The Goddess Returns
Scored for voice, string quartet and percussion (ghattam)
The Goddess Returns was the centerpiece of a large multi-media work I composed, of the same name, for an Elektra String Quartet performance project in 1999
Performed by: Antigone Foster, vocals
Elektra String Quartet - Mirka Rozmus and Romano Crivici, violins; Rudi Crivici, viola; Markus Hartstein, cello
Interview with Andrew Ford
-ABC Radio national
Romano Crivici
composer & performer
A Step at a Time Dur: -4:45"
For beginner strings, piano & perc. x 2
Commissioned by the Presbyterian Ladies College, Croydon, Sydney
Composed: 18th –19th April 2010. 2nd Edition, Rev. -2024
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ISMN: 979-0-720090-00-9
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The phone rang, and my heart leapt: surely this was it, the Berlin Philharmonic had finally heard of me, and “loved my work”!! I could see it now; a symphony or two, and then maybe a piano concerto thrown in as well …the commissions would finally start rolling in!
I excitedly picked up the receiver; “Romano, long time no talk…Michael O’Dea here!!! (I confess to a moment’s doubt creeping in at this point, -Michael wasn’t, (as far as I knew) the commissioning editor with the Berlin Phil.) …"could you write us a piece for our string ensemble?” Being a hard-headed realist, I re-set my sights; this could still be the ‘real thing’! In a flash I could hear it start to take form, -soaring string lines, bold, powerful and primitive rhythms, pulsing in strange and exotic keys…. “Yes...Yes!!!” I said, barely able to conceal my creative excitement, “but the most advanced players” he continued, “are only up to D major scale, one octave, Preliminary grade, ... well, sort-of!?”
I started to suspect this wasn’t going to be a “soaring lines, pulsing jagged rhythms, etc” sort-of commission, well, not just yet. Even though I knew that was what both Michael and Monique were aiming for, it was probably going to take a little bit longer to get there. In the meantime, we agreed it was probably best to proceed by learning to read, and count the rhythms, (half-notes, quarter notes, and hey, even some powerful quavers!!) and generally develop and strengthen the basics; and yes, maybe one day, they will play my inspirational (although as yet unwritten) vision; for now, it is “A Step at a Time”!
Journey to the Mythical Place Dur: -3:55
For string quartet or string orchestra, opt. marimba
Composed: 1/8/84
Revised: July, 2007
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ISMN: 979-0-720090-10-8
Available on Luminous @ No-Self Records, Bandcamp
Originally composed as a work for young students, I quickly found that Journey to the Mythical Place was a favorite, both with the members of the New England String Quartet, and then later, the Elektra String Quartet as well as with the audiences we played to in our metropolitan and Outback touring programs. Whilst performing it was relatively easy, it was not without its challenges (the 'simpler' the writing, the more exposed; and hence the control required (ask any string player!)) this work is equally suited to adult players of a less than professional standard.
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There are a number of arrangements of this work, some including flutes, marimbas...I also did a successful arrangement for chamber orchestra, which included two oboes, two French horns and trumpet... whatever seemed to be needed at the time.
Only a Dream Dur: -7:30
For narrator, childrens choir (sop & alto), piano, glock, xylo, and/or metalophones (optional) and percussion x 2.
Composed: 3rd - 24th August 06
2nd Edition: revised 13th -15th Jan, 2011
ISMN: 979-0-720090-25-2
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Dedicated to my students at KPPS, who having embarked on their own voyages of self-expression and discovery through, (amongst other things) music, participated so enthusiastically in mine!
Only a Dream was written very specifically with young players’ performance needs in mind. Its inception came about through what I now discern to be a simple and organic process (some would call it ‘structured stalling’!!), which goes something like:
- I find myself with an ensemble in which the instrumental parts have been either lost, are nonexistent, or the music is inappropriate to the technical abilities of the kids, (and therefore not really useful in terms of building technique, ensemble, reading skills, etc). Faced with this situation I quickly sketch some simple musical patterns, photocopy, and hand them out.
