Piano Sonata — World Premiere, performed by Peter de Jager, 2017 [ABC Classic FM]
Recording of the pre-premiere performance of the Piano Sonata by Peter de Jager, Australian National Academy of Music, South Melbourne, Australia, 9 October 2016:
Audio [MP3]Audio [FLAC]Video [MP4]
Singular Vectors — Concert, Kupka's Piano, 2016 [ABC Classic FM]
E-330 plays — Peter de Jager, 2015 [YouTube]
Permutation City — Speak Percussion [Soundcloud]
This performance is a studio recording made on the day of the premiere of the complete score at the Melbourne Festival 2012. The trajectory of the work, a journey from the fringe of an imagined city to the centre and out again, is now entirely present. The players are Peter Neville and Eugene Ughetti, who have both been closely connected to my work.
Blood Music (excerpt) — ensemble asamisimasa of Oslo, Norway [Soundcloud]
This is one of my own favourites—and one of my stranger scores. The performers are asamisimasa: Rolf Borch, B flat clarinet, Håkon Stene, ¼-tone vibraphone, and Anders Førisdal, 7-string electric guitar. The work was premiered at the Huddersfield Festival in 2005. The recording presents the last two minutes of the work.
light-strung sigils — Music of Changes, Los Angeles, directed by Steven P Niles
I wrote light-strung sigils for Music of Changes, and they presented it in an excellent Portrait Concert of my work at the Herbert Zipper Concert Hall, Colburn School of Performing Arts, Los Angeles, in February 2002. I am very grateful to Steven Niles for the opportunity to write this, another of my favourites among my works. This recording is of that premiere, with Steven at the piano.
Venezia (from Vier Darmstädter Aphorismen) — Hannah Reardon-Smith
Hannah Reardon-Smith and Jodie Rottle, as part of ensemble Kupka’s Piano, gave the first complete performance of my Vier Darmstädter Aphorismen in Australia since Kathleen Gallagher’s DenchFest concerts in 2003. The context was a Portrait Concert of my work in the Judith Wright Centre in Brisbane, and I hope to work with the talented and accomplished Kupka’s Piano again before long. This is Hannah’s performance of the first aphorism, Venezia.