See the above figure. Intersecting lines, segments, or rays: Lines, segments, or rays that cross or touch are intersecting. The point where they cross or touch is called the point of intersection. The above figure shows oblique lines and rays on the right. Because lines extend forever, a pair of coplanar lines must be either parallel or intersecting.
However, this is not true for coplanar segments and rays. Segments and rays can be nonparallel and at the same time non-intersecting, because their endpoints allow them to stop short of crossing. Or you can say that skew lines are lines that are neither parallel nor intersecting. The above figure shows an example. Take two pencils or pens, one in each hand. Hold them a few inches apart, both of them pointing away from you.
Now, keep one where it is and point the other one up at the ceiling. In democratic spirit, both artists took it in turns to address their audience, which process was remarkably free from the awkwardnesses and staginess of most procedures of this kind.
Unlike the Melbourne Digital Concert Hall practice, this recital had no program: you found out what you were going to hear just before the players set to work. Once again, Crabb did piano duty although you missed quite LP) few bass notes; one moment they were there, then omitted in the next passage.
But neither player treated the work as a chain of glottal stops, avoiding surges of loud and abrupt drops to soft, or imposing extended time for the melismata interruption near the end or for the chains of shared triplets. At the heart of this recital came C. Of course, they had top-notch material to work with; not just that safe-as-houses bass but also a wealth of melody intertwined with a fluency that delights at every turn.
Smiles gave us a pointed and LP) shaped reading, Crabb keeping his potential swamping power well under control, most notably in the melting 6ths across the final 8 bars of this semi- siciliano. A different sort of pleasure came in the concluding Allegro assai where Bach pulls some subtle rhythmic tricks across its length. You could not fault the grace of expression in the opening section but the change to E flat soon saw an influx of religiosity, notably when the cello started on its triplets in bar This was Le Grand Tango ofthe one written for Rostropovich who was unaccountably slow to come to the party and play it.
Nevertheless, both parties were consistent in their observance of the many incidental passing notes throughout. Here, the nuevo tango is writ large with plenty of individual segments contributing to the whole. But Smiles and Crabb gave as sensibly aggressive an account of this score as you could want with firm agreement on their attack, speeds and dynamic variation.
But, as in the Bach gamba sonata, Crabb observed the decencies: letting rip when he had the running, but maintaining a backing role when Smiles took up the Hauptstimme. Each of them is a homage — a homenajeas Pertout A Structure Of Repeated Displacements - The New Lines - All That We See And Seem (Vinyl it in his birth tongue — to a specific Australian composer; further, each piece is based on a quotation from a work that the composer researched and found or should that be the other way around?
Pertout takes the quotation only one for each study? For me, the experience promised a sort of walk around my youth and those years spent in a state of critical adolescence. Still, his choices of source-composers would be generally familiar enough to generations on either side of my own, even if experiences with shadowy corners of their output would have been confined all too often to the Lists of AMEB examinations. This is, in fact, a double disc.
Even more importantly, what Pertout tells us about his practice tends towards the constructional, viz. The original is an amiable piece with a simple melody that enjoys transposition and mutation within an increasingly chromatic accompaniment to add some interest to its meanderings. Pertout has chosen the first number, Welcome Ceremonywith its unsatisfying Aboriginal-imitating gestures and out-of-place main theme that is first brought up by the trumpet.
Don Banks left Australia in and his Divertimento for flute and string trio dates from the following year when he was studying with Matyas Seiber. What I can see of the two-movement score shows a sinewy, tone-suggestive style at first with a hard-worked jaunty bite in the Rondo second movement.
The insane thing is that you I can hear traces of that Rumba where there are really none to find. From the latter, Pertout chose Sturt,a piece that enjoyed a lot of airplay after its composition in Somewhere along the line, I acquired a copy of the score but it disappeared somewhere between house moves. The second one, referred to here, does without the oboe. Repeated single notes, motives in transposition, the whole finally fades to silence as the battle moves on.
