Martin Wesley-Smith's
2006 BLOG |
1946 the |
1956 perilous |
1988 passage |
1994 of |
2006 time |
an incomplete and opinionated ramble through miscellaneous events, performances etc in 2006
2007
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2005-1999
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*
Wednesday December 20 2006: from an article by Joseph L.
Galloway in The
Miami Herald, Sunday 17 December 2006:
This is the man planning, we're told, to send another 50,000 or so American troops to Baghdad, the man on whom Australian Prime Minister Howard has pinned Australia's aspirations and security ... For a moment there it looked as though Australia had a viable alternative Prime Minister in new Labor leader Kevin Rudd. But his sell-out on the Tasmanian forests issue - thus pandering to the CFMEU members who during the last election enthusiastically slapped Howard on the back in one of the most disgusting displays of short-term self-interest I have ever witnessed - has lost him any support I would've given him ... [later: I will support him, I've decided, as an alternative to Howard's Coalition government, and will work towards a sustainable forests policy ...]
*
Sunday December 17 2006: Went last night to a concert at
Trackdown Scoring Stage, Fox Studios, Sydney, presented by The
Sydney Chamber Choir, who performed an eclectic
program quite excellently. I was thrilled with their
performance of my songs I'm a Caterpillar of
Society, What is the Snark? and
The Hunting of the Snark? (from Boojum!), We
Thought We'd Lost You, Johnny (from True), and Lost
Snail - but with other things, too. Nadia
Piave, accompanied by Sally Whitwell on piano,
sang a marvellous song called Amor, which had
music by William
Bolcom, an American composer whose music never fails
to delight. Conductor Paul Stanhope (who is also a
composer) did a great job. Congratulations to all!
*
Tuesday December 12 2006: Last night the choir in which I
sing gave a concert in Berry, a town near here. We performed
a varied repertoire which included the spiritual Deep
River, the motet Io ti voria contar by
Orlandus Lassus, George Shearing's Who is
Silvia?, Bogoroditsye Dyevo (op. 37 no.
6), by Sergei Rachmaninov, a South American song
Prende La Vela, by Lucho Bermudez,
arranged by our conductor Carlos Alvarado, a song from
East Timor that some of us will be singing in a concert in
Kangaroo Valley on Australia Day (Jan
26 2007), and a couple of Christmas carols. Went down
well.
I've recently been arranging Eric Bogle's classic
Australian song And the Band Played "Waltzing
Matilda" for soprano (Annalisa
Kerrigan), violin (Jennifer Hoy), harp
(Genevieve Lang) and singers from our choir. Some
other songs, too. Information here.
*
Lyricist/librettist brother Peter
and I recently wrote a bossa nova-style song for a fashion
accessories business in Hanoi - details when the vocal has
been added and the song released. I put it together with the
help of Score Groove, a new piece of software I bought
recently to go with Finale 2007. If you're into dance
music, which I'm usually not, this software might be just the
ticket ... I also recently bought a Rode stereo video
microphone, which I'm planning to use to record the local
dawn chorus (particularly noisy and abundant at the moment).
*
Tuesday December 5 2006: Received an email titled
Electroacoustic Saxophone, Dec. 7th, 2006, 8 P.M at An Die
Musik LIVE! from American saxophonist Michael Straus:
*
Sunday December 3 2006: I wasn't able to get to the first
performance today of our new song Condoleezza,
Fiddling by Wendy Dixon (soprano) and David
Miller (piano) of The Grevillea
Ensemble. Wendy wrote: "It started the second half
and was well received, some quiet guffaws could be heard from
the stage, usually that means there are many more in the hall
that we don't get to hear up there ... We are singing
In the Good Old, Good Old Days and I Knew
Nothing in Campbelltown this coming Saturday at
2:30pm."
*
Saturday Nov 25 2006: On July 27 2006, Condoleezza
Rice was in Kuala Lumpur, Malaysia, at a summit of ASEAN
(the Association of South-East Asian Nations). At the time,
Israel was blasting parts of Lebanon, including suburbs of
Beirut, killing nearly one thousand innocent civilians. Dr
Rice, who could've stopped the killing, preferred to play
piano at the ASEAN gala dinner. This is traditionally a night
of song and dance, but Dr Rice was in a sombre mood following
a diplomatic visit to the Middle East to check on Israel's
progress. "It's a serious time", she said. According to Times On Line, "Dr Rice, who wore
a red and gold outfit, was accompanied by a violinist during
the recital at the summit ... She said she would like to
'offer a prayer for peace' before playing Brahms'
Sonata for Violin and Piano in D Minor, Opus
108". Some might think that a bit of positive action for
peace might be more effective than merely praying for it ...
Yesterday I finished a song for soprano and piano called
Condoleezza, Fiddling: I took the violin part
from the Adagio of the Brahms
Sonata, re-fashioned it a bit, and gave it to my
in-house lyricist Peter Wesley-
Smith, who came up with a lyric indicating what Dr
Rice was probably thinking at the time. An excerpt:
It will be performed on Sunday December 3 by Wendy Dixon (soprano) and David Miller (piano) of The Grevillea Ensemble. For details, see here.
*
In today's Sydney Morning Herald, Mike Carlton
writes:
So there. What an exquisite irony it was to see him and
George Bush at the Asia-Pacific Economic Co-operation
meeting in Hanoi, hobnobbing easily with their hosts, posing
in splendid Vietnamese gowns.
Hanoi used to be full of the enemies of freedom intent on
destroying our Western way of life, but apparently not any
more. They are all in Iraq now. Plus ca change, plus c'est
la meme chose, as Vietnam's French colonial masters would
say over an absinthe or two in the bars of the Vieux Carre.
The more things change, the more they stay the same.
Quagmire, anyone?
If I ever develop reservations (hard to imagine) about a
previous position I've held on something or other, well I
hope I would have the grace to share them with others.
Howard's statement is extraordinary, particularly as he's not
talking about some arcane aspect of the motivic analysis of
Brahms' op.108, say, but about a war that cost millions of
lives and devastated a beautiful country and people. That war
is still killing today, through Agent Orange and other toxic
results of that war, just as Iraq has been effectively
destroyed through the use of depleted uranium ammunition.
Anyone not prepared to admit to previous mistakes is likely
to make them again ...
Excerpts from an article by Robert Scheer titled In the Shadow of Ho Chi Minh,
posted November 21 2006:
"Yes," Bush said. "One lesson is that we tend to want there
to be instant success in the world, and the task in Iraq is
... just going to take a long period of time to - for the
ideology that is hopeful, and that's an ideology of freedom,
to overcome an ideology of hate ... We'll succeed, unless we
quit."
The lesson of Vietnam is not to keep pouring lives and
treasure down a dark and poisonous well, but to patiently use
a pragmatic mix of diplomacy and trade with even our
ideological competitors ... The lesson of the Vietnam debacle
is that yesterday's enemy is more likely to become today's
trading partner if we remove the specter of U.S. imperialism
and leave the fate of Iraq to the Iraqis.
James Tugend commented: "What Bush was saying to his
hosts was 'We should have stayed the course and kept killing
you people, so you never would have been running your own
government and none of you would be here today'. His comments
were greeted by deafening silence ..."
*
Friday Nov 17 2006: One of the regular pleasures I have is reading columnist Mark Morford in SF Gate. Today's offering starts:
This might not be everyone's cup of tea, but if it's yours, click here to read the rest of the article and to subscribe (it's free).
Last Monday we said goodbye to 20-y-o German WWOOFer Charlotte, who had been with us for a couple of weeks working in the garden in exchange for bed and board [WWOOF: Willing Workers On Organic Farms]. I have set up a web-site so that all prospective WWOOFers can check us out before they come.
*
Friday Nov 10 2006: Have just received an email from someone
who was at last Sunday's concert by CAMBIATI in St
Stanislaus Chapel at the Sisters of Mercy Convent in
Singleton, NSW (north of Sydney):
*
Great news regarding the "thumpin'" the Republicans received
in America! Not long before that, our dear Mr Howard, when
asked if he would meet Al Gore when he's in Australia, said
probably not - after all, Gore is an enemy of my buddy Dubya.
How childish. At this time, Bush needs all the support he can
get, but John "A friend in need is a friend indeed" Howard
has already started to distance himself ...
On August 15 we took delivery - from local sheep-farmers
John and Suzie Ballinger - of a four-day old
Border Leicester lamb called Popocatepetl. I've been
bottle-feeding her from then until last Tuesday, when I took
her back to the Ballingers', about 2km down the road. It was
a sad parting, 'cos in those nearly three months we'd become
good friends. But, next day, who should turn up but Popo!
She'd managed to break out of the paddock she was in and come
running home, bleating with joy ...
later: Popo has since gone back to start, again, her
new life, one where she's not a dog (as she believes herself
to be) and doesn't get to sleep on (and poop on) an old couch
on the verandah. In this new life she hangs out with other
sheep, and sleeps in a paddock, and doesn't get her ears
scratched before bedtime ...
All New Zealander jokes can now cease.
We've also given away our surviving gander, Arthur,
who has been disconsolate since the death, a couple of months
ago, of his brother Roger. Both Arthur and Roger
starred in my audio-visual piece Weapons of Mass
Distortion (2003). Popo is a descendant of the sheep
that appeared in the film Babe, which was shot mainly
at Robertson, not far from here.
*
Am working on a concert I'm putting on in Kangaroo Valley on
January 26 next year featuring soprano Annalisa
Kerrigan, violinist Jennifer Hoy and harpist
Genevieve Lang. See here
. It will feature a new arrangement I'm doing of Eric Bogle's
classic song And
the Band Played "Waltzing Matilda" and, possibly,
a silent film, about passion and murder, featuring Dirty
Dan, Fluff and the milkman, to accompany a
performance of Belgian composer and band-leader Jacob
Gade's Tango
Jalousie.
*
Have been commissioned to compose a song for soprano Yvonne Kenny
for the inaugural Kangaroo Valley
Arts Festival which "will be held 20-22 April 2007
featuring classical and fine contemporary music integrated
with the visual arts in events and collaborations never
before witnessed at an Australian arts festival".
