Maninya I : for voice and cello
by Ross Edwards (1981)
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Score & Part
Library shelf no. Q 783.254/EDW 1 [Available for loan]
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Instrumentation: Countertenor or mezzo-soprano voice, violoncello.
Duration: 10 min.
Dedication note: Dedicated to Hartley Newnham
Commission note: Commissioned by Hartley Newnham.
Ross Edwards on Maninya I and text setting - In conversation with...
In this series we talk with composers about their craft, their process, their influences, and of course their approach to vocal writing. Built on long working relationships, the conversations have an ease of familiarity but also provide useful insights into each composer’s work, their relationship with Halcyon and the pieces that they have written for the ensemble. Ross Edwards is celebrating his 75th birthday in 2018. In association with the Australian Music Centre.
Performances of this work
13 Sep 2010: at Where the Heart Is.. a celebration of homegrown music (Carriageworks). Featuring Halcyon.
7 Sep 2010: at Where the Heart Is.. a celebration of homegrown music (Llewellyn Hall ANU School of Music). Featuring Halcyon.
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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.
The Maninya settings (I for voice and cello, V & VI for voice and piano) are wonderful for a lower voice with a good rhythmic sense. His new song cycle Five Senses, on poetry of Judith Wright I hope too will become a classic.
The distinctive rhythmic and melodic world explored for the first time in this work went on to became important in a number of Edwards’s compositions, so it is highly recommended that advanced students get inside this major work by this major Australian composer. Made up primarily of a series of fast, short, repeated and varied motifs, and an invented language inspired by environmental sounds, the work requires solid work to learn the rhythmic and melodic patterns and new vocabulary, but is well worth the effort. The singer needs to work closely with the cellist to achieve the tight ensemble, rhythmic accuracy, stamina, and total security with the form of this extended piece, that are required for a successful performance. Once learnt, this piece can provide a haunting, exhilarating highlight in a program. There is an excellent recording by the singer who premiered the work (Hartley Newnham) on the CD Hermit of Green Light.