This week I am fortunate to have four pieces performed (that I know of). The first is my new ballet for the Birmingham Royal Ballet, Faster. I am in Birmingham for the rehearsals and the performances. It’s tremendously exciting to see the work of such an outstanding choreographer as David Bintley, and a joy to see music ‘interpreted’ to movement in this manner. Back in Sydney, the major work that I co-composed with William Barton, Kalkadungu, will be performed with Continue reading Week of many performances
If you know of any other performers not listed here, please don’t hesitate to contact me about it. Date Title Venue/Performers Country 3 May 2012 Chrissietina’s Magic Fantasy Vale of Glamorgan Festival, Ewenny Priory, Ensemble Midtvest United Kingdom 4 May 2012, 5 May 2012 House Music (Flute Concerto) Verbrugghen Hall, Sydney Conservatorium of Music, Sydney, NSW Alexa Still/Sydney Conservatorium SO/Imre Pallo Australia 13 May 2012 Piano Trio Australian National Academy of Music, Melbourne Australia 19 May 2012 Boom-Box Gävle Continue reading Some performances May-June 2012
This year, I have two works being performed at the 2010 Edinburgh Festival. The first is “Energy”, the first movement from my recent ballet for the Birmingham Royal Ballet e=mc2, which will be performed by the Sydney Symphony conducted by Maesto Vladimir Ashkenazy. This concert is on 2 Sept. The second piece is “Little Chrissietina’s Magic Fantasy”, performed by the amazing violin/piano duo, Duo Sol. This concert is on 3 Sept.
The final movement of the Kalkadungu (co-composed by and featuring didjeridu virtuoso William Barton) was performed recently as part of the 2009 G’Day USA celebration concerts in Royce Hall, LA and Carnegie Hall, NY. The performers were William Barton and the Adelaide Symphony Orchestra, conducted by Arvo Volmer. The concerts were favourably reviewed, including by the LA Times.
This Saturday, 7 July, my work Heartland will be performed by the Sydney Philharmonia Choir at the Verbrugghen Hall, Sydney Conservatorium of Music. The conductor is Brett Weymark. Written for massed choir and two pianos, Heartland explores various ideas of “home”. At the rehearsal on Wednesday it was sounding really good, with the choir suitably energetic and the pianists right on track. Interestingly, the Sydney Philharmonia are doing the original, “full” version of the piece before it was revised, and Continue reading “Heartland” performance