*
Sunday Oct 29 2006: Last night's Fourth Annual Kangaroo Valley Buster
Keaton Silent Film Festival, with pianist Robert
Constable, was its usual brilliant mix of wonderfully
imaginative music, humour and film-making. Great supper, too,
and gluhwein, and community spirit. The two shorts - The
High Sign [1921] and Neighbors [1920] - were
hilarious. Not "a laugh a minute", more "a laugh every ten
seconds". The feature film The General [1927] was
longer, more complex, and more subtle. Not "a laugh every ten
seconds", more "a laugh a minute". As Tim Dirks
writes, it is "an imaginative masterpiece of dead-pan 'Stone-
Face' Buster Keaton comedy, generally regarded as one of the
greatest of all silent comedies (and Keaton's own favorite) -
and undoubtedly the best train film ever made ... Filled with
hilarious sight gags and perfectly timed stunt work ..." The
evening raised funds for projects assisting the people of
East Timor organised by The Kangaroo Valley-Remexio
Partnership.
*
This afternoon Charisma played the second movement -
pat-a-cake 2 - of my piece db.
And Rachel Scott played (and sang) my piece
Uluru Song at a concert in Singleton, NSW. But
I couldn't make either concert: at exactly the same time I
was attending the first performance, in Kangaroo Valley, of a
new song brother Peter and I had recently written ....
*
A couple of weeks ago the community choir in which I
regularly warble found itself joining choirs from Wollongong
and Manly in a Wollongong Symphony Orchestra concert called
Fantastical Classical. The program included the first
bit of Thus Spake Zarathustra (the 2001 -
A Space Odyssey theme); the Star Wars
theme; a sanitised version of Peter & the Wolf;
something from Phantom of the Opera; The
Sorcerer's Apprentice; Land of Hope &
Glory; O Fortuna from Carmina
Burana; and the 1812 Overture. Populist
stuff, but generally well-performed. We sang our hearts out,
but we needn't have bothered, for the audience could hardly
hear us. Why, one wonders, have a choir of 100 or so people
from all over the place if you stick 'em up the back in a
huge sports stadium and expect 'em to be heard, without
sufficient amplification, over a full orchestra going full
bore? Another thing: why not include even just one work by an
Australian composer? Percy Grainger, for example, who
has written plenty of stuff that that audience would've
loved. Or perhaps something short and grand (a fanfare, if
necessary) by a young Wollongong composer, thus giving
her/him a bit of a leg-up and perhaps engendering a bit of
pride in a local girl/boy and saying to other local youths
that yes, you can do it too ... We were told how wonderful it
is that Wollongong now has its own symphony orchestra and how
it represents a cultural coming of age - but how proud can
Wollongong really be of an occasional band of musos, mostly
from Sydney, that plays music by composers who are mostly
dead, white, male, and non-Australian? One more thing:
people condemn me for writing "political music". But how more
political can music get than Land of Hope and
Glory?? "Political music" actually means "Music whose
politics I either disagree with or don't want to think about"
... My congratulations to the Wollongong Conservatorium, and
Symphony Orchestra, for the standards they achieved. Perhaps
now they can work towards making the orchestra more
culturally relevant to Wollongong, specifically, and to
Australia, generally.
*
Thurs Oct 5 2006: Went to Sydney yesterday for a
concert/forum at the University of Technology, Sydney (UTS)
with Ros Dunlop (clarinets)
and Julia Ryder (cello). The
program consisted of my audio-visual pieces Weapons of
Mass Distortion, for clarinet & computer [2003,
about propaganda and the 2003 invasion of Iraq],
Welcome to the Hotel Turismo, for cello &
computer [2000, about the Indonesian occupation of East Timor
1975-1999], Papua Merdeka, for bass clarinet
& computer [2005, about the plight of the people of West
Papua], and Merry-Go-Round, for clarinet, cello
& computer [2002, about Afghanistan]. For information
about these pieces, click here.
*
They say it's only a game, but the Sydney Swans' one-
point loss to the West Coast Eagles in last week's AFL
(Australian Football League) Grand Final was a bitter blow
...
*
Thurs Sept 28 2006: I went to Sydney yesterday for a
Charisma concert that included my audio-visual piece
Papua Merdeka. Other pieces on the program
included Akoy [2006] and Black &
Blue [2005] by Stephen Ingham, Mass
Destruction [2002] by Bill Alves, Nigel
Westlake's classic Onomatopoeia, for bass
clarinet & delay unit [1984], using a software delay unit
written in MAX/MSP by Jon Drummond, and - the
highlight for me - the premiere of a new audio-visual piece
called Broken Reflections [2006] by Rosie
Chase, once a student of mine.
*
Last Saturday I attended a birthday party for Antony
Jeffrey, an old friend, founding Director of the Music
Board of the Australia Council, a man who has done a
marvellous job behind the scenes for music in Australia. My
brother, Peter Wesley-
Smith, and I wrote a special song for him that was
performed by The
Song Company. Many people asked to see the lyric -
here it is:
The tune was fashioned over excerpts from Beethoven's Sonate for piano op 109 (one of Antony's favourite pieces). The piano part was expertly played by the artistic director of The Song Company, Roland Peelman.
*
After the American National Inteligence Estimate - a
document prepared by sixteen intelligence agencies involving
thousands of intelligence professionals - concluded that the
invasion of Iraq had increased terrorism, not decreased it,
our beloved Prime Minister John Howard said it was a
matter of opinion and that he disagreed. And let us not
forget, he said, pulling out a non-sequitur designed
to deflect attention from his refusal to face reality, that
terrorists had attacked Australians (in Bali in 2002) before
the invasion of Iraq. And isn't it great, he said, that more
and more reports are being declassified so that now, at last,
we can discover the truth?! Words fail ...
*
Sat Sept 23 2006: More sad news: our dog Fidie, an Australian
shepherd, who had been ill for a week or so, passed away
yesterday. She had eaten something unknown - probably
unmentionable - which had given her an infection that
affected her liver, lungs and kidneys ...
*
Tomorrow - Sunday Sept 24 - the Grevillea
Ensemble (soprano Wendy Dixon and pianist
David Miller) will perform my song Recollections
of a Foreign Minister, a setting of an edited
transcript of Australian Foreign Minister Alexander
Downer's recent testimony to the Cole Enquiry into the
activities of the Australian Wheat Board. 3pm, Crows Nest
Performing Arts Centre, 6 Holtermann Street, Crows Nest,
Sydney.
*
Part of my essential reading these days is the Australian
e-zine New Matilda (trial subscription available h
ere). Last Wednesday's edition contained an excellent
article on so-called "Australian values" by the wonderfully-
named Ezequiel Trumper titled Australian Values: The View
from Howard World. Mr Trumper co-hosts a daily news
and current affairs program on the only 24/7 Spanish-speaking
radio station in Australia. He writes: "Hours after Howard
World unleashed its Citizenship Doctrine, we invited our
audience to respond", then quotes what several callers said,
including the following:
*
Talking of e-zines, I'm now finally fed up with the daily Australian email bulletin Crikey and won't be renewing my subscription. Their policy of ridiculing, even insulting, subscribers deemed to have left-of-centre views seems to me a strange way to build the dialogue necessary to build the business. Their main culprit, Christian Kerr, is being challenged by several others - principally "Peter Faris, QC" - for the title of Chief Ranting Right-Wing D*ckhead (my brother Peter was once called by one of them a "ranting left-wing d*ckhead").
*
Mon Sept 11 2006: Over the weekend I attended the inaugural
Kangar
oo Valley Folk Festival, which had a great atmosphere
despite almost continuous rain and wintry conditions. There
were some excellent performers on the bill, with Kate Fagan and Chloe & Jason
Roweth being among those I particularly enjoyed.
Yesterday the choir of which I'm 50% of the tenor
section sang several songs, including Will Ye Go,
Lassie, Go? and the spiritual Deep
River.
*
Am organising The Fourth Annual
Kangaroo Valley Buster Keaton Silent Film Festival
for Sat Oct 28 2006, Upper River Hall, Kangaroo Valley. As in
previous years, the pianist will be Robert Constable,
and proceeds will go to the Kangaroo Valley-Remexio
Partnership (assisting projects in East Timor). The main
film will be Keaton's classic train movie The
General [1927].
*
I've recently been in Adelaide, again, helping to sort out
family matters after the death of brother Jerry. Am
scanning photos and collecting together as much of his music
as I can find, aiming to make a tribute DVD for those who
loved him.
*
Have been invited to give a paper at the 2007 Asia
Pacific Conference, hosted by The Composers Association
of New Zealand (CANZ), Wellington, NZ, Feb 6-16 2007,
and to present a performance of my audio-visual piece
Papua Merdeka at the associated festiva
l. My paper will be to do with music and politics.
Abstract:
I am often accused of composing "political music" (always, as
it happens, by people with vastly different political views).
This paper discusses some of the pieces of mine most often
attacked and denigrated, particularly the audio-visual pieces
that deal with situations in Afghanistan, East Timor and
Iraq. Reference is made to other examples of music with an
overt political agenda - from the so-called "serious" area
(Cardew, Eisler, Nono, Rzewski
etc) to the so-called "popular" area (Bragg, Dixie
Chicks, Dylan, Springsteen etc), from the
right (Toby Keith and others) to the left (everybody
else).
*
Tues Aug 15 2006: Yesterday we received a visit from Hong
Kong composer
*
Fri Aug 11 2006: Congratulations to Liberal MPs Petro
Georgiou and Russell Broadbent for having the
courage to cross the floor to vote against the Australian
government's toughening of its immigration laws. And to
Judi Moylan and Bruce Baird for abstaining. Mr
Georgiou: "the most profoundly disturbing piece of
legislation I have encountered". Ms Moylan: "I cannot believe
that the citizens of this sovereign country would ever cease
to wonder, nor would they ever forgive, were we in this House
to acquiesce in silence to pressure from a neighbour on a
matter so much at the heart of our principles of justice. I
for one cannot remain silent."
