John Antill, whose Corroboree created such a sensation
when Eugene Goossens conducted the world premiere ofthe Suite in Sidney, August 18, 1946, was born at Ashfield,
New South Wales, in 1904. He showed enormous musical
aptitude as a child, and in 1925 went to Sydney to com-
plete his musical studies at the Conservatorium there.
Most of his professional career has been associated with
the Australian Broadcasting Commission, where he has
held a variety of posts, including that of Music Editor.
While Corroboree has done most to make Antill’s name
known beyond the confines of Australia, he also composed
a number of symphonic works, a set of Five Australian
Sinn an coerce Ts Wide Critic sal ans Mecca
it was as a child that Antill witnessed the Australian
aboriginal dance ceremony known as the Corroboree, and
it was the memory of this which in 1936 impelled him to
sketch out a ballet with this ritual as its focus. By 1944
the score was completed, and it was in 1946 that the music
came to the attention of Eugene Goossens who was search-
ing for an outstanding new Australian premiere to mark
his appointment as Conductor of the Sydney Symphony
Orchestra.
Corroboree was first performed as a complete ballet on
July 3, 1950, the composer conducting the Sydney
Symphony Orchestra with the National ‘Theatre Ballet.
Choreography was by Rex Reid and decor by William
Constable. Boosey & Hawkes published the complete score
in 1953.
The full ballet lasts for about 45 minutes and comprises
wdiities saictlons scaabaetad’ ax taliners ta Che etmek tetant:
A feature of Australian aboriginal life is the dance
ceremony known as the Corroboree. The Aboriginal is a
master of mimicry and burlesque, and the Corroboree
generally takes the form of realistic imitations of humans
or animals. Any current event may furnish the theme
from which the “tribal” pots, musicians and actors pro-
duce the ceremony . . . The performances take place after
sundown, in the glow of campfires, creating a most im-
pressive atmosphere . . .
1. Welcome Ceremony — Witchetty Grub men assisted
by members of the Emu Totem.
2. Dance to the Evening Star—by the Thippa Thippa
and Bell Bird people.
3. A Rain Dance—by the Frog Totem assisted by the
Fish men.
4. The Spirit of the Wind —demonstrated by the Snake
Totem.
». Homage to the Rising Sun—Kangaroo Men.
6. ihe Morning Star Dance—by the Hakea Flower
Totem.
7. Procession of Totems and Closing Fire Ceremony —
in which the representatives of the Lace Lizard,
Cockatoo, Honey Ant, Wild Cat and Small Fly
Totems participate. Much usage of Boomerang,
Spear and Fire Stick.
The concert suite recorded here draws on Nos. 1, 2, 3
ink
Antill describes the Aboriginal “orchestra” used in an
actual Corroboree as consisting of “Several yam sticks,
boomerangs and shields to be struck together or upon the
ground. A few “IIpirra” (hollowed out, white ant eaten
branch of a tree into which the performer sings or
hums). Several forms of “Trora” or “Wainba” sticks
(pronged sticks of various sizes struck together, making
noises not unlike crickets and frogs). Sometimes a form
of drum, constructed of stretched skin upon a log, or a
skin rolled into a tight bundle. In the more “modern”
orchestra the Didjeridoo (a large form of Ipirra, played
in much the same way as the present day trumpet) would
be employed. The main section would consist of the
singers who chant the story being performed, and clap
their hands together or upon the thighs.”
“T have endeavoured to preserve,” says Antill, “within
the confines of our present day orchestra, the spirit of our
native race through the medium of their expressive cere-
monial dances. A special rhythmic figure being used
throughout each of the seven sections, and the melodies
woven to suit the situation.” . . . “A'large orchestra is
necessary, and as may be expected the emphasis is on
shathin aeat neseomeien.”
Antill’s orchestra 1s normal enough in the string and
wind department; but the percussion division is some-
thing else again, consisting of piano, celesta, xylophone,
vibraphone, 6 pedal timpani, bass drum, trora sticks, two
types of cymbals, large and small gong, triangle, tambou-
rine, snare drum, slap stick ratchet, tom tom, wood block,
sleigh bells, castanets, sand blocks, Chinese temple clocks.
Hisnnclan miinnk, anak tall somes.
