Australian Composers & Selective Wind Repertoire List

List of Australian Composers

This list comprises Australian composers across both band and orchestral genres at all levels. Most are well-known in their field, others deserve to be. Some write works only at a professional level, however they have been included to give an indication of the breadth of music available and as a listening resource. For a more exhaustive list including many lesser-known composers see Resources below.

Earlier composers

John Anthill (1904 - 1986)

Arthur Benjamin (1893 - 1960)

Don Banks (1923 - 1980)

Peggy Glanville-Hicks (1912 - 1990)

Percy Grainger (1882 - 1961)

Eugene Goossens (1893 - 1962)

Dulcie Holland (1913 - 2000)

Miriam Hyde (1913 - 2005)

Richard Meale (1932 - 2009)

Living composers (a selective list) – by State of residence

Australian Capital Territory

Larry Sitsky

New South Wales

Jodie Blackshaw

Nigel Butterley

Ann Carr-Boyd

Gerard Brophy

Barry Conyngham

Ross Edwards

Andrew Ford

Christopher Gordon

Matthew Hindson

Elena Kats-Chernin

Roger Smalley (NSW)

Paul Stanhope

David Stanhope

Carl Vine

Martin Wesley-Smith

Nigel Westlake

Queensland

Colin Brumby

Sarah Hopkins

Ralph Hultgren

David Jones

Peter Sculthorpe

Sean Thorne

South Australia

Graham Koehne

Keith Wilson

Tasmania

Don Kay

Simon Reade

Victoria

Katy Abbott

Andrew Batterham

Brenton Broadstock

Greg Butcher

Taran Carter

Brendan Collins

Brett Dean

Lachlan Davidson

George Dreyfus

Tim Fisher

Mike Fitzpatrick

Stuart Greenbaum

Chris Henzgen

Brian Hogg

Gordon Kerry

Karen Kyriakou

Graham Lloyd

Barry McKimm

Bruce Rowland

Julian Yu

Western Australia

Richard Mills

United States:

Sean O’Boyle (New York)

Selected Annotated List of Australian works for Band

This is not an exhaustive list and only covers works for band. All lists of repertoire are personal and selective. I have not mentioned pieces by every composer listed above, nor have I tried to give a full account of any one composers body of work. In the lists below I mention works that I have either conducted, performed or studied and personally believe to be well-crafted works that deserve to be shared with other conductors. This list is designed to be used as a springboard to exploring the works of these and other Australian composers.

Grade 1

Whirlwind Jodie Blackshaw

A work in ¾ time in A minor – a real rarity at this level – that uses only five notes, but creates innovative soundscapes through concert and home-made percussion and tuned whirlies. There are copious online resources for this piece that was designed to be taught through the Orff-Schulwerk approach.

Simple Song Ralph Hultgren

A gorgeous, lyrical work in ¾ time that provides endless expressive opportunities for both conductor and ensemble.

Grade 2

Two Places Sean Thorne

The Man from Snowy River Bruce Rowland arr. Jay Bocook

A great arrangement for younger players of themes from Bruce Rowland’s soundtrack to the film. It includes the all-important transition into ‘Waltzing Matilda’ and provides good rhythmic challenges in the accompaniment parts.

Grade 3-3.5

Australian Up-Country Tune Percy Grainger arr. G.C. Bainum

A perennial favourite expressing Australian ‘up-country feeling’ as Percy put it. A great way to introduce younger bands to the music and timbral concepts of Grainger.

Llwyn Onn Brian Hogg

This setting of The Ash Grove begins serenely with subtle percussion colours complementing the winds and brass. After the initial statements of the melody, new material is introduced bringing the work to a rousing climax before the music returns to the atmosphere of it’s gentle opening. A classic.

Rush George Dreyfus

Rollicking and great fun (especially when the written part for Ab harmonica is used) this theme song from the TV Series Rush is quintessentially Australian.

Terpischorean Dances Jodie Blackshaw

A vibrant, colourful single-movement setting of several renaissance dances.

