Andrew Schultz music news

Blog and news for www.andrewschultz.net

Schultz’s Maali premieres with WASO

Andrew Schultz’s Maali was commissioned by Geoff Stearn for the West Australian Symphony Orchestra (WASO). The World Premiere performances will soon be given by the West Australia Symphony Orchestra conducted by Simone Young with soloists Peter Facer (oboe), Allan Meyer (clarinet), Adam Mikulicz (bassoon), and David Evans (horn) at the Perth Concert Hall on 4 and 5 August 2017. The work was composed in Sydney in 2016.

Maali is a large-scale three movement work in the tradition of the sinfonia concertante – works for a small group of concerto soloists with orchestra. In this case the soloists are the wind quartet combination of oboe, clarinet, bassoon and horn. Each of the parts is quite challenging and virtuosic and there are also intense ensemble demands on the quartet as a group. The work is accompanied by a large orchestra including full brass and percussion sections – the orchestral scoring does omit oboe, clarinet, bassoon but includes three flutes (which have a prominent role in the work) and also includes cor anglais, bass clarinet and contrabassoon. The latter are the bass siblings of the solo woodwind parts and with the flutes complement the sonorities of the solo instruments.

The three movements are arranged fast-slow-fast with the second movement running without break into the final movement. The first movement is by turns rhythmically playful and expressively lyrical with the interchange of moods suggesting the natural world of great birds at play. The second movement is dream-like as one musical image floats into another, in each case expressively led by a soloist.

The final movement is an extremely buoyant and jubilant set of double variations. There are two themes heard (or one theme with two halves in you prefer) followed by a total of 10 variations (or 5 pairs of variations). The music of the double theme alternates a rhythmic melodic line (first heard in solo horn) with an answering chorale-like passage; this pattern continues through the movement. The great birds referred to in the title, Maali, also provide a clue to the source of the musical ideas in this movement.

 

Andrew Schultz – Maali, Opus 101 (2016)

Concerto for oboe, clarinet, horn and bassoon with orchestra

Movement 1 – Lively, fast and playful

Movement 2 – Slow, dreamlike

Movement 3 – Variations: Fast, joyous

Duration: approximately 27 minutes

 

For more details of the concerts and to obtain tickets: http://tickets.waso.com.au/single/PSDetail.aspx?psn=9410

 

ABC Classic FM will record the concert for later broadcast.

 

 

Falling Man/Dancing Man, CD Release

 

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Andrew Schultz’s large-scale 2005 composition for organ and orchestra, Falling Man/Dancing Man, will shortly be released on the US label, Navona, as part of a compilation of contemporary orchestral works. The soloist in the work is the exciting Czech organist, Karel Martinek, performing on the grand organ of the Dum Kultury (House of Culture) in Ostrava, Czech Republic. Full details of the CD are below; individual works on the CD are also available via all digital formats.

 

Falling Man/Dancing Man for solo organ and orchestra,

opus 68 (2005)

Movement 1  Infinity Jinx                          6:00

Movement 2  Deep Crossing                     7:33

Movement 3 The Laughing Man               8:52

Moravian Philharmonic Orchestra, Petr Vronsky – conductor, Karel Martinek – organ

Recorded at Dum Kultury, Ostrava, Czech Republic on 13 September 2016

Producer: Vit Muzik,  Engineers – Ales Dvorak, Jan Kosulic

CD Title: Winter’s Warmth, Contemporary Works for Orchestra

Label: Navona Records, Catalog: NV6091

Release date: 14 April 2017

Web: www.navonarecords.com/catalog/nv6091

YouTube Promotional Video: https://www.youtube.com/watch?v=xBOrCkCoPS8

SoundCloud Link: https://soundcloud.com/parmarecordings/winters-warmth

Information about Andrew Schultz: www.andrewschultz.net

An interview with the composer about Falling Man/Dancing Man in StressPoints (eNewsletter of the International Society for Traumatic Stress Studies): http://www.andrewschultz.net/resources/trauma_classics.pdf

 

 

Program note:

Falling Man/Dancing Man is a concerto-style work for solo pipe organ and orchestra composed for first performance on the organ of the Melbourne Town Hall in 2005. The twenty minute work is in three separate but related movements.

