REVIEW OF MANTRAS AND NIGHT FLOWERS – Piano Music of Ross Edwards and Carl Vine performed by Bernadette Harvey

Review By Mandy Stefanakis of the Music Trust  2016

I have very strong memories associated with the music of Ross Edwards and Carl Vine. I listened spellbound to Edwards’ Dawn Mantras, the sheer beauty of it, those sublime climactic notes from Jane Sheldon, as it was performed for the Dawn Service, part of celebrations around the world with the new millennium for which the piece was written. Later, riveted, I enjoyed reading about and unpacking the symbolic gestures and structure of it and worked with it many times with students. It was a purely musical indulgence for me.
My pivotal Vine experience is much more associative. I sat on the floor outside the ICU at the Epworth hospital in Melbourne waiting to be allowed entry to see my son and I had headphones attached listening to Vine’s String Quartets which I was reviewing. I could say it blocked out the hospital atmosphere, but rather, it was just unbelievably moving. There are, of course, signature passages in Vine’s works and in listening now to his Piano Sonata No. 1, the furrows in my bones, remnants of this experience, run a little deeper.
It’s strange then that what differentiates these two composers the most is that Edwards is almost always inspired by imagery – a person, a place, an aspect of nature. Even when he starts out writing from a sonic stance, his descriptions become metaphoric. There are always reference points. Conversely, Vine’s work, affecting me in that instance associatively, is most often purely concerned with sound. Any references tend towards the philosophical even when talking about spiders! He thinks in abstractions.
Renowned Australian pianist, Bernadette Harvey, brings both incredible virtuosity and sublime subtlety of articulation to her interpretations of the works on this album which are organised like bookends. It is such a generous CD of 72 minutes’ duration and there isn’t one second the listener would wish to be denied.

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© Mandy Stefanakis
The Music Trust © 2016

5-STAR REVIEW FROM THE BBC MUSIC MAGAZINE

Ross Edwards’s Full Moon Dances for alto saxophone and orchestra of 2012 (recorded live under Miguel Harth-Bedoya) is a more substantial work, inspired by the moon goddesses of different cultures and a corresponding range of musical influences. Atmospheric nocturnal ceremonies alternate with frenetic ritual dances in a dramatic sequence which is also a brilliant showpiece for the soloist. In the concert hall the piece has a theatrical element of costume and lighting. But the thrilling performance and vivid recording more than make up for its absence.’

– Anthony Burton

Zodiac

In May 2015 Stanton Welch’s ballet ZODIAC, with a commissioned 45 minute orchestral score by Ross Edwards, was given its highly  successful world premiere in Houston for the Houston Ballet. Here are some excerpts:

Ross Edwards Winner at 2015 APRA Awards

Ross Edwards wins the  Award for Excellence by an individual at the 2015 APRA awards for his contribution to Australian chamber music

Video: Stanton Welch explores the twelve signs of the Zodiac

Australian choreographer and Artistic Director of the Houston Ballet Stanton Welch explores the twelve signs of the Zodiac in a sexy, exhilarating ballet to a commissioned score by Ross Edwards.

Zodiac will receive its world premiere on Thursday 28 May alongside ballets by Mark Morris and Jiří Kylián.

A RHYTHM THAT DANCES: A celebration of the music of Ross Edwards

Presented by Halcyon in partnership with the Sydney Conservatorium of Music

Inspired by a deep love for the Australian natural environment, the music of Ross Edwards radiates both joyous exuberance and meditative reflection. A Rhythm that Dances celebrates these twin aspects of his writing. Showcasing works spanning almost 40 years, this retrospective program focuses on Edwards’ music in miniature and features solo performances by some of Australia’s leading contemporary musicians. The concert is also a rare opportunity to hear his two major song cycles, The Hermit of Green Light (1979) and Five Senses (2013), as well as Maninya I for voice and cello, which is an early example of his celebrated ‘dance-chant’ style and an inspiration for his violin concerto, Maninyas. Also on the program is his Piano Sonata (2011), commissioned by the Conservatorium for Bernadette Harvey, who recently gave the US premiere.

