Barton - Kalkadungu CD Booklet · over to appoint the young didjeridu master as The ... with a...

william barton

kalkadungumusic for didjeridu and orchestra

Barton - Kalkadungu CD Booklet 2/03/12 2:24 PM

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WILLIAM BARTON b. 1981 and MATTHEW HINDSON b. 1968Kalkadungu [23’57]

1 Warrior Spirit I 4’452 Songman Entrance 3’133 Bleached Bones 4’244 Warrior Spirit II 4’425 Spirit of Kalkadunga 6’54

Sydney Symphony Orchestra, Richard Gill conductorLIVE RECORDING

WILLIAM BARTON6 Didjeridu Solo No. 1 4’54

PETER SCULTHORPE b. 19297 Earth Cry 11’06

The Queensland Orchestra, Michael Christie conductor

WILLIAM BARTON and DELMAE BARTON b. 19438 Voice and Didjeridu Improvisation No. 1 4’00

Delmae Barton vocals

WILLIAM BARTON9 I Dream of Sacred…I Am My Dream 16’55

Southern Cross Soloists (Margaret Schindler soprano, Tania Frazer oboe, Paul Dean clarinet, Leesa Dean bassoon, Peter Luff horn, Kevin Power piano)


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WILLIAM BARTON0 Didjeridu Solo No. 2 2’22

PETER SCULTHORPERequiem (excerpt) 6’44

! VIII. CommunionAdelaide Chamber Singers, Adelaide Symphony Orchestra, Arvo Volmer conductor

WILLIAM BARTON and DELMAE BARTON@ Voice and Didjeridu Improvisation No. 2 5’26

Delmae Barton vocals

WILLIAM BARTON£ Didjeridu Solo No. 3 2’03

Total Playing Time 78’32

William Barton didjeridu


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It’s late August 2002 and in the Concert Hall of the Queensland P erforming Arts Centre, TheQueensland Orchestra is rehearsing for its upcoming Maestro Series concert. In a musical journe y fromthe airy heavens to the solid earth, the program features Rautavaara’s Angels and Visitations in the firsthalf, and ends with the Second Symphony of Sibelius.

Alongside the two Finnish works are Earth Cry and Mangrove, arguably the two greatest orchestralmasterpieces by Australia’s most famous composer, Peter Sculthorpe.

The daring programming for a main-series concert is intended to underline the ne wly-formedorchestra’s 21st-century Asia-Pacific focus, and to this end, the young didjeridu virtuoso William Barton,a Kalkadunga man from Mt Isa, has been engaged to book end the event with his distinctive soloimprovisations – an unmistakably Australian sound framing the historically European art-form.

Sculthorpe has become aware of the significance of the occasion, coming af ter a forced mergerbetween the Queensland Symphony and Philharmonic Orchestras the previous year, and he has arrived in Brisbane as a kind of éminence grise whose very presence is intended to raise morale and lend support to what initially has been a troubled musical mar riage between two financially defunct orchestras.

In the foyer outside the Cloak Room, an orchestral staff member introduces 21-year-old William Bartonto the legendary composer and in doing so describes him as ‘a great didjeridu virt uoso’.

‘Well,’ replies the septuagenarian Sculthorpe dubiously, ‘we’ll see.’

OIndeed he saw. And heard.

From the time of his professional debut – aged 15 – onwards, anyone who witnessed William Bartonplaying didjeridu could recognise instantly that his was a once-in-a-generation talent. Here was adidjeridu player raised in the strictest of Indigenous tradition amongst the Kalkadunga people, but witha musical sensibility equally honed on AC/DC, Led Zeppelin and speed metal.


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Within moments of Sculthorpe’s first hearing him play, Barton was promoted from solo prologue andepilogue artist to an integral part of the concert’s orchestral fabric, as the composer, in real time on therehearsal floor, reconceived Earth Cry to incorporate didjeridu at the very centre of the already well-known work.