Falling Man/Dancing Man was initially inspired by two photos with contrasting depictions of human reactions to war. The first was the abject image of a Falling Man taken from the ground below the World Trade Centre attacks in New York in 2001. The image was later suppressed and remains a deeply contradictory photo given the choices and pain implicit in the subject’s decision to jump. The second shows a Dancing Man who is celebrating in a Sydney street at the end of World War Two. His hat is in the air as he dances for joy at the end of war. The more I looked into it the more I became aware that images and artwork depicting falling and dancing bodies are almost universal icons from rock art to the present. Perhaps this is because they depict fundamental truths about human experience. Whilst echoes of both these and other images have found their way into the piece, the musical matters took their own course in the work and in the end the organist’s dancing feet and physical elevation in the organ loft also seemed apt for the title.

Falling Man/Dancing Man was commissioned by Symphony Australia for the Melbourne Symphony (with organ soloist, Calvin Bowman and conductor, Oleg Caetani) and composed with the assistance of a residency at the Leighton Studios, Banff Centre for the Arts, Canada.

 

 

Andrew Schultz, left, and Karel Martinek in Ostrava, Czech Republic, September 2016

Andrew Schultz, left, and Karel Martinek in Ostrava, Czech Republic, September 2016

 

Schultz premiere performances

 

SSO/Thatcher perform Endling in Newcastle 2016.

SSO/Thatcher perform Schultz’s Endling in Newcastle 2016.

 

 

Premiere performances, 2014-17

WP – World Premiere; AP – Australian Premiere; ASP – Asian Premiere; EP – European Premiere

 

New work – Cantata (libretto, Katherine Firth). St John’s Camerata and Choir, St John’s Southbank, Melbourne, 3 December 2017. WP.

Maali – Concerto for oboe, clarinet, horn and bassoon. West Australian Symphony Orchestra conducted by Simone Young; soloists: Peter Facer (oboe), Allan Meyer (clarinet), Jane Kirchner-Lindner (bassoon), David Evans (horn), Perth Concert Hall, 4 & 5 August 2017. WP.

Sleepers Wake – Karalananga. Bernard Lanskey, World Classical Music Series, Royal Mirage Hotel, Dubai, 16 December 2016. ASP.

Night Flight. Sophie Rowell and Kristian Chong, Melbourne Recital Centre, 2 May 2016. AP.

Nocturnes and Variations. Stephen Emmerson, Conservatory Concert Hall, National University of Singapore, 17 February 2016. ASP.

Gallipoli Symphony (includes August Offensive, large orchestra version). Queensland Symphony Orchestra conducted by Jessica Cottis, Concert Hall, Qld Performing Arts Centre, Brisbane, 24 November 2015. AP

Prelude and Postscript. Antony Gray, Grieg Society of Great Britain – Schott’s Music Shop, London, 13 November 2015. EP.

Nocturnes and Variations. Stephen Emmerson, Ian Hanger Recital Hall, Queensland Conservatorium, Brisbane, 28 October 2015. WP.

Paradise and Prelude and Postscript. Halcyon, Io Myers Theatre, UNSW, Sydney, 17 September 2015. AP.

Endling and Willow Bend. BBC Ulster Orchestra conducted by David Porcelijn, Ulster Hall, Belfast, Northern Ireland, 12-14 August 2015. EP.

Gallipoli Symphony (includes August Offensive, large orchestra version). Istanbul State Symphony Orchestra conducted by Jessica Cottis, Hagia Irene Monumental Museum, Istanbul, Turkey, 4 August 2015. WP.

Le Molière Imaginaire. I Fagiolini, Sydney Recital Hall (also Newcastle, Melbourne, Brisbane, Adelaide, Canberra, Perth), Musica Viva International Concert Series, 25 July – 8 August 2015. WP.

Sound Lur and Serpent. Sydney Symphony Orchestra conducted by Vasily Petrenko, Concert Hall, Sydney Opera House, 22-24 July 2015. AP.

Paradise. Felicitas Fuchs, Li-Wei Qin, Bernard Lanskey, La Longtaine, Montigny sur Loing, France, 8 June 2015. WP.

August Offensive. Tasmanian Symphony Orchestra conducted by Garry Walker, Federation Concert Hall, Hobart, 27 March 2015. AP.

St Peter’s Suite. St Peter’s Symphonic Winds conducted by Andrew Schultz, St John’s Cathedral, Brisbane, 2 August 2014. WP.

Sound Lur and Serpent. Sydney Symphony Orchestra conducted by David Robertson, Shanghai Oriental Arts Centre, China (also Jinan, Beijing, Xi’an, Hangzhou, Shenzhen, Guangzhou), 24 June–5 July 2014. WP.

