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Random round : flexible instrumentation

by Percy Grainger (1943)

Audio Sample

Performance by Three (Musical group) from the CD Midnight songs

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Midnight songs


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Midnight songs / Three.

Library shelf no. CD 2731 [Not for loan]

Random round


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Display all products featuring this work (7 more)  

Work Details

Year: 1943

Instrumentation: Voices, gut-string guitar, various instruments.

Performances of this work

30 Sep 2022: at Jukebox (Bowen Terrace Studio). Featuring Alex Raineri.

28 Sep 2022: at Jukebox (Bowen Terrace Studio). Featuring Alex Raineri.

19 Jan 2021: at 12 Hands 6 Grands (Sydney Town Hall).

2 Mar 2019: at ANAM 2019 Opening Concert (Australian National Academy of Music (ANAM)). Featuring ANAM Musicians, ANAM Orchestra of the Academy.

15 Jun 2018: at SSO Percussion Stars (Tea & Symphony) (Sydney Opera House, Concert Hall). Featuring Sydney Symphony Orchestra Percussionists.

2 Apr 2017: at St Silas Sundays no. 1 (Grainger) (St Silas Anglican Church). Featuring Peter Neville, ANAM Musicians.

23 Oct 16.

23 Oct 2016: at Musical Maverick (Melba Hall).

22 Oct 2016: at Musical Maverick (Melba Hall).

16 Oct 2016: at Musical Maverick (Melba Hall).

6 Aug 2011: at Festival Farewell! (Townsville Civic Theatre). Featuring Phillipa Candy, Piers Lane, Danny Driver, Daniel de Borah, Richard Contiguglia, John Contiguglia.

15 Jul 2011: at Elision Ensemble (St Andrew Holborn). Featuring Elision Ensemble.

31 Jul 2010: at Governor's Gala Concert (Townsville Civic Theatre). Featuring Synergy Percussion, Goldner String Quartet.

7 Apr 2010: at MAC in Action! (Basil Jones Orchestral Hall).

14 May 2009: at Bach, Grainger, Grieg (Albert Hall, Canberra).

User reviews

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My favourite Australian art song repertoire

Posted by Australian Music Centre on 22 July, 2013

The AMC asked leading practitioners to select their favourite Australian art song repertoire, to provide delegates to the 2013 International Conference of Vocal Teachers (Brisbane 2013) with an introduction to this rich and diverse landscape.
A delightful work by this great experimenter, showing his interest in breaking down conventions such as prescribed instrumentation, and prescribed form. This is a flexible, exuberant round in contrasting sections, made up of short melodic phrases and accompanying ostinati, strongly influenced by folk music, but with the distinctive harmonic language and sense of drama that make Grainger’s compositional voice so recognisable. The form and length of the piece should vary at every performance, with the “Band Boss” holding up cards to indicate which section should come next. Lyrical, wordless, interweaving vocal lines are a joy to sing, and the whole piece provides great fun for performers and audience alike. 
Jeannie Marsh