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Resonate Magazine, 14 Feb 2012. 'Without the acknowledging of those few musicians who were pursuing an idea of musical modernism, such as Margaret Sutherland, Keith Humble, and Felix Werder, among others, Australia seems stuck in a state of permanently starting out, of always beginning again, as each new generation invents the wheel, largely unknowing of those who had been building the culture before them', writes Warren Burt. He has been involved in organising a special birthday tribute concert for Felix Werder on 23 February (broadcast on ABC Classic FM on 25 February), as well as restoring Werder's 1974 electronic work The Tempest. 
Resonate Blog, 23 Jan 2012.
In October 2011 I was invited to participate in the 6th Annual Mamori Sound Project, a residency for composers and sound artists on Mamori Lake, in the heart of the Brazilian Amazon. The expedition is designed as an intensive immersion into the sonic environments of the rainforest and involves field work and theoretical workshops with a focus on creative field recording and the exploration of natural sound environments. 
Resonate Magazine, 17 Jan 2012. Brett Dean's Fire Music will get its Australian premiere this February as part of the Australian Ballet's evening of new choreographies. The following interview by David Allenby was first printed in the October issue of Quarternotes magazine and is reproduced on Resonate with kind permission of Boosey & Hawkes Music Publishers. Resonate Magazine, 29 Nov 2011.
'Having participated in numerous composer development programs myself, it is a pleasure and a delight now to be able to pass on the favour to younger composers through taking on the role of teacher and mentor. Halcyon's First Stones project has been particularly rewarding, as it's the first program I've been in on from the beginning and helped to design.'
Resonate Blog, 31 Oct 2011.
My first experience with contemporary music was playing a brand new piece by Peter Rankine with the Queensland Youth Orchestra at the back of the 2nd violins in 1988 when I was 14. I thought it was really weird and atonal and I practised it so hard. There were things like aleatoric windows. But for all that atonality and seeming chaos the composer himself was so nice and sweet... 
Resonate Magazine, 27 Oct 2011.
'Lumsdaine's music is above all energetic. Even those musical passages that have few notes sustain their forms through careful balance: energetic gravity. His music's difficulties - of which there are many, and of which the many are considerable - are never greater than the concepts that the music performs. Those concepts are diverse, complex, multilayered and constantly shifting, set through music that is technically virtuosic and surprisingly direct.' 
Resonate Blog, 5 Oct 2011.
'I've always envied Peter Sculthorpe the ability to arrange and rearrange his music. When you write a piece, you want it performed as much as possible...' Resonate Blog, 20 Sep 2011. The new Australian music ensemble ExhAust made their debut at the Galapagos Art Space in Brooklyn on 18 October. 
Resonate Blog, 30 Aug 2011.
Having been back in Australia for over a fortnight now, the whole Ensemble-Offspring-China-experience almost feels like a dream - a distant memory of glass harmonica pampering, sticky humidity, cold Tsing Tao beer and Chinese kitsch. 
Resonate Magazine, 26 Jul 2011.
'Once, I used to think in terms of absolute music, and notes came from the ether, and other ethereal notes would gather around them, as it were...' 
Resonate Magazine, 8 Jun 2011.
n 1994 the Sydney Symphony Orchestra performed my first major orchestral piece, harvesting the solstice thunders, with Mark Elder conducting. It was well received, but Laurie Strachan, then The Australian's Sydney music critic, complained that composers, like police officers, now seemed young enough to be his children 
Resonate Magazine, 23 May 2011.
'In some circles Sydney Gay & Lesbian Choir needs no introduction, but in case you haven't been active in the queer music scene over the last 20 years...' 
Resonate Magazine, 22 Apr 2011.
'In the mid-1970s, the New Zealand-born composer Gillian Whitehead worked in Europe, dividing her time between London and Hoy, one of the Orkney Islands, a full 24-hour trip away. "It was [in Orkney] that my harmonic language first began to soften," Whitehead later wrote.. |
Resonate Blog, 24 Jan 2012.