In Stillness Brian Hogg

Beautiful, lyrical chorale inspired by Elgar’s Enigma Variations which demands expressive playing from every member of the band.

Droylesden Wakes David Stanhope

Though based on an English folk-song, Droylesden Wakes (from the Folksong Suite No. 3) is Stanhope’s homage to Percy Grainger. Primarily in ¾ time, it provides many challenging fermatas for the conductor and ensemble.

Eliza's Aria from Wild Swans Elena Kats-Chernin arr. Ed Keeley

An interesting arrangement of the most popular tune from the ballet Wild Swans, the original soprano solo is given initially to the oboe, before being taken up in other sections. Pointillistic in nature, this work provides textures seen in very few other Australian compositions for band.

Larino, Safe Haven George Dreyfus

A wistful remembrance of the place to which the composer was housed after fleeing war-torn Europe. Simple, soft and elegant.

Grade 4-4.5

Punga Aaku Keith Wilson

A haunting, original work that captures the moods of the Australian desert.

Gold! Adrian Hill

Vanguard Andrew Batterham

A racing opener in ABA style from this Melbourne-based composer is centred on a four note motif which features challenges for all sections.

Kelly Brian Hogg

Deriving most of it’s material from the folksongs “My Name is Edward Kelly”, “Kelly’s farewell to Greta” and “Stringybark Creek” this inventive piece is fun for all players and provides great teaching points on syncopated rhythms.

See also: Psalm, The Stone Guest

The Man from Snowy River Bruce Rowland arr. Barry Bignell

Deftly scored transcription of themes from the iconic film, this arrangement retains all the symphonic and filmic qualities of the original, including an essential piano part.

The Streets of Forbes David Jones

Galloping, bright outer sections frame a mournful rendition of the folksong of the same name, scored for solo voice.

The Little Ripper March David Stanhope

Full of uneven phrase lengths and unexpected interjections, this 6/8 march again shows touches of the Grainger larrikin spirit so admired by Stanhope.

The Loaded Dog Graham Lloyd

An extensive work for narrator and concert band, it follows Henry Lawson’s comical short story of the same name. The humour and drama of the story are quirkily reflected in the music, which has optional cartoon projections for added impact. An absolute crowd pleaser.

Black Saturday Mike Fitzpatrick

A brooding meditation on the losses of the Black Saturday bushfires commissioned by the Eltham Concert Band.

Small Town Peter Sculthorpe arr. McAllister

A good transcription of this sauntering depiction of country town life in Australia the larger work The Fifth Continent, inspired by a holiday the composer took with artist and close friend Russell Drysdale. It includes antiphonal trumpet writing, echoing the last post, which recalls ubiquitous small town war memorials.

Past Life Melodies Sarah Hopkins arr. Benjamin Northey

The main theme of this work is indeed timeless, and hauntingly familiar despite being entirely the composer’s own. This piece also features tuned whirlies, adding to its unearlthly quality.

The Gum-Sucker's March Percy Grainger ed. R. Mark Rogers

From Grainger’s “In A Nutshell Suite” the term Gum-Suckers refers to Victorians’ apparent predilection to sucking gum leaves. Boisterous and bouncy it includes all of the composers’ trademark colourful writing and scoring (including piano and much ‘tuneful percussion).

Nett Interference Taran Carter

A unique, original work reflecting the patterns and pulsations of electronic sounds that have become commonplace. Rhythmically intricate, this fanfare-like piece presents a challenge to steady pulse and rhythmic independence.

Grade 5+

The Promise Tim Davies

A major work of extended instrumentation (requiring a large offstage ensemble).

Kosciuszko Brendan Collins

Folksong Suites for Band David Stanhope

Stanhope has written three folksong suites for band, each technically and musically challenging and rewarding. The multi-movement works display harmonic and orchestrational writing modelled on the works of Stanhope’s self-confessed idol, Percy Grainger.

Sousltrom Jodie Blackshaw

A deep, emotional 15-minute work, Soulstrom is a meditation on personal loss. The piece contains many exposed soloistic passages and improvised soundscapes and unfurls slowly before winding up to an enormous, full-scale, eventually jubilant conclusion.

