CSM 12: Zocchi - works by Banks, Sitsky, & Hollier
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Item Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 11th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 10th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 12th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 9th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 7th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 8th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, PeterItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 5th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 3rd hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 6th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 4th hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Donald Hollier: Sonatina for Pianoforte (1971) - Theme and Variations(Canberra School of Music, Australian National University, 1971) Composer: Donald Hollier; Cobbin, Peter"I wrote this sonatina in response to a request from former fellow student Donald Thornton. Probably because we were now both teachers, I designed a piece that would introduce to young pianists the many new effects that were in vogue. Consequently, the work is a survey of the atmospheric possibilities of piano playing. The work was never intended to be serious! It is cast in simple musical form, in the usual three short movements of a sonatina: fast-slow-fast. The last movement is a variation form, using a serial theme but very much tongue in cheek. In fact it is marked to be played with humour." -- Donald HollierItem Open Access Donald Hollier: Sonatina for Pianoforte (1971) - Free and Rhapsodic(Canberra School of Music, Australian National University, 1971) Composer: Donald Hollier; Cobbin, Peter"I wrote this sonatina in response to a request from former fellow student Donald Thornton. Probably because we were now both teachers, I designed a piece that would introduce to young pianists the many new effects that were in vogue. Consequently, the work is a survey of the atmospheric possibilities of piano playing. The work was never intended to be serious! It is cast in simple musical form, in the usual three short movements of a sonatina: fast-slow-fast. The last movement is a variation form, using a serial theme but very much tongue in cheek. In fact it is marked to be played with humour." -- Donald HollierItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 2nd hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Twelve Mystical Preludes (after the Nuctermeron of Appollonius of Tyana) (1973) - 1st hour(Canberra School of Music, Australian National University, 1973) Composer: Larry Sitsky; Sitsky, Larry; Cobbin, Peter"Larry Sitsky's Twelve Mystical Preludes are among the most important works for solo piano by Australian composers. Sitsky' s musical language is adapted from that of the so-called Second Viennese School of composers, especially from the works of Alban Berg. However, this language is nothing more than a basis for Sitsky's quite individual thought which, in the case of these preludes, derives from the composer's own performance style as a concert pianist. For this rea')on it is possible to hear echoes of the Romantic and post-Romantic Russian piano styles in these preludes, the influence of Scriabin being particularly strong. Each of the twelve preludes is short and aphoristic. Even the gestures contained within each prelude are brief and seemingly spasmodic. Nonetheless, the strong thematic integration of the whole cycle gives the impression of one large work. The succession of preludes from start to finish seems logical owing to the way in which the basic material is gradually developed and transformed. Some preludes are sonorous and turbulent (such as the first and fifth), others are brittle-textured and remote (such as the third and ninth), while the fourth, eighth and eleventh preludes - all dominated by a repeated C sharp - are of a calm, meditative nature. There is a most imaginative use of the middle pedal throughout the cycle. In particular, the massive overtone effects of the first and last preludes are striking. This work is one of a number of Sitsky' s large scale compositions for piano solo. The composer himself has acknowledged a preference for orchestral, vocal and operatic music. It may be that Sitsky, who thinks naturally in terms of the orchestra and the voice, feels a little restricted by the limitations of the piano. This would accouiit for the relative scarcity of piano solo works in his output. Nonetheless, in these preludes, he has treated the piano in a colourful way which is much inspired by his feeling for the orchestra. At the same time, he has produced a work worthy of his mastery in matters of musical structure and architecture." -- Robert ZocchiItem Open Access Larry Sitsky: Sharagan: Fantasia No 5 (1984) - Canatabile, expressivo, con moto misterioso(Canberra School of Music, Australian National University, 1984) Composer: Larry Sitsky; Cobbin, Peter"When Sitsky wrote Sharagan he had become very interested in Am1enian folk music and 'sharagan' is in fact an Armenian word meaning 'ancient song'. The highly melodic character of the music and the debt to Armenian folk music are the two dominant features of this composition. Although written in four movements, Sharagan is very loosely constructed and Sitsky has avoided giving it a label such as 'Sonata'. Like his other