CSM 22: Deep in My Hidden Country
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Item Open Access Larry Sitsky: Deep In My Hidden Country - V From Novalis(Canberra School of Music, Australian National University) Composer: Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Larry Sitsky: Deep In My Hidden Country - Refrain V(Canberra School of Music, Australian National University) Composer: Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Larry Sitsky: Deep In My Hidden Country - III From Baudelaire(Canberra School of Music, Australian National University) Composer: Peter Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Larry Sitsky: Deep In My Hidden Country - II First Nocturne(Canberra School of Music, Australian National University) Composer: Peter Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Larry Sitsky: Deep In My Hidden Country - Introduction(Canberra School of Music, Australian National University) Composer: Larry Sitsky; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Brenton Broadstock: Eheu Fugaces - Movement II(Canberra School of Music, Australian National University) Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylEheu Fugaces received its first performance in Melbourne in 1985 by Brenda Hubbard and the New Ensemble, conducted by John Hopkins. It is a setting of three short texts from different sources, each of which relate to the cycle of life. The first, in Movement I, is from a Mari (Russian) folksong and is philosophical in tone. The second text, Movement II, isfromOdesby Horace, and provides the source of the Ancient Greek title Ehue Fugaces (pronounced with a hard 'c', meaning 'Alas, the flying years'). This text is a passionate recognition of the near absurdity of life. A more optimistic and spiritualistic view of life is offered in the biblical setting used in Movement III.Item Open Access Brenton Broadstock: Eheu Fugaces - Movement III(Canberra School of Music, Australian National University) Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylEheu Fugaces received its first performance in Melbourne in 1985 by Brenda Hubbard and the New Ensemble, conducted by John Hopkins. It is a setting of three short texts from different sources, each of which relate to the cycle of life. The first, in Movement I, is from a Mari (Russian) folksong and is philosophical in tone. The second text, Movement II, isfromOdesby Horace, and provides the source of the Ancient Greek title Ehue Fugaces (pronounced with a hard 'c', meaning 'Alas, the flying years'). This text is a passionate recognition of the near absurdity of life. A more optimistic and spiritualistic view of life is offered in the biblical setting used in Movement III.Item Open Access Peter Sculthorpe: Eliza Fraser Sings(Canberra School of Music, Australian National University) Composer: Peter Sculthorpe; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylIn 1836 the merchant ship "Stirling Castle", under Captain Fraser, was wrecked in northern Queensland waters. The survivors took to the longboat, and, unable to put to shore, sailed southward. The boat leaked, and supplies of food and water were soon exhausted. The captains wife, Mrs Fraser, gave birth to a baby, but it was drowned in the boat water. After putting ashore on a coastal island, later known as Fraser Island, the captain and his crew were killed by natives. Mrs Fraser was taken prisoner, stripped of her clothes, beaten and made to work in what was to her a degrading manner. The natives, the Kabi people, believed white men and women to be returned spirits of the dead, having observed how black flesh pales when burning. They called together a corroboree, in order to bring about the ritual mating of their She-ghost, Mrs Fraser, with a He-ghost, an escaped convict living with a neighbouring tribe. The corroboree caused Mrs Fraser to take refuge in a dream that the convict would return as a lover and lead her away into a paradisal existence. Immured in this fantasy, she was then able to endure her miseries. Unexpectedly, however, she was rescued, and taken to the qarrison at Moreton Bay. Her dream shattered and her sanity shaken, Mrs Fraser set herself up in a showground booth in Hyde Park, Sydney, where she displayed her scars and told her stories to all and sundry for the price of sixpence apiece. The work is concerned with Mrs Fraser soliciting customers outside her booth, her mind wandering between the then present and the romantically remembered past. Eliza Fraser Sings received its premiere on 1 July 1978 by The SeymourGroup with Eileen Hannan (soprano), Geoffrey Collins (flute) and David Miller (piano) at the Seymour Centre, Sydney.Item Open Access Larry Sitsky: Deep In My Hidden Country - I From Nietzsche(Canberra School of Music, Australian National University) Composer: Peter Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Larry Sitsky: Deep In My Hidden Country - IV Second Nocturne(Canberra School of Music, Australian National University) Composer: Schulthorpe; Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylDuring 1983, when I was planning this work, I had just completed a new violin concerto (Gurdjieff: Violin Concerto No. 2) which had used as its basis folk music from Central Asia, and especially Armenia. I had found this raw material exciting and useful for my purposes, and had strong natural and instinctive affinities with the folk music itself. So, much of 1983 was spent searching and locating more grist for my mill. I actually considered literally thousands of Armenian folk melodies, and made the music through my own personal treatment and transformation. But the rich chromatic, rhapsodic and melismatic melodies allowed me to plan a whole series of new compositions, of which this is but one. The words came from Christopher Brennan, the most settable of Australian poets, and the score is dedicated to Jane Manning, that extraordinary English soprano with whom I had the pleasure of working some years back when she premiered my Music in the Mirabell Garden at the 1978 Adelaide Festival. The structure of the song cycle is somewhat unusual. Between the five settings from Brennan is inserted a Refrain, which, although vocally is very similar 'though never the same' is instrumentally quite different. Each Refrain, except the first and last, drawing on the previous song for its material. However, only the final Refrain is included on this recording.Item Open Access Brenton Broadstock: Eheu Fugaces - Movement I(Canberra School of Music, Australian National University) Composer: Brenton Broadstock; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, DarylEheu Fugaces received its first performance in Melbourne in 1985 by Brenda Hubbard and the New Ensemble, conducted by John Hopkins. It is a setting of three short texts from different sources, each of which relate to the cycle of life. The first, in Movement I, is from a Mari (Russian) folksong and is philosophical in tone. The second text, Movement II, is from Odesby Horace, and provides the source of the Ancient Greek title Ehue Fugaces (pronounced with a hard 'c', meaning 'Alas, the flying years'). This text is a passionate recognition of the near absurdity of life. A more optimistic and spiritualistic view of life is offered in the biblical setting used in Movement III.Item Open Access Anthology of Austraian Music on Disc: CSM: 22 Deep in My Hidden Country(Canberra School of Music, Australian National University)Item Open Access Peter Sculthorpe: The Stars Turn(Canberra School of Music, Australian National University) Composer: Peter Sculthorpe; Richardson, Marilyn; Miller, David; Draeger, Christine; Dunlop, Roslyn; Ziegler, Fiona; Blake, Susan; Pratt, Daryl"Dedicated to Sculthorpe's family, this work is a reduction for voice, cello and piano of the fourth part of the composer's Love 200, for rock band and orchestra. In its original form it was premiered by Jeannie Lewis with the Sydney Symphony Orchestra conducted by John Hopkins at the ABC Promenade Series, February 1970." -- Tony Morphett