7,768 research outputs found
Victoria League Fancy Dress Ball
No full textBruce Sutherland and Roy Edwards at the Victoria League fancy dress ball. For more information see article in the 'Northern Standard', 19 July 1927, p.5.Sutherland, Mavis Alice Esther.Date:192
Records of George Sutherland Smith And Sons
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/68233Account current pass book of Messrs Smith & Banks with The Bank of Victoria, Wahgunyah (book No.4), 1874-1877 [photocopy]; cheque book butts [presumably Smith & Banks] December 1877-December 1878 [photocopy].113270
Acquisition: [2005.0028] "Records of George Sutherland Smith And Sons
Margaret Sutherland: Quartet In G Minor (1936) - II
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - I
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - IV
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - III
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
African American Storyteller, Victoria A. Casey McDonald
No full textIn the deep resonance of storyteller Victoria A. Casey McDonald’s voice, you will hear her tell stories about growing up in Western North Carolina, and the kind of Christmas she had as a child. The late Victoria was our friend, a CSA board member, author, and “Stories of Mountain Folk” interviewer
Art Forum - Lynn, Victoria
No full text4 September 2002. -- Victoria Lynn is a distinguished curator and writer who has worked in the field of contemporary and Australian visual arts over the last two decades. She has recently been appointed Director of Creative Development at the Australian Centre for the Moving Image, an innovative exhibition venue located at Federation Square in Melbourne, due to open later this year. She is currently Chair of the Visual Arts/Crafts Board of the Australia Council. From 1991 to 2001 she was Curator of Contemporary Art at the Art Gallery of New South Wales, and the numerous exhibitions she has curated have received substantial critical acclaim. She is the author of many articles, catalogue essays and edited collections, and books on artists Marion Borgelt and Eugene Carchesio. In her lecture she will discuss both Australian and International work, the challenges at the Australian Centre for the Moving Image, and the different modes and understandings of what the moving image can and might be understood as
Roberta Sutherland : Earth Birthing
No full textIn these selected paperworks, Sutherland uses symbols of fertility and nature derived from myth and religion to convey the image of the earth as living being. Using found natural and manufactured material and combining these with different techniques on paper, she recreates organic patterns and texture. A relationship between spirituality and ecology is suggested by the earth-forms that are produced. 10 bibl. ref
Black Fashion Designers Symposium: Dr. Victoria Rovine “Fashion in Africa and Beyond”
No full textDr. Victoria Rovine, “Fashion in Africa and Beyond” at The Museum at FIT's annual fashion symposium, Black Fashion Designers, held on Monday, February 6, 2017. The one-day symposium featured talks by designers, models, journalists, and scholars on African diasporic culture and fashion.Victoria Rovine is an associate professor of art history at the University of North Carolina at Chapel Hill and author of African Fashion, Global Style: Histories, Innovations, and Ideas You Can Wear
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