For his part, Barton couldn’t read the score, so instead he recorded the rehearsals on his Walkman inorder to memorise the music, scoured the program notes to underst and the composer’s intention,drew himself a mud map of the piece, and then visualised the musical landscape as if it w ere a journeythrough the familiar topography of his much-loved tribal country around Mt Isa.

And when he began to play, it was as if the implied musical heartbeat of this most ob viously‘Australian’ of compositions had been revealed, Barton’s didjeridu sitting perfectly within the centre ofthe orchestral argument, not as some trivial ornament ation but as a powerful, deeply symbolic motor-rhythm, and with virtually no rearrangement of the existing score required.

No-one involved in the rehearsals was in any doubt that something extraordinary was happening andthat Australian musical history was being made.

At the concert itself, the audience was much larger than might usually be expected for a programbased around contemporary music, with many having been lured by reports of the improbable,previously unadvertised collaboration between the doyen of Australian composers and the impossiblyvirtuosic Indigenous soloist.

But their expectations seemed to have been thwarted on concert night when the orchestra’s youngChief Conductor Michael Christie took to the stage to begin Earth Cry. Alongside him there was nosoloist to be seen. Murmurs of disappointment w ere heard in the hall.

Then, from outside at the very back of the auditorium, there emerged a dist ant rumble which mighthave been air-conditioning or a machine, until the first flourish of harmonics and o vertones clearlyidentified it as the sound of the Australian earth, the ochre-coloured, hit-in-the-guts sound of intense aircirculating through hollow timber. The doors flung open and the behemoth figure of William Bartonemerged, walking through the audience while performing a solo as a traditional cleansing rit ual.


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And when, after circulating through all the main aisles within centimetres of audience members,Barton finally marked his arrival onstage with the sound of a high harmonic, Christie ga ve the downbeatand the orchestra launched into the world premiere of Earth Cry with didjeridu.

When it was over, the usual formalities of acknowledging a great performance were observed, butamidst the obligatory cheering and stomping of feet there was also something else – something moreakin to a stunned silence, as if mere applause was not enough.

The scheduled interval followed immediately upon the conclusion of Earth Cry, but the majority of theaudience remained in their seats, as if unable to mo ve, refusing to believe it was over and hoping formore. It was too intense an experience to attempt a repeat of the actual work, so backstage, conductorChristie hastily arranged for Barton and Sculthorpe to return to the stage with him for a brief interview.Questions were taken from the audience, and at the end it w as announced that the orchestradesperately wanted to take Barton with it when it performed a similar Sculthorpe-themed concertprogram at the Asian Orchestras Week in Tokyo the next month, but that the financially-troubledorganisation didn’t have the funds to do so.

There and then, donations emerged from the audience, to suc h an extent that not only could Bartonand Sculthorpe travel to Tokyo for the international debut of their partnership, but there w as enough leftover to appoint the young didjeridu master as The Queensland Orchestra’s Musician-in-Residence forthe next three years – the first Indigenous musician ever to achieve such an appointment with a majorAustralian symphony orchestra.

Looking back from a decade on, William Barton himself recalls the overwhelming experience of thatinitial collaboration with Sculthorpe and The Queensland Orchestra as a career highlight, ‘an adrenalinshot that came from the sun and back. It was something to cherish for the rest of my life.’

OAt the time of that initial collaboration bet ween Barton and Sculthorpe, the merging of didjeridu withWestern instruments wasn’t a new phenomenon by any means. George Dreyfus’s Sextet for didjeriduand wind instruments had achieved popularity in the 1970s, Colin Bright had written didjeridu-inspired


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‘classical’ music, and of course the traditional instr ument had featured prominently in anthemicAustralian rock songs like Goanna’s Solid Rock and Yothu Yindi’s Treaty.

