Piano Quartet in C Minor, Sonata for Violin & Piano, and In Black Ink / Andrew Anderson.
Featured Australian works
||In black ink (2016) three Shakespeare sonnets for voice & piano
Recorded/performed at: Burwood Sound Studios, Melbourne, on 19 Dec 16.
|Andrew Anderson||Alexandra Mathew, Brenna Wee||10 mins, 29 sec.|
||Piano Quartet No. 1 (2010) for violin, viola, violoncello & piano
Recorded/performed at: Burwood Sound Studios, Melbourne, on Dec 11.
|Andrew Anderson||Erica Kennedy, Helen Ireland, Zoe Knighton, Ian Munro||37 mins, 24 sec.|
||Sonata for violin & piano (2015) for violin with piano
Recorded/performed at: Burwood Sound Studios, Melbourne, on 8 Oct 15.
|Andrew Anderson||Anna McMichael, Daniel de Borah||15 mins, 59 sec.|
The quartet spans four untitled movements, with the core of the opening and closing movements being in sonata form. The slow second movement is highly chromatic and contrapuntal, at times displaying a certain sense of unease. The third movement is lighter and scherzo-like, with a calmer middle section that proceeds almost as a lullaby. The theme that opens the work recurs episodically throughout, probably most dramatically as a countermelody at the climax of the fugal coda for the final movement. The work was premiered in concert by the Australia Piano Quartet at the Melbourne Recital Centre in 2015.
Sonata for Violin & Piano (2015)
The compact first movement is titled Inquieto (restless), and sets aside extensive development in favour of constant shifts between arpeggiated and chordal sections. In contrast, the second movement (Teneramente; tenderly) is more expansive and wistful, eventually arriving at an exuberant statement of its opening theme accompanied by almost bell-like chords on the piano. The final movement (Presto) proceeds with a spirited flourish.
In Black Ink (2016)
This setting of three Shakespearian sonnets was commissioned in 2016 by Gloria Gamboz, and dedicated to mezzo-soprano Alexandra Mathew, who premiered the work in 2016 in the Chapel of Trinity College, Melbourne. The first (Look in they glass and tell the face thou viewest) is one of the Procreation Sonnets, urging the recipient of the sonnet to bear children and thereby preserve a reflection of his beauty. The second (Those lips that Love's own hand did make) is notable for its unique metre, as well as for the criticism it has received from some scholars regarding its lightweight nature. It reminds us how words cannot be unspoken, but their meaning may sometimes be subsequently altered. The final sonnet (Since brass, nor stone, nor earth, nor boundless sea) comments on how even the most enduring of things is ultimately destroyed by time, but that perhaps love might be immortalised through the written verse. It is from this final sonnet that the title of the collection is drawn.
Duration: 64 min.
Liner includes programme notes and Shakespearean text used.
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