This is an excellent
disc of modern chamber music with predominantly
Australian origins. When travelling
abroad I usually take some local music
with me but, on a trip to Australia
earlier this year, I took … Bach and
Beethoven … and not a note of Australian
music. The reason was simple – I didn’t
have any. In fact, the only Australian
music I can recall hearing was by Don
Banks at a concert more than 25 years
ago. On the evidence of this disc, though,
it’s about time those of us "over
here" (in the UK) took more notice
of what’s going on "down under".
Red Earth
by Colin Bright is a highly original
and atmospheric work depicting an outback
landscape. There are prominent Aboriginal
rhythmic influences in the opening section,
which is dominated by percussion. This
is followed by contrasting interludes
with plaintiff woodwind prominent and
which provide a feeling of vast space.
After just eight and half minutes the
music disappears into nothing.
Concerto da Camera
by Peggy Glanville-Hicks is the oldest
work here, having been premiered in
Amsterdam in 1948. It was described
by the composer as a swansong for her
neo-classical influences. Glanville-Hicks
was born in Melbourne but left for Europe
as a young women where she was taught
composition by Vaughan Williams and
Wellesz. During the war she went to
the United States, eventually becoming
famous as a music critic for the New
York Herald Tribune. After developing
a brain tumour she returned to Australia
in 1975. The work is divided into in
three short movements and it bounces
along attractively
in a manner reminiscent of Martinů’s
La Revue de Cuisine.
Ortigas Avenue
is by Neil Currie,
a Canadian who has spent time in Australia
as composer in residence for the Adelaide
Symphony Orchestra. The inspiration
for the work was the overthrow of the
Marcos regime and rise of Cory Aquino
as President of the Philippines in February
1986. The critical moment in this bloodless
coup occurred in Ortigas Avenue and
is here depicted in a seven minute work
which draws on Filipino folk music.
Somehow this music never seems quite
momentous enough for the occasion, opening
with an attractive piccolo solo and
quite abruptly moving to a joyous rhythmic
frolic.
Bagatelles by
David Lumsdaine, a series of 8 short
pieces for different combinations of
instruments lasting 21 minutes, is actually
the most substantial work on this disc.
In his note about the work the composer
defines a bagatelle as "a trifle,
a thing of no importance…" but
it seems that he then seeks to convince
us, both in his words and music, that
the whole is much more than the sum
of the parts. And, in my view, he succeeds
completely. I was left in no doubt that
the title of this work should not be
taken too seriously, nor of the high
quality of its musical inspiration.
Shadow D-Zone
by Ross Edwards is a sextet,
the title of which remains a mystery.
This atmospheric music draws from nature
and Australian culture. A slow tempo
is pervasive throughout but the ending
is abrupt.
On Shooting Stars
by Vincent Plush provides a fitting
climax to the disc. It was written as
a homage to the Chilean folk-singer
poet Victor Jara who was a victim of
the military coup against the Allende
government in 1973. There are three
movements with descriptive titles in
Spanish which translate as (1) The Departure
(2) The Child of the Earth (3) Our Hearts
are Full of Banners. The style is readily
approachable and the final movement
incorporates the voice of Victor Jara
himself.
Tall Poppies is an
occasional group of players assembled
specifically for recording music. All
of their performances on this disc are
committed and convincing, and they are
very well recorded. There are detailed
illustrated notes on the composers,
music and performers. It’s surprising,
and a pity, that we have had to wait
six years for the disc to surface.
Next time I go to Australia
I shall certainly be taking this disc
with me and it will be getting some
more airings before then. It’s a gem.
Patrick C Waller
see also review
by Jonathan Woolf
.
Geoffrey Collins (Flute/piccolo) 