4 April 2012
2012 Art Music Awards - comments by judging panels
The Art Music Awards gala event held at the Playhouse, Sydney Opera House, on Tuesday 3 April 2012, honoured winners across ten national categories and in seven state awards. The comments below reflect the difficult task the judging panel members faced when choosing first the finalists and finally the winners from a considerable number of high-quality works.
See also: '2012 Art Music Awards - winners' (news article on Resonate 4 April 2012.) [Article updated 5 April: judging panel details added]
Work of the Year: Orchestral
Overall the standard was excellent with many high quality works from senior composers which made the judges' decision very difficult. The winning work combined excellent craftsmanship with an emotional story which had something beyond the notes that resonated with the judges.
Missa Solis - Requiem for Eli by Nigel Westlake
Text contributors in the movement 'At The Edge': John Weiley, Hannie Rayson & Michael Cathcart
This is a very professional, polished and well orchestrated piece with beautiful writing for solo voices. It is a major undertaking by the composer on a highly emotional topic, however that emotion is conveyed effectively due to solid and well developed technique. It is a significant work and an extraordinary achievement by the composer. More work details on the AMC website.
Gardener of Time by Barry Conyngham
The work,written in memory of the esteemed conductor Hiroyuki Iwaki, pays homage to the Japanese tradition that has been a part of Conyngham's work throughout his career. Gardener of Time has a beautiful intricate orchestration with unexpectedly romantic violin solos, and is coloristically explosive, yet delicate. It has a story to tell, is accessible and emotionally engaging. More work details.
Spirit Ground by Ross Edwards
Edwards is a senior composer with a strong voice. The work is engaging, idiomatic, and uniquely Australian. Spirit Ground is a dramatic piece which will make an important addition to the orchestral repertoire. More work details.
The Shining Island by Peter Sculthorpe
Published by Faber Music, sub-published in Australia by Hal
Commissioned to remember Henryk Gorecki, the work is a unique document of the relationship between two major composers and Sculthorpe's love of Gorecki's music. Distinctly Sculthorpe, this work has an Australianess about it. It is moody, with expert use of colour and structure to create a luminous piece that tells an engrossing story. More work details.
Work of the Year: Instrumental
The judges were impressed by the diversity, excellence, craftsmanship and creativity of the works submitted. Many of the submissions were accompanied by technically accomplished performances, which is indicative of a healthy, symbiotic relationship between composers and performers, resulting in a rich and fertile landscape in ensemble writing in recent years.
Sextet by Brett Dean
Published by Boosey & Hawkes Germany, sub-published in Australia by Hal Leonard/Boosey & Hawkes
This was a highly polished and effective work, seamless and constantly engaging without losing its sense of tension and direction. Well written and crafted, it works across all parameters. It is exceedingly sophisticated in its employment of texture, line, form and instrumental writing. The composer's language is underpinned by a masterly and inventive handling of the materials. It is technically demanding for the instrumentalists, but one never gets the sense of it being overly complicated or difficult for its own sake. This is a major work of a composer at the height of his career and in every respect outstandingly accomplished. More work details.
Flesh & Ghost by Anthony Pateras
A wonderfully epic piece where the composer utilises the 12-player percussion ensemble beautifully, creating a one sound world and a lovely sense of texture. It has a sense of space with spectrums of sound. Flesh & Ghost is striking and engaging throughout and already considered an important contribution to the percussion repertoire both nationally and internationally. More work details.
Qinoth by Paul Stanhope
This work is marked by a maturity, sophistication and logic that is established from the outset and informs every bar. It is a work of significant emotional depth. The string writing is exemplary in every way, exploiting, as it does, a fulsome and homogeneous texture throughout, informed by a startling sense of colour and contrast. The ideas are consistently strong and are marked by a clarity and an immediacy that is communicated with effortlessness and simplicity. It is rare to find a work that embraces such a complex and contemporary aesthetic, yet one that embodies such powerful and rich melodic content. The form is handled with delicacy, logic and clear intent. More work details.