A special word Is in order concerning the bull roarer —
also known as the thunder stick. This flat board whirled
around the head at the end of a thong produces a flutter-
ing roar, and it has always had a special fearsome sig-
nificance to primitive peoples, its sound embodying for
thea pavkatis tks voles of the node.
Antill’s music could be summed up glibly as an Aus-
tralian Sacre du Printemps—except that comparison with
actual field recordings of Australian Aboriginal tribal
music (available on Folkways and Columbia) show that
the composer has captured with stunning accuracy the
essence of the real thing. He has, in short, created a mas.
terpiece of musician stylization, as well a3 a fiercely vital
theatrical enectacie.
Antills scenario for the four sections of Corroboree
recorded here runs as follows: “Except for the inevitable
smouldering fire, the ballet commences in eerie darkness,
which gradually brightens throughout the performance
to the first rays of dawn. The presence of a persistent
rhythmic figure indicates that something of great impor-
tance is about to take place. There is a reiterative figure
representing movements by the medicine man who is the
central figure amongst the Council of old men. The Did-
jeridoo is heard. The tribal jester performs. The medicine
man perfumes his tricks and directs spectacular smoke
signals . .. The appearance of the Evening Star creates
an excuse, or rather demands attention (as these stars,
sauecully the larse case hrs ecnite of the depadedy: A
somewhat sedate dance is performed by the Thippa
Thippa and Bell Bird people . . . The necessity of rain to
fill the water holes and make the rivers flow is a matter
not to be taken lightly. Hence any ceremony alleged to
induce this phenomenon is attended with serious respect.
However, the Frog and Fish men’s invocations are readily
rewarded . . . There is the ceremonial raising of totems,
followed by a grand procession and revealing of emblems,
culminating in characteristic ‘Wha Wha’ with upraised
spears and boomerangs, etc. A sudden stop as the medi-
cine man calls for respected attention, and grants per-
mission for the final frantic rites to commence... . ‘The
large torches are ablaze and sway lazily. The air is filled
with blazing fragments and thick smoke. The mysterious
bull roarer sounds a sinister note. The mass of howling,
dancing men grotesquely bedaubed, creates an atmos.
phere that could only be described as fiendish . . . ‘The
curtain falls upon a scene of absolute chaos and prostra-
tion”
Alberto Ginastera of Argentina (b. 1916, Buenos Aires)
has emerged since World War II as the outstanding
South American composer of the generation succeeding
Villa-Lobos (b. 1881) of Brazil and Chavez (b. 1899) and
Revueltas (1899-1940) of Mexico. His music, which com-
prises well over two-dozen major works, reflects the cos.
mopolitan sophistication of Argentine city life, as well
as the vitality of that nation’s pampa folk and Indians.
The Variaciones Concertantes (1953), the Pampeana No.
3 (commissioned by the Louisville Orchestra in 1954).
and the String Quartet No. 1 (1948) are among the most
frequently performed of Ginastera’s scores; but it was the
Suite from his youthful ballet, Panambi, which brought
Ginastera’s name to the attention of a worldwide audience
when the late Erich Kleiber conducted its American
premiere with the NBC Symphony Orchestra on Febru-
ary 24, 1946. At that time Ginastera was himself in the
United States on a Guggenheim fellowship. However, he
was no total unknown here; for the American Ballet
Caravan had commissioned him back in 1941 to write the
dance score E'stancia.
He was just 20 when he composed the ballet, Panambi,
the story of which is based on a South American Indian
legend. Juan José Castro conducted the world premiere
of the 5-movement orchestral suite recorded here on
November 27, 1937 in Buenos Aires. The entire ballet
was presented at the Teatro Colon on July 12, 1940.
‘The five movements of the Panambi ballet suite vary
in style from modern impressionist to sophisticated primi-
tivism—the titles being 1. Moonlight on the Parana;
2. Invocation of the Powerful Spirits; 3. Lament of the
Maidens; 4. Rondo of the Maidens; 5. Dance of the War-
riors. The primitivistic element is most spectacularly
evident in the second movement which is scored for
percussion and brass only, and in the Dance of the War-
riors which works up to a tremendous final climax.
Notes by DAVID HALL
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