The bill was passed in the House of Representatives despite
Liberal Party defections. There is some hope that it will be
defeated in the Senate, where three Coalition senators -
Marise Payne, Judith Troeth and Barnaby
Joyce - and Family First senator Steve
Fielding have said they are unhappy with the bill.
[later: at the last minute Mr Howard withdrew the
legislation, knowing that it would be defeated - a victory
for the forces of reason and compassion ...]
*
Sat Aug 05 2006: Have just read that ACT Chief Minister
Jon Stanhope has nominated Terry Hicks, the
father of Guantanamo Bay detainee David Hicks, for the
Father of the Year award, a nomination I strongly
support. Of course, Federal Attorney-General Philip
Ruddock, accuses Mr Stanhope of trying to politicise the
awards. My friend Vacy wonders if there's a Low-
Life of the Decade award. If so, she will nominate
Ruddock. I will second that! In my opinion he is so low that
he would have to stand on tippy-toe to kiss a rat's freckle
...
Later (Thurs Aug 10): Mr Stanhope wrote back:
*
Heard about a concert to be given by The
Sydney Chamber Choir at 8pm on Sat December 16 2006
at Trackdown Scoring Stage, Fox Studios, Sydney, which will
include some "madcap music" of mine (have no idea what ... I
wasn't aware I'd written any ...). This marvellous choir, now
conducted by Paul Stanhope (no relation, as far as I'm
aware, to Jon), commissioned my piece Who Killed Cock Robin? back
in 1979.
*
STOP PRESS: I went out this afternoon to feed the
animals, as one does, and noticed that our old horse,
Fargo, wasn't lining up with his mate Jarrah
and the donkey, Wally. I went out looking for him, in
the rain, and found him down the track, lying on his side,
dead. We think he was 37 years old, which is way past the
usual life-span of a horse, so his time had come. And he died
a natural death. But it's still a sad day. Jarrah, in
particular, is distraught ... [later (Thurs Aug 10):
yesterday Dave Rebbeck came with his "excavator", dug
a hole next to Fargo, pushed him into it, then covered him
up. A friend donated a pencil cedar that I will plant on the
grave.]
*
Sat July 29 2006: For those concerned about Flashman,
known as Flash, who's a dog and who recently
tore an anterior cruciate ligament: he came home from
hospital today after an operation to re-attach the ligament;
he's as well as could be expected, but miserable at the
prospect of spending a month virtually immobile followed by
another month with very limited exercise ...
*
Monday July 24 2006: Heard, yesterday, Wendy
Dixon and David
Miller give the first performance of Peter's and my
song In the Good Old Good Old Days (see text
below). Good performance, good reception!
*
In The Song
Company's July 2006 Newsletter, Artistic
Director Roland Peelman had this to say:
And during the first week of June we faced again the more
weathered and wisened version of the twin brothers for a
concert in Kangaroo Valley where both of them now live. It
looks like this is rapidly becoming an annual event after the
truly memorable concert last year. In spite of the almost
total absence of Wesley-Smith music, the crowd was again
numerous, enthusiastic and warm (warmed up by the mulled wine
served during interval) with several Sydney-siders traveling
up for the event (and a weekend in Shoalhaven or the Southern
Highlands of course). Keep an eye out for the date in early
June 2007!
*
Monday July 17 2006: Yesterday clarinettist Ros
Dunlop and I presented a concert of audio-visual
works at IDEC
(International Democratic Education Conference) in
Sydney, an "annual forum for children, teachers, parents,
schools, activists, individuals, organisations, government
bodies and NGOs to discuss and share their ideas, concerns
and experiences around democracy in education". We played and
discussed Weapons of Mass Distortion,
Welcome to the Hotel Turismo and Papua
Merdeka, receiving an overwhelmingly positive
response and invitations to present these and other works in
various places including Brisbane, New Zealand and the USA.
From the IDEC
web-site: "In Australia, as in many other countries, school
refusal, disengagement with learning and schools, trouble
with families, police and the law, issues of drugs and
alcohol, racism, living in poverty, mental illness and
suicide are part of many young people's lives despite our
general high level of economic and educational prosperity."
To find out more, click here.
*
Last week I attended a concert put on by participants in the
National Braille Music Camp at Frensham School,
Mittagong, NSW - a most enjoyable, heart-warming experience.
The musical standard was generally very good, with some of it
excellent. Many people, including Ian Cooper and
Roma Dix, put an enormous amount of effort and love
into this annual event, achieving impressive results.
*
Peter and I have finished another song for soprano Wendy
Dixon and pianist David Miller (The Grevillea
Ensemble) called In the Good Old Good Old
Days:
When the world's out of whack
to the good old good old days
When the world's out of whack
to the good old good old days
In the good old good old days
When the world's out of whack
(c) 2006 Peter Wesley-Smith
*
Saturday July 8 2006: Have been in Adelaide for nearly a
month helping to organise things following the death, on May
14, of my brother Jerry. In the
meantime, The Kioloa Harp
Ensemble performed at the American Harp Society's
2006 National Conference in San Francisco, playing my piece
Alice in the Garden of Live Flowers. A friend
who was at the concert wrote: "Happy reports and glowing
praise ... All the pieces went really well, all the harpgirls
were really focused, and all the audience loved it!".
I had intended to be in East Timor at this time, but the need
to be in Adelaide, plus security concerns in Timor, caused me
to cancel the trip.
*
Note: an East Timor event, Sat July 15,
Petersham Town Hall, Crystal St, Petersham, Sydney: 9.30am to
12.30pm, discussions; 1pm to 4pm: benefit concert; musicians
to include Blair Greenberg, Ego Lemos,
Jeannie Lewis, Maurie Mulheron & Voices
from the Vacant Lot; 6pm: special dinner to welcome the
new East Timor Ambassador. For more information, call
Jefferson Lee, of the Australia-East Timor
Association, on [02] 9519 4788.
*
A plug for the upcoming production Honour Bound, by
Nigel Jamieson with choreography by Garry
Stewart, from their blurb:
*
On June 29 there was a chamber music concert at Hall of Christ, Chautauqua Institution, USA, featuring alto saxophonist George Wolfe playing my multimedia piece Weapons of Mass Distortion. George, who is Director of the Center for Peace and Conflict Studies at Ball State University, has been described by right-wing extremist David Horowitz as one of the most dangerous academics in America. Gee ....
After a previous performance of Weapons ... as part of a lecture Professor Wolfe gave at Ball State University on Oct 31 2005, Ball State student Kyle Ellis wrote:
I should say that there's nothing snide about my "attack on the U.S. 'liberation' of Iraq". And I disagree with George that the piece is "little more than political propaganda". I wrote to him:
*
Thursday June 8 2006: Last Saturday night's concert in
Kangaroo Valley Hall, which I organised, by The Song
Company was, as we've come to expect, brilliant!
Their beauty of tone, their intonation, and their ensemble
were heard at their best in the pieces from the 16th century
(by Marenzio and Monteverdi, amongst others)
and earlier (Machaut, Hildegard). Contemporary
pieces included songs by Katy Abbott and Kate
Bush as well as Peter's and my Freddie the
Fish from Who Killed
Cock Robin?.
Seems my letter to members of the New South Wales Legislative
Council has, with others, had at least a temporary effect:
the legislation (Correctional Services Legislation Amendment
Bill 2006) has been referred to the General Purpose Standing
Committee Number 3 for inquiry before being put before the
parliament again.
Have done a web-site for the Kioloa Harp Ensemble's
next concert in Canberra on June 27. For details of the
concert, at which they will play my Alice in the Garden
of Live Flowers, click here.
Yesterday would have been the 65th birthday of my brother
Jerry Wesley-Smith, who died in Adelaide on May 14.
For an account of his funeral, click here.
*
Tuesday May 30 2006: Have been writing to all members of the
New South Wales Legislative Council about the Correctional
Services Legislation Amendment Bill 2006, which has
already passed the Legislative Assembly and is due to go
before the Council this week. Amongst other things, it will
prohibit so-called "serious indictable offenders" in NSW
prisons from having their reproductive material stored, at
the State's expense, should they have a life-threatening
operation.
While I accept that serious indictable offenders, and other
criminals, should lose certain rights, such as the right to
liberty, during the period of their punishment, if we deny
them the right to store their reproductive material then we
also suspend the right of innocent people, such as spouses
and other family members, to expand an existing family. If,
say, my Dad commits a serious indictable offence, am I to be
denied the right, should he die in prison, to have a brother
or sister? If, say, my husband commits a serious indictable
offence, am to be denied the right, should he die in prison,
to give our child a brother or sister?
The Bill seems to me to be a petty, knee-jerk reaction to a
newspaper beat-up that prompted outrage from a few people who
couldn't see the implications of such a reaction. The rights
of innocent people, especially those already suffering
because of a relative's crime, must be protected in a decent,
caring society, especially now when human rights generally
are under attack. Once you start chipping away at the rights
that prisoners do have, their other rights will soon be a
target, decreasing the rate of rehabilitation and increasing
that of recidivism. This will be to society's cost.
If a propensity to commit a serious indictable offence were
genetic then perhaps a case could be made for this
legislation. But it's not. Why, therefore, a Bill that
punishes not only an offender but also innocent relatives? It
effectively allows "cruel and unusual punishment" i.e.
torture.
I should point out that ova cannot be frozen, making anyone
who has already voted for this Bill in its present form, or
who votes for it in future, open to ridicule.
I ask that you oppose this bill.
*
Monday May 29 2006: Attended a performance by Tim Kain
of my guitar piece Kolele Mai at Riversdale,
Bundanon. Excellent! Its East Timor theme resonated
particularly strongly, given the appalling violence that has
erupted there. Last night I watched Answered by Fire -
about the 1999 UN-supervised referendum in East Timor - on
ABC-TV. The music included the folk-song, Kolele
Mai, on which my piece was based. The film was
beautifully made, strong, very moving ...