Fantasias, this work is highly rhapsodic and improvisatory in character. The first movement concentrates on the dark, low register of the piano and .the composer has stated in the score that it is to be played 'majestically, with much freedom, occasionally erupting into violence'. The music commence in a brooding manner with a very free melody in the right hand moving initially within a rather limited range, hovering around the notes F and C. This melody is punctuated by a drone-like chord using the interval of a diminished fifth (see Figure 67). The melody gradually takes on a wider curve still, using Das a support in the left hand either as a single note, arpeggiated cluster (D, E, F, G) or as a chord (D, A flat, D).The material used in the third melodic statement (see Figure 68) is repeated twice more during the movement and in between its first and second statements Sitsky has inserted some additional patterns which move within a small range and hover again around certain notes. Following the second presentation of the music illustrated in Figure 68, a rather lengthy section emerges, devoted to brilliant and rhapsodic statements and elaborations on what has been heard thus far. The figurations shown in Figure 69 are repeated (with some extensions and alterations) a further three times before a gradual return (over rumbles in the bass punctuated by a low D octave) to the idea and texture heard in tl:ie opening. The conclusion restates a large amount of material from the first part of the movement and ends quietly. The composer has written the second movement in a strict 4/4 time throughout with the left hand unrelentingly marking the beat. The pattern presented in the opening bar occurs frequently throughout the movement and heralds the start of more improvisations and elaborations in the right hand above the constantly moving crotchet octave bass. Although the left hand pattern commences each time with C sharp, E, G sharp, B, it changes thereafter and continues for an irregular number of bars during its first five presentations before some exact repetition is evident. Figure 70 shows the opening of the movement while Figure 71 represents a portion of the fourth appearance of the opening patterns. Although the bass patterns for numbers 6, 7 and 8 are the same as for 1, 2 and 3 respectively, the right hand elaborations continue to differ. Much use is made of the high treble region and towards the end of the movement, after a section marked 'ff, triumphantly', the energy built up gradually subsides ending pppp. Sitsky has marked the third movement Cantabile, espressivo, con moto misterioso. Its slow and decidedly remote character is brought about by the spacmg between hands which is, at times, extremely wide and by the inclusion of textures written on three staves. In the first section, both hands play note against note using a figuration in con. trary motion, with the fir t note of most of the.groupings forming the melody (see Figure 72). This melody moves within a limited range while the accompanying notes are more widely paced. The interval between the hands at the commencement is that of the diminished fifth. The melodic flow is momentarily interrupted and recommenced by two chords in which the diminished fifth is again apparent. This melodic interruption occurs a further three times before the texture of the music begins to change. The note against note technique gives way to a brief chordal passage which commences with the two chords mentioned above, an arpeggio-like figure moving from the bottom to the top of the keyboard, and then a passage in which the right hand uses the opening ideas (but now the figurations move in the opposite direction) accompanied by a melody in octaves (see Figure 73). The brief chordal passage alluded to previously now assumes more importance and the two stave representation gives way to a very tranquil passage written on three staves. This three layered texture results in some delicate and . colourful sonorities (see Figure 74). The-music moves back to two staves and material that has been presented before is quoted again, namely, the arpeggio-like figure and the passage which opened the movement. The percussive fourth movement's chief characteristic is the use of asymmetric beats (see Figure 75). It is marked presto and after non-stop repeated notes ends in a sweeping descending gesture. A large part of the material heard is repeated an octave higher with some differences in the asymmetric groupings. Sitsky has used a shorthand notation for the repeated notes in the interest of visual clarity." -- Wendy PennyItem Open Access Larry Sitsky: Sharagan: Fantasia No 5 (1984) - Presto(Canberra School of Music, Australian National University, 1984) Composer: Larry Sitsky; Cobbin, Peter"When Sitsky wrote Sharagan he had become very interested in Am1enian folk music and 'sharagan' is in fact an Armenian word meaning 'ancient song'. The highly melodic character of the music and the debt to Armenian folk music are the two dominant features of this composition. Although written in four movements, Sharagan is very loosely constructed and Sitsky has avoided giving it a label such as 'Sonata'. Like his other Fantasias, this work is highly rhapsodic and improvisatory in character. The first movement concentrates on the dark, low register of the piano and .the composer has stated in the score that it is to be played 'majestically, with much