Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-25T17:02:32.462Z Has data issue: false hasContentIssue false
  • English
  • Français

The Australian Avant-Garde

Published online by Cambridge University Press:  01 January 2020

Donald Peart
Get access

Extract

Never, perhaps, did a new country begin in circumstances so unpromising for its musical development as did Australia. To the normal difficulties attendant upon cultural activities in a young country must be added the state of creative music, and especially the attitude of society towards it, in the Motherland during the later eighteenth century and most of the nineteenth. Musical composition was drifting rapidly to a condition of unredeemed bathos; not until the end of the nineteenth century was music being written in England which could provide a point of departure, a basis of any kind for the building-up of a worthy indigenous tradition of composition.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 93 , 1966 , pp. 1 - 9
Copyright
Copyright © 1967 The Royal Musical Association and the Authors

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Sleeve note to the recording of Le Gallienne's Sinfonietta (World Record Club S/FRAM 1, released November 1966).Google Scholar

2 Several of these have been recorded by Westminster (W. & G.) Records in Melbourne.Google Scholar

3 For full details the reader is referred to the notes on the sleeve, of the recording (World Record Club, Melbourne, LPA/601).Google Scholar

4 Pronounced ‘naga-uta’.Google Scholar

5 See the report, ‘Composers’ Seminar’, Adult Education Board, Hobart, Tasmania, 1963.Google Scholar

The following illustrations were played during the course of the lecture:Google Scholar

  1. a

    a George Dreyfus, From within looking out (1962), first and second movements. Marilyn Richardson (soprano), Margaret Crawford (flute), John Glickman (viola), Kay Lucas (celesta), Glen Davis (vibraphone); conducted by the composer. World Record Club, Melbourne; LP A/601. Score and parts published by Schott and Co., London.

  2. b

    b Richard Meale, Homage to Garcia Lorca, for double string orchestra; fourth and fifth movements. Strings of the Sydney Little Symphony Orchestra, cond. Joseph Post. Score and parts obtainable from Boosey and Hawkes, Sydney and London.

  3. c

    c Richard Meale, Images (Nagauta) for orchestra; first movement. Sydney Symphony Orchestra, cond. John Hopkins. Score and parts obtainable from Boosey and Hawkes, Sydney and London.

  4. d

    d Peter Sculthorpe, Sun Music I, for orchestra. Melbourne Symphony Orchestra, cond. John Hopkins. World Record Club S/FRAM 1. Score and parts published by Faber Music, London.

  5. e

    e Peter Sculthorpe, Sun Music II, for chorus and percussion. Pro Musica Society of Sydney University, cond. Donald Peart. Score and parts published by Faber Music, London.

  6. f

    f Don Banks, Equations (1964), for jazz orchestra. Score and parts published by Schott and Co., London.

The following two compositions discussed by Professor Peart have just been published:Google Scholar

Sculthorpe, Piano Sonatina, Sydney University Music Publications, Vol. III.

Buttcrley, Laudes, J. Albert & Sons Pty. Ltd., Sydney.