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Work

Random round (quintets: keyboards)

by Percy Grainger (1943)

Audio Sample

Performance by Penelope Thwaites, Wayne Marshall, John Lavender, Rhondda Gillespie, Antony Gray from the CD Works for pianos.

Selected products featuring this work — Display all products (7 more)

Works for pianos.

$POA

This item may be available to purchase from the Australian Music Centre.
Please contact our Sales Department to confirm pricing and availability.

CD

Works for pianos.

Library shelf no. CD 574 [Available for loan]

Random round

$POA

This item may be available to purchase from the Australian Music Centre.
Please contact our Sales Department to confirm pricing and availability.

Score & Part

Random round / Percy Grainger.

Version: This product features the Keyboard ensembles version of this work

Library shelf no. 785/GRA 1 [Not for loan]

Display all products featuring this work (7 more)  

Work Details

Year: 1943

Instrumentation: 5 pianos.

Duration: 6 min.

Performances of this work

23 Oct 2016: at Musical Maverick (Melba Hall).

23 Oct 16.

22 Oct 2016: at Musical Maverick (Melba Hall).

16 Oct 2016: at Musical Maverick (Melba Hall).

6 Aug 2011: at Festival Farewell! (Townsville Civic Theatre). Featuring Danny Driver, Phillipa Candy, Piers Lane, John Contiguglia, Richard Contiguglia, Daniel de Borah.

15 Jul 2011: at Elision Ensemble (St Andrew Holborn). Featuring Elision Ensemble.

31 Jul 2010: at Governor's Gala Concert (Townsville Civic Theatre). Featuring Goldner String Quartet, Synergy Percussion.

7 Apr 2010: at MAC in Action! (Basil Jones Orchestral Hall).

14 May 2009: at Bach, Grainger, Grieg (Albert Hall, Canberra).

User reviews

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My favourite Australian art song repertoire

Posted by Australian Music Centre on 22 July, 2013

The AMC asked leading practitioners to select their favourite Australian art song repertoire, to provide delegates to the 2013 International Conference of Vocal Teachers (Brisbane 2013) with an introduction to this rich and diverse landscape.
A delightful work by this great experimenter, showing his interest in breaking down conventions such as prescribed instrumentation, and prescribed form. This is a flexible, exuberant round in contrasting sections, made up of short melodic phrases and accompanying ostinati, strongly influenced by folk music, but with the distinctive harmonic language and sense of drama that make Grainger’s compositional voice so recognisable. The form and length of the piece should vary at every performance, with the “Band Boss” holding up cards to indicate which section should come next. Lyrical, wordless, interweaving vocal lines are a joy to sing, and the whole piece provides great fun for performers and audience alike. 
Jeannie Marsh