 

For more information on these performances, the website andrewschultz.net, has been updated and includes recent catalogue additions, press reviews and recording releases.

Paradise by Schultz recording release

paradise-cover-art-final

 

A recording of Andrew Schultz’s Paradise – Five Songs for soprano, cello and piano, Opus 95 (2013) has been given a digital recording release by the three outstanding performers who gave the work its premiere in Paris in August 2015: Felicitas Fuchs (soprano), Li-Wei Qin (cello) and Bernard Lanskey (piano). This new recording was made at NUS in Singapore in October 2015 with Zhou Xiaodong the recording’s engineer and producer. Paradise was a finalist in the 2016 Art Music Awards and Highly Commended in the 2016 Paul Lowin Awards and consists of settings of the composer’s own texts.

The recording is available for sale and streaming on all major digital platforms including i-Tunes, Deezer, Spotify and YouTube. The release date of the recording is 6 January 2017 and the catalog number is Sedition 8.

The text of the songs, program note and composer’s biography are available to download as a PDF from this link: paradise-text-program-note-biog.

Six compositions shortlisted for major Australian awards

Reprinted from Limelight Magazine, November 14, 2016
James Ledger, Milliken, Skipworth, Dean, Ford and Schultz are in the running for Paul Lowin Prizes.

It’s been three years since the prestigious Paul Lowin Prizes were last awarded, but today six recent Australian compositions have been announced as finalists for awards in 2016. The Orchestral Prize, worth $25,000, and the Song Cycle Prize, worth $15,000, are among Australia’s richest rewards for music composition and are managed every two or three years by Perpetual in collaboration with the Australian Music Centre.

The three works shortlisted for this year’s Orchestral Prize are James Ledger’s 2013 Violin Concert Golden Years, written for Margaret Blades and commissioned by the West Australian Symphony Orchestra, Cathy Milliken’s Earth Plays, premiered last year by the Bavarian Radio Symphony Orchestra and winner of this year’s Art Music Awards Orchestral Work of the Year, and Lachlan Skipworth’s Clarinet Concerto, which won the Australian Art Music Awards’ 2015 prize for Best Performance of an Australian Composition for Ashley Smith and WASO.

Shortlisted for the Song Cycle Prize are Brett Dean’s Hamlet-inspired String Quartet No 2 for soprano and string quartet And once I played Ophelia (now recorded on the Chandos label), Andrew Ford’s 2013 song cycle Last Words for soprano, violin, cello and piano – a setting of final remarks from Goethe and Alban Berg to Cloudstreet’s Fish Lamb – and Andrew Schultz’s Paradise, a setting of five songs for soprano, cello and piano written in 2013.

Paul Lowin, who died in Vienna in 1961, was born in 1893 in Czechoslovakia, lived in Austria in the 1930s, and fled the Nazi terror to come to Australia in 1939. In his hand-written will he stated his wish to establish a competition for works by living Australian composers, but left rather subjective instructions that the entries would be expected to be in a “modern but not too modern” style. It took executors an agonising 30 years to thrash out what that awkward qualification actually meant and how it might be applied in practice, before the first awards took place in 1991.

According to the judges, a record number of entries were received this time around, with 67 orchestral submissions and 59 song cycles. As has always been the case, nominations were accepted from the general public as well as from a range of music professionals. Previous Paul Lowin Prize winners have included Nigel Westlake, Elliott Gyger, Mary Finsterer, Andrew Schultz, Brett Dean, Rosalind Page, Nigel Butterley, Julian Yu, Georges Lentz, Brenton Broadstock, Martin Wesley-Smith, Michael Smetanin, Raffæle Marcellino, Liza Lim and Andrew Ford.

The recipients of the two Paul Lowin Prizes will be announced at a ceremony in Sydney on December 6. Other shortlisted works will receive a special commendation and the sum of $400.

– See more at: http://www.limelightmagazine.com.au/news/six-compositions-shortlisted-major-australian-music-awards#sthash.vio7xMX1.dpuf

New CD of Magnificat and Nunc Dimittis by Schultz

Here are the details of the new Tall Poppies release of Australian sacred choral music, including Magnificat and Nunc Dimittis by Andrew Schultz, performed by the Brisbane Chamber Choir/Graeme Morton.

The following is from the Tall Poppies website – http://members.iinet.net.au/~carlvine/tp/index.cgi?tp=cd&val=239

TP239 Mass of the Dreaming

Australian Sacred Choral Music
Brisbane Chamber Choir • Graeme Morton, director

$23   (Australian dollars)

buy at: AMC – Buywell

cover
It is truly amazing that we’ve waited until 2016 for an Australian choir to record a CD of Australian sacred choral music. Yes, this is the first!!

