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Instrumentation: Flute/Alto Flute, Clarinet, Alto Saxophone, Horn, Marimba, Vibraphone, Piano, Viola, Cello, Double Bass.

At the time of writing this piece, during the summer of 2019, I went on a day trip to Leipzig and visited the Thomas Kirche where J.S.Bach had been employed. My great grandfather, Bradshaw Major, had studied music in Leipzig in the late 1880s, had been a teacher, pianist, conductor and composer - primarily of theatre music - and was an admirer of Felix Mendellsohn Bartholdy.

It was then that I experienced a sense of personal revelation inasmuch as it became clear that my music clearly did not belong to this illustrious German tradition. My music also failed to reflect any influence from within my family. As much as I admired and continue to learn from the German tradition, most particularly from the music of J.S.Bach, it was ever apparent that my composer’s voice originated elsewhere.

And that ’elsewhere’ is lutruwita.

With the exception of my first conscious attempt at composition (’Tiagarra’, a name given to the vicinity of the Devonport Bluff), this piece became the first to carry a native Tasmanian title, this time in palawa kani, expressing my sense of home and the place I was born, nipaluna / Hobart in lutruwita / Tasmania.