NEWS

Australian Chamber Orchestra to premiere ‘Entwinings’

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From 1–12 September the Australian Chamber Orchestra will embark on a national tour of Australia that includes the world premiere of Ross Edwards’ Entwinings.

Entwinings was commissioned by Rob and Nancy Pallin to celebrate Nancy’s 70th birthday, and will see performances in Sydney, Wollongong, Canberra, Melbourne and Adelaide.

The orchestra will be led by the superb Norwegian violinist Henning Kraggerud. Kraggerud, who has built a reputation as the world’s leading interpreter of Grieg, will lead a programme of Grieg favourites, as well as new works by himself and Ross Edwards.

PROGRAMME

GRIEG In Folk Style from Two Nordic Melodies
ROSS EDWARDS Entwinings (World Premiere)
GRIEG (arr. Henning Kraggerud and Bernt Simen Lund) Violin Concerto (Sonata) No.3 in C minor (Australian Premiere)
HENNING KRAGGERUD Topelius-Variations (From Topelius’ Time) (Australian Premiere)
GRIEG (arr. Richard Tognetti) String Quartet No.1 in G minor

For more information and tickets, please visit the Australian Chamber Orchestra’s website here.

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Houston Ballet to tour Maninyas to Germany

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(Above): Karina Gonzalez and Charles-Louis Yoshiyama in Maninyas. Photo by Amitava Sarkar. Image provided courtesy of Houston Ballet.

Ross Edwards’ Maninyas: Concerto for Violin and Orchestra, with ballet choreographed by Stanton Welch, will be performed during the Houston Ballet’s tour to Ludwigshafen and Bonn, Germany. The company will give two performances at Theater im Pfalzbau in Lugwigshafen, Germany on April 7–8 and two performances at Theater Bonn in Bonn, Germany on April 11–12.

The Houston Ballet recently commissioned and performed ZODIAC, a 40-minute orchestral ballet for which Ross Edwards wrote the score. It was choreographed by the renowned Stanton Welch – their resident choreographer who is also an Australian – and was a resounding success.

Maninyas, created by Welch in 1996 for San Francisco Ballet, is a luminous, abstract ballet that depicts five couples moving through shimmering silks, and showcases exquisite duets and alluring choreography. “The piece is a process of unveiling,” explains Welch. “It examines how, in relationships, you gradually un-layer yourself, and how scary, dark and open it is to reveal yourself to another, without protection.” The dancers move through a powerful series of pas de deux and pas de trois to Edwards’ score. Following its San Francisco premiere, Maninyas has remained in the repertoire and gone from strength to strength. A recent Chicago season received glowing reviews.


(Above): Pas de deux between principals Karina Gonzalez and Ian Casady from Stanton Welch’s Maninyas.

This upcoming German tour is very much an Australian affair, as it will have an Australian composer, choreographer, conductor and violin soloist.

The solo part will be played by the brilliant young Australian violinist Sonja Schebeck, currently based in Vienna. She regularly performs with Nigel Kennedy as co-soloist or leader of his orchestra and is artistic director of the Vienna-based “The Freestyle Orchestra”. Sonja is an extraordinarily acrobatic, pyrotechnical performer who has been experimenting with her own staged version of part of Maninyas which she has performed in Europe and hopes to bring to Australia to help celebrate the work’s 30th anniversary in 2018.


(Above): Sonja Schebeck performs Maninyas.

For more information visit: houstonballet.org/ontour

Additional links to the Lugwigshafen and Bonn performances.

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The Sound of Australia: William Barton with the ASO

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This Thursday 6 April at the Adelaide Town Hall, the Adelaide Symphony Orchestra will perform Ross Edwards’ Tyalgum Mantras, with the incredible William Barton on didjeridu.

For more information, click here.

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Harp Mantras to be performed at Arts in the Valley

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The new harp quintet, Highly Strung, led by Alice Giles, will be playing Ross Edwards’ Harp Mantras on Sunday May 7, 2017 at 2:30pm in the Kangaroo Valley Hall as part of the Arts in the Valley festival which runs from 5–7 May in Kangaroo Valley.

Click here for more information.

