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　　[01:17.20As you all know, the university is planning an arts festival for later this year, and here in the music department we've planned three concerts.

　　[01:28.00These will be public performances, and the programme has just been finalised.

　　[01:33.73The theme of the festival is links between the UK and Australia, and this is reflected in the music: each concert will feature both British and Australian composers.

　　[01:46.89I'll tell you briefly about the Australian music, as you probably won't be familiar with that.

　　[01:53.84The first concert will include music by Liza Lim, who was born in Perth, Western Australia, in 1966.

　　[02:03.75As a child, Lim originally learned to play the piano - like so many children - and also the violin, but when she was 11 her teachers encouraged her to start composing.

　　[02:17.90She found this was her real strength, and she studied and later taught composition, both in Australia and in other countries.

　　[02:28.20As a composer, she has received commissions from numerous orchestras, other performers and festivals in several countries.

　　[02:38.82Liza Lim's compositions are vibrant and full of energy, and she often explores Asian and Australian Aboriginal cultural sources, including the native instrument, the didgeridoo: this is featured in a work called The Compass.

　　[02:57.41Her music is very expressive, so although it is complex, it has the power of connecting with audiences and performers alike.

　　[03:08.05In the festival we're going to give a semi-staged performance of The Oresteia.

　　[03:14.67This is an opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus.

　　[03:24.09Lim composed this when she was in her mid-20s, and she also wrote the text, along with Barrie Kosky.

　　[03:32.94It’s performed by six singers, a dancer, and an orchestra that, as well as standard orchestral instruments, includes electric guitar, and a traditional Turkish stringed instrument.

　　[03:47.40Lim wrote that because the stories in the tragedies are not easy to tell, the sounds she creates are also disturbing, and they include breathing, sobbing, laughing and whistling.

　　[04:03.47The work lasts around 75 minutes, and the rest of the concert will consist of orchestral works by the British composers Ralph Vaughan Williams and Frederick Delius.

　　[04:20.97Moving on now to our second concert, this will begin with instrumental music by British composers Benjamin Britten and Judith Weir.

　　[04:32.14After the interval we'll go to Australia for a piece by Ross Edwards: The Tower of Remoteness.

　　[04:41.06According to Edwards, the inspiration for this piece came from nature, when he was sitting alone in the dry bed of a creek, overshadowed by the leaves of palm trees, listening to the birds and insects.

　　[04:56.03The Tower of Remoteness is scored for piano and clarinet.

　　[05:02.57Edwards says he realised years after writing the piece that he had subconsciously modelled its opening phrase on a bird call.

　　[05:12.85Ross Edwards was born in 1943 in Sydney, Australia, and studied at the Sydney Conservatorium of Music and the universities of Adelaide and Sydney.

　　[05:26.05He's well known in Australia, and in fact he's one of the country's most performed composers.

　　[05:33.19He's written a wide range of music, from symphonies and concertos to some composed specifically for children.

　　[05:42.97Edwards's music has been described as being 'deeply connected to Australia', and it can be regarded as a celebration of the diversity of cultures that Australia can be proud of.

　　[05:58.54The last of the three Australian composers to be represented in our festival is Carl Vine.

　　[06:06.07Born in 1954, Vine, like Liza Lim, comes from Perth, Western Australia.

　　[06:14.09He took up the cornet at the age of five, switching to the piano five years later.

　　[06:20.94However, he went to university to study physics, before changing to composition.

　　[06:28.22After graduating he moved to Sydney and worked as a freelance pianist and composer.

　　[06:34.92Before long he had become prominent in Australia as a composer for dance, and in fact has written 25 scores of that type.

　　[06:46.86In our third concert, Vine will be represented by his music for the flag hand-over ceremony of the Olympics held in 1996.

　　[06:58.21This seven-minute orchestral piece was of course heard by millions of people worldwide, and we'll hear it alongside works written by British composers Edward Elgar and, more recently, Thomas Adès.

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