Roger Woodward

Roger Woodward AC OBE (born 20 December 1942) is an Australian classical pianist, composer, conductor, teacher and human rights activist, who is widely regarded as a leading advocate of contemporary music.[1]

Roger Woodward
AC OBE
Personal details
Born (1942-12-20) 20 December 1942
Chatswood, New South Wales, Australia
Children3
Alma materSydney Conservatorium of Music
University of Sydney (Doctor of Music)
OccupationClassical pianist, composer, conductor, teacher and human rights activist
Websiterogerwoodward.com


Life and career

Early life

The youngest of four children,[2] Roger Woodward was born in Sydney where he received first piano lessons from Winifred Pope.[3] His mother[4] and second sister were amateur violinists and his father[5] and elder sister sang in the local church choir. At Chatswood Public School, he befriended Peter Kraus, an Auschwitz train survivor, whose family's story deeply impacted his emerging vision and personal development.[6] He attended the Conservatorium High School and North Sydney Boys' Technical High School from which he matriculated with a Commonwealth scholarship.

Woodward with Alexander Sverjensky in the Green Room, Sydney Town Hall, 1964.

Woodward's early studies of Bach organ works with Peter Verco (1952–54) led to his immersion in Bach's cantatas, passion music and a training in church music with Kenneth R. Long (1955–57), organist and master of the choristers at St Andrew's Cathedral, Sydney.[7] He performed for the papal organist Fernando Germani[8] and Eugene Goossens,[9] after which he entered the Sydney Conservatorium in the piano class of Alexander Sverjensky[10] (pupil of Alexander Glazunov, Sergei Rachmaninoff and Alexander Siloti) and Raymond Hanson's composition class.[11] In 1963, Woodward graduated with distinction from the Sydney Conservatorium (DSCM) and Sydney Teachers' College.[12] In the same year, he founded and developed plans for an international Sydney piano competition with the support of the NSW state government and a wide circle of musicians and enthusiasts. Woodward remained founder and artistic director as the incoming director of the Sydney Conservatorium housed the project and well-wishers, including the Cladan Institute, pledged support for an inaugural competition in 1977.[13]

Woodward and Lina Prokofieva , Warsaw, 1967 (photograph with kind permission of Jorge Luis Herrero Dante).

From 1963–65, Woodward continued his organ studies at the St. James's Church with Faunce Allman[14] while carrying out full-time duties as a choir director and secondary school teacher. During this period he mastered works by Tōru Takemitsu,[15] John Cage[16] Olivier Messiaen and his pupils: Alexander Goehr,[17] Karlheinz Stockhausen,[18][19] Iannis Xenakis,[20] Pierre Boulez and Jean Barraqué.[21][22][23][24] In 1964, he won the Commonwealth Finals of the Australian Broadcasting Corporation's Instrumental and Vocal Competition, the prize for which was to perform with the six ABC state radio orchestras and in multiple radio and television broadcasts.[25]

From 1965–69, he pursued postgraduate studies at the Chopin University of Music, with Zbigniew Drzewiecki.[26] There he befriended the Cuban pedagogue Jorge Luis Herrero Dante and began working with Cuban composers Sergio Barroso, Leo Brouwer, and Carlos Fariñas.

During visits to London (1966–68), Woodward prepared Chopin manuscripts owned by musicologist Arthur Hedley,[27] before including them in recitals at the Wigmore Hall and South Bank.[28] Contrary to some reports, Woodward did not enter the International Chopin Piano Competition. However, he regularly performed Chopin's music in Poland:[29] at the Twenty-Third International Chopin Festival, Duszniki-Zdrój (1968), at Żelazowa Wola, at the Kraków Spring Festival (1968) and on several occasions, at the Ostrowski Palace. He also performed the complete works of Chopin (from memory) at the Sydney Festival 1983–85 in support of the Solidarność Movement to raise public awareness of the importance of Poland's struggle for freedom.

