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Work Overview
Tasmania's landscape is an ever-present source of inspiration to me. The forests, mountains and waterways provided the spark that brought this work into being, but it is less representational in concept than a number of my recent compositions. Organised in one extended movement, it is nevertheless divided into three main sections. The very slow, quiet opening begins from a single pitch, D, which is gradually extended outwards chromatically, to soon burst out into the spirited first main section. This eventually gives way, after a strong, dissoant climax, to a slower and generally quieter main central section, characterised by an expansive melody beginning and ending on a solo oboe. This section leads in turn to a more flowing third main phase, which, having run its course, returns to a partial reprise of the very opening, which serves as a quiet, peaceful coda, bring the work, as it were, full circle.
Work Details
Year: 1996
Instrumentation: Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B flat, bass clarinet, 2 bassoons, contrabass bassoon, 4 horns in F, 3 trumpets in B flat, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players: chimes, snare drum, suspended cymbal, temple blocks, crotales, glockenspiel, xylophone, bass drum, pair of cymbals), harp, strings.
Duration: 29 min.
Difficulty: Advanced
Dedication note: To the Memory of Gwen Harwood
Subjects
- Has as subject/About: Landscape and Nature
- Has as subject/About: Tasmania
Performances of this work
8 Nov 2026: at At the Edge of Remoteness: The Music of Don Kay (St Mary's Cathedral (Hobart)).
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