freedom, occasionally erupting into violence'. The music commence in a brooding manner with a very free melody in the right hand moving initially within a rather limited range, hovering around the notes F and C. This melody is punctuated by a drone-like chord using the interval of a diminished fifth (see Figure 67). The melody gradually takes on a wider curve still, using Das a support in the left hand either as a single note, arpeggiated cluster (D, E, F, G) or as a chord (D, A flat, D).The material used in the third melodic statement (see Figure 68) is repeated twice more during the movement and in between its first and second statements Sitsky has inserted some additional patterns which move within a small range and hover again around certain notes. Following the second presentation of the music illustrated in Figure 68, a rather lengthy section emerges, devoted to brilliant and rhapsodic statements and elaborations on what has been heard thus far. The figurations shown in Figure 69 are repeated (with some extensions and alterations) a further three times before a gradual return (over rumbles in the bass punctuated by a low D octave) to the idea and texture heard in tl:ie opening. The conclusion restates a large amount of material from the first part of the movement and ends quietly. The composer has written the second movement in a strict 4/4 time throughout with the left hand unrelentingly marking the beat. The pattern presented in the opening bar occurs frequently throughout the movement and heralds the start of more improvisations and elaborations in the right hand above the constantly moving crotchet octave bass. Although the left hand pattern commences each time with C sharp, E, G sharp, B, it changes thereafter and continues for an irregular number of bars during its first five presentations before some exact repetition is evident. Figure 70 shows the opening of the movement while Figure 71 represents a portion of the fourth appearance of the opening patterns. Although the bass patterns for numbers 6, 7 and 8 are the same as for 1, 2 and 3 respectively, the right hand elaborations continue to differ. Much use is made of the high treble region and towards the end of the movement, after a section marked 'ff, triumphantly', the energy built up gradually subsides ending pppp. Sitsky has marked the third movement Cantabile, espressivo, con moto misterioso. Its slow and decidedly remote character is brought about by the spacmg between hands which is, at times, extremely wide and by the inclusion of textures written on three staves. In the first section, both hands play note against note using a figuration in con. trary motion, with the fir t note of most of the.groupings forming the melody (see Figure 72). This melody moves within a limited range while the accompanying notes are more widely paced. The interval between the hands at the commencement is that of the diminished fifth. The melodic flow is momentarily interrupted and recommenced by two chords in which the diminished fifth is again apparent. This melodic interruption occurs a further three times before the texture of the music begins to change. The note against note technique gives way to a brief chordal passage which commences with the two chords mentioned above, an arpeggio-like figure moving from the bottom to the top of the keyboard, and then a passage in which the right hand uses the opening ideas (but now the figurations move in the opposite direction) accompanied by a melody in octaves (see Figure 73). The brief chordal passage alluded to previously now assumes more importance and the two stave representation gives way to a very tranquil passage written on three staves. This three layered texture results in some delicate and . colourful sonorities (see Figure 74). The-music moves back to two staves and material that has been presented before is quoted again, namely, the arpeggio-like figure and the passage which opened the movement. The percussive fourth movement's chief characteristic is the use of asymmetric beats (see Figure 75). It is marked presto and after non-stop repeated notes ends in a sweeping descending gesture. A large part of the material heard is repeated an octave higher with some differences in the asymmetric groupings. Sitsky has used a shorthand notation for the repeated notes in the interest of visual clarity." -- Wendy PennyItem Open Access Donald Hollier: Sonatina for Pianoforte (1971) - Explosive and Aggressive(Canberra School of Music, Australian National University, 1971) Composer: Donald Hollier; Cobbin, Peter"I wrote this sonatina in response to a request from former fellow student Donald Thornton. Probably because we were now both teachers, I designed a piece that would introduce to young pianists the many new effects that were in vogue. Consequently, the work is a survey of the atmospheric possibilities of piano playing. The work was never intended to be serious! It is cast in simple musical form, in the usual three short movements of a sonatina: fast-slow-fast. The last movement is a variation form, using a serial theme but very much tongue in cheek. In fact it is marked to be played with humour." -- Donald HollierItem Open Access Don Banks: Pezzo Dramatico (1956)(Canberra School of Music, Australian National University, 1956) Composer: Don Banks; Cobbin, Peter"Don Banks's short piano piece Pezzo Dramatico was written after his period of study in Italy with Dallapiccola. Like