Robert Davidson composes lyrical contemporary classical music that draws from many genres. It's intricate and challenging music that communicates to a wide audience without patronising, and is focused often on telling stories, especially through sharp focus on spoken intonation. Robert's been creating speech-melody music for several decades, adapting his accompaniments to recorded speech without manipulating the source - placing speech into a musical picture frame so that it sounds like singing: voice portraits.
Now it's gone to far the other way Its spot the white person in Melbourne today . 1960s were good we had a manufacturing industry low crime a good immigration policy good gun laws
You're compositions are quite intelligent and complex in terms of rhythm, Timbre and orchestration. Coming out out of a classical background, western and North Indian I find a lot of it appealing. I'' have to listen to more.
Lyrics: The equation E is equal M C square, in which energy is put equal to mass, multiplied with the square of the velocity of light, showed that very small amount of mass may be converted into a very large amount of energy.
Hey Robert, I am thinking about studying this with my chamber group, any context of this piece or any interesting data about it? It is marvellous and I wanna know more about it. Thanks❤
Brilliant - the parts are freely available here: imslp.org/wiki/Lost_in_Light_(Davidson%2C_Robert). The opening bars came to me in a dream, and I woke up and played them just as you hear in the piece. I composed other segments largely while waiting in sound checks and rehearsals with my ensemble Topology; I remember parts being composed in different small towns on tour in New South Wales. Part of the inspiration was an all-encompassing (and unsought, completely-by-surprise) mystical experience that is very difficult to put into words without sounding extremely hippy dippy (which I guess is why it came out in music). It was a very overwhelming sense of peace and transcendent love, a kind of deep internal knowing that love is the foundation of the universe, and feeling fully accepted and loved. I told my girlfriend that I felt like I was hugged by God! The music also came from my feelings about my girlfriend. The ending brings the ecstatic opening melody back as if it's the end of life, and the partner may have died - in any case, the person is now alone, as we all must finally be, but there is also a sense of peaceful acceptance. To complicate things further, I was also reading the poem "I am not yours" by Sara Teasdale, as quoted in the video description here.
Oh, also the piece was commissioned by Plexus Ensemble, a wonderful trio based in Melbourne. They gave this premiere performance at PLEXUS: Spotlight on 24 November 2014 at the Salon, Melbourne Recital Centre. Since then they have toured it widely. More about Plexus here: www.plexuscollective.com/about.
@@topologyrobwow thank you so much for your words, I am glad to meet you. As a pianist I can tell you it is being very fun to study it cause with only 3 instruments you have created such a big sphere of sound. Keep up the good work Robert, it is such a nice goal to have people playing your works on music schools like us. Btw, I want to follow you on instagram
Bravo pour cette dénonciation! Le même génocide s’est produit en Amerique du Nord et du Sud et se produit actuellement en Palestine occupée. Magnifiques harmonies lisztiennes!!!
My Dad Lindsay Morehouse's record label. He was the sound recordist for 'Camp' for 30 years finishing in around 1992. I went to 16 camps as a staff kid and they were the best times.
Bravo Robert! This is absolutely beautiful. Transcendental! What a wonderful piece to inspire students as they explore the fresh new directions in contemporary Australian composition. Excellent performance too. The musicians really brought the magic of the score to life.