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Ross Edwards awarded Tribe Symphony Award 2016

The University of Sydney’s Conservatorium of Music was very pleased to present the David Harold Tribe Symphony Award for 2016 to Australian composer Professor Ross Edwards AM on Thursday 27 October.

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Professor Matthew Hindson, Mr David Harold Tribe, Professor Ross Edwards AM

The $12,000 prize for a new symphonic composition of 20 minutes or more was awarded to Ross for his piece Frog and Star Cycle, a double concerto for alto saxophone, percussion and orchestra written in 2015. The judging panel consisted of the Conservatorium’s Associate Dean (Education) and Head of School Professor Matthew Hindson, Dr Maria Grenfell (University of Tasmania) and Professor Stuart Greenbaum (University of Melbourne) were extremely impressed with the high quality of applications.

“The quality of the submissions received points to a bright future in Australian orchestral music. The panel agonised long and hard about each applicant’s piece, the winning work was characterised by an intriguing approach to diverse forces and possessed a consummate command of technical forces and musical ideas,” said Hindson. “Frog and Star Cycle has a strong, unified structure but with a significant variety of approaches including strong narrative aspect and an unmistakable unique musical voice at play.”

“I’m honoured to receive this award for my double concerto Frog and Star Cycle and thankful to David Harold Tribe for his generosity towards the arts in our country,” said Edwards.

The award has been made possible by a donation from David Harold Tribe through the David Harold Tribe Charitable Foundation. The program offers five prizes worth $12,000 each in the areas of fiction, poetry, philosophy, sculpture and symphony. These categories rotate each year to inspire ingenuity in artistic fields that are often overlooked when it comes to charitable support.

“The David Harold Tribe Awards, administered and judged by the University of Sydney, cover the relatively neglected fields of symphony, sculpture, philosophy, poetry and short fiction,” said Tribe.

“It’s my hope that these educational awards for specific creative achievement in the recent past will stimulate and in some cases, perhaps, make it possible financially for the recipients to continue their creative output.”

View the original article here.

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New guitar solo for Xuefei Yang

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Celebrated guitarist Xuefei Yang will premiere Melbourne Arioso, which Ross has especially composed for her, as part of her Elisabeth Murdoch Hall Melbourne recital, 7.30 pm, November 3rd 2016.

Born following the Cultural Revolution, an era where Western music and instruments were banned, the fascinating story of Fei’s rise to the world stage is that of a musical pioneer. She was the first ever guitarist in China to enter a music school, and became the first to launch an international professional career. Her prodigious talent came to the attention of John Williams who donated two of his own guitars to her conservatorium. Since then, she has been impressing audiences around the globe with her exquisite sound and powerfully emotional performances of repertoire both old and new. The guitar is a world traveller, with a versatility that can take it with ease from 18th-century Germany to the beaches of Brazil. The guitar was still being perfected when Bach wrote his suites for its cousin the lute, but naturally guitarists have adopted these Baroque masterpieces for themselves. From the guitar’s heyday, Granados’ Poetic Waltzes make the leap from virtuoso piano work to an even more dazzling guitar showcase in Fei’s arrangement, revealing perhaps that Granados had the elegant and mellow sound of the guitar in mind all along. The guitar also found an ideal home in the New World, becoming integral to the music of Brazil, as heard in Villa Lobos’ many folk-tinged guitar pieces, and of course the bossa nova of Jobim and company. Its rainbow of sonic colours, its expressive voice and its brilliant exponents have extended the guitar’s global reach to Asia and Australia. The guitar is an ongoing source of inspiration to composers, here represented by the celebrated Ross Edwards who has composed a new work especially for Fei – an exquisite next step in the guitar’s journey.

For more information, click here.

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CD Release: Four Hands

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Described as ‘unforgettable’ by The Australian and ‘barnstorming’ by The New York Times, the Viney-Grinberg Piano Duo enjoy a stellar international profile. In their new album on ABC Classics, they survey recent music by Australian composers for piano four-hands, much of it receiving its world-premiere recording.

Music for piano four-hands began in the latter half of the 18th century, as the piano itself gained popularity. In the words of the pianists themselves, ‘the five Australian compositions on this disc grow and build on that tradition, with ambitious largescale works of complexity and virtuosity, as well as miniatures that deal with the interior world of the human heart and mind. Despite the diversity of music on this disc – a fascinating variety of responses to the musical opportunities afforded by piano four-hand performance – there is also a unifying thread of dynamism and spirited energy.’