What distinguished this new collaboration, however, was not just the intensity and the obvious creativechemistry between the young musician and Australia’s greatest composer, but the sheer scale of themusical ambition. As William himself has said, ‘When I entered the classical music w orld, I knew thatthere had been other classical didjeridu players in the past, but both as a human being and as amusician I wanted to do much more than simply play a one-off concert with classical musicians or justput a didjeridu with a European classical orchestra as an experiment. I wanted to demonstrate thatdidjeridu playing can be just as technically proficient as any orchestral instrument, and most of all Iwanted to achieve the kind of sustainability that comes with any successful business venture. It’s therepeat performances that really count.’

William Barton wanted to make the didjeridu a natural and regular part of Australian classical concerts,and it was an ambition forged long before Earth Cry with didjeridu became such a staple of TQOconcerts that musicians joked that the orchestral parts should be pinned into their music f oldersalongside the National Anthem as something to have permanently on standby for routine sight-readingat major events.

Growing up in Mt Isa, with a f ather who played rhythm-and-blues guitar, a vocalist-mother who wasinspired by the singing of Mario Lanza, and with uncles who w ere acknowledged as masters of thedidjeridu among the Waanyi, Lardil and Kalkadunga nations, William’s love of music was neverconstricted by genre. His was one of the first Indigenous families to become regulars at the local f olkmusic club, and on long road trips bet ween Mt Isa and Normanton his mother Delmae w ould practisevocal control by singing long-held notes, timing her breaths bet ween the thinly-spread guide-posts onthe outback roads.

For his part, William was immersed from infancy in the sound of the didjeridu. ‘It w as always there inthe background, but the times that I remember most are when I w as listening to my uncles play. Iimagined how magical it would be to become the best I could be, because when it’ s played properly,particularly by the elders, it’s a language of the land and the landscape, and that resonates within thepeople listening. And when you combine it with the traditional dances, it’s another world again. I just


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remember the magic of it, the pure ra wness and how the rhythm spoke to me as an individual andthat’s why I wanted to learn and to make it the most important part of my everyday existence.’

Throughout childhood he practised the instrument for eight hours a day, sometimes immersing thesound hole in a bucket of water to build lung capacity and keeping it there until his diaphragm hurt. Atage 11 he was good enough to be admitted as a performer in traditional ceremonies where so much ofthe narrative of the culture is transmitted through the instrument. And it was this ‘story-telling’ capacityof the instrument that intrigued him. ‘I really loved the journey that the instrument could take you onand the way it could convey those stories not only to Australia but also to the world. When I played it, itwas like I was transported into another realm.’

Meanwhile, his love of Western music continued. His favourite cassette was AC/DC’s If You WantBlood, which he would listen to on the car stereo in the front y ard of his parents’ house. When it cametime to change to the other side of the t ape, the radio would come on, and often it would end up onABC Classic FM where he would then listen to classical music and imagine what it w ould be like if,one day, he could find an opportunity to play along to that sort of music with his didjeridu. ‘Ev en backthen,’ he says, ‘it was on my mind.’

With his sights set on becoming a musician with the widest possible horiz ons, he began to practisethe electric guitar as much as the didjeridu, using a Yamaha four-track recorder to play back AC/DC andLed Zeppelin classics at variable speeds to change keys and challenge his technical skills as he playedalong. ‘It all comes back to that classical world where so much of the music is fast and fancy,’ he says.‘Those Bach licks are like heavy metal rock’n’roll. It’s where those scales originated from. I w anted tobe a speed picker, to be able to play really fast.’

By 15, he was a professional musician, playing gigs around Mt Isa, including at the commissioning ofthe BHP Cannington silver and lead mine 200 kilometres south-east of the cit y, in 1997.

Down in Brisbane, meanwhile, young Australian conductor Benjamin Vary was working with theUniversity of Queensland-based composer Philip Bračanin on preparations f or a 1998 performance ofBračanin’s concerto Dance Gundah, which was intended for a didjeridu soloist with symphony orchestra.

