In 1934 Grainger described himself to a Perth newspaper as ‘prophet of modernism’, the first to introduce Debussy and Cyril Scott to English audiences and a pioneer in performances of Ravel, Albeniz, Delius and the American composer John Alden Carpenter. Unquestionably, however, the most modern music touted in Australia immediately before the arrival of the Ballet Russes in Australia in 1936 was that by Grainger himself.
On a tour lasting the best part of two years, and in the course of hundreds of lectures, recitals and mainstream orchestral concerts, Grainger introduced to Australians the novel sights and sounds of gamelan-inspired ‘tuneful percussion’ and persistently advocated elements of primitive music—microtonality, irregular rhythm, discordance and hybridity—as the source of musical progress. On 10 January 1935 Grainger broadcast from Melbourne the world premiere of Free Music No.1 for string quartet, a work entirely composed of sliding tones.
Possibly his most radical instrumental work, its full realization would come the following year when it was transcribed for theremin and Grainger began his experiments in electronic music. This paper argues that Grainger explained and defined ultra-modernism all over Australia and to vast audiences with enormous success. While they may not have been aware of it, he had predicted several of the future paths of modern music.
On a tour lasting the best part of two years, and in the course of hundreds of lectures, recitals and mainstream orchestral concerts, Grainger introduced to Australians the novel sights and sounds of gamelan-inspired ‘tuneful percussion’ and persistently advocated elements of primitive music—microtonality, irregular rhythm, discordance and hybridity—as the source of musical progress. On 10 January 1935 Grainger broadcast from Melbourne the world premiere of Free Music No.1 for string quartet, a work entirely composed of sliding tones.
Possibly his most radical instrumental work, its full realization would come the following year when it was transcribed for theremin and Grainger began his experiments in electronic music. This paper argues that Grainger explained and defined ultra-modernism all over Australia and to vast audiences with enormous success. While they may not have been aware of it, he had predicted several of the future paths of modern music.
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