-I then take the kids, collectively and individually, through clapping and counting exercises, then ‘follow the conductor exercises/games’, ie, random slowing down, speeding up, pauses- (anything really, to make them look at and understand the need to follow the conductor) -by the end , they are all busting to have a go! (“I can, I can…let me try!!!)
-A challenge is then set when I tell them to practise for the next rehearsal, and to be ready to stand up and perform, or clap and count aloud, in front of the ensemble! (This is all done in a humorous and playful context!)
Breathing a sigh of relief, I then have the time, and some useful feedback, to compose and develop a work for the next week’s rehearsal, based on the ‘seed’ ideas/exercises we have been working with!
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Simple Dreams Dur: -5:30
Arranged for student music ensemble;
strings, flute/s, piano & tuned percussion x 3
Composed: 3rd - 24th August 06
Rev.: 30th June 2024
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ISMN: 979-0-9022757-1-2
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Simple Dream is in fact a simplified version of Only a Dream (originally titled If Pumpkins Could Sing…,!) which I arranged for the very young students I was working with at the time.
Originally scored for Narrator, children's choir (Sop. & Alto/Sop II), percussion x 4, and strings (w. opt. Vln III) I tried to have Only A Dream performed at the school I was teaching at, but the required organisation and commitment by the school wasn't there. So, in an attempt to get some use out of my original labours I re-arranged it: got rid of the choir, narrator, percussion, added a flute or two in place of the soprano line, and there you go, Bob was your uncle, (and mine!)
Pastorale (A Song of Thanks)
for strings, piano and bell -4:50
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Composed: 1st Aug – 13th Oct, 2007
Flute and rev: 4th April, 2009
Revision: September, 2018
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ISMN: 979-0-720090-07-8
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Dedicated to hills, creeks and gullies, the wombats, noisy friarbirds, … and big black cockatoos, …grass, blue skies, clouds, the rains, (soft gentle ones and those that rage and roar), lightning and thunder…and of course the sun, ….the stars at night, the incredibly still mist,… owls (hoo hoo…hoo hoo…), and the insects too, -can’t forget the snakes and spiders either, ……and then there’s the Heart -in which, as which, with which we find ourselves in such a beautiful and utterly mysterious realm. (To Annie)
As can be seen from the organisation of the string material, this work makes possible the inclusion of relatively young or early stage string students, as second violins. This part focuses on the skills of counting (dotted whole and half notes), pizzicato, long bows and open strings, as well as a scale!
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I also did an arrangement with flutes.... always there are keen flautists, looking for more than the tragedy of 'the school wind band'
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As I wrote in the forward (and I think it applies to most of what I have written for "kids"), And in the end:
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"You can stick writing music for adults and ‘serious’ audiences - one tries to be, or thinks one has to be …. clever …original? or even God forbid, deeply ‘meaningful’! In writing for young people, I found that I am forced to keep it really simple, (not surprising!) and, in writing simple tunes and using the nice resonances of open strings, it does somehow seem to resonate with the Heart …
Well, maybe I’m just a simple fellow, (but, deep down, are we not all!?) …it starts to make sense now."
A Simple Groove -2:15"
for student string ensemble,, piano & triange, w. optional flutes x 2 & trombone!
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Composed: 10th March -31st Aug. 2008
Flute and rev: 4th April, 2009
2nd Edition, revised; June 2024
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ISMN: 979-0-720090-04-7
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Originally intended as a bridging piece/study for young players to a more complex work (A Playground Groove -see below -and, come to think of it, to Pastorale (see above!!)) and based on similar motifs, A Simple Groove now seems to have gone in its own direction, and become a work, (albeit short) in its own right.
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This arrangement, of course, has the option of including flutes... and of all things, trombone -or not!
Dedicated: to the young ones ...
