CSM 34: Like Icarus Ascending - Violin and Piano music
Permanent URI for this collectionhttps://hdl.handle.net/1885/733715041
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Browsing CSM 34: Like Icarus Ascending - Violin and Piano music by Subject "Classical Music"
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Item Open Access Andrew Ford: Like Icarus Ascending (1984)(Canberra School of Music, Australian National University) Composer: Andrew Ford; Grafton-Greene, Michael"A number of my pieces have multi-referential, extra-musical dimensions to them. Like Icarus ascending is one of these: the title comes from a Joni Mitchell song about Amelia Earhardt; there is also a punning reference in the title to Vaughan Williams The Lark Ascending. The Icarus myth itself, clearly, is another source of reference, and particularly the large number of works of art it has inspired. For all this, the music describes no fall; Icarus continues his ascent, drifting off into the stratosphere. But has he avoided disaster? If, to us, he seems to be gliding effortlessly, it could just be that we are too far away to realise he has lost control and will not be returning. Like Icarus ascending was first performed at the University of New South Wales by Dene Olding in October 1984." -- Andrew FordItem Open Access Dorian Le Gallienne: Sonata (1945)(Canberra School of Music, Australian National University) Composer: Dorian Le Gallienne; Grafton-Greene, Michael"Dorian Le Gallienne's few chamber works are evenly spread throughout his career. Best known of these works is the Duo for Violin and Viola (1956), which was the only work of Le Gallienne's to be published during his lifetime. This onemovement Sonata was written in 1945. A work of sincerity, powerful feelings, passion and drama; these are some of the qualities which made studying and recording this fine work such an exciting experience. Asa strong expression of our recent musical past, I think the Sonata deserves to be performed often and preserved." -- Ronald WoodcockItem Open Access Frank Hutchens: Elegy (1927)(Canberra School of Music, Australian National University) Composer: Frank Hutchens; Grafton-Greene, MichaelThis work was published in 1927. The opening lento is characterised by a chromatic falling motive. The middle section, marked pi'andante, builds to a climax which gathers in agitation and speed until the return of the lento, modified and extended.Item Open Access Larry Sitsky: Tetragrammaton (1986) - I(Canberra School of Music, Australian National University) Composer: Larry Sitsky; Grafton-Greene, Michael"In 1986 I had sketched out two works, both left incomplete, and both notionally for violin and piano. The sound of the piano with a solo instrument was never a favourite with me, and one of these abandoned works eventually turned out to be a chamber work. What was originally in four movements finished up as twelve, and what was for violin and piano became music for flute, viola, cello and piano. The extended colour and development of the basic materials in the quartet seemed to answer my dissatisfaction with the original concept. However, when the idea of composing a special piece to honour Jan Sedivka's 70th birthday arose, I went back to the 1986 sketches. It seemed to me that, with some reworking, the original idea might be worth salvaging. The Tetragrammaton is like a compressed version of the quartet; it is by its very nature more intimate and introverted." -- Larry SitskyItem Open Access Larry Sitsky: Tetragrammaton (1986) - II(Canberra School of Music, Australian National University) Composer: Larry Sitsky; Grafton-Greene, Michael"In 1986 I had sketched out two works, both left incomplete, and both notionally for violin and piano. The sound of the piano with a solo instrument was never a favourite with me, and one of these abandoned works eventually turned out to be a chamber work. What was originally in four movements finished up as twelve, and what was for violin and piano became music for flute, viola, cello and piano. The extended colour and development of the basic materials in the quartet seemed to answer my dissatisfaction with the original concept. However, when the idea of composing a special piece to honour Jan Sedivka's 70th birthday arose, I went back to the 1986 sketches. It seemed to me that, with some reworking, the original idea might be worth salvaging. The Tetragrammaton is like a compressed version of the quartet; it is by its very nature more intimate and introverted." -- Larry SitskyItem Open Access Larry Sitsky: Tetragrammaton (1986) - III(Canberra School of Music, Australian National University) Composer: Larry Sitsky; Grafton-Greene, Michael"In 1986 I had sketched out two works, both left incomplete, and both notionally for violin and piano. The sound of the piano with a solo instrument was never a favourite with me, and one of these abandoned works eventually turned out to be a chamber work. What was originally in four movements finished up as twelve, and what was for violin and piano became music for flute, viola, cello and piano. The extended colour and development of the basic materials in the quartet seemed to answer my dissatisfaction with the original concept. However, when the idea of composing a special piece to honour Jan Sedivka's 70th birthday arose, I went back to the 1986 sketches. It seemed to me that, with some reworking, the original idea might be worth salvaging. The Tetragrammaton is like a compressed version of the quartet; it is by its very nature more intimate and introverted." -- Larry SitskyItem Open Access Larry Sitsky: Tetragrammaton (1986) - IV(Canberra School of Music, Australian National University) Composer: Larry Sitsky; Grafton-Greene, Michael"In 1986 I had sketched out two works, both left incomplete, and both notionally for violin and piano. The sound of the piano with a solo instrument was never a favourite with me, and one of these abandoned works eventually turned out to be a chamber work. What was originally in four movements finished up as twelve, and what was for violin and piano became music for flute, viola, cello and piano. The extended colour and development of the basic materials in the quartet seemed to answer my dissatisfaction with the original concept. However, when the idea of composing a special piece to honour Jan Sedivka's 70th birthday arose, I went back to the 1986 sketches. It seemed to me that, with some reworking, the original idea might be worth salvaging. The Tetragrammaton is like a compressed version of the quartet; it is by its very nature more intimate and introverted." -- Larry SitskyItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - I(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - II(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - III(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - IV(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - V(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Malcolm Fox: Six Miniatures for Violin and Piano - VI(Canberra School of Music, Australian National University) Composer: Malcolm Fox; Grafton-Greene, Michael"Six Miniatures for Violin and Pianowas composed in 1977 and premiered during the 1978 Adelaide Festival of Arts. In 1984 it was selected by the Australian Music Centre for an exhibition of work by Australian composers at the Asia and Pacific Festival and Composers' Conference in Wellington, New Zealand. The work has been widely performed, and has been broadcast by the ABC. In 1987 it was choreographed by Julia Blaikie for the Dance Network of South Australia. The work is in a free atonal style, and based on three pitch 'cells'. All the material in the composition is derived from these cells, and this gives the work internal unity. Externally, the six pieces are contrasted. No.4 features a short cadenza for piano, and No.5 a short cadenza for violin." -- Malcolm FoxItem Open Access Michael Whiticker: Winamin (1986)(Canberra School of Music, Australian National University) Composer: Michael Whiticker; Grafton-Greene, Michael"'Winamin' is an Aboriginal word meaning to beat time. This piece was first performed by Rotraud Schneider and Daniel Herscovitch at Trinity Grammar School, Sydney, in 1986. The piece is dedicated to Max Taylor." -- Michael WhitickerItem Open Access Peter Sculthorpe: Alone (1976)(Canberra School of Music, Australian National University) Composer: Peter Sculthorpe; Grafton-Greene, Michael"Alone, which was written for Ronald Woodcock in 1976, is an atmospheric piece in which the violin, first in a high pitched desolate sound and later as the accompaniment to the performer's gentle whistle, evokes an atmosphere of solitude." -- Barbara Hebden