maninya pieces, White Ghost Dancing is a compact mosaic of unconsciously Martin Buzacott From that point onwards, and particularly during ‘The second movement (Ritmico), a lively, the 1980s, two different stylistic strands obsessive dance which explores and exploits emerged in Edwards’ music, as the intense, connections between the Veni Creator melody inward focus of Mountain Village in a Clearing and music from a variety of non-Western Mist and other pieces such as the Symphony cultures, is concerned with the idea of creating No. 1 Da Pacem Domine was balanced by a unity out of diversity. It concludes with a more optimistic and extroverted kind of music modified re-statement of the Amen.’ typified by the violin concerto Maninyas. Such Latin titles, echoes of Palestrina and Asian But in the two-movement string octet Veni influence that figure so prominently in Veni Creator Spiritus (Come, O Creator Spirit) the Creator Spiritus and other works are balanced, composer attempted to reconcile those two however, by the composer’s highly developed divergent trends in his work. Completed in sense of Australian culture. White Ghost January 1993 and dedicated to his wife, Helen, Dancing, for instance, which has become a Edwards’ take on the Latin hymn of the same repertoire staple of Australia’s ,

6 7 Karin Schaupp Karin Schaupp’s guitar training began at the age Tasmanian Symphony Orchestra of five and she first performed in public the The Tasmanian Symphony Orchestra is acclaimed as one of the world’s finest small orchestras. Karin Schaupp is one of the most outstanding following year. While still in her teens she won German-born Sebastian Lang-Lessing is the orchestra’s Chief Conductor and Artistic Director. young guitarists on the international scene. She prizes at international competitions in Lagonegro performs widely on the international stage, as a (Italy) and Madrid, where she was also awarded The TSO presents an exciting and diverse annual concert series in Hobart and Launceston as well recitalist, concerto soloist and festival guest. Her the special competition prize for the Best as concerts in regional centres. With a full-time playing strength of 47 musicians, its core playing receives the highest acclaim from critics Interpretation of Spanish Music. repertoire is that of the Classical and early Romantic periods. It is, however, a versatile orchestra, and audiences alike and she is held in great Taught almost exclusively by her guitarist mother performing repertoire from Baroque to jazz, popular music, opera and ballet, and is recognised for esteem by her peers worldwide. She has given Isolde Schaupp, Karin Schaupp completed her championing contemporary music. countless recitals in Australia, Europe, Asia, the tertiary music studies at the University of US, Mexico and Canada. Karin Schaupp’s unique The TSO records regularly for radio broadcasts, compact discs and soundtracks for television and Queensland with First Class Honours, a stage presence and magical, passionate playing film. It was the first Australian orchestra to record the complete Beethoven symphonies, and its Master’s degree and a University Gold Medal. recent recordings on international and Australian labels have been received with critical acclaim. have inspired several composers to write works Most recently she was awarded the prestigious In 2003, the orchestra launched its Australian Music Program and this year releases the first especially for her. Music Council of Australia Freedman Fellowship recordings of orchestral music as part of the TSO Australian Composer Series. Karin Schaupp has appeared on live television in in recognition of her achievements. Encouragement of young talent is of paramount importance to the TSO. It provides an education many parts of the world. In 1997 she performed Karin Schaupp has previously released three program and collaborates extensively on a range of programs with Symphony Australia, the live as a Special Guest Artist to 20 million highly acclaimed solo CDs: Soliloquy (1997), Australian Youth Orchestra and the Australian Music Centre. viewers and listeners in China, on the occasion Leyenda (1998) and Evocation (2000). Recently, of China Radio International’s 50th Anniversary she has extended her performing activities to The TSO has performed in most of the major Australian festivals and regularly travels to mainland celebrations. More recently, Karin Schaupp was become a founding member of two new guitar Australia, touring both capital cities and regional centres. It has performed in Greece, Israel, Indonesia, invited to join a prestigious line-up of ensembles, The World Guitar Trio based in the South Korea, China, Argentina, Canada and the USA. international artists in the opening Gala of the USA (with Chris McGuire and Carlos Barbosa- Goodwill Games, which was broadcast on live Lima) and Saffire: The Australian Guitar Quartet international television. She has also appeared on (with , and Antony German, American and Canadian television and Field). Saffire’s debut CD for ABC Classics some of her Australian TV appearances have reached No. 1 on the classical charts and won resulted in an overwhelming response from the 2003 ARIA award for Best Classical Album. Sponsor of the TSO Australian Music Program viewers, with record numbers of viewers calling Karin Schaupp has also been involved in a in. Karin Schaupp also plays regularly on radio, number of other collaborative CD projects Powering Australian music into the future including numerous broadcasts of live recitals, as including concertos by Philip Bracanin, Ross well as many interviews and guest appearances. Edwards and for ABC Classics.

