By Jonathan Little
Reduced study score. Details above.
For large orchestra. "The Whirler" or Muse of Dance. Evocation of the seventh of the nine muses, Poeme de danse. c.14 to 15 mins
By Ross Fiddes
For low voice and orchestra. Traditional.
- Sin, c.4'45
- The Crucifixion, c.4'40
- Ride On, King Jesus, c. 3'50
(recording: Francine Bell and the Novocastrian Arts Orchestra)
By Andrew Batterham
Concerto for Trumpet and Strings, c.18'00
Batterham’s Trumpet Concerto showcases the incredible spectrum of emotions the trumpet can convey, in the hands of a dedicated performer. The music ranges from Classical to minimalism, from ballads to fanfares, culminating in a wild dance designed to boost the stamina and energy of performers to the sky.
The Trumpet Concerto was written for Australian trumpeter David Elton, currently Principal Trumpet with the London Symphony Orchestra and the Sydney Symphony Orchestra. It was commissioned by ABC Classic through the ABC Fresh Start Fund.
It includes trumpet parts in C and Bb.
By Horace Keats
A Japanese Fantasy
For solo voices, chorus and orchestra, c.20'00
“Urashima”, the poem which has been set to music by Horace Keats, is a legend translation from the Japanese. It may be described as a narrative fantasy in a compact form; and the story told in the lines is as follows:
The narrator, who has the opening and closing passages, remembers as he walks by the sea an old story of a fisher-lad, Urashima, considered the best fisher of his village, who one day sailed his craft out beyond the farthest visible horizon. As he looked about him, seeing nothing but the ocean and the sky, there appeared from the waves the daughter of the Sea King. She threw an enchantment upon his mind, causing him to love her deeply; and she took him to the Immortal Isles, where they plighted their troth and lived in love. But after a few days (as it seemed to him) had passed, he told her that he would go home to see his parents. She did not try to keep him, but asking him whether he meant to return to her; put into his hands a small casket. In his excitement he did not hear her tell him that if he wished to return to the Immortal Isles he must on no account open it. Hastening home to his bewilderment he found that the village, His home, everything, had disappeared and that the grass grew over all. So distressed was he that, hoping for some magic spell to work, he hastily opened the casket; and a small cloud, a trail of mist, drifted from it towards the Immortal Isles, and he himself, looking down, saw that he had grown old, incredibly old and shrivelled; his hair was white; his whole body was bent double with age. In his grief he fell upon the ground and wept, and as he wept he fell asleep in death. Urashima – pron. U-rash-im-a
For multiple choral parts contact firstname.lastname@example.org
By Miriam Hyde
A Ballet for Orchestra, c.13-14 mins
This work was originally composed as a ballet, which was to be part of a show for the Red Cross in wartime Adelaide. The characters of pie-man, flower-girl, gypsy, and hurdy-gurdy man being interspersed with variations on 'O dear what can the matter be'.
By Ann Carr-boyd
Commissioned by Rev Dr Arthur Bridge on behalf of Ars Musica Australis. Premiere performance was held in July 2010 by the Wollongong Symphony Orchestra.
- Movement I- con espressione, c.6'00
- Movement II - andantino e con molto espressione, 5'00
- Movement III - vivace, c.10'00
By Gavin Lockley
By Gavin Lockley
By Steven Stanke
Narrator and small orchestra or piano, c.16'45
Story by Lester Morris
Willy Wombat introduces his friends Katie Kangaroo, Eric Echidna, Bertie Bilby and the rabbits, who are always ‘dropping in’. But keep an eye out for for Geoffrey Goanna, who loves to eat owl eggs!
This charming, very Australian story is scored for narrator and small orchestra or piano and, in the story telling tradition of Peter and the Wolf, will captivate young audiences through vividly created characters and a gentle storyline.
For instrumental parts contact email@example.com
By Houston Dunleavy