Conductor Vary asked his father, an engineer at the Cannington mine site, if he kne w of any didjeriduplayers up that way who might be interested in giving the premiere. Mine site manager Mic k Rochewas enlisted for advice and he immediately recommended the 17-year-old William Barton.


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Unbeknownst to them at the time, those t wo non-musicians – an engineer and a mine site manager inoutback Queensland – had just changed the course of Australian music, caused Australia’s greatestcomposer to rethink his entire orchestral output, and sent a young man from Mt Isa on a journe y to theworld’s greatest orchestras and concert stages.

OThe works on this CD reflect the explosion that occurred in William Barton’s career following themainstage success of Earth Cry in 2002, where he was in demand not just as a perf ormer but also asa composer himself. As Sculthorpe began recasting his own orchestral music to include didjeridu, sotoo he became not just a personal friend but also a musical mentor to the 21 -year-old Barton, teachinghim the rudiments of Western musical notation and correcting William’s original scores that increasinglycame to be commissioned by major musical ensembles both in Australia and internationally. Thedidjeridu player’s first works for string quartet, such as Bird Song at Dusk (premiered at the PompidouCentre in Paris), were overseen during their composition by Sculthorpe. Meanwhile, as invitations toperform with most of the Australian orchestras, plus the London Philharmonic and other leadinginternational groups, flooded his way, other Australian composers including Ross Edwards, Liza Limand Paul Grabowsky began to collaborate with Barton on new music.

One of the most significant of these collaborations occur red in 2008 when Barton found anothermusical kindred spirit within the classical world in the form of composer Matthew Hindson. Like Bartonhimself, Sydney-based Hindson has a great love of, and is influenced by, heavy metal music. In workslike Homage to Metallica, Boom-Box and Headbanger, Hindson took the hard-driving gestures of rockand transformed them into dynamic orchestral music.

A commission from the Sydney Symphony, with support from Maggie Gray and Roger Allen, allowedthe two composers to work together on Kalkadungu, a large-scale orchestral work whose scintillatingpremiere performance at the Concert Hall of the S ydney Opera House in April 2008, captured here inthe opening tracks, lends its title to the album as a whole. But in f act the work’s origins go back muchearlier, to when William was just 15 years of age. At that time he wrote a song in his traditionalKalkadoon language, detailing the passing of the culture from one generation to the next. In it, aKalkadoon man and woman teach their child to listen to traditional stories and to dance around thecampfire at night. ‘Composers often have a signature tune and that’s mine,’ says William. ‘I’ve


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performed that piece with so many different musicians around the world.’ In fact it’s now been playedby ensembles in Asia and the Americas and even by a Nubian band in Africa.

So when he and Hindson set out to co-compose an orc hestral work designed to explore the transitionof traditional songlines between the past, present and future, the song was conscripted to become themain musical theme of the work. Programmatically, though, the work centres on an infamous historicalevent which involved William’s direct ancestors in 1884.

During the 1860s, the initial encounters between the Kalkadoon people and the European set tlers werein part conciliatory. One or two of the colonists tried to learn the local language, and when copper was discovered in the area, the Indigenous people w ere employed in the mines. But after theestablishment of Burketown and increasing European incursions southward onto Kalkadoon land, afierce guerrilla war began to rage. It lasted more than a decade and in September 1 884, afterincreasing violence had heightened tensions and a pastoralist and fiv e troopers became the latestcasualties of the skirmishes, a massed force of police and European settlers, led by Police InspectorFrederick Urquhart, attacked.

The Kalkadoon warriors took up a strategic position on a v antage point now known as Battle Hill, wherethey sheltered from the bullets behind large boulders and hurled spears and stones to repel the initialattacks, seriously injuring Urquhart in the process. But then the European f orces divided their points ofattack, flushing the Kalkadoon warriors from their position and gunning them do wn as they emergedfrom their shelter. In all, 200 or more died, and popular folklore has it that their bleached bonescontinued to lie exposed on the site for 50 years thereafter.

