Announcement of première performance of Three Concert Pieces for piano
I am very pleased to announce that my Three Concert Pieces for piano will receive its première performance in the Utzon Room at the Sydney Opera House on 9 February at 7 pm. The pianist is a good friend and colleague, Nicholas Young, with whom I collaborated frequently during our time at the Sydney Conservatorium. It is a pleasure to work with him again, but this time as a composer!
For more information about the concert and ticketing, click here to be directed to the corresponding page on the Sydney Opera House website.
For some insight into Nicholas’ project, and the rationale behind such a concert, you may be interested in this interview for CutCommon magazine.
The program notes for the concert are available online now.
Continue reading “Composer’s Notebook #5”
Dear reader, thank you for visiting the blog, and happy new year! This is an update post, letting you know what I have been up to in the last few months.
Continue reading “Update Post for the New Year”
This would seem like an awkward mix of topics, but hopefully I can convince you of the similarities. The connection occurred to me recently, as I have been tutoring a student for theory and sight-reading in preparation for a grade 4 AMEB violin exam. (The AMEB is the Australian Music Examinations Board, a bit like the local Aussie version of the ABRSM, which is a world-wide music education organisation). In addition to preparing a set of pieces for performance, the student sitting the exam must also answer questions relating to music theory and history. I have only ever taken one AMEB exam in my life, so I don’t know exactly what kinds of questions are asked during a typical exam. Based on this student’s learning materials, I can deduce that, at this early stage in the progression of grades, they are likely to be questions regarding the fundamentals of music history and analysis, such as: “What is a concerto?”; “What is the form of this movement?” (binary, ternary, ritornello, and “through-composed” are the expected possible answers at this grade — sonata form comes later!); “The music of Mozart is representative of which period of music?”; “You just performed a piece by Handel, can you name some other pieces by Handel?”; “What does allegro moderato mean?; and so on. This is not particularly challenging. A student who is curious and motivated will probably know the answers already, via searching on Wikipedia and other sources on the internet. These basic concepts of Western classical music may also be covered in high school music classes, if the school is fortunate enough to provide them. For the average student, these facts can be imparted easily by the teacher during a lesson, with the additional advantage that explicit examples from the music being practised may be used. With a little more effort, the fundamental concepts of musical analysis and theory can be similarly acquired, or else taught in the lesson too. Remember, at this early stage (grade 5 or below), the student only needs to recall the basic facts.
Continue reading “Sight-reading, AMEB exams, and studying maths”
If you want to know what this is all about, read my introduction to the series.
If you have already read the introduction, then welcome to the first Diversion in Mathematics! I emphasise, as I did in the introduction, that I will write with the general public in mind, so don’t be worried if you don’t consider yourself a “fan” of mathematics, or if you’ve totally suppressed all memories of maths classes from high school. And if you are a keen mathematician, whether recreationally or studying seriously at college/university, hopefully you will also find these blogs to be of some interest.
Continue reading “Diversions in Mathematics #1: How to Count like a Pure Mathematician”
Introduction to the series
I have always been interested in maths, and not only in the subject itself but also the ways in which maths is explained and taught. In general, a crucial part of studying and researching is to be able to communicate one’s findings to other people, who may or may not be knowledgeable in your field. For this reason, I’m all for popular science books and magazines, which (provided that it is done well) serve to explain scientific research in an accessible way, and to promote scientific awareness and appreciation amongst the general public. However, in my opinion, popular science books too often simplify, and even completely skip the mathematics behind the science. There is certainly a cultural aversion to mathematics — at least from my perspective as an Australian, and from my awareness of similar attitudes in the US and UK — which may be part of the reason for the lack of ‘real’ mathematics in popular science writing. Here is an anecdote: apparently Stephen Hawking’s publisher advised the great scientist that every equation he included in his A Brief History of Time would result in reduced sales. (There is one equation though: Einstein’s ). Of course, this is one of the bestselling science books ever, and sits atop many a coffeetable, but I wonder how many people have seriously read it…
I know that a non-zero number of people read this blog, and I’m also aware that I haven’t written anything in about two months. Since I intend to keep the blog alive, here is an update for you! Moreover, as I am generally introverted and not talkative, I find it easier and much more natural to express myself in writing anyway.
Continue reading “An update”
On Composing for the Piano
This blog post appears at quite an appropriate time. As I write, the Sydney International Piano Competition is just about to wrap up, and I am also planning to write a piano trio, a classic but nonetheless difficult chamber combination. All this has led me to consider carefully why and how I write for the piano. Continue reading