Comments on: Heartland (2001) http://www.hindson.com.au/wordpress/2005/01/31/heartland-2001/ Australian composer Wed, 07 Jan 2009 21:34:09 +0000 http://wordpress.org/?v=2.6 By: Stephen Couling http://www.hindson.com.au/wordpress/2005/01/31/heartland-2001/#comment-42737 Stephen Couling Mon, 24 Mar 2008 23:44:49 +0000 http://www.hindson.com.au/wordpress/index.php/2005/01/31/heartland-2001/#comment-42737 <p>Hi Matthew Just a request that when you have the time to revise this page you add that the piece was also performed by the Sydney Philharmonia Choirs in 2007 at the Sydney Con. I was singing in this and also when we (as SGLC) performed Stand Up in the Concert during the Gay Games 2002.</p> <p>Good luck with the Aurora Festival. Michael Atherton is a friend. Stephen</p> Hi Matthew Just a request that when you have the time to revise this page you add that the piece was also performed by the Sydney Philharmonia Choirs in 2007 at the Sydney Con. I was singing in this and also when we (as SGLC) performed Stand Up in the Concert during the Gay Games 2002.

Good luck with the Aurora Festival. Michael Atherton is a friend. Stephen

]]> By: Matthew Hindson » "Heartland" performance http://www.hindson.com.au/wordpress/2005/01/31/heartland-2001/#comment-30470 Matthew Hindson » "Heartland" performance Thu, 05 Jul 2007 23:30:46 +0000 http://www.hindson.com.au/wordpress/index.php/2005/01/31/heartland-2001/#comment-30470 <p>[...] Saturday, 7 July, my work Heartland will be performed by the Sydney Philharmonia Choir at the Verbrugghen Hall, Sydney Conservatorium [...]</p> [...] Saturday, 7 July, my work Heartland will be performed by the Sydney Philharmonia Choir at the Verbrugghen Hall, Sydney Conservatorium [...]

]]> By: Matthew Hindson http://www.hindson.com.au/wordpress/2005/01/31/heartland-2001/#comment-16654 Matthew Hindson Fri, 16 Feb 2007 00:18:15 +0000 http://www.hindson.com.au/wordpress/index.php/2005/01/31/heartland-2001/#comment-16654 <p><strong>Errata and clarifications for the first movement, \"Home\"</strong>. <hr></p> <p>Bar 14: the piano reduction is incorrect for the bass part. The basses should continue singing the figure from the previous bar. </p> <p>Bar 19: The bass notes should be F and A, not G and B natural.</p> <p><em>Should that be exactly 13 secondes for the first bar or about?</em></p> <p>Around about. I\'m aware that time is very flexible in these sorts of situations.</p> <p><em>The tempo \"Very slowly\" is meant for the alto-line in measure 4, right, and then for the basses (\"My home\") - this tempo has nothing to do with the seconds at the beginning, has it?</em></p> <p>That is correct. It should be whatever feels comfortable.</p> <p><em>The \"piu mosso\" in measure 9: does that mean quarter notes are \"piu mosso\" or the half-notes - do the new half notes refer to the quarter-notes from before, or quarter-notes stay quarter-notes, but just a little bit faster now? </em></p> <p>Again, this is difficult to say. It is dependent I think on the number of singers, the acoustic etc. I imagine that the Piu Mosso could be half=56-60, whereas the opening would be more like half=40 (quarter=80)</p> <p><em>The tenors and one measure further the basses from measure 10 (\"choose a rhythmic pattern from the following ...\"): do these patterns have to have one common tempo, or is every singer free in tempo with that? </em></p> <p>Free tempo.</p> <p><em>Do you mean to have every note of the chords in the men-voices, or is that free and accidental (that\'s how I understand it) and everytime new again. </em></p> <p>When I originally wrote this piece it was for 200 voice choir, and so I thought that they would have every note covered. It would be good to have every note covered at least at some stage...</p> <p><em>5. measure 15: the beginning of every voice is in the old tempo (\"piu mosso\") and after that every singer has his own tempo to finish the phrase, doesn\'t he?</em></p> <p>That is correct. The intended effect is to have a series of antiphonal entries which then become more \'random\', if you know what I mean.</p> <p><em>Measure 17 and following: the men-voices - may they change to the next figure individually like at the beginning (which I think is meant) or exactely on the bar?</em></p> <p>I think it\'s individually - there needs to be some overlap between it. The problem (and I am aware of this) is that they don\'t have very much time in each bar, but that\'s OK.</p> <p>What might be good is if you had one bass singer changing to the bottom note at the start of each bar, to help establish the chord. But again, as long as this doesn\'t make it sound artificial or forced.</p> Errata and clarifications for the first movement, \”Home\”.

Bar 14: the piano reduction is incorrect for the bass part. The basses should continue singing the figure from the previous bar.

Bar 19: The bass notes should be F and A, not G and B natural.

Should that be exactly 13 secondes for the first bar or about?

Around about. I\’m aware that time is very flexible in these sorts of situations.

The tempo \”Very slowly\” is meant for the alto-line in measure 4, right, and then for the basses (\”My home\”) - this tempo has nothing to do with the seconds at the beginning, has it?

That is correct. It should be whatever feels comfortable.

The \”piu mosso\” in measure 9: does that mean quarter notes are \”piu mosso\” or the half-notes - do the new half notes refer to the quarter-notes from before, or quarter-notes stay quarter-notes, but just a little bit faster now?

Again, this is difficult to say. It is dependent I think on the number of singers, the acoustic etc. I imagine that the Piu Mosso could be half=56-60, whereas the opening would be more like half=40 (quarter=80)

The tenors and one measure further the basses from measure 10 (\”choose a rhythmic pattern from the following …\”): do these patterns have to have one common tempo, or is every singer free in tempo with that?

Free tempo.

Do you mean to have every note of the chords in the men-voices, or is that free and accidental (that\’s how I understand it) and everytime new again.

When I originally wrote this piece it was for 200 voice choir, and so I thought that they would have every note covered. It would be good to have every note covered at least at some stage…

5. measure 15: the beginning of every voice is in the old tempo (\”piu mosso\”) and after that every singer has his own tempo to finish the phrase, doesn\’t he?

That is correct. The intended effect is to have a series of antiphonal entries which then become more \’random\’, if you know what I mean.

Measure 17 and following: the men-voices - may they change to the next figure individually like at the beginning (which I think is meant) or exactely on the bar?

I think it\’s individually - there needs to be some overlap between it. The problem (and I am aware of this) is that they don\’t have very much time in each bar, but that\’s OK.

What might be good is if you had one bass singer changing to the bottom note at the start of each bar, to help establish the chord. But again, as long as this doesn\’t make it sound artificial or forced.

]]>