A hidden treasure : Symphony No. 1 by Robert Hughes.

Abstract

This thesis examines in detail Symphony No.1 (1951 rev.1971) by Robert Hughes and the outcome is a new edition of the 1971 score. This study aims to preserve and promote our Australian music heritage and to stimulate a continued re-evaluation of Australian orchestral repertoire from the mid-20th century. How many symphonies do we know that have been written by Australian composers? Why do we not hear Australian symphonies that were composed prior to 1960? A significant example of such a composition is the Symphony No.1 of Robert Hughes (1912-2007). It is a work that can be seen as a major contribution to the Australian orchestral repertory and the history of the symphony raises issues that resonate through the history of this repertory. The work was awarded second prize in the Commonwealth Jubilee Competition of 1951 and received attention from such distinguished conductors as Sir John Barbirolli and Sir Eugene Goossens . Since Hughes’ revisions of the symphony, however, there has been little discussion or performance of the work. In his music Hughes pushed the boundaries of tonality through the use of tonal/modal ambiguities and drew inspiration from composers including Bartók, Prokofiev and Stravinsky. Like many Australian orchestral works written prior to 1960, the only score available of the Hughes symphony has been the composer’s autograph, and the original parts were copied by hand. The original score is difficult to read and there are numerous inaccuracies and discrepancies of pitch, accidentals and articulations. In order to facilitate performances of this significant major work, the score and parts have been fully edited. This edition forms the core of this thesis. Chapter One of the thesis examines the issue of neglect surrounding Australian orchestral music from the mid-twentieth century and gives an overview of the influences on Australian orchestral composition with crucial insights into our musical past. Chapter Two is a critical re-examination of the inner workings of Symphony No.1 and provides information relevant to the creation of this new edition. In Chapter Three the autograph score is presented. Chapter Four gives a detailed account of the editing process. Chapter Five presents the new edition of Symphony No.1.