Ross Edwards’ A Flight of Sunbirds showcases a seemingly effortless affection; Carl Vine and Stuart Greenbaum’s Sonatas explores the potential for four-handed counterpoint. Peter Sculthorpe’s ‘delicate and wistful quartet of beautiful tableaux’ follow the tradition of arranging existing works for piano four-hands. And Elena Kats-Chernin’s Victor’s Heart uses the warm resonance of the form to create a touching musical tribute.

Track Listing:

1-9. ROSS EDWARDS A Flight of Sunbirds: Nine Bagatelles for piano duet
10-14. CARL VINE Sonata for Piano Four-Hands
15–18. PETER SCULTHORPE Four Little Pieces for Piano Duet
19–21. STUART GREENBAUM Sonata for Piano Four-Hands
22. ELENA KATSCHERNIN Victor’s Heart

https://shop.abc.net.au/products/viney-grinberg-four-hands-cd

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25 September 2016: Interview

Ross Shares memories of early compositions, shower-time inspiration and a world of diverse influences.
Describe your first memory of music.

My aunt and grandmother playing the piano to me. My grandmother insisted on playing hymns – she’d been a church organist – but my aunt played Beethoven, Bach etc. (which I much preferred). I soon began playing myself, by ear – mainly songs I’d heard at kindergarten – but I also made things up.  When my family refused to believe these were original I felt highly aggrieved and sulked.
What inspired you to become a composer?

Attending an Sydney Symphony Orchestra concert (of Beethoven) when I was 13. After that I never, ever thought of being anything else, to the consternation of my parents.  Knowing that I simply had to be a composer was for me a very frightening prospect right throughout my adolescence, especially as in those days (the late 1950s) it would have seemed unimaginably outré – like wanting to be an astronaut. I read biographies of composers and had no illusions about the difficulties that lay ahead, especially as music wasn’t offered as a subject at the school I went to. I felt very much alone.
You’ve compositions include symphonies, choral, children’s, film and opera music, as well as music for dance. Is there a favourite?

No. I’m invariably obsessed with whatever I’m currently working on which I assume will be turn out to be the best thing I’ve ever done. Having said that, however, I’m very pleased with my mass, especially the way it’s shaping up at rehearsals.

Sydney Chamber Choir has performed a lot of your music in the past; how does it feel to be working with us again? 

I’m elated! Composing for the Sydney Chamber Choir over many years has taught me how to write for voices. Since the time Nicholas Routley became its first director in the early 1970s he kindly organised a string of commissions and performances for me. I’ve never sung in a choir. All my singing is done internally, or under the shower, where, incidentally, the kyrie of the mass was conceived.

Your music features a fusion of Western and traditional Australian influences; how have you brought these traditions together in Missa Alchera? 

The bringing together of diverse influences is done at a subconscious level and by now they’ve all been fused into my own language, so they just happen.  Eastern and mediaeval Western modes constantly interchange; there are brief references to plainchant and allusions to other forms of chant. Drones and ostinati are prominent and can be heard, for example, throughout the Kyrie; and the Osannas are influenced by the characteristic shapes of aboriginal chant and the intoxicating buzz of insects. Many of the rhythmic patterns are modelled intuitively on those produced by natural organisms.

What were the biggest challenges when creating this work?

I was apprehensive at first, but quite quickly I got totally immersed. One of the biggest challenges was containing my enthusiasm sufficiently to get the notes down on paper! (I don’t use a computer to compose). I remember enjoying working on it and feeling increasingly confident as it grew – always a good sign.

Who are you composing for the moment?

Having completed a big work for the SSO, Frog and Star Cycle, followed by several others including Entwinings for the ACO, I’m having a short break and am currently clearing out my work space. I’ll be starting work on an exciting new project as soon as the dust settles and there’s room to move.

What are you listening to right now?