Roger Woodward (middle) with his piano professor Zbigniew Drzewiecki (left) and Barbara Drzewiecka (right) at the National Philharmonic Hall, Warsaw, 1967.

In 1967, Woodward performed for Lina Prokofieva in Warsaw,[30] Intervizia Television, with the Warsaw National Philharmonic Orchestra and subsequently, throughout Poland.[31] Two years later, he toured extensively with the Wiener Trio,[32] was artist-in-residency at the Casa de las Américas,[33] and at the Paris Jeunesses Musicales (1969) where the UNESCO's jury members, Yehudi Menuhin and Jack Lang, noticed Woodward's performances of his own compositions[34] alongside works of J. S. Bach, Chopin, Scriabin and Prokofiev. In 1970, he made his debut with the Royal Philharmonic Orchestra[35] at the Royal Festival Hall, and on Menuhin's recommendation, his first four recordings for EMI.[36]

In 1971, Woodward performed his first recital at Queen Elizabeth Hall[37] with premieres of works by Richard Meale, Ross Edwards, Leo Brouwer, Takemitsu and Barraqué,[38][39] after which he was invited by Robert Slotover, Allied Artists Management, to co-found a series of new music concerts known as the London Music Digest at the Roundhouse.[40] Digest performances of Barraqué's[41] Sonate pour piano[42][43][44][45]were followed by a close working relationship with the composer at the EMI Abbey Road Studios, Paris and at the Royan Festival. During the same period Woodward collaborated with John Cage at the Roundhouse[46] for the British premiere of HPSCHD for the International Carnival of Experimental Sound and BBC Proms. Further collaborations were undertaken with Stockhausen at the Royal Festival Hall,[47][18] and with Takemitsu at the Roundhouse,[48] [49] London's Decca Studios, and at the Music Today Festival, Tokyo.[50] A partnership began with Pierre Boulez and the BBC Symphony Orchestra at the Roundhouse,[51] Cheltenham Festival,[52] and with Bernard Rands for the premiere of Mésallianz for piano and orchestra.

Middle years
From left to right: Bill Colleran, Morton Feldman and Woodward. World premiere of Piano and Orchestra directed by Hans Zender, Metz Festival, 1975.[53]

In 1972, Woodward made his USA debut with the brass players of the Los Angeles Philharmonic Orchestra in collaboration with Olivier Messian and Zubin Mehta,[54] with whom he subsequently performed in New York, Tel Aviv, and Paris.[55] The following year, Woodward worked with Stockhausen and Jerzy Romaniuk on Mantra;[56] with Anne Boyd on Angklung, with Takemitsu on the premiere of For Away, Corona ("London version"), and the recording of his complete piano music to that point in London's Decca studios. That September, he participated in the inaugural celebrations of the Sydney Opera House as soloist for an extended tour for the ABC, during which he premiered a series of commissions, including As It Leaves the Bell by Anne Boyd.

His collaboration with Iannis Xenakis (1974–96)[57] extended from France to the UK, Austria, Italy, and the United States,[20] during which Xenakis dedicated three works to him, as did Rolf Gehlhaar,[58] Takemitsu,[59] Anne Boyd,[60] and Morton Feldman.[61] Performing their works, together with a vast repertoire of other avant-garde compositions of the time, established his reputation as a leading interpreter of avant-garde works of the second half of the 20th century.[1]

In 1974, Witold Rowicki invited Woodward on an extensive tour of the USA with the Warsaw Philharmonic Orchestra,[62] during which he made his debut at Carnegie Hall.[63] That year, Woodward founded Music Rostrum Australia at the Sydney Opera House where he collaborated with Richard Meale, Luciano Berio, Cathy Berberian, David Gulpilil and Yuji Takahashi. He began performing with the Cleveland Orchestra directed by Lorin Maazel.[64] He appeared regularly at the Festival d'automne à Paris[65] BBC Promenade Concerts,[66] at Teatro La Fenice for La Biennale di Venezia,[67] the Warszawska Jesień, Festival Internacional Cervantino, Wien Modern[68] with Claudio Abbado,[30] at the New York Piano Festival,[69] Festival de la Roque d'Anthéron and at the Ferme de Meslay, Touraine, at the invitation of its artistic director, Sviatoslav Richter.[70]