*
Friday May 26 2006: Yesterday's Musica Viva "Australian
Music Day" for schools went well. The Song
Company sang various things of mine to illustrate the
points I was making, doing their usual superb job, everyone
sang a round I wrote recently - Little Johnny
Longnose (see below), and Roland Peelman
played, on piano, the clarinet part to Weapons of Mass
Distortion, which worked really well. We did a
section of Quito, about East
Timor, which reminded us all of the chaos currently
enveloping that poor litle country ...
Coming up: a performance of Papua Merdeka at
West Papua - What Next?, a seminar on the legal issues
facing West Papuans. It's at 5.15pm (refreshments available
from 4.45pm) on Thursday June 1 in the Theatrette, Parliament
of New South Wales, Macquarie St, Sydney. Entry by donation.
It's being put on by the ICJ (International Commission of Jurists
Australian section). Chaired by John Dowd AO
QC, speakers will include Justice Elizabeth Evatt, AC,
ICJ Commissioner; Dr G Peter King, Convenor, West
Papua Project, Centre for Peace and Conflict Studies,
University of Sydney; Dr Mary Crock, Associate
Professor, Faculty of Law, University of Sydney; and two of
the recent refugees from West Papua. For more information, email the ICJ
or click here.
from the ICJ-Aust web-site:
ICJ Australia calls on all jurists to advance the cause of
the disadvantaged through law; to stand up for the fallen; to
raise their voices for the speechless; to hold those who have
power accountable to those who have little; and to stand firm
against the tide when it threatens to sweep away the
fundamental tenets of peace, justice and security in the
world. Only through a diligent, persistent, and unwavering
commitment to promote the fundamental principles of human
rights and the rule of law, can people claim to be truly
free.
Brother Peter was due to go to East Timor last
Wednesday. Thankfully he didn't (the situation there seems to
be worsening by the minute - having just lost one brother I'm
not anxious to lose another one) but, instead, went fishing
in Darwin, catching, so he claims, a thirty-pound mackerel.
Yeah, Pete, sure ...
In today's Crikey:
I have an unanswered question: where has the President been
throughout this whole sad sorry saga? He has been
conspicuously absent ever since the Fretilin Party Congress.
Is he in ill health? Does anybody out there know? There has
been talk of Jose Ramos-Horta nominating for the presidency
if Xanana Gusmao doesn't, however to me it seems he has
already assumed the president's duties!
Meanwhile, the problem as I see it with the government of
Timor is that it has focused on external or macro issues to
the detriment of internal and micro issues. In my estimation,
it has done well and continues to do so at the macro level.
However, the glaring exception is its lack of willingness to
seek justice from Indonesia for the brutal 24-year occupation
of Timor. This important exception feeds into the internal
and micro issues that the government has neglected.
Neglected, I believe, because most of the government are out
of touch with ordinary Timorese concerns. Why? Because most
of them didn't live in Timor during the 24-year occupation
and despite the fact that many worked tirelessly to obtain
Timor's independence, it meant that their focus became
international. This, combined with their high levels of
education, has set them apart from the ordinary Timorese,
most of whom are illiterate, poor and have little idea about
the world outside their village, yet alone this small half-
island's boundaries. Their concerns are immediate: where to
get enough food and water today to feed their family, and
access to health and education. Many also want justice from
Indonesia, good roads and to see the fruits of their
government's work and words as actual impacts in their
everyday lives. If the ordinary people had these things, I
don't think the ethnic divide we now are seeing would have
gathered much momentum.
The second problem confronting the government is the way the
F-FDTL (East Timor's defence forces, FALINTIL-Forcas de
Defesa de Timor-Leste) and the PNTL (Timorese police) were
formed and the continuing lack of rules and procedures
concerning them, particularly the former. The higher-ranking
officers of the F-FDTL are almost universally from the east
and the PNTL is full of people from the west. In a fledgling
society such as Timor, its military and police should not be
so ethnically divided. This leaves the two security forces
open to exploitation and genuine charges of discrimination
within their ranks. Political manipulation and exploitation
is a particular worry.
When this happens, those angry unemployed young men who
belong to martial arts groups are also likely to get in on
the act. Thus, tensions rise, different groups take action,
and the situation deteriorates rapidly.
*
Tuesday May 23 2006: Am preparing a talk for a Musica Viva
"Australian Music Day" for schools this coming
Thursday; have composed a round - Little Johnny Long-Nose - that I want
everyone to sing:
download it (36KB pdf file) for free here
*
Monday May 22 2006: Yesterday soprano Wendy Dixon and
pianist David Miller (The Grevillea
Ensemble) gave the first performance of Peter's and
my recent song I Knew Nothing (which sends up
Australian Foreign Minister Alexander Downer and his
recent appearance at the Cole Enquiry into the activities of
the Australian Wheat Board). Someone wrote: "Your song went
fantastically. Huge response, lots of laughs, good belly
laughs. Big clap. And then after the show finished lots of
great comments from the audience ..."
I'll be interested to see if Grevillea's audience continues
to appreciate the songs (Peter and I are writing a new,
topical, satirical song for each of this year's concerts) and
whether the concept can be regarded as a success. Way back in
the early 90s I suggested to the Sydney Philharmonia Motet
Choir that they do something like this, but they weren't
interested. If they had gone for it (with a variety of
composers and lyricists), what a fantastic collection of
songs there would now be, one that charted Australia's
political events of the past fifteen years or so ...
The remaining Grevillea
Ensemble concerts this year will be held at 3pm on
Sunday July 23, Sunday Sept 24 and Sunday Dec 3 at Crows
Nest Performing Arts Centre, 6 Holtermann Street, Crows Nest,
Sydney.
*
Sunday May 21 2006: Just back from Adelaide, where a funeral
service for our brother Jerry was held yesterday.
It was a terrible/wonderful/harrowing/beautiful etc
experience, the way most funerals are. I appreciate now how
funerals play an important role in society, forcing people to
get together, to renew friendships, to concentrate on
appreciating human qualities (good and bad), to celebrate -
ironically - life, to get a handle on one's own mortality,
and so on. 300 or so people turned up to the crematorium. A
jazz band played as people came into the chapel. When
everyone was sitting down, we played a recording of Jerry
singing I'll Never Be the Same Again
accompanied by his old band The Campus Six and a
favourite image of him that slowly changed. By the end of it,
many people were sobbing quietly ... MC Bob Lott, old
friend/colleague/co-muso of Jerry's, introduced brother
Rob, who thanked everyone for coming and told them
that after the ceremony they were welcome to pop next door
for a cuppa then go to the Thebarton Theatre for a wake,
where the first round of drinks - Jerry's favourite tipple,
champagne - would be free (we found some money in one of
Jerry's pockets, which we thought should be used to pay for a
round). Jerry's last shout. Come to think of it, Rob said, it
was probably also his first shout, which produced
great mirth, the shared experience helping to bring everyone
together ... My daughter Olivia spoke, and brother
Peter, then Schmoe (Sylvan Elhay, old
friend) played a very moving saxophone tribute to Jerry (he
stood by the coffin and played directly to him). Adelaide
music critic Elizabeth Silsbury spoke, then Keith
Conlon, old friend and drummer. Then I showed an audio-
visual tribute I'd put together the previous night (Imelda
Blackwell had given us a CD of Jerry singing a song he'd
written that I'd never heard before ("Thank you for the world
so sweet ..."); I put a series of images of Jerry to it, old
stuff, recent stuff ... the result was very moving for those
who had known and loved him). After that the band played
again as people paid their last respects and trooped out for
the cuppa.
The wake was excellent: lots of people, mostly old friends I
hadn't seen for years, various musos playing ... I think
Jerry would have been very pleased. Mum is handling things
very well now - she'll have her own journey, of course, with
a lot of grief to come later, but she's a tough old sheila so
even though this has been the hardest thing she's ever had to
endure I think she'll pull through it OK. I'll go back when I
can to start sorting out stuff. In the meantime there are
lots of regrets - things I did/didn't say, did/didn't do,
things I didn't understand about my oldest brother and was
never able to sort out when he was alive. It was, and is, an
emotional roller-coaster: up one minute, down the next. Jerry
was "difficult" in some ways, but also very generous, a
superb musician, very vulnerable, a complex being who helped
me a lot when I was starting out in music, a man adored by
lots of people - including, deep down, me. I wish I'd found a
way to express that before he died.
Peter wrote the following:
John Jeremy Wesley-Smith, better known as Jerry, was
conceived on a ship heading from Australia to Europe. War
being declared en route, his parents Harry and Sheila went to
stay with family in what was then called Londonderry, where
Jerry was born. While the family was returning to Australia
by ship across the Pacific, Pearl Harbour was attacked:
exciting stuff for a lad aged one and a half years! The
family settled back in Adelaide, where Jerry studied piano
and violin, developing a particular interest in
improvisation. At the Elder Conservatorium his major was
violin, but although he performed the Mendelssohn concerto
with great flair for his final exam, it was on his second
instrument of French horn that he played in various
orchestras around Australia. He also did a stint as a tenor
in the Adelaide Singers, in the long-gone days when the ABC
had the resources to employ them.
For several years Jerry contributed greatly to university
revues, writing music, orchestrating, and conducting the
players in the pit; he supplied incidental music to the
original productions of two Patrick White plays, Night on
Bald Mountain and The Ham Funeral; for a time he composed and
recorded jingles for commercial radio and television. On the
piano he once, memorably, accompanied Miss Gay Abandon in an
Adelaide strip club, much to his parents' horror. He was the
piano player in a couple of Robyn Archer's shows, including A
Star is Torn on the West End, and in a gentlemen's club in
London until his return ticket to Australia was about to
expire. But Adelaide was always his favourite town and, apart
from a sojourn in Bellingen, he lived here nearly all his
life.
His first love - and last - was jazz; indeed, he abandoned
violin and horn quite early on. Undoubtedly one of
Australia's finest jazz pianists, he also excelled on the
bass, both acoustic and electric, and was an accomplished
singer. The Campus Six, in its various manifestations,
usually with Jerry's name attached, was his principal band
from 1964 to 1975. He had previously worked with the
University Jazz Band and afterwards with a number of groups
including Bruce Gray's. Local jazz is much in his debt; many
younger players attest to his generous assistance,
enthusiasm, and leadership.
