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The vision of Mary MacKillop

by Miriam Hyde (1992)

Score Sample

View a sample of the score of this work
This sample is from the Duos: Soprano, tenor with chamber ensemble version of this work

Audio Sample

Performance by Miriam Hyde from the CD Phoenix and the turtle

This sample is of the Solo Piano version of this work

Versions of this work

Select from the following versions of this work to view more detailed information:

- Duos: Soprano, tenor with chamber ensemble

- Solo Piano

Products featuring this work

Format Title Version AMC Library Price  


The vision of Mary MacKillop / music & text by Miriam Hyde ; orchestrated for chamber ensemble by Edward Primrose

Duos: Soprano, tenor with chamber ensemble Available for loan $58.18 Add to cart


Vision of Mary MacKillop / Miriam Hyde.

Solo Piano Not for loan $POA  


The Colin Sapsford years 1936-1980, Christchurch Saint Laurence, Sydney, Australia.

Solo Piano Available for loan Out of Print  


Phoenix and the turtle : music of Australian composers.

Solo Piano Available for loan Out of Print  


The vision of Mary Mackillop : for piano solo, with optional vocal parts / Miriam Hyde.

Solo Piano Not for loan Out of stock  

Work Overview

Miriam Hyde spoke of sharing the birthdate of Mary MacKillop (15th January-1913 and 1842 respectively) and that this discovery led her to enter the latter's mission through music. The result is a hybrid work with the current title, begun in 1992 in Oxford and completed and performed in 1993 in Sydney. It was written for solo piano with seven instances of dramatic recitative style vocal writing and touching upon certain aspects of Mary MacKillop's life. The work was unpublished and comes to us in Miriam Hyde's own handwritten score as well as her own solo piano recording. Its form suggests some relationship to oratorio.

Following the composer's suggestion for an orchestrated version, the work was arranged for a chamber ensemble plus two singers.

Some containment was necessary in respect to tempi, for what is quite logical in a solo piano performance with all its expressive rubato is not necessarily transferable to the dynamics of an ensemble.

Miriam Hyde made her own notes regarding the bell tolls. She speaks of one of her examiners, Dr Basil Johnson, who showed the 14 year old composer a combination of three notes that he considered aptly represented a Church bell (A, G# and C).

The composer has used this chord at the opening to 'suggest religious connotations early in Mary's childhood.' The chord is featured in different transpositions, returning to its original pitch at the end. The text, also written by the composer, is referred to as 'spoken music.'

Work Details

Year: 1992

Duration: 9 min.


Performances of this work

Unknown date: Christchurch Saint Laurence, Sydney. Featuring Miriam Hyde.

17 Aug 08: Shore School Auditorium, North Sydney. Featuring Deborah Riedel, Paul Ferris, James Muir, Christine Draeger, Joseph Hanic, Francesco Celata, Ben Jacks, Natsuko Yoshimoto, Fiona Ziegler, Jeremy Williams, Patrick Murphy, Alex Henery, Edward Primrose.

19 Mar 93: St. Joseph's, North Sydney. Featuring Miriam Hyde.

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