...out of obscurity by Elliott Gyger
Elliott's work is marked by a sense of fabulous invention and exploration of otherworldly textures and sonorities. ...out of obscurity is a subtle and delicate work - a mature work by a composer with a highly developed and individual voice, that is well informed and exceedingly sophisticated. The material is unforced and allowed to unfold in a coherent manner, imbued with its own inherent logic. The piano is transformed in a way that is remarkable and quite startling. It becomes another instrument - as if viewed through a prism that is distorted and scintillating. The writing is resourceful in terms of its instrumentation and the form displays an excellent sense of structural proportions. More work details.
Work of the Year: Vocal/Choral
The overall standard was high, with several substantial choral and vocal works making an important contribution to the repertoire. Some excellent works would have perhaps been more suited to the orchestra category as they were really orchestral works with choral colour.
Osanna Mass by Clare Maclean
The Osanna Mass is a gorgeously transcendent work of sinuous elegance, colour and radiance. The wonderful surety of writing in this work manifests a mature composer at the peak of her creative powers. One can hear her many musical influences (including the music of the Renaissance and Jewish liturgical melodies) but these are tempered with a seemingly effortless craft as she creates her own distinctive style. Section by section, phrase by phrase, there is a wonderful connectedness throughout this substantial work, revealing the composer's deft touch in the setting of text, a subtle sense of harmonic tension and release, and an exquisite understanding of - and feeling for - polyphony. More work details.
Pomegranate Friends by Gerardo Dirié
This choral work has a well notated score with strong instrumental colours. The composer shows an original approach merging different aspects of tuning and electro Max/MSP patches with delicate vocal writing to create sonically rewarding environments.
Sacred Kingfisher Psalms by Ross Edwards
The piece demonstrated masterful handling of text, note perfect scoring for the context and clever writing for voices. It is concise with a skilful, experienced balancing of texture and vibrant rhythmic peregrinations. Sacred Kingfisher Psalms is a joyous continuation of the composer's Maninyas style but with a fresh and invigorating contrapuntal complexity. Excellent writing that cannot be improved upon! More work details.
Blackwood by Iain Grandage
Text by Kevin Gillam
This is a uniquely West Australian project, inspired by the Blackwood River. It is a beautiful work for voice, clarinet and piano, the unique combinations of which produce several wonderful moments during the work. It is a very engaging piece with great unity from movement to movement, leaving the listener often unaware of the change until later. More work details.
Excellence in Jazz (for works, people and events)
There were many excellent entries for this new award category, some showing great originality.
Quentin Angus - composition, performance and international development
Young award-winning jazz musician and composer, Quentin Angus, is already building an international reputation. His style is deeply rooted in the best of jazz tradition whilst eagerly embracing new concepts and pushing the boundaries. Brilliant compositional work that is both personal and adventurous.
Siarus and Oscar and the Shoe Box by Troy Roberts
Both the compositions and performances showed great originality with excellent realisation of the intention of the piece. The composer has a unique voice with a strong grounding in traditional styles, but with a wonderful versatility .
Dissolve by Tom O'Halloran
Dissolve is a work for two pianos, a coherent, strong piece with interesting improvising voices that are heard simultaneously with the composed elements. This is in keeping with the compositional aim of juxtaposing textures of exact rhythms and linear melodic lines - with freer, sustained piano improvising. It is an excellent cross-genre piece that is approachable for both classical players and jazz pianists.
Andrea Keller - contribution to Australian jazz
Andrea Keller's unfailing dedication and energy to the development and progression of contemporary jazz and improvised music making in Australia is remarkable. A wonderful musician, she continually challenges the boundaries of jazz and improvised music, and, although she is based firmly in the jazz genre, her influence extends far beyond into the broader musical community.
Work of the Year: Jazz
Excellent overall standard of entries, covering many styles from experimental to jazz rock and everything in between, gave the judges an extremely difficult task in deciding the winner. Judging works that span different line-ups, from the more composed larger pieces to the small improvised works, also presented a dilemma for the judges on more than one occasion. The judges want to compliment all the nominees on the standard and the contribution they are making to the music industry, and in particular to the diverse genres of jazz.
