CSM 24: Pianos and Percussion - works by Glanville-Hicks, Westlake, Meale and Lumsdaine
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Item Open Access Richard Meale: Interiors/Exteriors (1970) - Exterior 2(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access Richard Meale: Interiors/Exteriors (1970) - Interior 2(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access David Lumsdaine: Kangaroo Hunt (1971)(Canberra School of Music, Australian National University, 1971) Composer: David Lumsdaine; Grafton-Greene, Michael"Kangaroo Hunt is two pages of music, one for a pianist, the other for a percussion player. The music on each page consists of a number of melodic fragments: some are like fragments of bird song; others like children's chanting. The fragments can be put together in different ways end to end, to produce ever changing but always recognisable melodies; or they can be played one over the other to produce degrees of tension and agreement in the resulting harmony, according to the choice of the players. There is one fragment which is a beginning and an end to the music. There is a longer fragment of dance which is also played by both instrumentalists (one has to call the other into the dance each time it is played), and this acts like a frame to the piece. The name of the music comes from an Aboriginal picture which I knew and loved as a child. It showed all the events of a kangaroo hunt, from the opening dance, through the chases and the spearing to the successful return of the hunters. There is no attempt to correlate temporal and spectral ordering. On the contrary, each event is presented in the one precisely delineated landscape which holds the events of the narrative in a timeless counterpoint." -- David LumsdaineItem Open Access Richard Meale: Coruscations (1971)(Canberra School of Music, Australian National University, 1971) Composer: Richard Meale; Grafton-Greene, Michael"Richard Meale has defined 'coruscation' as 'a series of rapid flashes of light, such as that coming from the Aurora Borealis'. Coruscations, for solo piano, has been described as 'a universe of brilliant sonorities, scattered and expansive like stars'. The paradox of the work is the impression of infinite variety and seemingly random invention set against a rigorous underlying organisation. The pitches of the work are strictly organised, with ten interrelated sonorities being subjected to transposition and permutation. Other aspects of the performance, however, are left to the individual. Thus, while pitches and theirtonal interrelationship remain fixed, the timing and spacing of. events will be unique to each performance. Like the night sky it describes, the logic behind the work is impossible to grasp at first or even second hearing, yet one suspects that a strong designing force is nevertheless at work." -- Deborah CrispItem Open Access Peggy Glanville-Hicks: Sonata for Piano and Percussion (1952) - Movement 2(Canberra School of Music, Australian National University, 1952) Composer: Peggy Glanville-Hicks; Grafton-Greene, Michael"This work was especially composed for a concert organised by Glanville-Hicks at the Museum of Modern Art, New York, in 1952. The program was designed to focus on the important role of percussion in contemporary music. In her notes to the original recording in the 'Modern American Music' Series, Glanville-Hicks explained the rationale behind the work: My Sonata was designed as an example of organic tonal percussion writing, and it employed the instrumental unit which I consider a basic one. I have used the same instrumental unit in most of my later orchestral scores also, writing it on the lowest half dozen lines of the page, as I feel it is the real bass of the composition, and thus of the orchestra-the final missing choir necessary for modem composition, where rhythm and its natural orchestration are structural rather than decorative, as in classic or romantic music. The work is in three movements. The outer movements are influenced by African-music; according to the composer the themes are from the Watusi people, and piano and xylophone are prominent. The inner, slow movement forms a dramatic contrast, with its sustained texture and more lyrical atmosphere." -- Deborah CrispItem Open Access Peggy Glanville-Hicks: Sonata for Piano and Percussion (1952) - Movement 1(Canberra School of Music, Australian National University, 1952) Composer: Peggy Glanville-Hicks; Grafton-Greene, Michael"This work was especially composed for a concert organised by Glanville-Hicks at the Museum of Modern Art, New York, in 1952. The program was designed to focus on the important role of percussion in contemporary music. In her notes to the original recording in the 'Modern American Music' Series, Glanville-Hicks explained the rationale behind the work: My Sonata was designed as an example of organic tonal percussion writing, and it employed the instrumental unit which I consider a basic one. I have used the same instrumental unit in most of my