The ability to move between musical genres - from classical
to show-biz to Dixieland and beyond - and to play several
instruments equally well, and to compose and sing and arrange
and teach, informed Jerry's music-making in every area.
Elizabeth Silsbury wrote privately this week that "He had
more musicianship in the parings of his little fingernail
than the rest of us put together". His musical achievements
were immense.
The two and a half decades from the late 1950s were the most
productive period of his life. From about the mid-1980s,
however, he gradually retreated from many musical activities.
He did gigs (piano and bass) and worked on a collection of
tunes which he was writing for his projected "Ayrish Euphony
Orchestra", but he no longer directed or composed for musical
shows; the distinctive achievements of the Campus Six, and
Jerry's role in them, were increasingly distant; classical
music had largely lost its charms for him much earlier. His
interest in both worldly and unworldly affairs increased. A
small block of land in the Adelaide Hills claimed much of
his attention. His ambition became more directed to
performing a perfect rendition of Sweet Georgia
Brown than in making money or securing fame. He lived
modestly, unmarried - for the last twenty years with Sheila -
and worked quietly on his unpublished and mostly not-quite-
finished compositions. This was a period, too, when his
health began to deteriorate, perhaps due in part to his long
exposure to the smoke in jazz-filled low dives. According to
the death certificate he died of chronic obstructive
pulmonary disease. Thus was a creative life cut far too
short.
Thanks for the music, Jerry, and for everything else. You're
here today in body, spirit, loving memory, and audio CD. It's
hard to resist the notion that you'll suddenly push off the
lid of that cheap coffin and give us a tune - well, this is
your last gig. No one else could play better for his own
funeral. But you're probably too busy playing jazz licks on a
harp somewhere.
Thanks are due to many people for support, assistance and
love during this difficult time. Makes one realise, again,
that the only important thing, at the end, is family and
friends. Special thanks to Bob Lott, who was not only
a superb MC at the funeral but who provided the venue for the
wake and kept the free drinks flowing for as long as there
was someone there to drink to Jerry's memory.
*
Sunday May 14 2006: Sad news: my oldest brother, Jerry
Wesley-Smith, died this morning. It was a shock, for
although he'd been unwell for years, his death was totally
unexpected.
I will try to post funeral details here as soon as we know
them.
Jerry, whose professional name was Jerry Wesley, was a
marvellous musician who helped me a lot in the early days,
especially in encouraging my own interest and involvement in
jazz. I owe him a lot. Thanks, brother J, for it all.
*
May 11 2006: The Burgundian Consort at the University of New
South Wales will include an early piece of mine, Two
Shakespeare Songs, in a free concert at 1.15pm on
Wednesday May 17 2006 in Ground Floor Room G17, Robert
Webster Building, UNSW.
*
May 9 2006: Organisation of the Song Company concert
in Kangaroo Valley (7.30pm Sat June 03 2006) is proceeding
(to book tickets by phone, call [02 4465 1299] or email me).
Their program Drawing Breath was reviewed on August 27
last year in The Sydney Morning
Herald by David Vance:
Inspired? Certainly. My dictionary says inspire can mean to
inhale air into the lungs. Another meaning is to stimulate
somebody to do something, especially creative work or the
making of art. So it seems fair to say that The Song
Company's current program, "Drawing Breath", is inspired.
Inspiring? Well, it's that too. The Song Company rarely fails
to excite through its consummate artistry, and the wit and
intelligence of its programming. Thursday's performance was
no exception. It provided an eclectic mix of music, old and
new, whose verbal and musical signs explored the inevitable
cycle of inhalation and exhalation. It celebrated breaths of
all shapes and sizes, first breaths to last gasps, amorous
pantings to stifled hiccups, boozy breaths, breaths horrid
and honeyed breaths, hallowed breaths, almost every variant
except stifled breath, though even that lurked behind
Stephen Cronin's The Violence of Work, a
sardonic portrait of humanity suffocated by a production-line
existence.
The director Roland Peelman, a resuscitator of early
music, infused fresh vitality into Guillaume de
Machaut's work (c.1350) and the even older Hildegard
von Bingen (c.1150) whose sequence O ignis
Spiritus began hyperactively but ended the first half
with the serenity of plainchant.
The contrapuntal subtleties of the Italian and French
madrigalists were audible in works by Marenzio and
Monteverdi, the latter deliciously scented with a
fragrant chromaticism. The early Flemish polyphonists found a
worthy living counterpart in Frank Nuyts, whose short
duet setting of a Shakespeare lyric and his assured vocal
treatment of an Italian text adapted from Racine were
highlights of the program.
Kate Bush in Breathing inhaled the same air as
Martin Wesley-Smith in Freddie the Fish,
their songs carrying a health warning, while Katy
Abbott's Cows' Sweet Breath promoted an
amusing if unproved elixir for longevity. Only the video
installation by George Khut and John Tonkin
giving literal and graphic expression to drawing breath
seemed to run out of puff quickly.
*
May 5 2006: Italian flautist Emilio Galante recently
played my piece Balibo, for flute & CD, in
the Hall of the University for Music in Miskoic, Hungary. He
wrote: "the performance was very successful and many found
your piece the most interesting in the evening!"
Balibo is about East Timor, which has recently
been in the news with some distressing riots in the capital,
Dili. Today's The Australian reports (excerpts):
Suburbs and the city centre were practically empty by mid-
afternoon as people responded to text messages warning that
the civil war that followed the 1999 independence vote was
about to restart.
|
The situation is very worrying, both for East Timor's fledgeling independence and for the safety of the people there. Several people from Kangaroo Valley, including my brother Peter, are due to go there in a few days' time ...
from an email from someone there, May 05 2006:
This extremely arrogant and incompetent government, due to
its inability to solve what could have been a manageable
problem, has escalated things to this crisis. The
petitioners/demonstrators who peacefully rallied for one
week, up to mid-noon last Friday, are now being hunted down
and shot as "criminals" -- major violations of international
human rights laws.
Don't believe what RTTL tells you about displacement only in Dili. There are large numbers of "hidden displacement" -- including ourselves. Thousands of people are fleeing to the districts, but because they are not in IDP camps (e.g. Don Bosco, the US Embassy -- who've sent everyone home, or almost everyone -- even UNMISET Political Officers became IDPs in the US Embassy, how ironic, as apparently the UN has no security briefing or strategy) these hidden displacements are unseen. While officials above keep saying things are now "normal", "come down" -- the situation in the districts is very tense. Nobody wants to come down. The situation in the mountains is difficult: we ran quickly, so we have no provisions, no money ... On the macro level -- the government has been quiet, and according to their own int'l. advisers -- seem to have no plans to resolve this situation or negotiate peacefully with the petitioners. Predictions are that things may get worse. |
Regarding Balibo, it is interesting to note that on Monday July 17 2006 the Coroner's Court in Camperdown is finally starting a hearing on the disappearance of Brian Peters (one of the "Balibo Five" journalists murdered in East Timor in 1975). Only thirty-one years late!
*
May 4 2006: Finished and sent off two songs for soprano &
piano, written for soprano Wendy Dixon and pianist
David Miller. I Knew Nothing was
inspired by Australian Foreign Minister Alexander
Downer's recent appearance at Cole Inquiry into the
behaviour of the Australian Wheat Board. Recollections
of a Foreign Minister sets to music all the "I don't
know"s, "I can't recall"s, "I'm not aware"s etc in his
testimony to that inquiry:
[Quotes compiled by Hal Judge and listed in the order
in which they were uttered; source: Crikey]
click here to download
the score for free
*
April 29 2006: Family stuff (to go to the next item of
musical interest, click here): last Wednesday my dear old
saintly Mum Sheila turned 90! We had a family
dinner for her the Sunday before, at which everyone sang a
specially-composed song called The Sheila Harry
Married (Harry, who died in 1986, was my father).
Daughters Alice and Olivia, daughter-in-law
Sally, and ex-wife Annie handled the soprano
and alto parts, brothers Peter and Rob joined
me to form a sort of barbershop trio (brother Jerry
was too ill to make the trip from Adelaide, otherwise it
would have been the original quartet), my son Jed had
his own part, and my grandsons Oskar (aged 9) and
Bassy (aged 5) joined in enthusiastically,
particularly Oskar with a trumpet solo he played with skill
and aplomb. I have to say that the performance standard was
pretty dire, but - and this was all that mattered, ultimately
- Mum was thrilled!
The Sheila Harry married is admittedly no chicken
verse 2 (barbershop trio)
She regularly journeys to the Valley to inspect us,
verse 3 (all)
Dear Sheila (mama, ma) ...
She's been there, she's done that, she has seen it all
before
verse 4 (barbershop trio)
This paragon of puchritudinosity, this sweetie
verse 5 (all)
She's fallible, no angel, a flapper in her time
verse 6 (barbershop trio)
Although she's just a pensioner we know she's worth a
bundle
verse 7
We hope you'll join with us in wishing "Happy birthday,
Sheila!"
*
April 9 2006: Last night I attended a celebration in Sydney
in honour of my long-time friend and colleague the late
Ian Fredericks being awarded, posthumously, a PhD by
the University of Sydney. Ian died of a massive stroke five
years ago as he was writing up his PhD thesis - The
Development and Use of Computational Models of Creative
Musical Intelligence in the Composition and Realisation of
'Death of a Dragon', 'Starmist', 'Violins in Space' and
'Spirals'. I was Ian's supervisor for part of his PhD
tenure. After his death, composer and mathematician Ian
Shanahan did a great job in putting Ian's work in order
and submitting it on his behalf.