Affectations by Andrea Keller
This is a wonderful example of the composer's complete understanding of, but not being restricted by, the jazz idiom. Affectations throws off the shackles and is unpredictable. It has a great sense of exploration which keeps the listener curious and looking for more. Within the jazz framework, Keller uses many different elements in interesting ways with the composed and performed elements beautifully integrated and all working towards the same end. Affectations is a superb example of the amazing musicianship and writing skills of this composer.
Dissolve by Tom O'Halloran
The judges highly commend the composer for this amazing integration of contemporary classical composition with jazz. It will no doubt attract both traditional classical and jazz audiences and musicians alike. Tom O'Halloran is an extraordinary figure on the Australian jazz landscape and this is exemplified in the detail of this work. There is a wonderful synthesis of the composed and improvised sections in this masterful work, with creative ideas unfolding throughout.
Unknowness 1 by Peter Knight
The work displays great compositional skill with atmosphere and pace. It is a challenging piece, and difficult to categorise. In Unknowness 1, the composer provides an excellent compositional framework whilst allowing the players' improvisations to inform the composition. Peter Knight is making an important contribution to the future directions of jazz composition.
River Meeting Suite by Jeremy Rose
This work demonstrates the composer's interest in the cross-over between jazz and new music. There is a true integration between the Indian music tradition and the jazz, with each element informing the other. It draws on the history and the culture of the singer, crossing between the traditions of Indian, jazz and classical music styles. The composer provides a platform for the shared elements of improvisation in both Indian and Western jazz music, and utilises sonic possibilities that are unique and beautiful.
Performance of the year
It was a delight to listen to such a diverse array of quality performances. The judges want to commend the performers and ensembles for their enterprise and commitment to performing Australian music, often with little financial or infrastructure support. Some of the smaller ensembles, such as the Sydney Camerata and Arcko Symphonic Project, are to be commended for their support of new music and their achievements in the performance field. It was also rewarding to witness the commitment and dedication of younger musicians to performing the music of their contemporaries.
West Australian Symphony Orchestra
- for the performance of Two Memorials (for Anton Webern and John Lennon), composed by James Ledger
A focused, precise and committed performance, building on a long-standing artistic partnership between orchestra and composer, made this the winning piece for the judges. It is a shining example of the supportive relationship that can be built between an orchestra and a composer over time. In this case the relationship has resulted in one of Ledger's strongest scores. Another important element in its success was cogent leadership from conductor Paul Daniel. This is the tenth premiere by the orchestra of the composer's work and as James Ledger says, '… we obviously have, by now, a rapport, in fact I'm probably a part of the furniture'.
Sydney Symphony Orchestra
- for the performance of Missa Solis - Requiem for Eli, composed by Nigel Westlake
Westlake's Requiem reflects an extraordinary development in the composer's career. It is a complex work, rhythmically communicative and very touching. This performance touched the entire audience and the performers, including the young soloists, and did an excellent job in conveying the feeling as well as the architecture of the piece. The composer also made an exceptional contribution to the performance himself, showing a hitherto unexploited gift as conductor, creating creative tension and being totally in control of the performance.
Michael Kieran Harvey
- for the performance of Piano Sonata No 3, composed by Lawrence Whiffin
Beautifully played, with delicate nuances, this performance had warmth and a variety of sound. The work is complex and difficult and well suited to the performer who is known to relish a challenge. The performance was intimate, as well as communicative to the listener, and conveyed the work's wit and humour.
Felicitas Fuchs, Qian Zhou and Bernard Lanskey
- for the performance of Stille Sprache, composed by Andrew Schultz
A wonderful performance of this work for soprano, violin and piano with the violin and voice totally in unison - the violin seemingly taking the vocal line on occasions. The performance showed sensitivity, empathy and strong control over tone colour. Even though it was a piece on 'silence', it demanded concentration from the listener and was extremely rewarding.
