Hugh Robertson dispels the myth of the lone composer-genius in conversation with international composer Leah Curtis (a Canberra export) and Connor D’Netto, whose influences span classical, opera, electronic and pop sounds.
Tag:
jessica cottis
-
-
Markiyan Melnychenko reflects on the nuances of Sibelius’ D minor violin concerto and his own musical journey in conversation with Jessica Cottis.
-
Jessica Cottis explores why the so-called ‘Tristan chord’ from Richard Wagner’s Tristan und Isolde – the inspiration for the CSO’s 2022 season – was such a game changer.
-
“My grandparents lived with permits and curfews for decades under the tyranny of the Aboriginal Protection Board…I wrote an opera about it, but it was not until I experienced a taste of the deprivation they lived with that I truly understood. All I can do is respond in music.” – Deborah Cheetham AO, composer
-
Kate Moore is an internationally acclaimed composer. Her works are performed by among others Asko|Schönberg, Bang on a Can, Icebreker, Slagwerk Den Haag, Ensemble Offspring, The Australian String Quartet and The Netherlands Radio Philharmonic Orchestra and Groot Omroepkoor.
-
Concertmaster Kirsten Williams on the joy of chamber music – the music of friends – and its role in orchestral development.
-
“Music and imagination go hand in hand, be it composing, performing or conducting.” Jessica Cottis discusses the compositional process with Elena Kats-Chernin.
-
Jessica Cottis asks Australian composer Holly Harrison about inspiration and limitation of ‘genre’ and humour in the compositional process.
-
Written for 5-string electric cello and effects, SpaceWarp conjures up space-inspired and intergalactic imagery. The sound of the cello is quite literally ‘warped’ by effects, particularly delay, creating a kind of wrinkle in time and space.
-
“Marked with the words ‘Slow. Calm. Deeply felt,’ the Adagio of Mahler’s third symphony seems to exist outside of any conscious acknowledgement of temporality. Starting with one of the most wondrous of prayers, it’s a tour de force of tectonically slow and sustained playing from start to finish. So intense it almost physically hurts, until the brass emerge with their glorious and noble chorale.”
- 1
- 2