8 9 Richard Mills received a number of Green Room and Executive Producers Robert Patterson, Lyle Chan Helpmann Awards including Best Opera at both Recording Producer Brooke Green Richard Mills is one of Australia’s most sought ceremonies and Best New Australian Work. He Recording Engineer Andrew Dixon after conductors. In recent years he has pursued has been commissioned to write a new opera Mastering Virginia Read a diverse career as a conductor and composer for the 2007 Perth International Festival. Editorial and Production Manager Hilary Shrubb which has seen him working with a large Cover and Booklet Design Imagecorp Pty Ltd In 2004, Richard Mills conducted a revival of number of the nation’s music organisations. Photography Huon Valley shrouded in mist, in Perth, when it was presented as a He is Artistic Director of the West Australian Tasmania © APL / Owen Hughes Photography joint production between the Perth International Opera, a post held since 1997, Artistic Arts Festival, and West For Tasmanian Symphony Orchestra Consultant with , and Director Australian Opera. Other conducting Managing Director Nicholas Heyward of the Australian Music Project for the Tasmanian engagements this year include La Cenerentola Artistic Administrator Anthony Peluso Symphony Orchestra. and Norma for West Australian Opera, concerts Orchestra Manager Peter Kilpatrick Marketing Manager Wes Roach As a conductor Richard Mills has appeared with and recordings with the Melbourne and Australian Music Program Director Richard Mills all the major orchestras in Australia and regularly Tasmanian Symphony Orchestras, the world www.tso.com.au performs in major Australian Festivals as well as premiere of Peter Sculthorpe’s Requiem with working overseas. He made his conducting the Adelaide Symphony Orchestra at the Recorded 4 December, 2002 and 2-5 December, debut in the USA with the Albany Symphony Adelaide Festival, and the world premiere of his 2003 at Federation Concert Hall, Hobart. Orchestra in 1989. He made his debut as an double concerto for and violin with the Print music published by G. Ricordi & Co. (London), opera conductor at Opera Queensland with The Taipei Symphony Orchestra. In 2005 he will except Mountain Village Universal Editions (London). Magic . Now, through his work with Opera conduct for the Queensland For more information on Ross Edwards, please visit Australia and West Australian Opera, he has a Music Festival. www.rossedwards.com large repertoire of standard works, as well as a His recording Richard Mills Orchestral Works 2004 Australian Broadcasting Corporation. reputation for conducting contemporary opera 2004 Australian Broadcasting Corporation. with the Queensland Symphony Orchestra has © and his own compositions. Made in Australia. All rights of the owner of copyright reserved. become a best seller on the ABC Classics label. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright The then commissioned His three-CD set of the film music of Franz owner is prohibited. him to write an opera of Ray Lawler’s Summer Waxman with the same orchestra was awarded of the Seventeenth Doll, which premiered in a Deutsche Schallplatten Kritiks Preis in 1992, Melbourne in 1996, and received a Sydney and he has conducted recordings with the West season in 1999. His second opera, Batavia, was Australian and Tasmanian Symphony Orchestras. commissioned by Opera Australia and was He was awarded an Order of Australia in 1999. premiered at the Melbourne Festival in 2001 to great critical acclaim. Batavia consequently

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