July 2012

The Moon and I: Ross Edwards discusses his new Saxophone Concerto Full Moon Dances for Amy Dickson

Ross Edwards’s Full Moon Dances, a new saxophone concerto for Amy Dickson, was premiered by the Adelaide Symphony Orchestra in June, followed by performances by the WASO and the Tasmanian Symphony Orchestra, and with further performances scheduled for Sydney and Melbourne. In this article, the composer takes a close look at his latest concerto, and talks about his earlier collaborations with many other soloists. He also explains why lighting instructions appear on the first pages of many of his scores, together with the list of instruments. This is a preview of an article to be published in Resonate, the online magazine of the Australian Music Centre.

New Piano Sonata

On May 9 2012 the distinguished Australian pianist Bernadette Harvey gave the brilliant premiere performance of Ross Edwards’ new Piano Sonata at a special concert in the Sydney Conservatorium’s Verbrugghen Hall. The Sonata, composed especially for Bernadette, was commissioned by Sydney University as part of the celebrations of the 100th anniversary of the Conservatorium.

The score of the Sonata is now available from The Australian Music Centre – Email: info@australianmusiccentre.com.au – Phone +61 2 9247 4677 – and the work has been recorded for future release by Tall Poppies Records.

Immediately after her concert performance Bernadette recorded the work for Youtube:
http://www.youtube.com/watch?v=Dgn-of7cTxE

Ross Edwards with Bernadette Harvey

“Bernadette Harvey demonstrated once again that she is one of Australia’s most enterprising and resourceful pianists. Gifted with a rare physical control of the instrument and intellectual and interpretative qualities to match, she took the audience on a journey across rarely encountered musical territory. I particularly admired the skill Harvey essayed with Ross Edwards’ Piano Sonata (2011). Whether in the elated, joyful measures of the first movement, the gently lulling, melancholy moments of the slow movement or the intricate, idiosyncratic finale, Harvey sounded at her authoritative best.” (Neville Cohn, The West Australian).