I rarely listen to music except in my imagination. However I’ve been on national tour with the wonderful Jerusalem Quartet whose programs include my String Quartet No. 3. I look forward to hearing the just released Tall Poppies CD of the Brisbane Chamber Choir singing Australian choral music – including Mass of the Dreaming. My wife Helen’s been listening to it and she’s very impressed.

 

View the original article here.

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CD Release: Mass of the Dreaming

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Mass of the Dreaming (TP239) Australian Sacred Choral Music
Brisbane Chamber Choir • Graeme Morton – director

It is truly amazing that we’ve waited until 2016 for an Australian choir to record a CD of Australian sacred choral music. Yes, this is the first!

It’s well worth the wait. A lot of this music was commissioned by the choir. Specially mention must be made of Ross Edwards’ Mass of the Dreaming, a substantial work that will definitely be included among the pantheon of Australian choral works in the future. It’s the largest work on this disc and one of the most engaging.

The Brisbane Chamber Choir sings these works with skill and passion, ably directed by Graeme Morton.
The Choir has also commissioned the cover art from Kangaroo Valley-based artist Githa Pilbrow, who was inspired by the 2016 Vivid! exhibition in Sydney. Her work Cathedral Light makes a lovely cover.

PROGRAM:

Paul Stanhope: Ubi caritas *
Joseph Twist: Lamentation of Jeremiah *
Keren C. Terpstra: Arise my love, my fair one *
Matthew Orlovich: Communion of Reparation Andrew Schultz Magnificat *
Andrew Schultz: Nunc dimittis *
Stephen Leek: Sanctus *
Stephen Leek: Agnus Dei *
Nigel Butterley: Exultate Domino *
Ross Edwards: Mass of the Dreaming *

* = world premiere recordings

This CD is available now! Distribution to Australian retailers by Tall Poppies.
Contact Tall Poppies: ph: 02 44651259 • email: tpof ce@iinet.net.au
For further media information and review copies please contact Tall Poppies.
View Tall Poppies’ complete catalogue online at www.tallpoppies.net

Tall Poppies is unique in Australia in that it commissions works for recording. In its 25 year history, Tall Poppies has commissioned over 50 new works. Tall Poppies CDs are distributed in the Australia, UK, USA, Japan, Switzerland, on-line and on iTunes.

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When cosmic forces collide: Ross Edwards on writing for Amy Dickson

Amy Dickson

When Ross Edwards completed a new piece of music, Frog and Star Cycle, for his long-time collaborator saxophonist Amy Dickson, he was astonished at what he had written.

You have collaborated with Amy Dickson several times now. What do you enjoy about working with her?

As well as being quite an extraordinary performer, Amy is full of enthusiasm, game for anything, and a lovely person to work with. My wife Helen and I have become good friends with her. As well as the saxophone concerto Full Moon Dances, which she’s performed many times and recorded for Sony International, she’s played Bird Spirit Dreaming, the oboe concerto I wrote for the SSO’s Principal Oboe Diana Doherty. Amy performs it on soprano saxophone. My most recent commission I’ve completed for her is Bright Birds and Sorrows, commissioned by Kim Williams for Musica Viva. Amy will premiere this with the wonderful (British) Elias String Quartet in Sydney next April.

Where did the inspiration for Frog and Star Cycle come from?

All my music explores some aspect of deep ecology so nature was the source of inspiration. The work evolved slowly, finally reaching the form of a cycle of eleven large sections: ritual dances, a cleansing ceremony, duets featuring both soloists, divine cosmic play – always focussing on the natural world. It’s actually a sort of pantomime with lighting and movement, but the music’s the most important part of it. I transform phrases from a beautiful mediaeval hymn, Ave Maris Stella. When I looked back on what I’d made I was astonished. As always, it’s the result of a collaboration between my conscious mind and some deeper level.

Have you worked with Colin Currie before? Why are you looking forward to working with him?

I’ve heard Colin perform – he’s amazing, and extraordinarily athletic – but this will be the first time he’s performed a major work of mine. My composing the double concerto was Amy’s idea. She particularly wanted to perform with Colin. Last time Colin was in Sydney for the SSO he came for lunch and I went over the percussion part with him. Like Amy, he likes a challenge – nothing’s too difficult!

You mentioned that Colin and Amy would both be in costume for the concerts – can you describe what they look like?