A Question of Taste ... Hmm? -4:50
for strings, flutes x 2 (opt.), piano & bell
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Composed: 1st Aug – 13th Oct, 2007
Flute and rev: 4th April, 2009
2nd Edition: 2024
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ISMN: 979-0-720090-01-6
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As can be seen from the organisation of the string material, this work makes possible the inclusion of relatively young or early stage string students, as second violins. This part focuses on the skills of counting (dotted whole and half notes), pizzicato, long bows and open strings, as well as a scale!
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I also did an arrangement with flutes.... always there are keen flautists, looking for more than the tragedy of 'the school wind band'
And Then It shone (It always does!)
String orchestra, piano, bell and drum, opt flutes -5:05
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Initial sketch: 12th May
Dev. and complete; 1st - 7th August, 08
2nd Edition: 2024
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ISMN: 979-0-720090-02-3
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Performance Notes:
Just teach them to count rhythms and bars rests, to read and understand the notes, don’t take short cuts, and do what you know is right, patiently, and with love; -look for things to praise, yet, stay present to and with their mistakes, help them explore and find ways of solving problems themselves…., but always, be there, present, in love……life is too short to do otherwise.
Fascinating background details
Questions of originality, or even plagiarism, did but lightly pass through my mind, -after all, this piece was meant to be a ‘quicky’ for my kids at Kensington, (original sketch written Monday morning, with parts produced in the evening for the next mornings rehearsal) as I was getting worried that the previous piece was a bit too hard, and/or that some of them were getting bored.
Given that I don’t listen to much music these days, (particularly not classical, -if anything, ECM label on the rare occasions that I do) various ideas seem to sound familiar. (Well, truly, everything I write these days does). The chorale may well be a composite, (or is it simply an archetype) of Brahms’ “St Anthony’s Chorale”, and/or “Now thank we all our God”; and the smooth 1st Violin figure at Fig. 3 does sound similar to his 2nd Symphony. Well, be that as it may, I suppose it can serve as an introduction to the ideas, shapes and archetypal forms of the great Masters for kids. (In that sense it has to be better than some of the shit ‘arrangements’ and banal simplifications that are put forward by various hacks as ‘educational’, in a an increasingly ‘dumbed’ down system that has lost any sense of ….but I do digress a little, …and possibly a little too cynical?.., but be that as it may.
This work also marks the end of my time at K; as a creative, transformative presence, it became clear to me that there was no understanding of, nor room for such a process in that system, at that time… another reminder that all things and situations come to an end, or rather simply dissolve in the never ceasing process/state of change. No more such compositions. (17/3/09)
In Times of Change ~ 8:45 sec.
String orchestra, piano & percussion x 2.
Commissioned by Sydney Youth Orchestras
Composed: 1st Aug – 13th Oct. 2007
​Revised: Nov. 09 -Jan 2010
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2nd Edition: 2024
ISCM: 979-0-90257-7-4
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A Rhythmic Offering... Yeah!
String orchestra, with optional piano ~ 7:00"
Commissioned by Sydney Youth Orchestras
Composed: 15th Aug – 30th Oct. 2007
​Revised: 2010 & 2024
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2nd Edition: 2024
ISCM: 979-0-9022757-5-0
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In the rapidly developing and evolving technological/digital/consumer cultural life worlds that we all, (but particularly the younger generations) find ourselves in, some requirements for music making don’t really change; that is, … counting, rhythms, bowing patterns, physicality, mathematics, communicative skills etc, which hopefully merge, one happy day, as ‘consciousness’ in, and as, 'the well-tempered string player!’”.
To help young kids to do so, however, (particularly the counting bit, let alone looking at the conductor) is another matter altogether! What greater challenge to humanity, and service to despairing string teachers and youth orchestra conductors, than to devise means by which to ‘encourage’ them to do so. With that in mind, here then is an offering which, in its recourse to basic principles, (and in a language of an almost contemporary cultural hip-ness!) can serve in some small way, to learning to participate consciously in that great mystery of collective social meaning and action; -that is, music making, during a period of rapid cultural change; -or simply put, In Times of Change!