Award for Excellence by an Organisation or an Individual
Claire Edwardes has been commissioning and championing Australian music for many years now, and has been a wonderful advocate for Australian classical contemporary music. The CD Flash brings together some of those collaborations in a solo marimba showcase. These excellent recordings of works by seven diverse Australian composers are a worthy addition to the exceptional contribution Edwardes has made towards the performance and recording of new Australian music. She is an exceptionally talented soloist and her work covers an extraordinary range and breadth of material, always performed at the highest standard.
Arcko Symphonic Project
What distinguishes this ensemble is its primary dedication to the performance of Australian music, balancing new works with existing and often neglected repertoire. With limited resources, the Arcko Symphonic Project is steadily attracting larger audiences and a regular following through their choice of interesting repertoire and excellent quality of playing. Their stimulating, well played concerts are clearly filling a need, and people are going out of their way to attend them.
Speak Percussion - 2011 annual program
In 2011, Speak Percussion celebrated its 10th Anniversary with a full performance program of diverse Australian music incorporating large and small scale chamber music programs. During the year the ensemble presented 29 works by Australian composers, with 13 world premieres and five Australian premieres. Speak Percussion opened the 2011 MONA FOMA festival in Hobart and attracted a total audience of over 7000 people, receiving three standing ovations.
Graeme Morton - Services to Australian Music
Through his lifetime of work of over 30 years, Graeme Morton has made an incredible contribution to Australian music, influencing generations of choristers and composers. His efforts have changed the way people listen to choral work by Australian composers. One of Australia's most versatile musicians: composer, conductor, organist, educator and publisher, Morton is a passionate advocate for Australian music.
Award for Excellence in Music Education
The judges were looking for music education models which will continue to build relationships between the industry, tertiary and community sectors, with educators providing innovation, direction and extending beyond their standard programs. This is particularly pertinent, coincidentally, in the year of finalising the Australian national curriculum for the arts. Nominations were wide-ranging from individuals and through to the tertiary sector and major organisations' music education programs. The three major orchestras, MSO, SSO and WASO are to be commended for their continuing commitment to music education - in particular the MSO's 2011 program has further embraced digital technology and provided greater access to their educational materials. MLC School (Sydney) continues to provide an exemplary secondary music education program, and smaller professional ensembles such as Taikoz, Tetrafide and Halcyon are to be commended for their self-funded initiatives in community music making and young artist development.
Gondwana Choirs: 2011 program
Gondwana's 2011 program was another fine example of their innovative music education program, inclusive of large numbers of students and fully comprehensive with commissions for new work, outreach programs and Indigenous programs. The new works are woven through the educational activities at every level and are not tokenistic. The company has sustained and built on its commitment to music education at an excellent level for many years, continually finding innovative avenues to reach young people from all walks of life both in metropolitan and regional centres. Their work with music teachers and local choirs not only builds a sense of pride and ownership in the communities but leaves a lasting legacy through ongoing relationships with those communities. Gondwana Choirs are truly a standard setter in music education.
Moorambilla Voices - education strategy in North Western NSW
Organically grown out of the community and the region, this program has grown strategically into an excellent model for music education in an incredibly difficult field in remote regional areas. The consultation with schools and professional development of the teachers has resulted in the program being deeply embedded in the schools' cultural programs. 78 schools across the sectors are now involved, and a distance education facility is being developed. This educational strategy provides an excellent examplar of how music education might break through the barriers for schools with few resources, accessing an excellent level of music education. Moorambilla Voices also reflect the huge amount of work and drive undertaken by a small team, headed by Michelle Leonard, to bring music education to an area where it would otherwise not be available.