In keeping with the ecological theme, Amy is the serene Earth Mother, a role she’s become accustomed to in performing my music. She wears a long white gown. Colin is shaman – a healer with access to the spirit world. He also has an association with frogs. The work opens with him re-enacting an ancient and universal creation ritual which brings the world into being. Helen and I are working on his costume at the moment – nothing that might restrict his movement – but probably he’ll have some kind of shamanic mask and wear the colour green. He’s looking forward to whatever we come up with!

Frog and Star Cycle will feature in the Sydney Symphony Orchestra’s Mahler 4 concerts at the Sydney Opera House on July 7-11. Buy tickets HERE.

View the original article HERE.

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NEW CD RELEASE

Another New CD just out. Mantras and Night Flowers, Piano Music of Ross Edwards and Carl Vine, brilliantly performed by Bernadette Harvey for Tall Poppies!

Mantras And Night Flowers Cover

These CDs are available now! Distribution to Australian retailers by Tall Poppies. Tall Poppies Logo
Contact Tall Poppies: ph: 02 44651259 • email: tpoffice@iinet.net.au
For further media information and review copies please contact Tall Poppies.
View Tall Poppies’ complete catalogue online at www.tallpoppies.net

Tall Poppies is unique in Australia in that it commissions works for recording.
In its 23 year history, Tall Poppies has commissioned over 50 new works.
Tall Poppies CDs are distributed in the Australia, UK, USA, Japan, Switzerland, on-line and on iTunes.

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

cover shot a-colour adj-touchedupReview 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.

© Mandy Stefanakis
The Music Trust © 2016

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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

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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:

 

 

 

 

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Ross Edwards Winner at 2015 APRA Awards

Ross Edwards APRA Award

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

 

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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.

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

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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.

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Amy Dickson releases premiere recording of Full Moon Dances

Island Songs

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.

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Zodiac (World Premiere)

MORRIS, WELCH & KYLIÁN

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Houston Ballet’s Summer Repertory program features three of the most dynamic and musical choreographers working today: world premieres by Stanton Welch and Mark Morris and an iconic ballet by Jiří Kylián. Welch explores the twelve signs of the zodiac in a new piece set to a commissioned score by distinguished Australian composer Ross Edwards. Building on his popularity with local audiences, preeminent American choreographer Mark Morris returns to create his first commissioned work for Houston Ballet. Jiří Kylián’s Svadebka is his interpretation of an important composition in ballet history, Stravinsky’s Les Noces.

7:30 PM on May 28, 30, June 5 & 6, 2015
2:00 PM on on May 31, June 7, 2015

Purchase Houston Ballet Tickets

Zodiac (World Premiere)

Music: Ross Edwards
Choreography: Stanton Welch

This new production is made possible through the generosity of Leticia Loya.

World Premiere

Choreography: Mark Morris

Svadebka
Music: Igor Stravinsky
Choreography: Jirí Kylián
Choir: Houston Chamber Choir

Age Recommendation: at least 5 years of age

Performance in the Brown Theater at Wortham Theater Center, 501 Texas Street at Smith Street.

SPONSORED BY

Riviana Foods, Inc.

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‘GALLIPOLI : A TRIBUTE’ LAUNCHED

In preparation for the 100th Anniversary of the ANZAC landings at Gallipoli in 2015, The Ian Potter Cultural Trust has launched the composition of a special musical tribute for the occasion.

Lady Potter AC and Frà Professor Richard Divall AO, OBE, together with The Ian Potter Cultural Trust and Monash University, are delighted to announce a special commemorative tribute recording to mark the forthcoming centenary of the Gallipoli landings in 1915.

The album Gallipoli – A Tribute, is dedicated to the RSL Australia, RSA New Zealand and Legacy.  Gallipoli – A Tribute features a beautiful, moving new composition by Ross Edwards, Gallipoli for String Quartetperformed by the Australian String Quartet, commissioned for the occasion by The Ian Potter Cultural Trust.