Colonial Song Percy Grainger ed. R. Mark Rogers

Though it uses the same melodic material as Australian Up-Country Tune, the counterpoint and harmonic treatment is much more advanced in Colonial song. A masterwork that should be performed by all ensembles at this level.

Masada Ralph Hultgren

This composition presents a musical battle between the Romans and the zealots at the garrison of Masada. The romans are represented by a dark, foreboding theme, which is contasted against the zealots’ dance, mainly in 7/8. Challenging and lively. Also at this level: Bushdance, Eminence, Whirr Whirr Whirr.

Veni Veni Emmanuel Carl Vine arr. Simon Reade

Composers, Publishers,

Resources – Finding Australian Music

Wikipedia: http://en.wikipedia.org/wiki/List_of_Australian_composers - Extensive list that combines the listings of Australian composers from several different sources.

Australian Music Centre: www.australianmusiccentre.org.au

Look for their list of represented artists. Lots of links to external material and helpful information including influences on composers and with whom they have studied. Also has scores and recordings for sale with some online samples.

Music Australia: www.musicaustralia.org

An initiative of the National Library of Australia designed to aid in research regarding Australian music.

Australian Composers site: www.Australiancomposers.com.au

Australian Publishers of local Band & Orchestral music:

Reed Music www.reedmusic.com

Brolga Music www.brolgamusic.com

Middle C Publications: www.middlec.com.au

Musos Media www.musosmedia.com.au

See also: Australian Music Publishers Association: www.ampal.com.au - list of Australian publishers across all genres.

This article was first published in Interlude, the magazine of the Australian Band & Orchestra Directors' Association Vic. Branch

Putting Australian music on the map – our duty as conductors

Conductors have many significant responsibilities, the largest of which, arguably, is repertoire choice. Many previous Interlude articles, books, clinics and seminars have addressed this topic. However, within this task we have a specific duty to expose our performers and audiences to the great music that Australians are writing. Whether it is for a performance at the local retirement village, or a concert on an international stage we must ensure that we give Australian composers the representation they deserve.

Sit down to any school or community concert in Victoria and you will find that the vast majority of works will be by American, British or European composers. There are many reasons for this, including the longer history, and roles of bands and orchestras in these countries. But often you could be forgiven for thinking you had stumbled into an American band hall such is the narrow cultural range of some programming. This is not to say that we should not play works from abroad – concerts should be a chance for audience and performer to experience a wide variety of repertoire from around the globe. Notably, everyone should have the opportunity to perform masterworks for their ensemble, regardless of the composers’ nationality. The problem comes when mediocre works (from any country) are played at the expense of well-crafted Australian compositions. As Australians we should be exploring, sharing and vocally publicizing local composers that deserve wider recognition.

The benefits of programming Australian work are immense and far-reaching for players, conductors, audiences and composers. Exposing players to local composers and their pieces gives them role-models and works that have a local context. Conductors and their ensembles are able to gain a far deeper understanding of a work through meeting and working with composers – and engaging a composer to work with your group is a far easier undertaking when working with someone close by. Composers benefit too from such meetings – they savour seeing the impact of their music.

Supporting local artists also serves to keep music-making of the highest quality in the country. The ‘brain-drain’ is felt no more acutely than in the arts – if we wish to sustain a world-class field of composers we must support them at home, lest they be forced to move to more financially fruitful shores. Introducing audiences to our home-grown talent serves to build a base of supporters for composers and educates them in what wonderful music Australians can create.

Playing Australian works gives groups the opportunity to discuss Australia’s (relatively short) music history, connections between composers, and be introduced to Australian folk songs.

Groups and conductors gain the most from Australian composers by meeting them. Meeting a composer is an exciting event for all involved that unfailingly brings greater musical understanding to a piece. We are fortunate to have many great living composers in Victoria and Australia, the majority of whom are eager to meet groups playing their pieces. Whether the composer is there to listen, rehearse or just talk to you the entire ensemble benefits from this communication. Players feel a much deeper connection to a piece when the typeface on the top right-hand corner of a page is suddenly embodied in a real, living, breathing person. The hardest (and most important) things to teach about a piece are often it’s emotional meaning and expressive qualities – these are suddenly illuminated in the presence of a composer in a way that many hours of rehearsal and discussion couldn’t begin to unveil.

