A community-driven work responding to the Barossa’s unusual history, and its hidden musical treasures, leads to Ntaria in Central Australia and Brandenburg in East Germany.
Julian Day is a composer, artist, writer and broadcaster living in New York. He has written for Limelight, Runway, Un Magazine, Leonardo Music Journal, Tempo and Contemporary Music Review, and has presented work in the Adelaide Biennial of Australian Art, Asia Pacific Triennial and Bang On A Can Marathon.
Articles by Julian Day
Julian Day reports from The Listening Academy, a symposium in Berlin where participants explored how listening can be a powerful social tool.
What can a grand old European city tell us about life in Australia today? Roland Peelman chats with Julian Day about how new music and First Nations musicians play an essential role in this year’s Vienna-themed Canberra International Music Festival.
Dynamic new music projects are emerging from lockdown, Julian Day reports.
What do you get when you place nuts and bolts on the keys of an organ (apart from a smack on the wrist from the organist)? Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Here’s a preview of this month’s Limelight Magazine cover feature. Which works of today will be the classics of tomorrow?
A visit with the composer who, in a career spanning six decades, has come to define Australian classical music.
How did a Sydney boy end up Master of the Queen's Music, and how did it all go so horribly wrong?
How did a Sydney boy end up becoming Master of the Queen’s Music and just how did it all go so horribly wrong? Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Eisenstein and Prokofiev made one of the great war films. But how did they manage to keep Stalin happy? Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
ABC Classic FM’s Julian Day spoke to all-round musician Bryce Dessner ahead of his Perth Festival classical gig. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Carl Vine has always been suave. From his early dance scores in the 1970s (he wrote his first in high school) to his larger orchestral works of the ‘80s onwards, his music has remained assured, tuneful and immaculately crafted. For an artist who’s also helped direct the world’s largest chamber music organisation, Musica Viva Australia, for over a decade, the string quartet seems like his perfect medium. This disc brings together the bulk of his quartets to date: four full works (Nos 2, 3, 4 and 5) and two movements from his first foray into the medium, Knips Suite from 1979. Effortlessly written yet tightly constructed, from the outset they offered a compelling alternative to the dominant avant-garde movement of the time. String Quartet No 3 snaps and crackles with pop-like energy. The work plays on looping rhythms, bringing to mind Assez vif – Très rythmé from Ravel’s entry in the genre, as well as the Balinese rice-pounding rhythms of Sculthorpe’s celebrated Eighth Quartet. The opening saws away like an especially intense blues vamp, a moody and capricious solo line bounding over the top. There follows a hazy, reflective middle section before the opening energy returns to close. The Quartet No…
Glass sparked the minimalist revolution – then pronounced it dead. But he’s still propelled by the manic energy of those early works. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in