Rhythms, bowing patterns, physicality, counting and mathematics, all these skills ultimately merge, one happy day, in and as, the ‘well-tempered string player’. To get young kids to do so (particularly the counting bit) however, is another matter altogether! What greater challenge to humanity, and service to despairing string teachers and youth orchestra conductors, than to devise a means of ‘encouraging’ them to do so. This I have endeavoured to do by composing a number of works which require the development of these faculties, and simultaneously make it a culturally hip thing to do! With that in mind, here then is a Rhythmic offering... Yeah!
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PS: I have written a very good version for String Sextet... a bit more challenging than this version.
Intro, Allegro & Fade ~ 10:45"
String Orchestra (with obligato solo violin)
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Commissioned by Sydney Youth Orchestras
Composed: 1st Aug – 27th Oct. 2007
​Revised: 2010 & 2024
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2nd Edition: 2024
ISCM: 979-0-90257-8-1
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In writing for this ensemble, (SYO Senior String Ensemble) comprised of ostensibly more advanced, technically developed young people (early teens) I was less constrained to write music ‘for kids’, yet, in some senses, the reality was not quite as free as I thought. Yet after a term of intensive work and focus by Michael Thrift and all of the players, they did a remarkably good job in the end. Some of the techniques we wanted to cover were sautille/spiccato, long singing lines, learning to listen to each other … and the opportunity to work with a (once) living composer.
As with the other groups, my first few sessions consisted of getting to know them all; however, rather than simply go and ‘meet’ and listen, I sketched a few ideas on the train as I travelled in, and then taught them by ear…simple rhythmic patterns, (my ubiquitous col-leg clicks) pauses, a phrase with open string harmonics, and a drone: these elements I conducted (no verbal cues: I straightaway lay ground rules –learn to watch) ‘improvising’ as it were, a piece of music. (They started to get excited, and came up with further ideas and suggestions as well)
Song Without Words ~ 7:30"
String Quartet (or string ensemble senza D. bass)
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Composed: Circa 1995​
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2nd Edition: 2024
ISCM: 979-0-9022757-9-8
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To purchase scores and parts;
Available on Luminous
As I wrote in 1995: "This work began as a simple violin duo, quickly scribbled down for two enthusiastic students in 1993 during a violin lesson in Coffs Harbour. It was then expanded into a violin quintet so as to include some of their friends from the youth orchestra. I then developed it further for an Elektra String Quartet concert."
As a composer and performer, I am always looking at ways of balancing individual and group creativity with written form and structure. Towards this end, Song Without Words contains two sections which allow the performers scope and freedom to improvise and further develop some of the ideas contained within this work. How this is done will, I am sure, vary from group to group, and even from performance to performance. If, however, not so inclined, the sections can be simply played 'as is', that is, without improvisation.
Across the Sky ~ 7:30"
For double string orchestras (beginners & advanced), and tympani
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Commissioned for Presbyterian Ladies College, Sydney, by Michael and Monique O'dea.
Composed: 3rd – 24th August, 2006
​Rev/rearranged: June -22nd August 2024
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2nd Edition: 2024
ISCM: 979-0-9022757-2-9
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Dedication: I wish you all (music teachers and conductors) the success in developing, and transforming not only 'Culture', but the young lives in your charge -in whatever context you find yourself in. (Oh, if only the parents knew how we labour!)
"Hi Romano... Michael (O'Dea) here! We need a work for the end of year extravaganza to showcase the string program, BUT! which also includes the beginners as well as the senior kids; can you write something for us?"
And so, the challenge was set, and the die cast... was this to be not only a noble pedagogical task, but a culture-saving project as well; to help slow, if not arrest the decline and decay of Western Musical Culture? or, was it simply (as I feared) an exercise in futility? ... well, the jury is still out on that one!
After the parameters were set, I proceeded with the composition of what was then called As Night Follows Day, which, as is my wont, I developed into a much larger work, and then further still, into my Symphony No 1.
The actual brief, however, was for a piece of roughly seven minutes duration; too big I now realise for the original commission, so here, as originally intended, is an appropriately cut-down version now titled Across the Sky. I leave to another time/life the task of revising and publishing the full version, as originally intended, for double string orchestra.
