CSM 22: Deep in My Hidden Country
Permanent URI for this collectionhttps://hdl.handle.net/1885/733714850
Browse
Browsing CSM 22: Deep in My Hidden Country by Author "Composer: Brenton Broadstock"
Now showing 1 - 9 of 9
- Results Per Page
- Sort Options
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 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 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 - 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 - 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 - 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 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 - 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.