Concerts In University Arts Festival
Lecturer: As you will know, the university is planning an arts festival for later this year and here in the music department. We’ve planned three concerts. These will be public performances and the programme has just being finalised. The theme of the festival is linked between the UK and Australia, and this is reflected in the music. Each concert will feature both British and Australian composers.
I’ll tell you briefly about Australian music, as you probably won’t be familiar with that. The first concert will include music by Liza Lim, who was born in Perth, Western Australia, in 1966. As a child, Limb originally learned to play the piano like so many children, and also the Q31 violin. But when she was 11 her teachers encouraged her to start composing. She found this was her real strength, and she studied and later taught composition both in Australia on DH in other countries as a composer, She has received commissions from numerous orchestras, other performers, and festivals in several countries. Liza Limbs’ compositions are vibrant and full of Q32 energy, and she often explores Asian on Australian aboriginal cultural sources, including the native instrument, the Didgeridoo. This is featured in a work called The Compass. Her music is very expressive, so although it is Q33 complex, it has the power of connecting with audiences and performers alike. In the festival, we’re going to give a semi-staged performance off the Oresteia. This is an Q34 opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus. Lim composed this when she was in her mid-twenties, and he also wrote the text along with Barry Kaskey. It’s performed by six singers, a dancer, and an Orchestra that, as well a standard orchestral instruments, includes electric guitar, onda, and traditional Turkish stringed instruments. Lim wrote that because the stories in the tragedies are not easy to tell, the sound she creates are also Q35 disturbing and they include breathing, solving, laughing on whistling. The work lasts around 75 minutes. On the rest of the concert will consist of orchestral works by the British composers Wraith, Vaughan Williams, on DH Frederick Delius, moving on now to our second concert. This will begin with instrumental music by British composers Benjamin Britain on Judith, where after the interval will go to Australia for a piece by Ross Edwards, the tower off Remoteness.
According to Edwards, the inspiration for this piece came from nature when he was sitting alone in the dry bed of a creek, overshadowed by the leaves of palm trees listening to the birds and insects, the tower of remoteness he’s scored for piano and Q36 clarinet Edwards says he realised years after writing the piece that he had subconsciously modeled its opening phrase on a bird call. Ross Edwards was born in 1943 in Sydney, Australia, and studied at the Sydney Conservatory, um of music on the universities of Adelaide and Sydney. He’s well known in Australia, and in fact, he’s one of the country’s most performed composers. He’s written a wide range of music, from symphonies and concertos to some composed specifically for children. Edwards, his music has been described as being deeply connected to Australia, and it could be regarded as a celebration of the Q37 diversity of cultures that Australia Khun B, proud off the last of the three Australian composers to be represented in our festival is called Vine, Born in 1950 for Vine like Liza, Limb comes from Perth, Western Australia.
He took up the cornet at the age of five, switching to the piano. Five years later, however, he went to university to study Q38 physics before changing to composition. After graduating, he moved to Sydney and worked as a freelance pianist and composer. Before long, he had become prominent in Australia as a composer for Q39 dance and in fact has written 25 scores of that type. In our third concert, Vine will be represented by his music for the flag handover ceremony of the Q40 Olympics, held in 1996. This seven-minute orchestral piece was, of course, heard by millions of people worldwide, and we’ll hear it alongside works written by British composers Edward Elgar and more recently, Thomas Ad.