It’s well worth the wait. A lot of this music was commissioned by the choir. Specially mention must be made of Ross Edwards‘ Mass of the Dreaming, a substantial work that will definitely be included among the pantheon of Australian choral works in the future. It’s the largest work on this disc and one of the most engaging.

The Brisbane Chamber Choir sings these works with skill and passion, ably directed by Graeme Morton.

The Choir has also commissioned the cover art from Kangaroo Valley-based artist Githa Pilbrow, who was inspired by the 2016 Vivid! exhibition in Sydney. Her work Cathedral Light makes a lovely cover.

CONTENTS

Paul Stanhope Ubi caritas
Joseph Twist Lamentation of Jeremiah
Keren C. Terpstra Arise my love, my fair one
Matthew Orlovich Communion of Reparation
Andrew Schultz Magnificat
Andrew Schultz Nunc dimittis
Stephen Leek Sanctus
Stephen Leek Agnus Dei
Nigel Butterley Exultate Domino
Ross Edwards Mass of the Dreaming

 

Paradise returns

On Saturday, 10 September, 2016 Halcyon again present Schultz’s Paradise, five songs for soprano, cello and piano. The work will be presented as part of a program of new and recent music called The Poet’s Voice.

The Poet’s Voice
Sept 10 at 5pm
St Bede’s Anglican Church
14 College St Drummoyne
Tickets $35/$25
Bookings:  classikon.com.au
Enquiries: info@halcyon.org.au

 

Paradise, Opus 95 (2013) is a cycle of five songs for soprano, cello and piano written for Felicitas Fuchs, Li-Wei Qin and Bernard Lanskey. They gave its first performance in June 2015 at La Loingtaine, Paris. Halcyon gave the Australia premiere shortly afterwards in September 2015. The work is a setting of the composer’s own texts in which a physician observer wrestles with the small-scale detail and the large-scale effect of an horrific and violent event.

 

Composer’s note:

‘For some time I have either been writing my own texts or quietly editing, translating and adapting pre-existing texts to suit my musical purposes. In choosing to write my own texts I have been attracted by the freedom and precision of expression this allows me to bring to my vocal music. This is partly because of the inevitable constraints that a text places on a composer but also because I am looking for a personal, specific and clear expression of ideas and that requires a high level of unity of artistic means.

In the case of Paradise the subject matter of the work’s texts is sensitive and tricky to pull off. This work occupies a similar creative space to my opera, Going Into Shadows, in the way it addresses brutal violence and its aftermath in the contemporary world. Finding a way to deal with this material is an artistic challenge that is very important to me so I’m very grateful for the support of two groups of wonderful performers.’

Le Molière Imaginaire wins Art Music Award

Comedic send-up wins Art Music Award

Republished from UNSW Newsroom, 17 August 2016.  Article by Clare Morgan.

 

A “witty and naughty” vocal send-up by composer and Head of the School of the Arts & Media, UNSW,  Andrew Schultz has won a 2016 Art Music Award.

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Composer and Professor of Music Andrew Schultz.

A hilarious vocal send-up of the medical profession has won Head of the School of the Arts & Media Professor Andrew Schultz a 2016 Art Music Award.

Professor Schultz won the Vocal/Choral Work of the Year for his comical Le Molière Imaginaire, composed for the eight voices of British a cappella ensemble I Fagiolini.

Described as “urbane, virtuosic, cultured, witty and naughty in equal measure”, Le Molière Imaginaire was inspired by the final scene in Molière’s last play, Le Malade Imaginaire (The Imaginary Invalid). It features a musical interlude in which a mock graduation ceremony for a quack doctor becomes increasingly farcical.

Professor Schultz shared the award with writer Timothy Knapman, who adapted the original text.

The comic romp had its world premiere as part of Musica Viva Australia’s 2015 international concert season.

Professor Schultz had a second work nominated in the same category, Paradise, five songs for soprano, cello and piano.

The Art Music Awards, presented by the Australasian Performing Right Association (APRA) and the Australian Music Centre, are Australia’s night of nights for musicians based in the experimental, jazz and classical genres.

This year’s awards ceremony was held in Melbourne and hosted by Jonathan Biggins.