Graeme Morton - contribution to music education through St Peters Chorale
In his year of retirement from St Peters, it seems fitting to recognise the enormous contribution made by Graeme Morton through his own music education program, sustained and undertaken with such integrity. Over the years, Graeme has produced so many students who have gone on to achieve and work successfully in the industry. He has developed a curriculum model that is strikingly effective and has a strong methodology and aesthetic. His work incorporates many voluntary hours and has a strong regional focus. Through his programs he has been responsible for creating a voluminous body of new choral works, and countless commissions have gone on to have a life of their own and become part of the choral repertoire in schools. He is to be commended for sustained excellence in music education.
Kirsty Beilharz - 'Diffuse' series of educational concerts in 2011
Kirsty Beilharz established and organised the 'diffuse' series of six concert/installation events at Bon Marche Studio UTS in 2011. This series took a practical approach of enlivening music education and developing community engagement by linking industry and the public with a tertiary institution. This series showcased music performance enabled by emerging technologies and new musics, while generating a vibrant atmosphere for enquiry, critical discourse, and discussion around new Australian music in a public forum. Kirsty has given music education a fresh face and extended the opportunities for public engagement in the field.
Award for Excellence in a Regional Area
The nominees that impressed in this category were those that truly engaged with the regional community and left a lasting legacy with these communities. A standout in many of the applications from Queensland is the commitment of the Queensland Youth Orchestra - a participant in two of the finalists' projects. The orchestra is to be commended for its commitment to regional Queensland and its communities and to performing new Australian work.
Lack of resources and distance has never been a deterrent to the vision of this outstanding festival. This is evidenced by its longevity and the fact that it continues to grow in substance, quality and breadth every year. This multi-arts festival has grassroots community music making at its heart, whilst creating and performing new Australian works about the region by leading composers and professional musicians and visual artists. The program is far from simplistic, supports Australian new work and engages with both leading Australian musicians and composers to inspire community groups and young people to the very best in performance. The festival is holistic, not just producing the event but with a commitment to accessibility for those disadvantaged, either geographically or socio-economically. Although the festival is in September, the comprehensive workshop programs commence well in advance from April each year ensuring the choirs of all ages are engaged in the creative process from conception through to performance. The Moorambilla "culture" is deeply embedded in the community in the region.
Gondwana Choirs for their Cairns Residency Project
Lyn Williams OAM has demonstrated a tremendous commitment to Australian voice and commissioning Australian choral work over many years. The Cairns Residency Project came out of the Gondwana National Indigenous Children's Choir program which now has over 1600 children participating. A comprehensive 4-month residency in Cairns included skills development for both Indigenous and non-Indigenous children across Cairns, and provided valuable professional development opportunities for local music teachers and conductors. It also included performance outcomes in Brisbane for participants in the project. This residency saw the development of the Cairns Gondwana Indigenous Children's Choir, a true commitment to that region in building choral excellence and created a long lasting benefit to the community. All Gondwana National Indigenous Children's Choir programs are delivered at no cost to choristers, their families, schools or communities.
Creative Regions for The Crushing: A Gothic Opera
This is a wonderful collaboration between composer Peter Rankine and playwright Rod Ainsworth, both of whom live and work out of Bundaberg and the regional community. The Crushing has been an artistic response to the tension between connection to place and the forces that pull young people away. The operatic tradition of Bundaberg as the birth place of Gladys Moncrief is the basis for this excellent and accessible work that has engaged with many young people in the region and broadened their cultural horizons. It is envisaged to develop The Crushing into a full 3-act opera, and it has a well mapped-out touring plan to include community choirs in the regions visited, ensuring it will be locally relevant and build audiences on tour. The piece is also scored to be performed by orchestra or a smaller ensemble to add to its flexibility.
Queensland Music Festival for 'Ailan Kores'
A significant event for Torres Strait Islanders on Thursday Island, this celebration of sacred music in the region and exploration of one of Australia's most rich musical cultures brought together community representatives from six of the 18 island communities, performing in traditional Torres Strait languages of the region. Combining excerpts from challenging classical repertoire with a world premiere of a new work by Damian Barbeler, the project entailed a long workshop process over 18 months across the islands to achieve the final colourful performance in front of 2500 people - nearly the entire population.
