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Ross Edwards

  • by Natalie Shea
  • Source: Published by Symphony Services
  • Only 10% of this article's text is displayed below for reference purposes.
    Please contact the copyright holder/source publication to obtain the full article.

The Australian landscape was utterly alien and incomprehensible to early British eyes, but these days, it seems, the sounds at least of the Australian bush travel well. Ross Edwards' music, so profoundly shaped by the infinitely subtle variety of Australia's bird and insect calls, has just gone down a treat in New York, where his Oboe Concerto was premiered by the New York Philharmonic. The audience, says Ross, 'went bananas' at something so exotic, and the orchestra thoroughly enjoyed it, even if they were 'a bit puzzled by some of the metrical schemes and rhythms and so on' - Australian orchestras, he says, pick that sort of thing up much more quickly. The critic in the New York Times, though, was still trying to squeeze it into European models with his description of its 'Bartókian finale': 'He'd obviously never heard anything like it,' chuckles Ross, 'and Bartók was the closest ...