Artists:  Jenny Duck-Chong mezzo soprano  Bernadette Harvey piano  Claire Edwardes percussion  Geoffrey Gartner cello

DATE: 13th June 2015 at 6.30pm

VENUE: Recital Hall East, Sydney Conservatorium of Music

For more information click here

This is a free event but you must register here to attend as numbers are limited.

Amy Dickson releases premiere recording of Full Moon Dances

The brilliant Australian saxophonist Amy Dickson has released her new album Island Songs on ABC Classics. The CD features world-premiere recordings of concertos by three of Australia’s most renowned composers: Brett Dean, Ross Edwards and Peter Sculthorpe.

Full Moon Dances: Concerto for Saxophone and orchestra was composed especially for Amy Dickson in 2011, and was premiered with the Sydney Symphony Orchestra, conducted by Miguel Harth-Bedoya, in 2012.

Buy from the ABC Store
Buy on iTunes

Track Listing

PETER SCULTHORPE 1929–2014
Island Songs
1. I. Song of Home
2. II. Lament and Yearning

BRETT DEAN b.1961
3. The Siduri Dances

ROSS EDWARDS b.1943
Full Moon Dances – Concerto for Alto Saxophone and Orchestra
4. I. Mantra with Night Birds and Dark Moon Blossoms
5. II. First Ritual Dance
6. III. Water-Moon
7. IV. Sanctus
8. V. Second Ritual Dance

Amy Dickson discusses Peter Sculthorpe’s Island Songs.

Peter Sculthorpe (1929–2014)

On 8 August 2014 my dear friend and former teacher, the eminent Australian composer Peter Sculthorpe, passed away in Sydney after a long illness. I first met Peter as a student, when he joined the Music Faculty of Sydney University. That was 51 years ago. I used to work for him during vacations as copyist, phone and letter answerer, coffee maker etc. – an infinitely more rewarding holiday job than sorting mail!

Peter treated his students as apprentices. His house was like a workshop where an open, friendly atmosphere prevailed. He would often talk to us about whatever he was working on and invite us to participate in the compositional process, taking our ideas seriously and making us feel important. Genial and encouraging, he nonetheless demanded the highest standards. In those days, long before computers were used, music was composed with pencil and paper; the final score and parts copied by hand in ink, with much recourse to correction fluid. I often worked well into the early hours of the morning, especially if a deadline was imminent. As he’d finish composing a page, Peter would hand it to me for copying, inspecting it afterwards to make sure it was neat and accurate. Sometimes I’d have it returned with comments like “fix spacing”, or “straighten stems”. In this way I learnt to understand and accept professional standards.

In the 1960s and 70s, Peter scornfully renounced Australia’s insidious artistic inferiority complex known as “the cultural cringe” by pioneering a breakaway from dependence on Europe and beginning to explore the music of our Asian neighbours. These were exciting times. He became fascinated by Japanese gagaku, as well as Indonesian gamelan music, before either became well-known here. Their influence can be heard in such landmark works as Mangrove (1979) and Sun Music III (1967). A film was made about a visit he made to Bali and he also spent time in Japan as a cultural ambassador. Gradually his attention began to shift to the Australian landscape, especially that of the outback. One of his best-known landscape works is Kakadu (1988), with its earth-based drones and ecstatic flights of birds. Melodic lines resembling the contours of Aboriginal chant also began to weave their way through the textures of his music at this time, culminating in his monumental, all-embracing Requiem (2004).

Peter has been an inspiration to generations of composers. The name Peter (from the Greek Petros) means “rock”, symbolising stability, and so many composers have found him both stabilising and inspiring throughout an uncertain climate for the arts, especially for so-called “classical” music. Some years ago I was asked to write an article about Peter’s lifestyle, which I summed up as follows: “As a Taurean, his house has always been his castle, his studio, and the hub of all his activities. It perfectly reflects his personality, especially his need for order and symmetry. Everything must be in its right place before he can work. He is surrounded by things that are especially significant to him – books, screens, paintings, musical instruments etc. Most are constants, having acquired iconic status over the years, although some are periodically recycled to accord with his current interests or mood.” To this I would add that he eschewed any form of exercise, refused to take holidays, and that over the years my family and I found him kind, patient, generous, supportive, scintillating, wicked and at times outrageous: the full gamut. A wonderful composer and human being.