Award for Excellence in Experimental Music (for works, people or events)
There were some excellent entries in this category but the stand-out ones for the judges were those that pushed the boundaries and questioned the system.
Madeleine Flynn and Tim Humphrey for 2011 Activities
Flynn and Humphrey undertook an extensive range of activities in 2011 both nationally and internationally. The artists' love of collaborating across forms and across generations comes across in the vision and the curiosity and playfulness of their work. They consistently push the boundaries and question first principles across an impressive body of work which encompasses visual arts, installations, performance and interactive sound and online and live events. They are amongst the most prolific experimental artists in Australia, and in 2011 presented a coherently curated artistic program. Flynn and Humphrey are also advocates for experimental music on many panels and committees and mentor many young artists in the field.
Decibel for PICA Performance Series
Decibel presented three concerts at the Perth Institute of Contemporary Arts in 2011. The series included commissioned works and a series of workshops through the Growing Innovators' program and were a great example of the commitment to growing the new music scene in Perth. Decibel's work was of the highest quality with a diverse and good mix of new work by established and emerging Australian composers.
Super Critical Mass for 2011 activities
Super Critical Mass is an ongoing sound art project commenced in 2008, bringing together 'masses' of musicians playing identical instruments in public places - such as warehouses, public squares, parklands and lakes. The innovative public performances are a result of sustained investigation working across a number of different modalities. The work is engaging and making an important contribution to audience development in the field of experimental music.
Daniel Blinkhorn: 2011 composition activities
Highly accomplished composer working at the nexus of electroacoustic, acousmatic music and environmental sound. He is a master of technique with his musical gestures resolving into each other and his use of environmental sound giving the sense of being with outside influences, outside of the sound. His compositions are an innovative cross fertilization of location based field recording and studio-based composition.
ACT - Tamara Anna Cislowska, Lara St. John, Danish String Quartet, Justin Bullock and Andreas Borregaard
Performance of the Year: Torque by
Elena Kats-Chernin at the Canberra International Music
This re-arrangement of a work originally written for the ACO provided some considerable technical demands for the performers - endlessly changing time signatures, acceleration and deceleration, angular and motoric rhythms, breakneck tempo and wild gestures. These were easily met by the outstanding performers involved. This resulted in a definitive performance which 'embodied the inner hearing' of the composer, due primarily to the exceptional melding of the performers involved.
South Australia - Zephyr String Quartet and Greta Bradman
Performance of the Year: Sea Chronicles
by Paul Stanhope
This performance of Stanhope's significant work by the ensemble and soloist was marked by an expressive elegance that conveyed the composer's intentions exquisitely. The soloist brought humour, drama and passion to the story told by this song cycle, conveyed in a seemingly effortless way.
West Australia - James Ledger: Two memorials (for Anton Webern and John Lennon)
Orchestral Work of the Year
This work marks the 15th work of this composer performed by WASO over the last decade, and so reflects an excellent understanding between composer and orchestra. The success of this relationship is well reflected in the work, which shows a strong compositional maturity and a masterful control of the musical materials as they unfold in the work. More work details.
Queensland - Lawrence English for contributions to experimental electronic music in Queensland in 2011
Excellence in Experimental Music
For more than 10 years, Lawrence English has been transforming Brisbane, Queensland and Australia through his dedicated approach to building a culture around experimental electronic music. His activities in 2011 cover the presentation of major new works, the ongoing Room:40 concert series, four new releases on the Room:40 label, and involvement in festivals.
Tasmania - Nick Haywood Quartet
Excellence in Jazz
This quartet has been established to support research investigating the impact of the ensemble dynamic on the improvisation of each individual within the ensemble. It brings together musicians of the highest calibre, and the resulting self-titled recording, released in 2011 on the JazzHead label, providing more than ample evidence of the musical success of this line-up.