so much of Banks's best music it successfully combines strongly differentiated ideas through the use of a closely worked thematic-motivic approach. As in the Horn Concerto (1965) and Tirade (1968) sudden dramatic contrasts, rhetorical rhythmic gestures, intense but thwarted lyricism and a formalised system of pitch control are found in Pezzo Dramatico. Yet even within such a varied and dramatic context the overall effect of the piece is taut, perhaps even repressed. Many works by Banks reveal his determination to forge a personal style whilst drawlng on the diverse elements of his musical background. His early experience in Australia as a jazz performer is in interesting contrast to the time he spent as a student working with Seiber in England and Dallapiccola. Both Seiber and Dallapiccola were strongly influenced by the serial language of Webern, yet they also brought aspects of personal styl to bear in their music, removing it to some extent from the somewhat bland 'international' style of many serial composers of the 1950. In works of the late 1960s like Intersections, Nexus, and Meeting Place Banks was to show his capacity for integrating jazz idioms into a musical context undoubtedly within the post-war European tradition. This talent for combining elements is already evident in an earlier work such as Pezzo Dramatico, although on a reduced and more selective scale. Whilst the work draws on ideas and habits of his teachers and the prevailing musical fashions of the 1950s it also shows individuality, especially in the determined way the piece revolves around a few distinctive motivic sources. The allusion to drama in the title is especially evident in the rapid alternation of moods. Loud and soft dynamics are closely juxtaposed; strident interruptions frequently cut through a prevailing quiet texture creating a significant degree of uncertainty for the listener. Likewise, the relative security of patterned rhythmic material is often upset by more jagged interjections of short motivic ideas. Strong contrasts are also evident in the writing for piano - extremes of range are used, clear melodic lines with accompanying chordal textures are pitted against linear writing. The piano's dual capacities as a percussive and a lyrical instrument are exploited. Yet in spite of this flow of contrasting material a clear sectionalisation is apparent in the work. The formal scheme suggests an arch shape. The first six bars contain three ideas which assume great importance in the work: a triplet figure (see Figure 58), a melodic semitone (see Figure 59), and a simple longshort rhythmic pattern (see Figure 60). The opening section also states the work's twelve tone row (see Figure 61 ). Banks handles the row freely, showing the influence of his mentor Dallapiccola in his propensity for allowing it to dissolve into its motivic constituents. The most important of the e is the semitone which occurs on three occasion in the row' original form. The second section, which contains dramatic alternations ofloud and soft textures, commences with a derivative of the triplet and the long-short pattern (see Figure 62). This figure is restated at the return of the B section (bar 85); the figure is motto-like and rather reminiscent of Messiaen' s piano music. The long-short patterns which predominate in this section are at times reversed as at bar 54, where the semitone figure is again stated (see Figure 63). Banks achieves moments of cadential repose through quiet arpeggiations of chords in the middle and end of the section, recalling similar figures in the opening six bars of the work. Marked Lento espressivo the middle section is, in contrast to the surrounding music, mostly quiet and slow. The lyrical quality of the writing here is never allowed fully to emerge into song. The semitone motive is given elegant melodic shape in a series of sequential passages drawn from Figure 59 (see Figure 64). Whilst the pitch material is drawn from a cell contained in the row's first four notes, the suggestion is of chromatic tonal harmony - lush and rich but avoiding resolution. The section is built through the addition of further melodic lines which thicken the texture and increase the intensity. References to earlier material are apparent, especially in the falling semitone figure at bars 71, 75, and 79 (see Figure 65) and in the interpolation of occasional loud fragments. The second B section is much shorter than the first, hence disturbing any notion of structural symmetry in the work. The material presented is a declamatory series of fragments from the earlier matching section, culminating in a jagged melodic figure at bar 97 (see Figure 66). The final six bars are a free retrograde of the opening section - each of the motivic features is again presented with sudden changes of dynamic and texture. The tone row's integrity is restored in the closing bars with a complete statement in reverse order. Rhetorical and declamatory are terms as appropriate to this brief piece by Banks as they are to much Italian music of the same period. The work of Dallapiccola, as well as younger compatriots such as Nono, Berlo and Maderna, shows similar inspiration to that in the works of Webern within an Italian tradition of almost song-like expressive lyricism and clearly delineated textures. To this, Banks brings his customary rhythmic tautness, resulting in a piece marked by clear and dramatic ideas, subjected to constant