CSM 15
Permanent URI for this collectionhttps://hdl.handle.net/1885/733714676
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Item type: Item , Access status: Open Access , Ross Edwards: The Hermit of Green Light (1979) - And No Bird Sings(Canberra School of Music, Australian National University, 1979) Composer: Ross Edwards; Webster, Belinda"The suggestion that I should set to music some of Michael Dransfield' s poetry came from the countertenor Hartley Newnham who,jointly with the pianist Nicholas Routley, commissioned me to write these songs in 1979. Dransfield, who died in 1973 at the age of twenty-four, was the author of more than 600 poems. My response to his work was immediate and I chose four poems which form a miniature cycle linked by a common theme: the relationship of human beings to the natural environment. I was attracted to the first poem, which is set in a recitative-like style, through a somewhat wistful identification of myself with the hermit in his solitude; and to the second and third- both taken from Dransfield' s Geography cycle - by their ecstatic, visionary qualities. The final poem, profoundly calm yet poised on the brink of despair, seemed to require hardly any comment from the piano and is thus largely unaccompanied." -- Ross EdwardsItem type: Item , Access status: Open Access , Ross Edwards: The Hermit of Green Light (1979) - Geography III(Canberra School of Music, Australian National University, 1979) Composer: Ross Edwards; Webster, Belinda"The suggestion that I should set to music some of Michael Dransfield' s poetry came from the countertenor Hartley Newnham who,jointly with the pianist Nicholas Routley, commissioned me to write these songs in 1979. Dransfield, who died in 1973 at the age of twenty-four, was the author of more than 600 poems. My response to his work was immediate and I chose four poems which form a miniature cycle linked by a common theme: the relationship of human beings to the natural environment. I was attracted to the first poem, which is set in a recitative-like style, through a somewhat wistful identification of myself with the hermit in his solitude; and to the second and third- both taken from Dransfield' s Geography cycle - by their ecstatic, visionary qualities. The final poem, profoundly calm yet poised on the brink of despair, seemed to require hardly any comment from the piano and is thus largely unaccompanied." -- Ross EdwardsItem type: Item , Access status: Open Access , George Tibbits: Five Songs for Voice and Piano (1969) - To Myself (Slessor)(Canberra School of Music, Australian National University, 1969) Composer: George Tibbits; Webster, Belinda"These are songs of death. Fragments of poetry, removed from their larger context, convey their mute, cold poetic content with concentrated detachment. The stylistic diversity and restrained intensity of the music reinforce this detachment. The first fragment is from Kenneth Slessor's Five Bells in which the poet grasps after the memory of a friend. The next and longest fragment is by the Melbourne poet Lynne Strahan and is part of a long surreal lament for a child. The central fragment is by the medieval songwriter Vogelweide. It contrasts the outward beauty of the world with a bleak inner landscape akin to death. The next song, the second of the short passages from Lynne Strahan, summons the memory of a lost child. The final song returns to Slessor and is a lament of beautiful irony in remembrance of endearing foibles. Death silences the living. Anguish and love are carried unspoken in the heart. The songs were written for Lauris Elms who first performed them." -- George TibbitsItem type: Item , Access status: Open Access , George Tibbits: Five Songs for Voice and Piano (1969) - Five Bells (Slessor)(Canberra School of Music, Australian National University, 1969) Composer: George Tibbits; Webster, Belinda"These are songs of death. Fragments of poetry, removed from their larger context, convey their mute, cold poetic content with concentrated detachment. The stylistic diversity and restrained intensity of the music reinforce this detachment. The first fragment is from Kenneth Slessor's Five Bells in which the poet grasps after the memory of a friend. The next and longest fragment is by the Melbourne poet Lynne Strahan and is part of a long surreal lament for a child. The central fragment is by the medieval songwriter Vogelweide. It contrasts the outward beauty of the world with a bleak inner landscape akin to death. The next song, the second of the short passages from Lynne Strahan, summons the memory of a lost child. The final song returns to Slessor and is a lament of beautiful irony in remembrance of endearing foibles. Death silences the living. Anguish and love are carried unspoken in the heart. The songs were written for Lauris Elms who first performed them." -- George TibbitsItem type: Item , Access status: Open Access , George Tibbits: Five Songs for Voice and Piano (1969) - The World is Fair To Look On (a fragment from Vogelweide)(Canberra School of Music, Australian National University, 1969) Composer: George Tibbits; Webster, Belinda"These are songs of death. Fragments of poetry, removed from their larger context, convey their mute, cold poetic content with concentrated detachment. The stylistic diversity and restrained intensity of the music reinforce this detachment. The first fragment is from Kenneth Slessor's Five Bells in which the poet grasps after the memory of a friend. The next and longest fragment is by the Melbourne poet Lynne Strahan and is part of a long surreal lament for a child. The central fragment is by the medieval songwriter Vogelweide. It contrasts the outward beauty of the world with a bleak inner landscape akin to death. The next song, the