|About Graeme Skinner|
|Australharmony @ Trove|
|Graeme Skinner @ Trove|
Graeme Skinner @ |
University of Sydney
|The Amadio family|
|Castelnuovo-Tesdesco Guitar Concerto No 1|
|Lambert Piano Concerto|
|Haydn & Dvořák @ Edinburgh Festival 2010|
|RECENT POSTS IN AUSTRALHARMONY|
In 1989, Peter asked me to write the booklet notes for his first ABC Classics CD, a recording of his orchestral works by the Sydney Symphony conducted by Stuart Challender. Apparently, the arrangement must have worked for him, because over the next 25 years I have written booklets for well over a dozen more Sculthorpe discs of orchestral and chamber music for several labels, many of them “authorised” first recordings, worked with him on the compilation and early editing of his 1999 memoir Sun Music: journeys and reflections from a composer’s life, built the first edition of his website, and wrote the first book of a projected 2-volume biography of him. Early in 2014, ABC Classics was already planning to reissue its 10 (to date) Sculthorpe CDs as a boxed set. However, Peter’s death in August brought the project to the fore, and the label and I agreed that it was timely that I prepare a revised booklet essay for the set. Aware that it would be a resource especially for secondary and terrtiary music students, I was keen that the booklet (with my 30,000 word essay) be freely downloadable, even for those not downloading the recordings.
Vivaldi: Le Quattro Stagioni (The Four Seasons) Op. 8, Nos 1-4
Largo from Violin Concerto in D major (RV226)
Concerto in B minor for 4 violins, Op. 3 No 10 (RV580)
Violin Concerto in A minor, Op. 3 No 6 (RV356)
Grave from Violin Concerto in D major (RV562)
Sinfonia from La verità in cimento (RV739)
These new recordings by the Australian Chamber Orchestra (BIS-2103) are being released internationally in February 2015, coninciding with its 40th anniversary. The ACO will be playing the Four Seasons live (also with my program notes) during its February 2015 national tour, with a few extra performances in in November-December.
The University of Sydney asked me to write this program essay for its Sculthorpe memorial at Sydney Conservatorium on 25 October.
This new boxed set, for which in I was asked to write the booklet notes, was released in the USA shortly before Peter’s death, but (somewhat to even my surprise) it was issued under the anyway rather final-sounding title Sculthorpe: the complete quartets with didjeridu (CD SONO LUMINUS). In other circumstances, it might have been wiser to add “so far”. Certainly, of the 18 quartets (of which the first two are anyway lost), Sculthorpe authorised that these four at least - Nos 12, 14, 16, and 18 - may be played, alternatively, as quintets for string quartet and didjeridu.
This 26 August Edinburgh performance of Peter's Third Sonata for Strings, Jabiru Dreaming (after String Quartet No. 11), by the Scottish Ensemble and Commonwealth Strings, for which the Festival asked me to write a program note and composer profile, sadly turned into a memorial. At the final proof, we were able to make a small - and I hope fitting - adjustment to profile:
Peter Sculthorpe, who was 85 when he died on 8 August, spent most of his extraordinarily productive life following Percy Grainger’s advice to Australian composers to “look to the north, to the islands”. As an essential expression of his being Australian, he situated his music, spiritually and geographically, within Australia’s Pacific basin neighbourhood, in what Felipe Fernández-Armesto called “The New Mediterranean”. Japanese, Indonesian, Papuan, Mexican, Easter Island, and Californian influences all found voice in Sculthorpe’s music, as he instinctively journeyed to the edge of his own world, seeking glimpses into the next. Characteristically, at the end of his book of memoirs (1999) Sculthorpe quoted the final lines of “The Farewell” from Mahler’s The Song of the Earth, in Steuart Wilson’s translation:
All, everywhere and ever, ever,
Shines the blue horizon …
Sculthorpe first heard Mahler’s setting in wartime broadcasts by the visiting English music and cricket journalist, Neville Cardus, and later got to know Erwin Stein’s piano reduction of the score intimately, especially “The Farewell”. As he later recalled:
If a day passed without my playing it through, I believed I would be the victim of some terrible misfortune. Without my knowing it, my own music began to embrace its impassioned appoggiaturas and long-held funereal pedal points.
One yearning Mahlerian appoggiatura, from A-flat to G, took on added significance when he discovered that Johannes Kepler, in his Harmonices mundi (1619), described the music of the Earth as moving from G to A-flat and back to G:
These pitches have permeated almost all my music … extended songs, both sorrowful and joyful … for the survival of this planet.
In 1971, Peter wrote to a well-wisher: “One grows used to being summarily summarised”. Alas, he no longer has any say in it! For this reason, as well as for obvious others,
I baulked when on Sunday morning when I got an email from the Australian Financial Review
asking me two write them an obituary by sunset. Despite having little tolerance
for financiers or this notoriously blue-tie journal, I thought I'd better make a go of it.
Needless to say, the text that appeared the next day, for all that is was skilfully subbed, was not entirely as it had left my desk. Still and all, I can live with it.
As of today, 10 July 2014, my online resource toward the history of music and musicians in colonial and early Federation Australia, moved to http://sydney.edu.au/paradisec/australharmony. The National Library of Australia has archived the old site as it was in December 2013, now stored permanently in their Pandora web archive, and accessible via the old site’s Trove record.
In 2009, ABC Classics very briefly issued a CD boxed set of recordings of the Amadio family - John, Clive, and Neville. Unfortunately, it had to be withdrawn for a simple reason. Clive's collection included an unlabelled tape copy that, along with all the rest, was assumed to be one of his own performances. Shortly after the set was released, a hifi buff contacted the ABC with the news that it was actually a famous recording by the great Marcel Mule, one of Clive’s idols. Because of this case of mistaken identity, the complete Amadio set was pulled off the shelves, and so far has not returned, not even with the Mule duly removed.
Len Amadio had asked me to write this booklet essay, based partly on his recollections, and on his family archive of documents, programs, and memorabilia. Another important source was Donald Westlake, a long-time pupil, admirer and friend of the Amadios, and author of the book From me to you: the life and times of Clive Amadio. Also important were ABD entries on John Amadio by Mimi Colligan, on Florence Austral by Thérèse Radic, and by Donald Westlake on Clive Amadio, and, so too, Ann Cecil-Sterman’s article John Amadio - virtuoso flutist.
As a tribute to John, Clive, Neville, Len, and all the Amadios, I am posting my booklet essay here.
In 2011, ABC CLASSICS finally released a long-planned set of recordings by this Australian master conductor. At the prompting of a mutual friend Len Amadio, Patrick asked whether I could write the booklet essay, backgrounding his career and circumstances under which the recordings were made. I was delighted to do this, and reproduce what I wrote here on my website in the hope that it might encourage readers to dip into Patrick Thomas’s recorded legacy …
I am posting my booklet essay here.
© Graeme Skinner 2015