‘My people were great warriors,’ says William, ‘so Matthew and I set out to create in-depth colours oforchestral music to portray the bloodshed.’ The intention was for the bulk of the first half to be writ tenby Hindson, based around William’s Kalkadoon language-song, and then the second half to becompleted by Barton himself.

The first of the work’s five sections is highly-charged, explosive even, and is appropriately entitled‘Warrior Spirit I’. It’s like an orchestral facing-off in battle, the sections of the orchestra lining up oneagainst the other with violent gestures of defiance. But at the sound of the police whistles, William’ssong enters (‘Songman Entrance’), sung by the composer himself, a moment of stillness andremembrance as if the spirit of the ancestors is calling do wn to the madness of the present. It then


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transforms into an electric guitar solo (again, performed by Barton) that reworks the theme, reinforcingthe direct link between the ancient past and the immediate present.

The desolate landscape of ‘Bleached Bones’ forms the centrepiece of the work, with the viola and coranglais representing the survivors wailing for the loss not just of their people but of their entire cult ure,a loss symbolically echoed down into contemporary times by a reprise of the electric guit ar solo.‘Warrior Spirit II’ then offers a flashback in the full orchestra to the dignity and the courage of theancestors. Only then does the didjeridu enter, in the concluding ‘Spirit of Kalkadunga’, eventuallyaccompanied by bass drum and then the tutti orchestra in the most identifiably ‘symphonic’ passage of the work, as the two opposing cultures are brought into alignment within a contemporar y Australian context.

As the composers wrote in their program note, ‘T he conclusion to Kalkadungu is not especially triumphantor grand – this would not be appropriate given the programmatic content of the work with its historical andcontemporary cultures – but nonetheless paves the way for something of an optimistic outcome.’

OThe album is centred on extended collaborations between didjeridu and classical music ensembles, butthe ‘European’ works are interspersed with improvisations created in the studio by William, eithersolo or in partnership with his mother Delmae B arton.

The mother–son duo has performed constantly together over the years, Delmae’s emotional vocals –part-classical, part-primal wailing – acting like a conscience emanating from a dist ant past. William hassaid that whenever he hears his mother improvising vocally over his more classical pieces, the soundbecomes ‘like a tape player in my brain and I can hear the parts where Mum comes in from thoseearlier performances.’

In fact it was from Delmae that William inherited his interest in classical music. ‘Mum used to orderrecords through the old Reader’s Digest magazines so there’d be the classical European music onthere in the background and it was like an embodiment of the household’s music. She was a self-taught mezzo-soprano and I remember in particular when her f ather became blind in a work accident,they would sit together listening to Mario Lanza, and I also remember our house jam sessions wherewe would have singalongs.’


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Delmae herself wrote the texts accompanying these studio-improvisations, jotting them down as her sonrecorded his solos and then entering the studio to record them immediately – spont aneous thoughtsdrawing inspiration from the immutable past, and preserved on sound recording into the future.

They are a good representation of the kinds of duo-performances that she and her son have given allover the world in the past decade.

OWhile he has appeared on many recordings over the years, this is effectively William’s debut soloalbum. The three other classical works that are included have all achieved widespread acclaim, and have been selected from so many other worthy contenders to demonstrate the breadth of his w ork in this area.

It was essential of course to include Earth Cry, a work which not only took William onto the mainconcert stages of Australia and the world, but which also looms large within Peter Sculthorpe’s ownlegendary career. It was composed in 1986 as a kind of protest against the e xcesses of Australia in the1980s. As the composer’s original liner note put it, ‘The lack of a common cause and the self-interestof the many have drained us of much of our energy. A bogus national identity and its commercialisationhave obscured the true breadth of our culture… Perhaps we now need to attune ourselves to thiscontinent, to listen to the cr y of the earth, as the Aborigines have done for many thousands of years.’