second of the short passages from Lynne Strahan, summons the memory of a lost child. The final song returns to Slessor and is a lament of beautiful irony in remembrance of endearing foibles. Death silences the living. Anguish and love are carried unspoken in the heart. The songs were written for Lauris Elms who first performed them." -- George TibbitsItem type: Item , Access status: Open Access , George Tibbits: Five Songs for Voice and Piano (1969) - Three Parts of A Talk With Lin Chiu (Strahan)(Canberra School of Music, Australian National University, 1969) Composer: George Tibbits; Webster, Belinda"These are songs of death. Fragments of poetry, removed from their larger context, convey their mute, cold poetic content with concentrated detachment. The stylistic diversity and restrained intensity of the music reinforce this detachment. The first fragment is from Kenneth Slessor's Five Bells in which the poet grasps after the memory of a friend. The next and longest fragment is by the Melbourne poet Lynne Strahan and is part of a long surreal lament for a child. The central fragment is by the medieval songwriter Vogelweide. It contrasts the outward beauty of the world with a bleak inner landscape akin to death. The next song, the second of the short passages from Lynne Strahan, summons the memory of a lost child. The final song returns to Slessor and is a lament of beautiful irony in remembrance of endearing foibles. Death silences the living. Anguish and love are carried unspoken in the heart. The songs were written for Lauris Elms who first performed them." -- George TibbitsItem type: Item , Access status: Open Access , Ross Edwards: The Hermit of Green Light (1979) - The Hermit of Green Light(Canberra School of Music, Australian National University, 1979) Composer: Ross Edwards; Webster, Belinda"The suggestion that I should set to music some of Michael Dransfield' s poetry came from the countertenor Hartley Newnham who,jointly with the pianist Nicholas Routley, commissioned me to write these songs in 1979. Dransfield, who died in 1973 at the age of twenty-four, was the author of more than 600 poems. My response to his work was immediate and I chose four poems which form a miniature cycle linked by a common theme: the relationship of human beings to the natural environment. I was attracted to the first poem, which is set in a recitative-like style, through a somewhat wistful identification of myself with the hermit in his solitude; and to the second and third- both taken from Dransfield' s Geography cycle - by their ecstatic, visionary qualities. The final poem, profoundly calm yet poised on the brink of despair, seemed to require hardly any comment from the piano and is thus largely unaccompanied." -- Ross EdwardsItem type: Item , Access status: Open Access , Alison Bauld: Banquo's Buried (1982)(Canberra School of Music, Australian National University, 1982) Composer: Alison Bauld; Webster, Belinda"Banquo's Buried was commissioned by Roger Covell for a concert given by the Music Department of the University - of New South- Wales in October 1982. The text is Lady Macbeth's sleepwalking scene. The treatment of it owes a little to the composer's memory of a powerful and idiosyncratic performance of the role by Dame Sybil Thorndike. The manner was operatic and perhaps unfashionable, but there was a 'go-for-broke' spirit which made sense of the tragedy. Elizabeth Campbell has performed the work both in Europe and in Australia. The piece was conceived for all sopranos who enjoy a sense of theatre." -- Alison BauldItem type: Item , Access status: Open Access , George Tibbits: Five Songs for Voice and Piano (1969) - Snake (Strahan)(Canberra School of Music, Australian National University, 1969) Composer: George Tibbits; Webster, Belinda"These are songs of death. Fragments of poetry, removed from their larger context, convey their mute, cold poetic content with concentrated detachment. The stylistic diversity and restrained intensity of the music reinforce this detachment. The first fragment is from Kenneth Slessor's Five Bells in which the poet grasps after the memory of a friend. The next and longest fragment is by the Melbourne poet Lynne Strahan and is part of a long surreal lament for a child. The central fragment is by the medieval songwriter Vogelweide. It contrasts the outward beauty of the world with a bleak inner landscape akin to death. The next song, the second of the short passages from Lynne Strahan, summons the memory of a lost child. The final song returns to Slessor and is a lament of beautiful irony in remembrance of endearing foibles. Death silences the living. Anguish and love are carried unspoken in the heart. The songs were written for Lauris Elms who first performed them." -- George TibbitsItem type: Item , Access status: Open Access , Peter Sculthorpe: The Song of Tailitnama (1984)(Canberra School of Music, Australian National University, 1984) Composer: Peter Sculthorpe; Webster, Belinda"The Song of Tailitnama was written for an ABC television documentary film, 'Sun Music for Film', directed by Stafford Garner. Much of the film was concerned with my conception of the work, its composition, rehearsal and subsequent performance. 