Meeting a composer with an Australian accent also serves to cement the fact (particularly in young minds) that composers are indeed living people (!) and that composers live and work in Australia – providing a role model for future generations.

Over the past two years my ensembles have had several enlightening interactions with home-grown composers:

Being conducted by David Jones (QLD): Many composers are also conductors and keen to visit and rehearse ensembles to give greater insight into their works. It may be that the composer lives nearby, or you may be able to visit them during an interstate tour. Last year we visited David Jones to perform his Streets of Forbes in Brisbane, QLD. The piece features a vocal solo of the first verse of the folksong of the same name. In talking to David beforehand he graciously wrote out a second part so that the whole band could sing the middle section in two part-harmony. Our workshop with him was made all the more special by the fact that we were performing this ‘special’ arrangement and he was able to bring a real zeal to the performance.

Skyping Jodie Blackshaw (NSW): Technology has meant that any living composer on the globe is potentially a key-stroke away. In August our band used Skype during a rehearsal to get in touch with Jodie Blackshaw in Orange, NSW. We wanted to learn more about her piece Soulstrom, which we were preparing for it’s Australian premiere. The band was able to ask questions, and ask questions about why certain events happened in the piece. This interaction strengthens the performers’ relationship with the piece and brings far greater meaning to a person that was previously just a printed name. If you have the facilities – a data projector, speakers, computer – Skype can be almost as good as having the composer there with you. Live encounters can also bring about the unexpected – like Jodie’s 4-year-old daughter stealing the show by jumping into the conversation!

Meeting Brian Hogg (VIC): In 2010 we prepared Brian Hogg’s beautiful “In Stillness”, a 5-minute grade 3 work which demands great control and maturity from players and is wonderful at developing balance, dynamic contrast and phrasal contours. We had already performed the work many times before our farewell concert, when Brian happened to be there directing another group. The students were so happy to meet him and thank him for writing a piece they really enjoyed.

Emailing Peter Sculthorpe (QLD): My university band was preparing a concert which included a transcription of “Small Town” by Peter Sculthorpe. We decided to email him to let him know we were performing his piece. Although he couldn’t come to the concert he was delighted to receive our email and wrote a lovely response wishing us well for the concert. Even just hearing from a composer, especially one as famous as Peter Sculthorpe, can give an ensemble the impetus to really concentrate on a work, knowing the composer is out there, thinking about them.

Taking our music to the world – touring Australian repertoire

The chance to tour interstate or overseas with a musical group is a wonderful opportunity for all involved – whether it be with a school, university youth or community ensemble. Touring exposes ensembles to new cultures, customs, ways of living, and of course, new music. A touring ensemble not only has the chance to be introduced to the foreign, but also has a responsibility to share our Australian culture and music with people abroad.

Those who choose repertoire for touring ensembles have a duty to ensure the best music Australia has to offer is represented in their programming, introducing our art to a wider international audience.

I was recently lucky enough to take a school band to China and chose to take an almost all-Australian program on tour with us. Choosing music for the tour actually became difficult as I uncovered the wealth of Australian music available!

The Challenge to Australian conductors

Whether you are taking an ensemble on tour, or performing it in your figurative back yard, I challenge you to program at least one Australian work per concert. If this is a struggle, make a commitment to at least one Australian composition during the year. Make an effort to contact the composer(s) in advance – they will be delighted to hear from you! Use them to ask questions that may arise during your score study, and if possible, arrange for them to visit you and your ensemble, either in person or virtually. You will be surprised at the connections you will make and how much your players will get out of the experience. By doing so you will begin to grow support from your colleagues, players and audience for our great Australian composers.

(this article was first published in Interlude, magazine of the Australian Band & Orchestra Directors' Association Vic.)