Filled with drama, which the subsequent inclusion of the didjeridu 16 years after the original work’scomposition only accentuates, Earth Cry is epic and heroic – truly an iconic Australian orchestralmasterpiece. As Sculthorpe’s biographer Graeme Skinner describes it, Earth Cry is unusual within thecomposer’s oeuvre in that it embraces genuine menace, ‘music that seems to pass be yond ritualmourning for the land and the plight of its nativ e inhabitants, music that is genuinely angr y.’

This particular recording of it was made in 2004 and captures the excitement generated in those firstperformances conducted by Michael Christie with The Queensland Orchestra.

I Dream of Sacred…I Am My Dream, on the other hand, is William’s own composition, written for theSouthern Cross Soloists in 2008 and performed by them on more than a dozen occasions. It opensslowly and elegiacally, the piano’s bell-like figures, reminiscent of the old mission homes, speaking ofthe two cultures coming together for the first time. The soprano’s entry is wordless, as if depicting a


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merging of the two Dreamtimes of the respective cultures as the earth is born. Grounded equally b ythe piano rhythm and the pulse of the didjeridu, the v oice weaves together the two worlds of sound –symbolic of the search for common cultural ground.

The second section is a setting of a poem by Judith Wright:

Child and Wattle-tree

Round as a sun is the golden tree.Its honey dust sifts down among the lightto cover me and my hot bloodand my heart hiding like a sad birdamong its birds and shadows.

Lock your branches around me, tree;let the harsh wooden scales of bark enclose me.Take me into your life and smother me with bloomtill my feet are cool in the earthand my hair is long in the wind;till I am a golden tree spinning the sunlight.

Strong as the sun is the golden treethat gives and says nothing,that takes and knows nothing;but I am stronger than the sun; I am a c hild.The tree I am lying beneath is the tree of m y heart,and my heart moves like a dark birdamong its birds and shadows.

According to William, ‘In my eyes the tree is a giver of life and is rooted to mother earth. I dre w uponthe storyline of the poem as I felt that it was saying exactly what I wanted to convey musically.’

In the final minutes a brief piano solo giv es way to a kind of moto perpetuo in which the didjeridudrives the rhythm, the worldless soprano soars high over the ensemble, and peace and harmony


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between the opposing forces are established in rhythmic unison. ‘It’s like Kalkadungu,’ William says. ‘Isave the velocity until the end!’

Peter Sculthorpe’s Requiem was being planned around the time of the composer ’s initial encounterwith William Barton. In the heat of inspiration generated b y the new partnership, Sculthorpeimmediately recast the piece for the inclusion of didjeridu, composing the final w ork in just fourmonths between October 2003 and Australia Day 2004, ahead of its premiere by the AdelaideSymphony Orchestra in July of that latter year, with revisions following soon after. It was to becomeone of Sculthorpe’s most extended compositions. This brief excerpt, the concluding Communionmovement, is deliberately chosen for its final line, Dormitant in pace, ‘Let them sleep in peace’, a fittingsentiment in an album which is so reflective of contemporary practice in Australian classicalperformance, but so firmly rooted in the histor y and cultures of our past.

mum-ma war-run-nomur-ra wa-thun-no*

Lux aeterna luceat eis Domine, Let everlasting light shine on them, O Lord,cum sanctis tuis in aeternum with your saints for ever,quia pius es. for you are merciful.Dormitant in pace. Amen. Let them sleep in peace. Amen.

Notes by Martin Buzacott

*This Lullaby, from the Maranoa district in southern Queensland, w as transcribed by Dr H.O. Lethbridge in the 1930s. According to Indigenous speakers, the text is made up of traditional nonsense-words, sung by a mother as she rocks her baby to sleep.


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WILLIAM BARTON

William Barton is one of Australia’s leading didjeridu players and composers. Born in Mount Isa, he was taught the instrument by his uncle, an elder of the Waanyi, Lardil and Kalkadunga tribes of western Queensland.