later orchestral scores also, writing it on the lowest half dozen lines of the page, as I feel it is the real bass of the composition, and thus of the orchestra-the final missing choir necessary for modem composition, where rhythm and its natural orchestration are structural rather than decorative, as in classic or romantic music. The work is in three movements. The outer movements are influenced by African-music; according to the composer the themes are from the Watusi people, and piano and xylophone are prominent. The inner, slow movement forms a dramatic contrast, with its sustained texture and more lyrical atmosphere." -- Deborah CrispItem Open Access Peggy Glanville-Hicks: Sonata for Piano and Percussion (1952) - Movement 3(Canberra School of Music, Australian National University, 1952) Composer: Peggy Glanville-Hicks; Grafton-Greene, Michael"This work was especially composed for a concert organised by Glanville-Hicks at the Museum of Modern Art, New York, in 1952. The program was designed to focus on the important role of percussion in contemporary music. In her notes to the original recording in the 'Modern American Music' Series, Glanville-Hicks explained the rationale behind the work: My Sonata was designed as an example of organic tonal percussion writing, and it employed the instrumental unit which I consider a basic one. I have used the same instrumental unit in most of my later orchestral scores also, writing it on the lowest half dozen lines of the page, as I feel it is the real bass of the composition, and thus of the orchestra-the final missing choir necessary for modem composition, where rhythm and its natural orchestration are structural rather than decorative, as in classic or romantic music. The work is in three movements. The outer movements are influenced by African-music; according to the composer the themes are from the Watusi people, and piano and xylophone are prominent. The inner, slow movement forms a dramatic contrast, with its sustained texture and more lyrical atmosphere." -- Deborah CrispItem Open Access Richard Meale: Interiors/Exteriors (1970) - Exterior 1(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access Richard Meale: Interiors/Exteriors (1970) - Interior 1(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access Richard Meale: Interiors/Exteriors (1970) - Field 2(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access Richard Meale: Interiors/Exteriors (1970) - Field 1(Canberra School of Music, Australian National University, 1970) Composer: Richard Meale; Grafton-Greene, Michael"Commissioned to commemorate the work of Professor John Bishop, the founder of the Adelaide Festival of Arts, Interiors/Exteriors was first performed in 1970 during the sixth Adelaide Festival. The work divides broadly into two sections, consisting of Field I, Interior I, Exterior I, and Field II, Interior II, Exterior II. The Fields are treated as preparatory sections, and serve to introduce the musical ideas. These are then expanded upon in the Interior and Exterior sections, each of which highlights an opposing treatment of the idea. For example, in Field I the two pianos are in dialogue with each other, presenting the musical material which is eventually taken up by the percussion in Interior I. Exterior I provides a further explication of this musical idea, eventually developing and extending it beyond its boundaries to set up the second field. Thus the two sections are interrelated, both in their musical material, and in their structural concept. The concept of an interior and exterior is reinforced by the spatial positioning of the instruments. Scored for two pianos and percussion, the two pianos are placed between the percussion, and are spread as far apart as possible, thus achieving a stereo effect. Meale later orchestrated the work, and it was first performed in this form in 1992 by the Sydney Symphony Orchestra." -- Jaki KaneItem Open Access Nigel Westlake: Fabian Theory (1987)(Canberra School of Music, Australian National University, 1987) Composer: Nigel Westlake; Grafton-Greene, Michael"This work, for percussion solo and digital delay, was composed in 1987. An electronic delay system is employed throughout the piece, which reproduces the live signal 566 milliseconds (about half a second) after it has been played. This creates the illusion of more than one marimba, and provides a rhythmic counterpoint to the live performance. The player is requested to play in tight synchronisation with the delayed signal, and different rhythmic effects are achieved by moving through a number of tempo changes. The use of the delay gives rise to the work's title, which is a reference to the great Roman dictator, Fabius Maximus, whose victories were attributed to the use of delay tactics in battle." -- Nigel WestlakeItem Open Access Anthology of Austraian Music on Disc: CSM: 24 Pianos and Percussion Works by Glanville-Hicks, Westlake, Meale, and Lumsdaine(Canberra School of Music, Australian National University) Crisp, Deborah