The passing of time has simply refused to blunt the visceral impact of Pierrot lunaire. Arnold Schoenberg's not-quite-sane settings of German versions of French poems declaimed by an Italian clown continue to send ripples and shivers through the arteries of contemporary music. The work exerts an influence over new Western art music from which today's performers and composers are never really free. 
Resonate Magazine, 25 Jan 2012.
Ken Tribe (1914-2010) spent 40 years at the artistic helm of Musica Viva, had a pivotal role in the formation of policies for the first Australia Council, and was unfailing in his support of living composers and performers. Gwen Bennett's new biography More than Music gives a full account of Tribe's life, his many professional roles, his personal passion for the arts and his important legacy for music in Australia. The following two extracts from More than Music come from the 2nd and the 16th chapters of the book: Tribe's early years in Hobart and Sydney, and Musica Viva years 1972-1980. More than music - the life and work of Kenneth W Tribe AC is now available for purchase through the AMC Shop for $25. 
Resonate Magazine, 18 Nov 2011.
'I've come to realise that my different activities in music - ostensibly revolving around the intersecting dichotomies of classical/jazz and composer/pianist - lie on a spectrum defined by their deployment of clock time versus imaginary time. When composing, the imaginary time I inhabit means that I can write the third movement of my cello concerto before the first, I can take three weeks to compose three minutes of music and I can reverse the arrow of time and watch the music de-compose before my eyes as I screw up rejected pages.' 
Resonate Magazine, 7 Nov 2011.
In spring 2011, composer, orchestrator and arranger Jessica Wells was working on scores for two films: BAIT 3D, a killer shark movie due for release in 2012, and Happy Feet 2, due for release at the end of the year. At our request, she kept a work diary for one extremely busy Wednesday. Resonate Blog, 27 Oct 2011.
'It was on his second voyage to the 'New World,' begun in the south-western Spanish port city of Cádiz on 25 September 1493, that Christopher Columbus (1451-1506), together with seventeen ships and more than a thousand men, landed on the island of Puerto Rico on 19 November that same year...' 
Resonate Magazine, 17 Oct 2011.
'Residual grew out of my increasing interest in live electronic processing of my trumpet and out of Dung Nguyen's wish to explore preparations and alternate tunings for his traditional Vietnamese instruments. Dung and I have worked together for around ten years in the sextet, Way Out West, which creates a space for Dung's traditional instruments in a contemporary jazz setting...' 
Resonate Blog, 5 Oct 2011.
A unique slice of Australia's experimental music history is being reissued online in the early cassette releases of Melbourne composer and instrument builder, Ernie Althoff. 
Resonate Magazine, 20 Sep 2011.
In his new book, Dr Albrecht Dümling traces the destinies of many German-speaking refugee musicians who arrived in Australia between 1933 and 1945. Some of them made Australia their home for a short while, some for the rest of their lives, and many professional musicians were forced to abandon their careers and take on other work to secure their entry to Australia. 
Resonate Magazine, 30 Aug 2011.
'When I was at school, in art class, from the start of Year 7 we were encouraged to create our own masterpieces...' 
Resonate Magazine, 12 Jul 2011.
'Bohemian Deconstruction was composed as part of a much wider project: Polyopera, a collaboration between Polyartistry, a collective of multidisciplinary artists from around the country, and Opera Australia, our national opera company...' 
Resonate Magazine, 13 May 2011.
Conductor Carolyn Watson writes about Arthur Benjamin's dramatic legacy and his opera Prima Donna. 
Resonate Magazine, 23 May 2011.
'...Wake Up!, as a concert-length production, was a brand-new concept for Clocked Out, one that was only truly revealed in the moment of performance. Reflective understanding began at 7.45pm on Wednesday night, just after the concert's conclusion.' |
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