subtle transformation. The rhetorical content of the work comes from its frequent use of statement and interruption devices. The brevity of the piece is itself a rhetorical feature. Such a short piece, with a variety of strongly differentiated musical ideas and moods, creates a problem of unity for the composer. In the case of P ezzo Dramatico the solution to this problem is a high level of motivic integration." -- Andrew SchultzItem Open Access Larry Sitsky: Sharagan: Fantasia No 5 (1984) - Allegrissimo, molto ritmico(Canberra School of Music, Australian National University, 1984) Composer: Larry Sitsky; Cobbin, Peter"When Sitsky wrote Sharagan he had become very interested in Am1enian folk music and 'sharagan' is in fact an Armenian word meaning 'ancient song'. The highly melodic character of the music and the debt to Armenian folk music are the two dominant features of this composition. Although written in four movements, Sharagan is very loosely constructed and Sitsky has avoided giving it a label such as 'Sonata'. Like his other Fantasias, this work is highly rhapsodic and improvisatory in character. The first movement concentrates on the dark, low register of the piano and .the composer has stated in the score that it is to be played 'majestically, with much freedom, occasionally erupting into violence'. The music commence in a brooding manner with a very free melody in the right hand moving initially within a rather limited range, hovering around the notes F and C. This melody is punctuated by a drone-like chord using the interval of a diminished fifth (see Figure 67). The melody gradually takes on a wider curve still, using Das a support in the left hand either as a single note, arpeggiated cluster (D, E, F, G) or as a chord (D, A flat, D).The material used in the third melodic statement (see Figure 68) is repeated twice more during the movement and in between its first and second statements Sitsky has inserted some additional patterns which move within a small range and hover again around certain notes. Following the second presentation of the music illustrated in Figure 68, a rather lengthy section emerges, devoted to brilliant and rhapsodic statements and elaborations on what has been heard thus far. The figurations shown in Figure 69 are repeated (with some extensions and alterations) a further three times before a gradual return (over rumbles in the bass punctuated by a low D octave) to the idea and texture heard in tl:ie opening. The conclusion restates a large amount of material from the first part of the movement and ends quietly. The composer has written the second movement in a strict 4/4 time throughout with the left hand unrelentingly marking the beat. The pattern presented in the opening bar occurs frequently throughout the movement and heralds the start of more improvisations and elaborations in the right hand above the constantly moving crotchet octave bass. Although the left hand pattern commences each time with C sharp, E, G sharp, B, it changes thereafter and continues for an irregular number of bars during its first five presentations before some exact repetition is evident. Figure 70 shows the opening of the movement while Figure 71 represents a portion of the fourth appearance of the opening patterns. Although the bass patterns for numbers 6, 7 and 8 are the same as for 1, 2 and 3 respectively, the right hand elaborations continue to differ. Much use is made of the high treble region and towards the end of the movement, after a section marked 'ff, triumphantly', the energy built up gradually subsides ending pppp. Sitsky has marked the third movement Cantabile, espressivo, con moto misterioso. Its slow and decidedly remote character is brought about by the spacmg between hands which is, at times, extremely wide and by the inclusion of textures written on three staves. In the first section, both hands play note against note using a figuration in con. trary motion, with the fir t note of most of the.groupings forming the melody (see Figure 72). This melody moves within a limited range while the accompanying notes are more widely paced. The interval between the hands at the commencement is that of the diminished fifth. The melodic flow is momentarily interrupted and recommenced by two chords in which the diminished fifth is again apparent. This melodic interruption occurs a further three times before the texture of the music begins to change. The note against note technique gives way to a brief chordal passage which commences with the two chords mentioned above, an arpeggio-like figure moving from the bottom to the top of the keyboard, and then a passage in which the right hand uses the opening ideas (but now the figurations move in the opposite direction) accompanied by a melody in octaves (see Figure 73). The brief chordal passage alluded to previously now assumes more importance and the two stave representation gives way to a very tranquil passage written on three staves. This three layered texture results in some delicate and . colourful sonorities (see Figure 74). The-music moves back to two staves and material that has been presented before is quoted again, namely, the arpeggio-like figure and the passage which opened the movement. The percussive fourth movement's chief characteristic is the use of asymmetric beats (see Figure 75). It is marked presto and after non-stop repeated notes ends in a sweeping descending gesture. A large