*
April 5 2006: Yesterday clarinettist Cathy McCorkill and cellist
Julian Smiles, of The Australia
Ensemble, played my audio-visual piece Merry-
Go-Round (images by George Gittoes and Alice
Wesley-Smith, about Afghanistan) at a lunch-hour concert
in the Clancy Auditorium at the University of New South
Wales, Sydney. From a satisfied music-lover: "the images were
superb on the Clancy big screen ... the audience ... (was)
quite affected by the piece. I'm sure it's not what they were
expecting, and they were very involved in the performance.
I've never heard a Clancy audience as quiet ... such a fine
piece"
Have started organising a Sat June 3 concert in Kangaroo
Valley by The Song Company, one of the world's great
vocal ensembles.
*
March 21 2006: Soprano Wendy Dixon reports that
Peter's and my new song Second-Hand Sale went
really well last Sunday, with a recording to follow. See text
here.
Download
Harpists Laura Tanata (obscured) and Alice
Giles
March 18 2006: Last night I attended another concert by The Kioloa Harp
Ensemble, this time in Goulburn, New South Wales. The
program included a repeat performance of my piece Alice
in the Garden of Live Flowers, for seven harps. Today
they played at a festival in Narranderra, but I had to be at
a Festival of Sedition at Huskisson, Jervis Bay, New
South Wales, where Ros
Dunlop, clarinets, played my Weapons of Mass
Distortion and Papua Merdeka, receiving
an enthusiastic response from the audience. Tomorrow the
harpies play the final concert of their mini-tour in Yass
(near Canberra), and Wendy Dixon sings the premiere of
Peter's and my new song Second-Hand Sale
(doggerel, but good doggerel! Well, not bad
doggerel ...).
*
March 8 2006: Have come across another review, below, of
Electric Cello, a CD of Australian works for solo
cello & electronics, including my piece Welcome to
the Hotel Turismo. The soloist is David
Pereira, the recording company is Tall
Poppies (TP180), and the reviewer is Mary
Nemet (Strings USA, April 2006). See here.
*
March 3 2006: Finished a song for the Grevillea
Ensemble for Wendy Dixon to sing, accompanied
by David Miller, at their concert at 3pm Sunday March
19 at Crows Nest Performing Arts Centre, 6 Holtermann Street,
Crows Nest, Sydney. Called Second-Hand Sale,
its lyric is by Peter Wesley-
Smith:
Come to my sale of second-hand goods
verse 1
Who wants to buy a used car?
It's all out of fuel, the ashtray is full
verse 2
Who wants to buy an old boy-friend?
Afraid of commitment, preferring to wait
verse 3
Who wants to buy a pre-loved Prime Minister?
A special today, the last one in stock
At death he will lie in state, mourners beneath
This bargain is yours if you quickly go grab it
download the music
as a pdf file (140K)
Performances coming up in the near future include:
Sunday March 5: Weapons of Mass Distortion,
Peabody Conservatory, USA (Michael Straus, soprano
saxophone)
It could have been It may have been I don't specifically
recall I can't precisely remember I don't recall I don't
recall I couldn't rule out It is possible I don't know I'm
not sure I have only a very distant recollection I don't
recall I don't think I did I'm pretty sure I didn't make a
note I don't recall I could have done I don't recall it I
don't recall I simply do not recall I would have made a note
of it and been quite focused I might have turned out to be
wrong I don't recall I don't recall I don't recall I don't
recall I wouldn't use that language I don't remember
precisely It didn't mean anything to me It doesn't mean
anything to me I wouldn't recognise him Nothing at all I
don't read the summaries unless I'm stuck on a plane I have
no idea I have no idea I can't recall I gave no such
direction I don't recall I didn't make any notes I just don't
recall I can't answer that question I can't recall my state
of mind I don't recall I simply do not recall I do not recall
I can't quite find the place I don't recall I simply do not
recall I don't recall I don't recall I don't recall I'd have
to reflect on that I don't recall I don't recall I'm not sure
I don't know I don't recall It is sketchy very sketchy I
can't tell you I wasn't aware There is so much intelligence
It's a very major challenge to deal with intelligence I have
no recollection of it I just can't recall it at all I have no
recollection I have no recollection Information flows appear
to be very imperfect I was not aware I don't know I don't
know I can't recall I'm not aware I can't recall I don't know
I don't recall I assumed I don't recall We had no knowledge I
can't specifically recall I can't recall I just can't
specifically recall It's very difficult to recall I'm not
sure that I'm not sure I wasn't sure I can't specifically
recall I don't recall I don't know I can't say I just don't
know I don't have any specific recollection I'm not aware I
wasn't aware I had no knowledge I wasn't aware I wasn't aware
I wasn't aware I just can't recall
verse 1 (barbershop trio)
Though still our favourite gorgeous centrefold
(centrefold)
She's yet, if only sprightly, quite chirpy, spry, and
sprightly,
Though the Sheila Harry married is 90 years old
To reprimand and castigate and scold (we've been cajoled)
But she's doomed to disaffection - we're models of
perfection
While the Sheila Harry married is 90 years old
Though perhaps she's now less likely to recall
She's lovely, she's treasured, a woman all adore
As mother, grandma, greatgrandma, grandmother-in-law, ex-
mother-in-law, and all
Whose nearly every virtue we've extolled (we've extolled)
Though frequently arthritic, her life is sybaritic,
She's a wastrel and an idler, though 90 years old
Whatever sin was in she was okay with it
A harridan, a harpy, she lives a life of crime
We often wonder how she gets away with it
A hundred times her fighting weight in gold (weight in gold)
We really hope her liver continues to forgive 'er
The sheila Harry married is ninety years old
The cake is baked, the decorations hung (rations hung)
Without being too theatric, this genial geriatric
The sheila Harry married is ninety years young!
They took with them a portable lighting system designed and
constructed in Kangaroo Valley by Don Godden, John
George, Peter Stanton and me: "the lights were
just brilliant. Everyone comments on how perfectly suited
they are to the visual look of the ensemble ... on the
beautiful tableau they make with the harps on stage. Little
do thay know just how perfect they are at their (very
important) job too! ... (they) were a dream ... so
unbelievably quick and easy to set up - and made moving to
the different venues so effortless ... (we are) now
contemplating getting them to the US!" The blokes are now
contemplating setting up the Kangaroo Valley Harp Light
Company and making more, on commission.
with two of the lights (click to see a larger [320KB] photo in
colour)
Ros
Dunlop and me at the Festival of Sedition
click to see a larger
version in colour [212KB]
photo by Susan
Sluys
Australian cellist David Pereira has firmly
established himself as an outstandingly versatile performer,
unafraid to stretch technical and musical boundaries. With
high praise given to his ten award-winning recordings such as
Cello Dreaming (TP075), Uluru (TP0960), and
Garden of Earthly Delights (TP113), Pereira ventures
even further afield in these works for solo cello. The five
Australian composers - Carl Vine, Roger
Smalley, Martin Wesley-Smith, Andrew Ford,
and Nigel Westlake - featured here all have a close
involvement with the soloist, from the inception of the work
through its metamorphosis to the performance. This recording
is not only a showcase for Pereira's considerable talents and
ability to explore the emotional depths in these works. It
also highlights sound engineer Christo Curtis's skills
as a techno-wizard. The recording is clear, finely detailed
yet warm, with a natural and unforced cello sound.
chorus
Cast-offs and knick-knacks and debris
Maybe you'll find a one-of-a-kind
Come to my second-hand sale
But some of the time it's reliable
The engine is seized and the brakes are askew
In other respects the car is as new
chorus
He once took me out on a use-by date
A dud root, he's jaded and bored and untrue
In other words, girls, the boy is as new
chorus
All air-bags, no warranty, ten years on the clock
Respected by several, admired by a few
But I cannot, alas, claim he's almost brand-new
But in life Honest Johnny just lies through his teeth
With troops in Iraq when his push came to shove
And banning gay marriage, it's "make war not love"
What's more we will throw in for free Tony Abbott
And Lord Downer, Phil Ruddock, the whole jolly crew
They're priceless, thank God they are nowhere near new
Come to my sale of second-hand goods
Broken-down deadwood and debris
Like Telstra, AWB and helpless Mark Vaile
Come to my derelict, friendless and desolate
Poor, disinherited, used-up, discredited
Obsolete second-hand sale
click here
for a MIDI file of the music
back to March 21 2006
Thurs March 16 & Fri March 17: I'm a Caterpillar of
Society (Not a Social Butterfly), Conservatorium High
School, Sydney Conservatorium of Music, Macquarie St Sydney
7.30pm Fri March 17: Alice in the Garden of Live
Flowers, Goulburn Regional Conservatorium, Goulburn
NSW Australia (Kioloa Harp Ensemble
11am Sat March 18: Weapons of Mass Distortion
and Papua Merdeka, "Festival of Sedition",
Community Centre, Huskisson NSW Australia (Ros
Dunlop, clarinets)
3.30pm Sat March 18: Alice in the Garden of Live
Flowers, Narranderra CWA Hall, Twynam St, Narranderra
NSW Australia (Kioloa Harp Ensemble
4pm Sun March 19: Alice in the Garden of Live
Flowers, Yass Memorial Hall, Yass NSW Australia
(Kioloa Harp Ensemble
*
Feb 27 2006: Roland Peelman, Artistic Director of The Song
Company, has written, in the group's February
Newsletter:
Our last concerts in 2005 (A Free-Range Christmas)
contained no less than five animal songs by the Wesley-Smiths
and chances are that more songs will keep re-emerging in
future programs. In this sheer inexhaustible collection of
songs (in my view one of the most important contributions to
songwriting in this country) we keep finding little gems, and
some not so little.
At the moment we are in the process of making good studio
recordings of some of those songs - for posterity, as they
say. Included are some songs which Martin wrote without
Peter, a small matter which is generally avoided during
dinner conversation in Kangaroo Valley. Yet these poems
capture strong sentiments and some very poignant Australian
experiences: the words of a woman left behind in the drought-
stricken bush (Andy's Gone With Cattle, a Henry
Lawson poem), the final words of a drover to his mate
(Hold Hard, Ned by Adam Lindsay Gordon), the
story of a woman grieving for her lost children (Black
Ribbon, the title song from the Wesley-Smiths' large
Federation work from 2001). Indeed there is a tragic tone to
some of these songs, and even a sense of nostalgia when it
comes to songs such as Our Don with its
fleeting quotation of the Don's very own musical prowess at
the end. But the way they tap into the Australian psyche is
never less than beguiling.