His piano suite Kaleidoscope for piano is an early work, a collection of 12 short pieces from which Pertout has taken the second, Promenade. A disjointed note-by-note progression in the treble is supported by soft arpeggiated chords in an angular lyric that seems to circle on itself; not actually finishing, but petering out.
Still, it sent me back to the brilliant John Robertson recording in search of connections. Needless to say. This piece features on the accompanying DVD. As well as performing a keyed role, Harvey also operates inside the instrument — a plucked note here, a few stopped knocks, a curt glissando to finish. It all makes for a piquant impression; nothing dreary or depressing, and you can see Harvey at work on the DVD.
This is brief, the second-shortest offering in the collection, and operates on three strata with another isolated note melody in the high treble, subterranean bass support and some supple chords at the centre of the piano. It is unusual in that its title is remarkably appropriate in mood to what you hear.
As a student, I knew Keith Humble who took a postgraduate seminar at Melbourne University that I attended a few times before tiring of its unstructured nature. But the emotional impressions are emphatically opposed: the older work, sunny and sentimental; the study, neurasthenic and unsettling. Along with Dulcie Holland, Marjorie Hesse and Mirrie Hill, Miriam Hyde was a major contributor to the AMEB organization; like her colleagues, she was a familiar name to generations of Australian musicians, although not all of them could have picked her out in a crowd.
The effect is mildly clangorous, not quite regular enough to be mesmeric, but showing Harvey at his athletic best. Such a one is Horace Keats, who migrated here from Britain after World War I and became, among other activities, LP), a song-writer of significance. His Sea-wraith of has a simple ternary structure, an art song with a deftly-established emotional soundscape. The new look suggests haze and a more veiled menace than in the original lied. Louis Lavater is another one of those semi-forgotten names, although he lived long and apparently prospered, his forte being bush ballads.
In this instance, the dynamic range is sustained at a particular level for some time. His setting of Sonnet 87, Farewell!
Although I eventually fell into his job, I never met this most encouraging of Melbourne music critics, only sighting him from a distance at Melbourne Symphony Orchestra concerts during my undergraduate years.
His interpretation of the text is to treat it as an English art song, the sort of object that proved very popular for salon purposes throughout the first half of the 20th century, featuring a forward vocal line and unassuming chordal piano support.
Pertout calls his piece Despedida Farewell and it is more chameleonic than expected with a dependence on brief flurries, chopped notes and a sustained melodic chain in the centre while fireflies flicker above and below it.
His Three Sketches for flute and piano — AubadePastoraleand Valse Caprice — date from and Pertout has apparently chosen all three for his Tres bosquejos : the second-longest work on this recording. These lines are in constant argument or competition, a repressed middle nocturne giving way to a vehement fantasia in which each register takes its turn in the limelight.
Three sketches, three segments. You can A Structure Of Repeated Displacements - The New Lines - All That We See And Seem (Vinyl Harvey at work as this is the last of the filmed DVD performances. He operates for much of the piece inside the piano and progress is by a series of spurts with plenty of silences and sustained sound-meshes. To end, Pertout expends his final homage on Margaret Sutherland. This is an extraordinary composition.
To the nostalgic, it brings to mind the surprising number of worthwhile composers that operated in this country before the dawn of Las AlboradasLaudesFrom Within, Looking Out among others, and our abrupt accession to 20th century compositional semi-maturity in the s.
Macao, Indulgence - Discocks* - Dont Be Fooled, Dont Be Satisfied Dont Be Ruled Dont Be Denied (CD, Album), No. 13 Baby - Pixies - 30 May: San Francisco, CA (CD), A B C D - Various - Non Stop Hot Dance (Vinyl, LP), Lullaby Of The Leaves, The Same Old Way - Porter Cunningham - Observations (Vinyl, LP), Many Happy Returns - Today Is The Day - Willpower (Vinyl, LP, Album), Sofia (12Inch Remix Bonustrack), Rainbow