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Watch a video interview with Andrew Schultz about the award

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Read more about the awards in Limelight Magazine

Andrew Schultz Piano Music – CD Release

Piano Music AS web

Antony Gray is the pianist on a new compact disc of Andrew Schultz’s music for piano. The music was written in the period from 1987 to 2015 and includes most of his output written for solo piano during that time. With his amazing virtuosity, the well known Australian born and  international pianist, Antony Gray, demonstrates his expressive control of phrasing and colour throughout the recordings. The recordings were made in Melbourne and London; works on the disc include Barcarole, Prelude and Postscript, and Four Inventions from The Children’s Bach. In a recent review of another work on the disc, Nocturnes and Variations, one critic wrote,  “this captivating piece added to the growing sense that a distinct musical language is coming out of Australia which is as unique and starkly beautiful as the land itself.” [Marc Rochester, “A rare chamber treat,” The Straits Times, 20/2/16.]

The CD is released by the Australian label Wirripang and carries the catalogue number, Wirr 078.  The disc has also been released on digital platforms and via the Naxos Music Library.

Click here for more information, to hear samples of the music, and to purchase the disc.

Some recent reviews of the new disc:

“Andrew Schultz’s impressive piano music collection is deeply rooted in the unique resonant qualities of the instrument. His long-time collaborator, Antony Gray, interprets the works with both sensitivity and panache.”  [Read Michael Hannan’s review of the disc in full in the Music Trust E-zine.]

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“Schultz’s piano works range as widely as the great outdoors.

Antony Gray is a London-based pianist who has gained praise for his recordings of Poulenc, Bach, Brahms and Goossens and one can see his skill with these composers fertilising this new disc devoted to Schultz’s pianistic output. In the Adelaide-born composer’s music there is a sense of space, which is entirely appropriate to the vast Australian landscape; and unlike many earlier composers, Schultz is content to write in a more neo-tonal manner without resorting to dissonance or mimicry of bird-cry.

Even in his recent Interludes (2015), there is a sense of late-Romantic intensity. And though Schultz does not regard himself as much of a pianist, there is much here – a sparseness of creative landscape, which defines modern notions of Australia. His music is more melodic than atonal, and yet almost naively deductive in its sense of logic, place and space. Here is music that is haunting and inward, searching for a sense of landscape if not comprehension.

Schultz’s literary influences are disparate – from the 10th-century Japanese Pillow Book to Inventions from his own opera The Children’s Bach after Helen Garner’s touching novella. His counterpoint is all so appropriate, making even more sense of the Bach adopted by the primer of Garner’s title, with a feeling of improvisation and expanding beauty in the right hand, set against gently resolving chords in the left. For those who wish to disappear into the seemingly understated, there is little need to look further.”

Brett Allen-Bayes, Limelight Magazine, October 2016, p. 79

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A review of the disc by Vincent Plush as published in The Weekend Australian on 10 September 2016.

Weekend Australian, 10 Sept 2016

 

 

 

Endling with Sydney Symphony Orchestra

 

The Sydney Symphony Orchestra/Toby Thatcher present Andrew Schultz’s orchestral work Endling (2007) on their forthcoming tour of regional New South Wales. The programs also include works by Mozart, Schubert and Prokofiev.

The concerts are at:

Newcastle – Civic Theatre, Tuesday 24 May 2016, 7:30pm (more details and tickets)

Taree – Manning Entertainment Centre, Wednesday 25 May 2016, 7:30pm (more details and tickets)

Port Macquarie – Glasshouse, Friday 27 May 2016, 6:30pm (more details and tickets)

 

Civic Theatre promotional material:

“Hear the musicians of the SSO with dynamic young conductor Toby Thatcher in a program that begins at the heart of the orchestral repertoire with Mozart and ends with a cheeky nod to the Classical age by Prokofiev. In between are the vibrant and graceful melodies of Schubert’s Fifth Symphony and beautifully serene music by Andrew Schultz – soaring and noble sounds inspired by the transience of the natural world. The soloist for the night is SSO principal Ben Jacks, playing the most popular of the Mozart horn concertos in what promises to be an exhilarating performance.”

MOZART: Horn Concerto No. 4 in E flat, K495
SCHUBERT: Symphony No. 5
SCHULTZ: Endling
PROKOFIEV: Classical Symphony

 

Composer’s note about Endling:

Nature has defined the “endling” as the “last surviving individual of a species or plant.” This piece flows from a feeling of immense regret and sorrow about all that has been lost from the face of the earth.

Read more about the piece: www.andrewschultz.net/programs/endling.html

Read reviews of Endling from other performances: Endling reviews