Also, I must confess that it is giving me great personal
pleasure to record these songs with our singers, given how
close we have all become to the composer and how fine the
aesthetic line is we are treading. None of these songs are
grand romantic art songs and so they need to be sung without
the laboured artifice that so often belongs to that domain.
Neither are they pop-songs though and any cheap pop-idol
tricks would utterly destroy them.
Finding a natural, unstudied delivery, yet artful in its
phrasing and expression, is the great challenge and this is
something that The Song Company singers relish. Above all,
their voices have just the right mix of youthful glow and
vocal experience to meet such a challenge. Wait till you hear
the recordings in the not too distant future!
*
Feb 25 2006: Tonight, at 10.30pm on ABC-FM: New Music Up
Late, a program that will include Peter's and my song
Black Ribbon (about the Stolen Generation) sung
by Mark Donnelly with Roland Peelman on piano,
part of an interview with me that Stephen Adams did
last year, and a recording of Papua Merdeka
with Ros
Dunlop on bass clarinet.
*
Feb 11 2006: Tonight's musical performance at Yarrawa Estate
winery in Upper Kangaroo River, Kangaroo Valley, was
excellent! The highlight, for me, was the performance by
Rachel Scott (cello and voice) of my piece Uluru
Song, which she plays and sings superbly. There was
also the first (and last) performance of a love song Peter
and I wrote for the occasion:
Some of you will remember the many songs by Martin and Peter
Wesley-Smith which The Song Company has been singing for most
of the last 21 years. Last year, a hefty selection was
featured in two June concerts to mark the twins' sixtieth
birthday. Some of us still have not recovered from those
festivities! And most of you will probably have heard The
Song Company sing Freddie the Fish at one
occasion or another.
I dote on you, dear, as a Chardonnay you're buttery and laden with fruit I cherish your Sauterne and Muskat full-bodied and spicy and cute
I adore you as Cab Sav or Traminer
You're as smooth as a Pinot or Merlot
You're a brut-de-brut prize-winning champers
|
from A magical evening of music and song, by Joan Bray, Kangaroo Valley Voice, March 2006: "The haunting Uluru Song by Martin Wesley-Smith was sung and played by Rachel Scott and the audience was spellbound ... Peter and Martin Wesley-Smith had the last say when CAMBIATI performed their specially-composed music and song tribute to Yarrawa Estate, the home of the award- winning Chambourcin wine, a fun encore that had the audience chuckling and all very determined to persuade this talented band of performers to delight us again, and hopefully for many years to come."
*
Feb 9 2006: It was announced yesterday that the NSW State
Government had decided not to raise the wall of Tallowa Dam -
Kangaroo Valley has been saved from potentially disastrous
flooding! This is a stunning victory for the local residents,
who, through the Lake Yarrunga Task Force, have
campaigned vigorously and extensively for Sydney to apply
common-sense solutions to its water crisis and not to
destroy, potentially, one of the state's most beautiful
areas. See here.
*
Feb 8 2006: Have been in Sydney recording some songs (solo
singer & piano) at the ABC. Song Company members Nicole
Thomson and Mark Donnelly have recorded, so far,
Tommy Tanna, Black Ribbon,
Sticky Wicket and Mabo, with more
to come, including After the Storm, Our
Don and Hold Hard, Ned.
*
Feb 3 2006: Have just read a review by Michael Hooper,
in the Music Council of
Australia's Music Forum, of cellist David
Pereira's CD Electric Cello (Tall
Poppies TP180). Here's an excerpt about one of the
pieces on the CD, my Welcome to the Hotel
Turismo:
*
Feb 2 2006: Last Tuesday night The Kioloa Harp
Ensemble gave a concert in
Kangaroo Valley Hall. It was one of the most delightful
concerts I've ever been to! Well, OK, I admit that I
organised it, and had a piece played (Alice in the
Garden of Live Flowers, for seven harps - see program
note below), but judging from
the audience response, and from individual comments
afterwards, it was an outstanding event. The ensemble,
directed by Alice
Giles, consists of seven women (Alice plus Ingrid
Bauer, Lily Dixon, Genevieve Lang,
Hilary Manning, Tegan Peemoeller and Laura
Tanata). They were superb, with a perfectly judged
repertoire expertly played. There were three new pieces in
addition to mine - by
Ross Edwards,
*
Jan 18 2006: Finished a piece for seven harps: Alice in
the Garden of Live Flowers. It is currently being
rehearsed by The Kioloa Harp
Ensemble.
program note:
In my piece White Knight & Beaver, the White Knight
(Carroll) shows the Beaver (Alice) how one can make music
from snippets of nursery rhymes. In this new piece it's as if
Alice is in the Garden of Live Flowers (in Through the
Looking-Glass, And What Alice Found There), encouraging
Daisy, Daphne, Rose, Salvation Jane, Tiger-lily and Violet to
do the same.
*
Monday Jan 15 2006: Last Friday and Saturday nights I helped
organise a showing, in Bomaderry and Kangaroo Valley
respectively, of an excellent David Bradbury
documentary called Blowin' in the Wind. David
came to the showings, talking passionately about the
outrageous situation, depicted in the film, where a secret
agreement between Australia and the USA has allowed the
American military to test depleted uranium weapons on
Australian soil. I strongly recommend this doco to anyone at
all concerned about the use, for any purpose at all, of
depleted uranium. It is available on DVD from www.bsharp.net.au
and www.frontlinefilms
.com.au. For more information, see www.dusk-qld.info,
a news and action portal for DU issues.
later: see, also, http://www.globalrese
arch.ca/index.php?context=viewArticle&code=BUL20060122&articl
eId=1777
*
Jan 5 2006: Have just seen the following review, by Dominy
Clements of Music Web, of the Tall
Poppies CD Electric Cello (TP180):
Carl Vine's Inner World is a very good opening
track. The electronic sounds which accompany the solo part
are, according to the composer, entirely derived from
Pereira's cello. This is sometimes clearly apparent; at other
times the sounds have been treated so far beyond the cello
sound as to be
unrecognisable as such. This is not a criticism - in fact,
the only
disadvantage of this is that the session from which the
samples have been
taken seem to lack some of the refinement of the performed
recording.
Pereira's cello answers itself like a violin, a plucked harp,
like explosive
drums, like birds, laughing Hyenas or burning trees. This is
a remarkable
soundtrack, with some beautifully expressive cello lines
threading
themselves between the effects, leading up to a rhythmic and
ecstatic
finale.
Roger Smalley's Echo II turns the solo part in
three cellos playing in
canon, with delays at 2.5 and 5 seconds. The first echo is
placed soundstage
left, the other to the right, and the solo part in the
centre. This placing
clarifies the counterpoint, and the clarity of David
Pereira's playing
further heightens the effectiveness of this piece. The fact
however remains
that its concept is based on the use of antiquated
electronics; and the
essential predictability of this treatment on the cello line
makes it a
little grey and old-fashioned sounding by comparison with
some of the more
recent pieces.
Martin Wesley-Smith is only a year or two younger than
Smalley, but, 22
years after the previous work, Welcome to the Hotel
Turismo is a case in
point. This is the one piece on this CD with an electronic
backing track
which has been manufactured from sounds other than the cello,
and right from
the start we get 'Timor', the location of this now derelict
hotel, sung over
the sound of vandals' stones crashing through glass. The
title is then wryly
and dryly sung and pronounced over a Conlon Nancarrow-like
bar piano and
cello Tango, 'although we're always full, we will make you
comfortable ...' and
you just know you're in for a good time. Wesley-Smith's notes
on this piece
set the scene admirably, and our imaginations are set alight
by the music as
if we were reading an old colonial story by Grahame Greene.
There's a little
of David Jaffe's 'Silicon Valley Breakdown' world in this for
me, in the
sense of humour, but also in the swift and unexpected, but
ultimately always
logical and structured twists and turns. The cello joins
Nancarrow's bar
piano in some wonderful nostalgic wallowing (I spotted at
least one quote -
is that 'Feelings'?), and time and place breathe over us like
a sepia
picture in sound - all ticking clocks, newsreel chanting and
strange,
echoing voices, gunshots, a crowing cockerel. This piece goes
to show how it
is possible to create an effective concr_te tape
accompaniment to a live
instrument. There are enough musical clues and cues to
integrate the cello
part, and plenty of emotional movement - from surrealist
cartoon soundtrack
humour, through sheer good music, political statement and
tragic irony - I
love it.
Andrew Ford's Memorial refers to the handing
back of 'Uluru' (Ayers Rock) to
its traditional guardians (the booklet says 'owners', but
that's another
debate). Ford wrestled with his reluctance to engage with
Aboriginal
culture, but ultimately, seeing Uluru's physical presence as
a kind of
memorial, almost a cenotaph in the middle of Australia,
expressed this
partly as a lament, partly as a celebration of the strength
and endurance of
the Aboriginal people. The cello is treated with a delay
which in fact makes
it sound as if it is placed in a vast acoustic. The echoes
come to us as if
from the inside of caverns measureless to man, and to me very
movingly
express the loneliness and incredible hugeness of the
Australian outback.
Onomatopoeia by Nigel Westlake was originally
written for bass clarinet and
delay, and was adapted for cello with the assistance of David
Pereira. This
is not 'just another delay piece' as I was fearing. It uses
the digital
delay not only for repeating the cello line, but for holding
musical moments
in repeated ostinati - a little like Terry Riley's early
work, and with some
similar sunshine harmonies to complete the comparison. The
improvisatory
nature of the music works well over the rhythmic soundbed of
these delay
patterns, and provide a fitting conclusion to this marvellous
disc.
