Series 3 (Discs 22 to 30)

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Dorian Le Gallienne: Dance of the Angels (1962)
(Canberra School of Music, Australian National University, 1962) Composer: Dorian Le Gallienne
Images of the ceramic sculptures of John Perceval have been linked in this film to form a sequence of events. There are fanfares, amorous encounters and wrestling. The sculptures, which are paradoxically both robust and finely detailed, create a rather medieval impression. They are filmed to suggest activity even though they are inanimate, and the music is a vital element in the sense of movement and the heartiness of the dance.
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Dorian Le Gallienne: Nocturne
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
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Dorian Le Gallienne: Sebastian and the Sausages (1961)
(Canberra School of Music, Australian National University, 1961) Composer: Dorian Le Gallienne
Sebastian and the Sausages was made for children's television. The simple story-line follows the adventures of a fox called Sebastian who, in this episode, steals sausages from a swagman's pan. Le Gallienne died during the production of this television series, and the work of providing music passed to George Dreyfus.
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Dorian Le Gallienne: The Crucifixion (1962)
(Canberra School of Music, Australian National University, 1962) Composer: Dorian Le Gallienne
This film, which is sometimes called the Stations of the Cross, depicts the work of Eltham sculptor and jeweller Matchum Skipper. The bas-relief sculptures upon which the film is based were made for the Church of Mary the Immaculate in Ivanhoe, Victoria. The music, which follows the passion of Christ, is angular and sinewy.
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Dorian Le Gallienne: The Prize: 1) Merry Go Round Waltz (1960)
(Canberra School of Music, Australian National University, 1960) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 2) Escape of the Goat
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 3) The Jinker Ride
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 4) Liza's Run
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 5) Searching the Farm
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 6) The River
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.
Open Access
Dorian Le Gallienne: The Prize: 7) The End of the Day
(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne
The Prize is the story of a boy, Snowy, who wins a goat at a country show, but loses it on his way home. The goat is caught by two larrikins who attempt to steal the animal, but their plot is thwarted by Snowy's persistence in pursuing his new pet. He is eventually successful. The film was shot in black and white; the strong Australian light is subtly controlled, the whole given a slightly European feeling with soft focus and an 'art house' style. Le Gallienne's music is rich, evocative and mimetic. It cleverly follows the film's action, heightening visual events and providing atmosphere and narrative support. The sections of the score have been separated on the mastertape, forming a suite of contrasting pieces. Roger Covell, in the Autumn 1994 edition of Sounds Australian, adds to his earlier opinions (1967) of Le Gallienne's music: The special claims I enter for Le Gallienne are that, more than any other resident Australian composer of his time, he provided a persuasive example of possessing the composer's equivalent of outstanding draughtsmanship in an artist working with visual materials. His melodic-thematic gift was exceptional, not less so (indeed, arguably more so) for being expressed in a conservative and recognisable idiom ... His music sounded competent within recognisable styles of composition; but it did more than this: it appeared memorable and fresh in its own right, to a remarkable extent avoiding staleness and the air of repeating whatothers had said earlierorbetter." These comments seem apposite for Le Gallienne's film music. It was skilfully draughted, its structure linked to the edited final cut, and its movement and mood adding immeasurably to the whole. It was and remains memorable and fresh.

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Browsing Series 3 (Discs 22 to 30) by Author "Composer: Dorian Le Gallienne"