'Tailitnama' ('Tai' pronounced 'tie') is an Aboriginal totemic centre in central Australia. For my text I chose four verses, in Aranda, from a rock wallaby song associated with this area. The verses concern the glowing of the mountains, the coming of dawn and the singing of the Ilbirbia bluebirds as they soar to the sky. The Song of Tailitnama opens with a slow vocalise, followed by a short episode which leads to the main part of the work, a long dance-like section, in the latter half of which the Aranda verses are sung. These verses lead to the climax, after which follows an expansion of the opening vocalise and a hon coda." -- Peter SculthorpeItem type: Item , Access status: Open Access , Ross Edwards: The Hermit of Green Light (1979) - Geography VI(Canberra School of Music, Australian National University, 1979) Composer: Ross Edwards; Webster, Belinda"The suggestion that I should set to music some of Michael Dransfield' s poetry came from the countertenor Hartley Newnham who,jointly with the pianist Nicholas Routley, commissioned me to write these songs in 1979. Dransfield, who died in 1973 at the age of twenty-four, was the author of more than 600 poems. My response to his work was immediate and I chose four poems which form a miniature cycle linked by a common theme: the relationship of human beings to the natural environment. I was attracted to the first poem, which is set in a recitative-like style, through a somewhat wistful identification of myself with the hermit in his solitude; and to the second and third- both taken from Dransfield' s Geography cycle - by their ecstatic, visionary qualities. The final poem, profoundly calm yet poised on the brink of despair, seemed to require hardly any comment from the piano and is thus largely unaccompanied." -- Ross EdwardsItem type: Item , Access status: Open Access , Colin Brumby: The English Songs (1975) - The Soldier Going to the Field (Davenant)(Canberra School of Music, Australian National University, 1975) Composer: Colin Brumby; Webster, Belinda"The English Songs were written during study leave in Adelaide. At the time I was investigating aspects of electronic music but felt the need to keep in touch with normal music making by way of compensation for the hours spent in the electronic area. I simply chose poems for which I have always felt an affection, and which happened all to be by metaphysical poets. Strophic settings were the order of the day, and during the same period I also wrote The Carol Book and 'The Round Book." -- Colin BrumbyItem type: Item , Access status: Open Access , Colin Brumby: The English Songs (1975) - The Lark Now Leaves His Wat'ry Nest (Davenant)(Canberra School of Music, Australian National University, 1975) Composer: Colin Brumby; Webster, Belinda"The English Songs were written during study leave in Adelaide. At the time I was investigating aspects of electronic music but felt the need to keep in touch with normal music making by way of compensation for the hours spent in the electronic area. I simply chose poems for which I have always felt an affection, and which happened all to be by metaphysical poets. Strophic settings were the order of the day, and during the same period I also wrote The Carol Book and 'The Round Book." -- Colin BrumbyItem type: Item , Access status: Open Access , Margaret Sutherland: Five Songs (1936) - When Kisses Are As Strawberries(Canberra School of Music, Australian National University, 1936) Composer: Margaret Sutherland; Webster, BelindaItem type: Item , Access status: Open Access , Colin Brumby: The English Songs (1975) - Come, Come What Doe I Here (Vaughan)(Canberra School of Music, Australian National University, 1975) Composer: Colin Brumby; Webster, Belinda"The English Songs were written during study leave in Adelaide. At the time I was investigating aspects of electronic music but felt the need to keep in touch with normal music making by way of compensation for the hours spent in the electronic area. I simply chose poems for which I have always felt an affection, and which happened all to be by metaphysical poets. Strophic settings were the order of the day, and during the same period I also wrote The Carol Book and 'The Round Book." -- Colin BrumbyItem type: Item , Access status: Open Access , Colin Brumby: The English Songs (1975) - Threnos (Shakespeare)(Canberra School of Music, Australian National University, 1975) Composer: Colin Brumby; Webster, Belinda"The English Songs were written during study leave in Adelaide. At the time I was investigating aspects of electronic music but felt the need to keep in touch with normal music making by way of compensation for the hours spent in the electronic area. I simply chose poems for which I have always felt an affection, and which happened all to be by metaphysical poets. Strophic settings were the order of the day, and during the same period I also wrote The Carol Book and 'The Round Book." -- Colin BrumbyItem type: Item , Access status: Open Access , Margaret Sutherland: Five Songs (1936) - For A Child(Canberra School of Music, Australian National University, 1936) Composer: Margaret Sutherland; Webster, BelindaItem type: Item , Access status: Open Access , Colin Brumby: The English Songs (1975) - Goe, And Catche A Falling Starre (Donne)(Canberra School of Music, Australian National University, 1975) Composer: Colin Brumby; Webster, Belinda"The English Songs were written during study leave in Adelaide. At the time I was investigating aspects of electronic music but felt the need to keep in touch with normal music making by way of compensation for the hours spent in the electronic area. I simply chose poems for which I have always felt an affection, and which happened all to be by metaphysical poets. Strophic settings were the order of the day, and during the same period I also wrote The Carol Book and 'The Round Book." -- Colin BrumbyItem type: Item , Access status: Open Access , Margaret Sutherland: Five Songs (1936) - May(Canberra School of Music, Australian National University, 1936) Composer: Margaret Sutherland; Webster, BelindaItem type: Item , Access status: Open Access , Margaret Sutherland: Five Songs (1936) - In The Dim Counties(Canberra School of Music, Australian National University, 1936) Composer: Margaret Sutherland; Webster, Belinda