part of the material heard is repeated an octave higher with some differences in the asymmetric groupings. Sitsky has used a shorthand notation for the repeated notes in the interest of visual clarity." -- Wendy PennyItem Open Access Larry Sitsky: Sharagan: Fantasia No 5 (1984) - Majestically, with much freedom(Canberra School of Music, Australian National University, 1984) Composer: Larry Sitsky; Cobbin, Peter"When Sitsky wrote Sharagan he had become very interested in Am1enian folk music and 'sharagan' is in fact an Armenian word meaning 'ancient song'. The highly melodic character of the music and the debt to Armenian folk music are the two dominant features of this composition. Although written in four movements, Sharagan is very loosely constructed and Sitsky has avoided giving it a label such as 'Sonata'. Like his other Fantasias, this work is highly rhapsodic and improvisatory in character. The first movement concentrates on the dark, low register of the piano and .the composer has stated in the score that it is to be played 'majestically, with much freedom, occasionally erupting into violence'. The music commence in a brooding manner with a very free melody in the right hand moving initially within a rather limited range, hovering around the notes F and C. This melody is punctuated by a drone-like chord using the interval of a diminished fifth (see Figure 67). The melody gradually takes on a wider curve still, using Das a support in the left hand either as a single note, arpeggiated cluster (D, E, F, G) or as a chord (D, A flat, D).The material used in the third melodic statement (see Figure 68) is repeated twice more during the movement and in between its first and second statements Sitsky has inserted some additional patterns which move within a small range and hover again around certain notes. Following the second presentation of the music illustrated in Figure 68, a rather lengthy section emerges, devoted to brilliant and rhapsodic statements and elaborations on what has been heard thus far. The figurations shown in Figure 69 are repeated (with some extensions and alterations) a further three times before a gradual return (over rumbles in the bass punctuated by a low D octave) to the idea and texture heard in tl:ie opening. The conclusion restates a large amount of material from the first part of the movement and ends quietly. The composer has written the second movement in a strict 4/4 time throughout with the left hand unrelentingly marking the beat. The pattern presented in the opening bar occurs frequently throughout the movement and heralds the start of more improvisations and elaborations in the right hand above the constantly moving crotchet octave bass. Although the left hand pattern commences each time with C sharp, E, G sharp, B, it changes thereafter and continues for an irregular number of bars during its first five presentations before some exact repetition is evident. Figure 70 shows the opening of the movement while Figure 71 represents a portion of the fourth appearance of the opening patterns. Although the bass patterns for numbers 6, 7 and 8 are the same as for 1, 2 and 3 respectively, the right hand elaborations continue to differ. Much use is made of the high treble region and towards the end of the movement, after a section marked 'ff, triumphantly', the energy built up gradually subsides ending pppp. Sitsky has marked the third movement Cantabile, espressivo, con moto misterioso. Its slow and decidedly remote character is brought about by the spacmg between hands which is, at times, extremely wide and by the inclusion of textures written on three staves. In the first section, both hands play note against note using a figuration in con. trary motion, with the fir t note of most of the.groupings forming the melody (see Figure 72). This melody moves within a limited range while the accompanying notes are more widely paced. The interval between the hands at the commencement is that of the diminished fifth. The melodic flow is momentarily interrupted and recommenced by two chords in which the diminished fifth is again apparent. This melodic interruption occurs a further three times before the texture of the music begins to change. The note against note technique gives way to a brief chordal passage which commences with the two chords mentioned above, an arpeggio-like figure moving from the bottom to the top of the keyboard, and then a passage in which the right hand uses the opening ideas (but now the figurations move in the opposite direction) accompanied by a melody in octaves (see Figure 73). The brief chordal passage alluded to previously now assumes more importance and the two stave representation gives way to a very tranquil passage written on three staves. This three layered texture results in some delicate and . colourful sonorities (see Figure 74). The-music moves back to two staves and material that has been presented before is quoted again, namely, the arpeggio-like figure and the passage which opened the movement. The percussive fourth movement's chief characteristic is the use of asymmetric beats (see Figure 75). It is marked presto and after non-stop repeated notes ends in a sweeping descending gesture. A large part of the material heard is repeated an octave higher with some differences in the asymmetric groupings. Sitsky has used a shorthand notation for the repeated notes in the interest of visual clarity." -- Wendy Penny