Ross Edwards

Ross Edwards with Peter Sculthorpe at the 2005 APRA/AMCOS Awards

Daniel Herscovitch – Piano Music

Summer Dances – New String Quartet Premiere

In February 2014 the brilliant young Kelemen Quartet from Hungary will tour Australia for Musica Viva. On their program will be the world premiere of Ross Edwards’ String Quartet No. 3 ‘Summer Dances’.

Click here for more information and tickets.

Wind Quintet Premiere Postponed

Unfortunately it has been necessary to postpone this concert due to unforeseen circumstances. The new date for the premiere of The Laughing Moon at the Independent Theatre, North Sydney, is Sunday 17 February 2013.

Sydney Wind Quintet to premiere The Laughing Moon – Five Bagatelles for Wind Quintet

On Sunday 25 November 2012 The New Sydney Wind Quintet will present the World Premiere performance of Ross Edwards’ The Laughing Moon – Five Bagatelles for Wind Quintet (2012)

• Date: Sunday, 25 November 2012, 3:00pm
• Venue: The Independent Theatre — 269 Miller St, North Sydney, NSW
• Tickets: $38/$34/$25 — Tickets can be purchased online or by phone on 1300 302 604

“When I was fortunate enough to receive a commission from Susan Gregory to compose a work for wind quintet, I decided that the repertoire for this combination could use some music that was ‘light but not trite’.  Accordingly, I aimed at being listener friendly while at the same time seeking to engage at a deeper level.

Naturally I took the opportunity to show off the brilliant virtuosity of The New Sydney Wind Quintet – based at the Sydney Conservatorium – for whom the work was composed. Some of the music draws on material from other works of mine and this has been substantially remodelled for its new context while retaining its original ethos.”

Ross Edwards.

Watch Full Moon Dances on BigPond Video

The Sydney Premiere of Full Moon Dances, featuring Amy Dickson and the Sydney Symphony Orchestra conducted by Miguel Harth-Bedoya, has been filmed and may be viewed any time for free on BigPond Video.

The entire concert, filmed Monday 8 October 2012 in the Concert Hall of the Sydney Opera House, is available for viewing, and features the following programme:

Verdi
The Force of Destiny: Overture
Edwards
Full Moon Dances – Saxophone Concerto
Ravel
Alborada del gracioso
La Valse
Bolero

Also included for viewing is an extended interview with Ross Edwards and Amy Dickson.

Click here to go to Sydney Symphony videos on BigPond Video

Full Moon Dances comes to Sydney

This week virtuoso saxophonist Amy Dickson will perform Ross Edwards’s new saxophone concerto ‘Full Moon Dances’ with the Sydney Symphony Orchestra. Amy Dickson has been taking this brand new concerto right around Australia in recent months, from Adelaide, to Perth, Tasmania, and now Sydney.

The Sydney Symphony Orchestra will be conducted by Miguel Harth-Bedoya in a concert which also includes music by Verdi and Ravel – including his ever popular Bolero. Ross will be in attendance at these spectacular concerts.

Concert Hall, Sydney Opera House
Fri 5 Oct 8pm, Sat 6 Oct 8pm, Mon 8 Oct 7pm.

Further information about the concert and bookings is available from the Sydney Symphony Orchestra website, and the Sydney Opera House website.

Dawn Mantras for Live Performance

Ross Edwards composed Dawn Mantras especially for the Dawn Performance which was telecast to the world at the dawn of the new millennium from the Sydney Opera House. This work, which captivated an audience of billions, expresses hope for peace and renewal. A sequence of unforgettable images culminated in a young girl singing solo from the topmost of the building’s famous sails, accompanied by mixed choirs and a culturally diverse instrumental ensemble. The text was sourced from Latin, as well as living languages of Australia, South East Asia and the Pacific. The composer has recently devised a new range of performance possibilities for this iconic work and the material is now available for hire from Wise Music Group – Australia & New Zealand.

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.