Victoria - Speak Percussion for 2011 annual program
Excellence by an Organisation
This energetic and innovative ensemble represent percussion ensemble activity at the highest level. Speak Percussion's 2011 activities, its 10th year, cover festival performances to large audiences; the engagement of 42 professional artists across the year; performances of 29 Australian works, 13 world premieres, and five Australian premieres; large and small scale chamber music programs; collaborations with a range of other organisations; cross-disciplinary projects; and an emerging artists program.
NSW - pianist Zubin Kanga
Best Performance: Uncanny Valley by Nicholas
Zubin Kanga has demonstrated his remarkable commitment to championing the works of living composers, and has had many works specifically written for him. The nomination of his performance of Uncanny Valley shows a technical and aesthetic assurance, and a mastery of the challenges presented in the score, which requires the performer to make many unusual or rarely heard sounds on or inside the piano, and by vocalisations. The performance represents a courageous and enthusiastic embrace of the composer's intentions, demonstrating exceptional technical stamina, and providing outstanding results.
The AMC wishes to thank the following panelists for their work in
assessing Art Music Award nominations: Katy Abbott, Stephen
Adams, Jim Atkins, Diana Blom, Vanessa Chalker, Carl Crossin,
Joel Crotty, Harriet Cunningham, Roger Dean, Sylvan Elhay, Robyn
Holmes, Susanne James, Neryl Jeanneret, Siobhan Lenihan, Kate
Lidbetter, Johannes Luebbers, Peter McCallum, Matt McMahon, Mike
Nock, Rosalind Page, Jo Parkes, Andrew Schultz, Liz Terracini
(Chair), Darrin Verhagen, Daniel Walker, Nigel Westlake, Amanda
Wojtowicz, David Worrall, David Young, Jonathan Zwartz.
Panelists who were in any way involved in nominations did not assess the award categories in question. The Chair participated in the assessment discussions of all award categories.
© Australian Music Centre (2012) — Permission must be obtained from the AMC if you wish to reproduce this article either online or in print.
Subjects discussed by this article:
- Justin Bullock
- Danish String Quartet
- Nick Haywood
- Tom O'Halloran
- Andrea Keller
- Troy Roberts
- Quentin Angus
- Jeremy Rose
- West Australian Symphony Orchestra
- Sydney Symphony
- Michael Kieran Harvey
- Félicitas Fuchs
- Bernard Lanskey
- Qian Zhou
- Claire Edwardes
- Arcko Symphonic Ensemble
- Speak Percussion
- Graeme Morton
- Gondwana Choirs
- Moorambilla Voices
- Kirsty Beilharz
- Peter Rankine
- Queensland Music Festival
- Madeleine Flynn
- Tim Humphrey
- Decibel New Music
- Super Critical Mass
- Daniel Blinkhorn
- Tamara Anna Cislowska
- Lara St. John
- Andreas Borregaard
- Zephyr Quartet
- Greta Bradman
- Lawrence English
- Zubin Kanga
- Missa Solis - Requiem for Eli by Nigel Westlake
- Stille sprache, op. 81 by Andrew Schultz
- Sea chronicles by Paul Stanhope
- Qinoth by Paul Stanhope
- Torque by Elena Kats-Chernin
- Two memorials (for Anton Webern and John Lennon) by James Ledger
- Sacred kingfisher psalms by Ross Edwards
- Blackwood by Iain Grandage
- Spirit Ground by Ross Edwards
- Piano sonata no. 3 by Lawrence Whiffin
- Shining island by Peter Sculthorpe
- Sextet by Brett Dean
- Uncanny Valley by Nicholas Vines
- ...out of obscurity by Elliott Gyger
- Flesh & Ghost by Anthony Pateras
- Osanna mass by Clare Maclean
- Fish boast of fishing by Peter Knight
- Gardener of Time by Barry Conyngham
- Pomegranate Friends by Gerardo Dirié
The Australian Music Centre connects people around the world to Australian composers and sound artists. By facilitating the performance, awareness and appreciation of music by these creative artists, it aims to increase their profile and the sustainability of their art form. Established in 1974, the AMC is now the leading provider of information, resources, materials and products relating to Australian new music.
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