There was a time, long before the advent of photocopiers, let alone scanners, when music was reproduced using smelly chemical baths or hard labour. In my teens and early twenties I produced a number of pieces that for this reason existed only in a very small number of copies, and over the years I have lost not only my original manuscripts but also any reproductions of most of these works. I know that if there are any copies in existence out there in the wider world they are very few in number.
It's short notice, but I would draw people's attention to Peter de Jager giving the first performance of my PdeJ 1 (facetiae) in the Salon at the Melbourne Recital Centre on December 6 2017 (that's right ....tomorrow). This piece is the first of an eventual three PdeJ pieces, all from the heretical bagatelles set: the others are PdeJ 2 (austere measures) and PdeJ 3 (laminar flow).
In the course of the 2017 FREEDMAN CLASSICAL FELLOWSHIP CONCERT Alex Raineri gave the premiere of my new heretical bagatelle, flex for AR, and very beautiful it was too. For time reasons Alex gave a slightly abbreviated version; the premiere of the complete work is yet to occur, but I will ensure it gets a mention here.
I am delighted to be able to announce that Peter de Jager's 9 October 2017 performance of my Piano Sonata won the APRA AMCOS 2017 Arts Music Awards PERFORMANCE OF THE YEAR category. While I can take no direct credit for his performance I can at least express my pleasure in having provided the vehicle for Peter's extraordinary talent.
On Sunday July 30 at 6:30 Peter de Jager will give the 'World Premiere of the Definitive Version' of my 95' Piano Sonata that I wrote here in Ballarat between 2015 and 2016. This version is about a minute longer than the one that was presented in October last year. Be warned that it is a continuous 95-minute arch: the work is effectively cast in a single movement in nine sections and there will be no break in the performance.
Greg Hooper writes:
Sometimes reviewing a concert can be a drag—maybe the work is just not that interesting, or the performances not that good and it is hard to think of anything to say. But sometimes reviewing is difficult because the concert is such a pleasure that I really don’t want to be listening-to-write, I just want to sit back and enjoy the unfolding moment. This was that sort of concert.
Greg Hooper: RealTime review of Singular Vectors: A Chris Dench Portrait Concert by Kupka's Piano
Paul Griffiths writes of 'an Hypallage':
Among other outstanding items are Chris Dench's setting of a definition of love from Tristam Shandy, where the voices of mezzo (Lore Lixenberg) and baritone (Omar Ebrahim) supported by sumptuous, downward flowing and fluttering piano (Jonathan Powell)) give the impression of a couple on an immense double bed who are singing out but not speaking to each other.
I'm not normally a great competition-enterer, but when $25K is dangled before one's eyes, reservations tend to be forgotten. I put the Piano Sonata in for the inaugural Beleura Award for Composition with no expectation, and was astonished to wind up among the five finalists. Of course, Peter de Jager's superlative performance will have been a major factor in this outcome. My music is never fashionable enough to actually win such an award, but it is satisfying not to be entirely overlooked.