The freshness and energy of this production leap at you from
your
loudspeakers. While not all the composers are Australian, to
me the whole
thing exudes Australianness, providing a sizeable window into
the musical
potential there. I had my own little musical performing tour
of that land a
year or so ago, and the impressions I gained then have been
reinforced by
this disc. If you will excuse me quoting from one of my own
stories: "The
greens are greener, the skies seem blue beyond blueness, and
at night the
moon and stars appear watchful and friendly, as if they sense
a hope for the
future which the northern hemisphere has already wasted." You
want a little
bit of that in your own home, surely?
Am currently writing a piece, and organising a concert, for
The Kioloa Harp Ensemble. Seven harps! See here.
Appendix [February 23 2007]
Submission to the Joint Standing Committee on Treaties concerning the Agreement between Australia and the Republic of Indonesia on the Framework for Security Cooperation:
On the surface, this would appear to be a good move. But there is not the slightest evidence that the close professional cooperation that Indonesia's and our Defence Forces have enjoyed in the past has had any effect in reducing the TNI's savagery in its dealings with the people of East Timor and West Papua. Not a single TNI officer has been called to account for any of the atrocities committed in East Timor during Indonesia's 24-year occupation. As we are currently learning at the New South Wales Coroner's Court, Indonesian forces murdered five journalists working for Australian news services back in 1975, plus Australian newsman Roger East, yet the TNI has consistently denied, and escaped, all responsibility. It appears that the TNI is pursuing the same disastrous policies and methods in West Papua as it did in East Timor - disastrous for the indigenous people, for the environment, and for the Indonesian Government but not at all for the TNI itself, which has made vast profits from illegal logging, corrupt business practices, prostitution rackets etc. During all this, successive Australian Governments have maintained a "softly, softly" approach, claiming that this is a better way to address Australian concerns about human rights and other abuse by the TNI. Well, news for you, Gareth: this approach failed miserably. If anything, it has made the situation worse. It's time now for us to stand up, publicly, for what we believe in. No need to hector, necessarily, but to state our case in a spirit of co-operation and solidarity and to let the Indonesians state theirs.
As things stand, the TNI is free to commit any atrocity it likes, knowing that Australian and other governments, eager to appease the world's largest Muslim nation, will turn a blind eye. If once, just once, its atrocities were forcefully condemned by the Australian Government, then perhaps it would think twice about committing more of them. But, instead, its behaviour is rewarded, with a security agreement to provide official cover. Other benefits include trips to Australia (and America and Britain), which allow the Generals to check their real estate holdings in Perth and elsewhere. Many officers of the TNI are "terrorists in uniform", to borrow Sister Susan Connolly's memorable description - what a strange world it is where Australia co-operates with and supports terrorists in order to maintain its security. The TNI operates a protection racket, and Australia, as always, meekly gives in.
It is clear that this AGREEMENT was spurred on by Indonesia's concern for its "territorial integrity", meaning its concern that West Papua might follow East Timor's example. In my view, if Indonesia's "territorial integrity" is any of our business then our position should be to support the indigenous West Papuans' desire for independence. The so-called Act of Free Choice was nothing of the sort but was accepted as such by a Western world governed by Cold War rhetoric and, just as it is now, eager to appease Indonesia. I accept, however, that the indigenous West Papuan people have little hope of getting their country back. In this situation, Australia, rather than support the TNI's murderous attacks on local people - which it effectively does through this AGREEMENT - should do everything possible on behalf of the victims.
Richard Woolcott and others maintain, as they did in 1975, that Australian diplomacy is about Australia's interests. I agree, but I ask "Are we talking here about Australia's short-term, medium-term, or long-term interests?" One might argue that this AGREEMENT is in Australia's short-term security and commercial interests (although a disaster for indigenous West Papuans). But the possible long-term ramifications are frightening: a large acquisitive Indonesian island (the TNI could easily gobble up Papua New Guinea) immediately to our north, greedily looking south ...
A few years ago terrorism against Western countries and interests was unheard of. When it arrived, it was directed against the USA as a result of that country's interference in the affairs of others - its support for right-wing dictators, death squads, assassinations of popularly-elected presidents, holy warriors fighting against the Soviets, and so on. It is called, by some, "blowback". Australia would have escaped terrorist attack had we stood up on principle against the USA's actions. But, instead, frightened little country that we are, we eagerly sought the role of Deputy Sheriff to the USA in this region, thus guaranteeing that we too would be a target of religious extremists. The perception of many Muslims, if not the reality, is that America is waging a crusade against Islam (this was once admitted but then immediately denied by President Bush). By extension, so is Australia, a perception reinforced by our enthusiastic participation in the illegal invasion of Iraq. What, now, is the best defence against Muslim extremists' desire for revenge? To go to bed with what is in effect a Muslim army? Surely the time has come for us to stand up on principle - on the moral principles that we, as a supposed Christian country, espouse - and decry injustice wherever we see it, to put into effect our so-called "Australian values" - e.g. standing up for the little man - and to be truly independent, a force for good, for compassion, for human rights? Why is the solution necessarily a military one? Where in this AGREEMENT is there any mention of co-operation between the ordinary people of Indonesia and Australia through the arts, say, or sport, or education, or community activities at a grass roots level? I believe that activities in these areas are the best defence against terrorist attack.
I was recently in Wellington, New Zealand, where I attended a performance of a wayang kulit (Javanese shadow puppet play). It was marvellous! Performed in English, it was funny, topical, satirical - a hugely enjoyable production, complete with gamelan orchestra consisting entirely of native New Zealanders. This is what we should be aiming for: bilateral cultural endeavours that allow each culture to understand the other. Instead, we seek bilateral military endeavours, which is a complete failure of our imagination. In Wellington I talked to an officer of the Indonesian Embassy there, stressing that my criticisms were directed at the TNI and not at ordinary Indonesians. He agreed, in private, that the TNI caused the diplomats no end of trouble and that at least some of my criticisms were valid.
I see that this AGREEMENT seeks to strengthen "bilateral nuclear cooperation for peaceful purposes" (clause 17), pre-empting the debate that Australians need to have about the use of nuclear energy. It is not yet, I hope, a foregone conclusion that Australians will opt for a nuclear energy future. If we do not then we will hardly be in a position to strengthen "bilateral nuclear cooperation".
My final point is that this AGREEMENT could easily constitute a threat to Australian democracy. Under ARTICLE 2, PRINCIPLES, we read:
What does "support" mean here? If an Australian, say, were to demonstrate about TNI atrocities against the indigenous population of West Papua, would Australia be supporting these activities merely by not preventing them? I fear that this AGREEMENT could be used to justify further attacks (similar to those contained in the Sedition legislation) against the free speech and other rights of Australians. Artists will steer clear of Indonesian subjects in their plays, paintings etc. Self-censorship - already rife in Australia amongst people fearful of incurring official displeasure - will spread still further. I believe that a robust democracy should welcome alternative views, discussion, debate etc, not try to stifle them.
In conclusion, I too want the best possible security for Australia and Australians. But I believe that going down the same old path - the one that has manifestly failed us so far - is bound not only to fail in its stated objective but to threaten our own values. I think that if an AGREEMENT is to be reached at all - and I'm not convinced that a formal agreement is necessary - then a new one should be negotiated: one that emphasises cultural links between our countries; one that recognises the need for mutual cultural (artistic, religious, gastronomic etc) understanding; one that honestly recognises our differences and seeks, where necessary, to accommodate them; one that recognises each other's security concerns and needs from a long-term perspective ...
Martin Wesley-Smith
To return to the entry for February 23 2007, click here.
Martin Wesley-Smith's home
page
To the difficulties of cello and electronics, Wesley-Smith
adds overt politics. Welcome to the Hotel
Turismo concerns the destruction wrought on East
Timor by Indonesian troops. Pereira takes on the persona of a
waiter in the Dili hotel who has a liking for playing cello
accompanied by honky-tonk piano. What makes this piece work
is Wesley-Smith's facility with electronic manipulation, and
the humour with which the chorus is imbued. The space between
the live player and the backing CD, like the distance between
our waiter and the surrounding gunfire, is something to be
celebrated. Not to say that this piece isn't without its
poignant moments; the Bach-like lament is effective. The
ridiculousness of the cock's crow (which is heard throughout)
carries associations with a wake-up call (and perhaps
betrayal), an apt image to associate with the waiter's jazzy
cello playing and, of course, an analogy to the political
situation in which Australia is involved.
Alice in the Garden of Live Flowers, for seven
harps, is another of my "Pat-a-Cake" pieces, all derived
mainly from the first three notes - a simple major triad -
of the tune of the old English children's song, Pat-a-
Cake, Pat-a-Cake, Baker's Man. It's a Carrollesque song;
for example: the fifth bar is the first bar backwards (Lewis
Carroll loved to turn things backwards, upside-down, or
both). Carroll portrayed himself as the Baker in his epic
nonsense poem The Hunting of the Snark. "Pat it and
prick it and mark it with B", goes the song: all the
names of the snark-hunters start with B.
"Hold your tongue!" cried the Tiger-lily (rebuking a Violet).
"As if you ever saw anybody. You keep your head under
the leaves, and snore away there till you know no more what's
going on in the world than if you were a bud!"
This CD is a rich treasure-trove of new and not-so new work
for cello and
electronics. Only one of the pieces here uses sounds other
than David
Pereira's cello as a source for the electronics, but the
character and
diversity of the pieces always kept me involved, and
sometimes left me
jaw-droppingly impressed.
Like many other Australians, I have been critical of aspects of the Republic of Indonesia's performance in East Timor and West Papua. My criticisms have been directed not at the Indonesian people, or bureaucracy, or, even Government, but at the army - the TNI. Thus I am alarmed to read that the Agreement proposes "the closest professional cooperation between (Indonesia's and our) Defence Forces".
3. The Parties, consistent with their respective domestic laws and international obligations, shall not in any manner support or participate in activities by any person or entity which constitutes a threat to the stability, sovereignty or territorial integrity of the other Party, including by those who seek to use its territory for encouraging or committing such activities, including separatism, in the territory of the other Party.
February 23 2007
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e-mail: mwsmith@shoalhaven.n
et.au