William played his first classical concert with the Queensland S ymphony Orchestra at the age of 17. Sincethen he has collaborated with many internationally renowned composers including Australia’s PeterSculthorpe, Ross Edwards, Liza Lim, Sean O’Boyle and Philip Bračanin, and George Warren from the USA.

William tours extensively around the globe and is regularly in vited to perform at prestigious events andceremonies worldwide, including the 90th anniversary commemorations of the ANZAC landing atGallipoli and the Battle of Passchendaele in Belgium, Australia Day celebrations in Seoul, the VeniceMusic Biennale and the Australia Festival in Pittsburgh, USA. He was one of three Australian composersto write for the Australasian segment of the Opening Ceremony of the Beijing Olympics in 2008.

A composer, performer and recording artist, William’s compositions have been performed at theSydney Opera House, the Pompidou Centre in Paris, and in Munich. Kalkadungu, written incollaboration with Matthew Hindson, has been performed in Royce Hall in Los Angeles and CarnegieHall in New York City as part of G’day USA celebrations. Major dance works have included a 40-minutescore, Timeless Dancers, for the Queensland Ballet, which has toured internationally to Europe, andmost recently, Breathe for Leigh Warren and Dancers, which was premiered at the WomadelaideFestival in 2011.

William Barton has been awarded Honorary Doctorates of Music from both Griffith University,Queensland and the University of Sydney.

Through his collaborations and projects, William aims to present the virtuosic potential of hisinstrument and the richness of his heritage and Australian culture to audiences throughout the world.He hopes they will see this music not just as an illustration of some e xotic antiquity, but as a living,dynamic process, requiring considerable technique, stamina and study, equal to that of anyconventional classically trained professional musician.

He is a powerful advocate for the wider perception of his cultural traditions.

www.williambarton.com.au


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Executive Producers Martin Buzacott, Robert Patterson

Recording Producers André Shrimski 1-5, Virginia Read 6, 8-0, @, £, Stephen Snelleman 7,

Kevin Roper !

Recording Engineers Christian Huff-Johnston 1-5, Virginia Read 6, 8-0, @, £, Gary Yule 7, Wayne Baker

and Graham Milne !

Editing Virginia Read 6, 8-0, @, £, Thomas Grubb 7, Kevin Roper !

Mastering Virginia Read

Publications Editor Natalie Shea

Marketing and Catalogue Coordinator Laura Bell

Booklet Design Imagecorp Pty Ltd

Photo pp2, 3, 10, 19 and cover William Barton on Kalkadungu country © Allan Chawner

Photo p10 (inset) Portrait of William Barton on corrugated iron, by Jim Dobbin; photo by Robert Barton

Photo p16 Mia Hanson

Recorded 2 April 2008 in the Concert Hall of the S ydney Opera House 1-5, September 2003 7

and February 2009 6, 8-0, @, £ in the Australian Broadcasting Corporation’s Ferry Road Studios, Brisbane,

and November 2005 ! in the Adelaide Town Hall.

Kalkadungu by William Barton and Matthew Hindson and Earth Cry and Requiem by Peter Sculthorpe are

published by Faber Music Ltd.

‘Child and Wattle-tree’ © Judith Wright 1971, 1994, from Collected Poems, is reprinted with the permission of

HarperCollins Publishers Australia.

ABC Classics thanks Jonathan Villanueva (ABC Music), Phillip Sametz (Melbourne Symphony Orchestra),

Yvonne Frindle (Sydney Symphony), Jessica Parsons (HarperCollins Publishers Australia), Lorraine Neilson

(Symphony Services International) and the Australian Music Centre.

www.abcclassics.com

� 2012 Australian Broadcasting Corporation. � 2012 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting,lending, diffusion, public performance or broadcast of this record without the authorit y of the copyright owner is prohibited.


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