This new work sits alongside poetry and prose readings by actors Sam Neill DCNZM OBE and John Bell AO, as well as a collection of instrumental works and songs performed by leading musicians: Paul Grabowsky AO, Hoang Pham, Caroline Almonte, Christopher Latham, Dimity Shepherd, Stefan Cassomenos, Christopher Latham and Merlyn Quaife, as well as the Choir of Newman College, (The University of Melbourne), the Tasmanian Symphony Orchestra and Lance Corporal David Wood ADF, who plays The Last Post.  Each work has been carefully chosen to remind us of the sacrifice and courage of those who fought at Gallipoli. As a collection, the recording evokes the hardship and tragedy of this campaign, but also mateship, compassion, and the legacy of respect and honour that endures and strengthens with the passing years.

Every piece and performance on the album has been donated by the artists and authors: testament to both their personal generosity and the great significance of this occasion for the people of Australia and New Zealand.  Lady Potter and Professor Divall wish to sincerely thank the artists and many supporters of this special project for the tremendous support that has made this tribute possible.

DOWNLOAD your free copy of GALLIPOLI – A TRIBUTE from our Bandcamp page.

Copies of the CD will be available through Legacy, the RSL, the RSA and other organisations. Details to follow soon.

 

  • Ross Edwards by Bridget Elliot

  • The Australian String Quartet

 

As we approach the 2015 centenary of the Gallipoli landings, this evocative CD of poetry, prose and music is a fitting tribute to the men of the Australian and New Zealand Army Corps who fought side by side during that fateful campaign.
Lt Gen The Rt Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand

This CD is a poignant way of honouring the members of the Australian and New Zealand Army Corps (ANZAC) who stormed the shores of Gallipoli 100 years ago. Since this time, their heroics, selflessness and demonstrations of mateship have inspired Australians and New Zealanders and helped define our national ideals.”
– His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd), Governor-General of the Commonwealth of Australia

Track list: Gallipoli – A Tribute 

The Last Post (17th c).
Performed by Lance Corporal David Wood, Australian Defence Force.

The Ode – Age Shall Not Weary Them from For The Fallen (1914) by Laurence Binyon CH (1869-1943)
Read by John Bell.

Gallipoli for String Quartet  (2014) by Ross Edwards  (1943-  )
Performed by The Australian String Quartet: Kristian Winther and Ioana Tache, violins, Stephen King, viola and Sharon Draper, cello.

Gallipoli  (1918), poem by Dame Mary Gilmore (1865-1962)
Read by John Bell.

Elegy – ‘In Memoriam of Rupert Brooke’ (1915) by Frederick Septimus Kelly DSC (1881-1916)
Performed by Tasmanian Symphony Orchestra. Conducted by Johannes Fritsch. Jun Yi Ma, solo violin.

The Soldier (1914) by Rupert Brooke (1887-1915).
Read by John Bell.

Two monographs for solo piano (1915-6) by Frederick Septimus Kelly
Performed by Hoang Pham, piano.

Chorale from The Australian suite for piano and choir (1915) by Henry Tate (1873-1926)
Performed by the Choir of Newman College, The University of Melbourne, conducted by Gary Ekell.

Tribute to the ANZACs on Gallipoli (1934) by Mustafa Kemal Atatürk (1881-1938)
Read by Sam Neill.

Sonata for Violin and Piano in G major The Gallipoli Sonata  (1915) by Frederick Septimus Kelly
Performed by Christopher Latham, violin and Caroline Almonte, piano.

The Tribute – A musical interpretation of the memorable address of the Bishop of Amiens (1919) by Ernest Truman (1869-1948)
Performed by Dimity Shepherd, mezzo-soprano and Stefan Cassomenos, piano.

Two monographs for solo piano (1915-6) by Frederick Septimus Kelly
Performed by Paul Grabowsky, piano.

We Will Remember Them – Motet from the Mass For The Fallen (2014) composed by
Fr Christopher Willcock SJ (1947 – )

Performed by Merlyn Quaife, soprano, Choir of Newman College, The University of Melbourne. David MacFarlane, organ. Conducted by Gary Ekell.

Starting Over, poem by Anna McKenzie
Read by Sam Neill.

The Last Post (17th c).
Performed by Lance Corporal David Wood, ADF.

Note: Gallipoli for String Quartet will be performed by The Australian String Quartet as part of their Remember Tomorrow national tour in February/March 2015. Click here for tour details.

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