Allegro Largo Scherzo Finale

This is an essay that was originally composed for Electronic Music History (MUSC 246), written shortly after my previous post about John Cousins, which fed into the essay. The task was to critically assess an aspect of ‘electroacoustic’ music of demonstrable significance to the development of the art-form in Australasia. It was probably evident from [...]

The first concert of the 10th of October was the final electroacoustic composition concert for at least some of the third-year Sonics Arts students completing their degrees. Six long surround sound acousmatic works along with one audiovisual work made up the concert in the Adam Concert Room, some making more of an impression than others. [...]

Composers’ Competition was a great night of music featuring eleven compositions from twelve composers representing all sectors of the School of Music. In the end, first prize was probably pretty much a foregone conclusion. I think my list of prizes is right, but it may have Justin and Jonathan round the wrong way. Paula-Therese King: [...]

Ben Woods: Constant Sphere Johann Strauss: “So muss allein ich bleiben” from Die Fledermaus Mozart: “Cinque… dieci” from Le Nozze di Figaro Weber: Clarinet Conerto No. 2 Mussorgsky: Night on Bare Mountain Johann Strauss: “Brother mine and sister mine” and “The glint of champagne glasses” from Die Fledermaus Stravinsky: Firebird Suite (1919) Conducted by Kenneth [...]

Part three of a series examining the curious lack of new symphonies. Part Two is here. Culprit #5: Musical Directors Throughout much of the early 20th Century, European audiences knew American composers as specialists in short orchestral works full of charming folk tunes; it was widely believed that there was no such thing as an [...]