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In 1932, in Paris, she established Editions de l'Oiseau-Lyre (Lyrebird Press), and as a music publisher set about reviving baroque and medieval music, in rare editions notable both for their scholarship and sumptuousness. Later (assisted by a second husband, 25 years younger) she began to make discs to illustrate these editions. From that original idea the recording venture grew and grew: in 1950 Louise made the first long-playing records in Europe, and by the time she died Oiseau-Lyre was a famous label, putting out some of the earliest recordings by such people as Dame Joan Sutherland, Sir Colin Davis, Sir Neville Marriner and the Academy of St. Martin in the Fields, and Dame Janet Baker.
This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.
"Telling as much a social, educational, and cultural story as institutional history, this detailed account chronicles the ideological patterns, internal and countrywide conflicts, and student experiences at the University of Melbourne from 1850 to 1939. The daily life of staff, professors, and students are recounted during times of turmoil and peace in Australia, including the depression of the 1890s and World War I. The account offers a window into the pedagogical conflicts and research achievements of one of Australia's oldest continuing educational institutions."
Cynthia Reed, single mother, psychiatric nurse, novelist and connoisseur, married Sidney Nolan in Sydney in 1948. England served as their home base from 1953 till her death in 1976, territory charted in her four travel books. This biography is drawn from her books in depth and from her intimate letters to her brother John and his wife, Sunday Reed between 1927, when she was nineteen, and 1944 when their correspondence ceased. Her unpopularity in Australia in the sixties is accounted for and the stereotypes of the envious sister-in-law, the mad artist's wife and the nihilistic suicide dismantled.
Australia offers tremendous scope for understanding the relationship between music, spirituality and landscape. This major, generously-illustrated new volume examines, in fifteen chapters, some of the ways in which composers and performers have attempted to convey a sense of the Australian landscape through musical means. The book embraces the different approaches of ethnomusicology, gender studies, musical analysis, performance studies and cultural history. Ranging across the country, from remote parts of the Northern Territory to the bustling east coast cities, from Tasmanian wilderness to tropical Queensland, the book includes references to art and literature as well as music. Issues of national identity, belonging and aboriginalization are an integral part of the book, with indigenous responses to place examined alongside music from the western orchestral, chamber and choral repertories. The book provides valuable insight into a wide range of music inspired by Australia, from the Yanyuwa people to Jewish communities in Victoria; from Peter Sculthorpe's opera Quiros to the work of European expats living in Australia before the Second World War; from historic Ealing film scores to contemporary sound installations. The work of many significant composers is discussed in detail, among them Ross Edwards, Barry Conyngham, David Lumsdaine, Anne Boyd and Fritz Hart. Throughout the book there is a sense of the vibrancy and diversity of the music inspired by the sights and sounds of the Australian landscape.
A biography of a 20th-century Australian historian and an outstanding scholar in the humanities and social science fields, this thorough account highlights the accomplishments of W.K. Hancock. Compelling and informative, this chronicle features the scope of Hancock's work across three continents, including his mission to Uganda on behalf of the British government in 1954, his tracking of British mobilizations during World War II, and his founding of the Australian National University. Illuminating an extraordinary life and career, this examination celebrates the author of Australia.
This is a thorough-going study of Monteverdi's Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi's compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources.
Australia’s leading biographer Brenda Niall, now in her nineties, turns the spotlight on her own story in this fascinating memoir of a remarkable life and career
First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.
Peggy Glanville-Hicks (1912-1990) is an Australian composer whose full significance has only recently been appreciated. Born in Melbourne, Australia, she transcended the gendered expectations of her upbringing and went on to become a fine composer and a highly influential figure in the vibrant musical life of New York after the Second World War. Following early composition studies with Fritz Hart in Melbourne, Glanville-Hicks moved to London where she studied with Ralph Vaughan Williams, then to Paris where she was taught by the great pedagogue, Nadia Boulanger. Her migration to the USA in 1941 shaped the musical direction of her late works. After a brief neoclassical phase, she joined the small group of American composers who were using non-Western musics as their inspirational well-spring, including Colin McPhee, Alan Hovhaness, Lou Harrison and Paul Bowles. During this period she also forged an illustrious career as a music journalist and arts administrator, working tirelessly to promote new music and the careers of young composers. In the late 1950s she retreated to Greece to write 'the big works', most notably the operas which lie at the heart of her creative output. Her compositional career ended prematurely, and tragically, in 1967 following surgery the previous year for a life-threatening brain tumour. Against all medical expectations she went on to live for a further 24 years, returning to Australia in 1975 amidst a dawning recognition that one of the country's most significant composers had returned. Glanville-Hicks's career as a composer is impressive by any measure. She produced over 70 finely-crafted works, including operas, ballets, concertos, instrumental chamber pieces, songs and choral works. The story of her life has been told in the biographies. This book traces the development of her musical language from the English pastoral style of the early works, through the neoclassicism of the middle period, to the melody-rhythm concept of the late works,