A Playground Groove Dur. ~10.30"
Double strings (beginner + advanced), glock., xylo., vibes, marimba (two players) and percussion x2
Commissioned: Newington College, Sydney.
Composed: 17th June - 17th July, 2005
2nd Edition: Revised Sept. - Oct. 2024
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ISCM: 979-0-720090-23-8
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To purchase scores and parts;
A Playground Groove was written very specifically with the young musician’s performance needs in mind. As can be seen from the organisation of the string material, this work makes possible the participation of relatively young, and/or early stage string students, with parts that focus on the development of counting and reading skills, through plucking, tapping strings with the bow, and a lot of open string material, as well as very simple left-hand finger work.
By incorporating these ideas in an advanced, and hopefully more musically satisfying context, as provided by the material composed for the older and more experienced players, our intent was to provide younger players with a meaningful, and exciting experience of what it is like to play ‘real’ music; and, given that there is percussion as well ... well, how more cool could it get!
On the Edge Dur. ~7.45"
Strings (beginners + advanced), Perc x 5 (glock., xylo., vibes, marimba (two players) & piano (preferably electric; light, singing, bell-like sound, -chorused)
Composed: 21st Oct. - 7th Nov. 2010
2nd Edition: Revised Sept. - Oct. 2024
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ISCM: 979-0-9022757-4-3
​​To purchase scores and parts;
Dedication: To all my students, and to the inner-groove that we all share...
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(Yes, to the young ones, and learning how to groove together... and in so doing, coming to understand and experience something of the “I” that is “We”. (Thanks be to Richard Moss))
On the Edge -for Piano Quintet Dur. ~10.00"
2 Violins, cello, D. bass/Tri & piano/accoustic or electric)
Revised and arranged for Quintet: 10th - 13th March, 2022
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ISCM: 979-0-720090-94-8
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Same process, different school and age brackets, and similar problems; a group of high-school students of varied abilities, (beginners through to experienced) and the difficulty of finding repertoire that can include them all, as well as ‘speaks’ to them in a language they can all understand. So, a quick late-night sketch of some simple rhythmical ideas and developed a few days later.
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In the meantime, I was warmed to see them simply ‘get into it’, and experienced something of the joy and satisfaction in performing, ... and in grooving together.
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Which they seem to be doing with the rough-sketch parts I gave them two weeks ago; -when I had to leave the rehearsal early last week, they stayed behind and worked on it amongst themselves! What was particularly encouraging (and surprising) was that a couple of the younger kids, (‘borderline’ cases who themselves were ‘on the edge’ in terms of staying in the group and/or even continuing with the instrument) decided to stay and continue rehearsing, with the older kids teaching them the tricky 2nd violin pizzicato syncopations.
And so it came to pass that Elsen Price, a happening and driven young bass player (brilliant) asked me if I had any pieces for a concert he was organising for his improvising string group, Inlay Ensemble, with which I had played of late.
As the raisson d'etre of the group was improvising, this version gives those students so inclined the opportunity to explore that dimension of music making.
Given the original version featured a lot of percussion, as a gesture, I included a bell, to be played by Elsen (these lazy bass players who don't have enough notes!) and bingo; On the Edge, for piano quintet and bell!
On The Move -Version I Dur. ~1.10"
For solo piano (Simple!)
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Original version: Circa 1993
Revised and developed, 2018
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ISCM: 979-0-9022898-4-9 1st Edition.
​​To purchase scores and parts;
A short and simple work I wrote (I think) for a young student in the dim mists of time, (1993) with the intent of developing left hand technique (Alberti bass), as well as some simple syncopation and finger exercises (but cleverly concealed!!)
On The Move -Version II Dur. ~1.55"
For solo piano (not so simple!)
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Revised and developed, 2018
1st Edition: June 2025
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ISCM: 979-0-9022898-0-1 1st Edition.
