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Haydn Peres Genevieve Lacey Lacey Daniel Read Bach John Eliot Gardiner Australian Chamber Orchestra Australian Brandenburg Orchestra English Baroque Soloists Orchestra Age Enlightenment Musica Viva Australia 1732 1809 1828
Moderato (00:14), Adagio (10:12) – Allegro molto (18:28) This performance was recorded LIVE and is unedited. Daniel Yeadon is exceptionally versatile as a cellist and viola da gambist, performing repertoire ranging from the Renaissance to contemporary in many major venues and festivals throughout the world. In Australia Daniel plays regularly with the Australian Chamber Orchestra (ACO) and has appeared as a soloist with the Australian Brandenburg Orchestra and the Australian Haydn Ensemble. In the UK Daniel is a guest principal cellist of the English Baroque Soloists and the Orchestra of the Age of Enlightenment. Daniel co-founded Ironwood, a unique Australian ensemble known for its presentations of the classics alongside new commissions for early instruments. His regular chamber music collaborators include Neal Peres Da Costa and Genevieve Lacey and he has performed on several national chamber music tours for Musica Viva Australia. Originally from the UK, Daniel read physics at Oxford University and studied historical performance at the Royal College of Music in London. For many years Daniel was a member of the renowned period instrument ensemble Florilegium and later joined the Fitzwilliam String Quartet. Daniel has made many award-winning recordings, including an ARIA winning disc of sonatas by J.S. Bach with Richard Tognetti and Neal Peres Da Costa; the J.S. Bach sonatas for viola da gamba and harpsichord with Neal Peres Da Costa; J.S. Bach cantatas and Brandenburg concertos with John Eliot Gardiner and English Baroque Soloists, in addition to many critically acclaimed recordings with Ironwood, Florilegium and the Fitzwilliam Quartet. Daniel is a lecturer at the Sydney Conservatorium of Music and has a key role in the education team of the ACO. Concert recording by Colin Mantle at St. Luke’s Church, Remuera, Auckland.
Ross Edwards Edwards Musica Viva Australia 1942 1982 2004
Welcome to another installment of our MARIMBA LITERATURE LIBRARY - 100+ "standard" pieces recorded by some of the most talented percussionists in the world. In this installment, Vic Firth Artist Claire Edwardes performs "More Marimba Dances" by Ross Edwards. / MALLETS USED IN THIS PERFORMANCE: Claire Edwardes Signature Series (Available at your local dealer.) Find similar Balter Mallets here: (http•••) For more pieces in the growing Vic Firth Marimba Literature Library, be sure to visit our website: (http•••) / ABOUT THE PIECE: Ross Edwards - More Marimba Dances (2004) In 1982 Ross Edwards composed his Marimba Dances, a set of three light-hearted but virtuosic pieces for solo marimba which was taken up by such performers as Michael Askill and Evelyn Glennie and quickly entered the world repertoire. By now it has become a classic and is considered an indispensable test piece for the instrument. Twenty years later, the Australian percussionist Claire Edwardes suggested that it was time Ross Edwards composed some more marimba pieces. More Marimba Dances, in the same buoyant vein as the earlier set, was commissioned by Terry and Greg Chesher, to whom it is dedicated. Claire Edwardes gave the first performance at a Musica Viva Australia concert on 31 March 2004 at the Arthouse Hotel, Sydney. One of Australia's best-known and most performed composers, Ross Edwards (1942) has created a distinctive sound world which reflects his interest in deep ecology and his belief in the need to reconnect music with elemental forces, as well as restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region. / SUPPORTED BY: The creation and production of this video was supported by the NSW Government through Create NSW. VIDEO BY: Matthew McGuigan - www.hospitalhill.com.au CONNECT WITH CLAIRE: Website: (http•••) CONNECT WITH VIC! Facebook: (http•••) Twitter: (http•••) Instagram: (http•••)
Peter Sculthorpe Musica Viva Australia 1979
Composer’s Note: The idea of using the Plainsong Requiem Mass as source material for a work has interested me for some years, and it continues to do so. It seemed to be especially appropriate in writing for the particular timbral and expressive qualities of the ‘cello; and an added richness of sonority is gained by lowering the pitch of the fourth string. For the most part, the music reflects the words of the chosen parts of the Latin text, so that where the text is in the third person, singular or plural, I have used plainchant, and where it is in the first person I have used a more personal music. The work, therefore, alternates between the coolness and objectivity of plainchant, and the warmth, even passion at times, of my own kind of music, which here is concerned with imploring, with the wanting of forgiveness, and the wanting of eternal life. Requiem is in six sections: Introit, Kyrie, Qui Mariam, Lacrimosa, Libera Me, Lux Aeterna. The work was commissioned by Musica Viva Australia, for first performance at the 1979 Mittagong Easter Festival, where concerts were held to mark the occasion of my fiftieth birthday. I. Introit 0:00 II. Kyrie 3:08 III. Qui mariam 5:43 IV. Lacrimosa 10:00 V. Libera me 12:33 VI. Lux Aeterna 15:17
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