​​To purchase scores and parts;
Synth recording
As I was archiving various of my works, I found an early, very simple piece I wrote, I think, for a piano student of mine back in the day. (see previous above) Transcribing it for publication in 2019, I 'heard' simple developments -and it grew. Hence it is a bit longer, and a bit harder than the original. 8th June, 2025
A Moment's Peace Dur. ~4.30"
Violin & piano
Composed: 21st - 24th June 2006
2nd Edition: 2024
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ISCM: 979-0-9022898-2-5
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Not much to say this time; all pretty self-evident, I would think. The only background to this work is that it was written as a ‘quickie’ for a couple of young students of mine, who I suspect deliberately (and regularly) 'forgot' to bring their music to lessons. But it was never quite learnt or performed; the writing ended up being a bit too difficult for them at the time.
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The impetus for revising and publishing it, however came from my work with my young student, Joon Hee (Miss Julia) Lim, who, a number of years later, appears on this recording!
A Moment's Peace Dur. ~4.30"
Cello & piano
Arranged for cello: 15th Oct. 2018
2nd Edition: 2025
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ISCM: 979-0-9022898-1-8
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As above. One can see/hear a performance of this work as recorded for the film The Last Violin by my dear friend Margaret Iddison, or look it up on No-Self Records (Bandcamp) where it is included in an album of the complete soundtrack from The Last Violin.
Bongo Songo for 7 percussionists. Dur. ~3.50"
Marimba (x 2 players), bass marimba, xylo x 2, drum & bell/tri.
First sketch: 12th Feb 2008 (Kin Kin)
Revised and completed: 2011
2nd Edition: revised -2024
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ISCM: 979-0-720090-27-6
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Birth of the Bongo Bangers Dur. -1:30
marimba x 2, xylophone, side drum (or ten.) & bell/tri.
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First draft: 5th Feb. 2008
Revised: 14th June 2025
1st Edition: 2025
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ISCM: 979-0-9022898-3-2
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Over the years of visiting my long long-time friend Linsey Pollak, we created various ‘ritual’ events that we engaged in as part of our process of catching up and sharing. One of the favourites was going to the local Kin Kin Community Arts Hall, and listening to rehearsals with, (and sometimes playing in) his band “KKarimba” (massed hu-marimbas and Thongo-phones). An amazing group experience; -connection, commitment, and energies which, in subtle ways, flow back out into the broader community and…who knows…it just flows!
To Linsey Pollak, - who just makes it happen; whatever it is, as he goes about his always creative life, and shares, spreads, and nurtures the living experience of ….simple (simple?!!) social music-making with whoever it is that wants to explore, or nurture that subtle…urge, or inkling, in whatever form, to play music themselves.
Birth of the Bongo Bangers came about, as did the more advanced work for Percussion Ensemble (Bongo Songo) after visiting my old friend Linsey Pollak in Kin Kin, Queensland. There I had participated in a community percussion group he had created called K'Karimba (including Thongophones, simple marimbas, drums, etc) and, witnessing the energy and excitement generated when the native drums started their ancient primal grooves, I was inspired to write a few pieces myself!!
Having said that, the Bongo Bangers doesn't have many manifestly ancient primal grooves in it, but hey, ya gotta start somewhere!!
In Time -Almost (an almost March!) 3.20
For beginner wind band, percussion and piano.
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Composed: 19th -31st May, 2006
2nd Edition: 5th Jan, 2025
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ISCM: 979-0-720090-26-9
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Please excuse the crappy Synthetic recording; awful as it is, it will give you some idea!
“Romano, could you take the wind band for this term … we've got some other gigs on…….” And so was set the stage for my triumphant and musically exhilarating journey into the world of the ‘School Wind Band’ system. However, the music I was expected to work from was in a state of indecipherable incoherence and confusion, some of the older kids had gone, and they had been playing the same material for ages….the simplest solution was to write something for them, after assessing where they were at.
And so it was that In Time, Almost (an almost march!), came to be; if nothing else, an opportunity for some of the kids to learn to read and play the first five notes of C major scale.....and seriously, that was pushing it....