1975 saw the premiere of Morton Feldman's Piano and Orchestra[71] with the Saarbrücken Rundfunkorchester at the Metz Festival (in the composer's presence) directed by Hans Zender. It was the year when Woodward heard Anne Boyd's As I Crossed a Bridge of Dreams, which made a profound impact upon him. [72] In July, he made the first complete recording in the West of Dmitri Shostakovich's 24 Preludes and Fugues, Op. 87.

From left to right: Sviatoslav Richter, Roger Woodward and Norman Lawrence, Black Forest, Germany , 1985.

In 1976, he began working with Kurt Masur in London, and in Leipzig with the Gewandhaus Orchestra. In 1977, he premiered Feldman's solo work Piano[73] (dedicated to Woodward)[74] in Baden- Baden. He commissioned Elisabeth Lutyens's Nox, Op.118,[75] and, following the Valldemosa Festival, began a collaboration with Alberto Ginastera which continued until 1979.

From 1978–88 Woodward performed the complete cycle of Beethoven's 32 piano sonatas in twelve cities.[76] In 1980, he premiered Xenakis's Mists in Edinburgh (in the composer's presence) and at the Institute of Contemporary Arts, he premiered Morton Feldman's Triadic Memories[77] (also in the presence of the composer) heralding Feldman's late period.. The following year, he received the Order of the British Empire and in 1981 performed for Queen Elizabeth II.

From 1981–88, Woodward performed the five Beethoven piano concertos on six occasions: with Elyakum Shapirra and with Georg Tintner.[78] In 1986, he began a collaboration with Cecil Taylor (1986–97). He was also the recipient of Xenakis' Keqrops,[79] which was premiered in November 1986, at the Lincoln Center, with the New York Philharmonic Orchestra under Mehta.[80] In 1987, Woodward repeated Keqrops for the BBC Proms (in the composer's presence), performed Barraqué at De Ysbreeker, and premiered Áskell Másson's Piano Concerto in Reykjavik (again in the composer's presence).[81]

In 1989, Woodward premiered Sound by Sound, which was commissioned by the Festival d'automne à Paris for the bicentennial celebrations of the French Revolution. In the same year he directed twenty-five performances of Xenakis's ballet Kraanerg at the Sydney Opera House in collaboration with Graeme Murphy and the Sydney Dance Company. He founded the Sydney Spring International Festival of New Music (1989–2001) and Alpha Centauri, a new music ensemble of twenty-three soloists, which had presented and recorded Kraanerg. In the same year he premiered Rolf Gehlhaar's Diagonal Flying in Geneva (together with the composer).[82]

Roger Woodward (left) and Georg Tintner (right) after performing with the Symphony Nova Scotia in 1990
Roger Woodward (left) and Georg Tintner after performing Brahms First Piano Concerto with the Symphony Nova Scotia in 1990. Photo courtesy of George Georgakakos.

In 1992, Woodward became a Companion of the Order of Australia. He toured Italy, France and the UK with Alpha Centauri during which he premiered Donatoni’s Sincronie with Jacopo Scalfi at the Huddersfield Festival of New Music (in the presence of the composer). The following year, president Lech Wałęsa, conferred upon him the Order of Merit of the Republic of Poland.

During the 1990s Woodward toured Estonia, Latvia and China,[83] co-founded and directed the Kötschach-Mauthner Musikfest (1992–97),[84] and in 1992, he directed an all-Xenakis program at Scala di Milano.[85] He also performed at the Hollywood Bowl, Odéon of Herodes Atticus,[86] and in traditions pioneered by Nellie Melba and Percy Grainger, he performed extensively throughout Central and Regional Australia, often in outdoor venues. The same year, he commissioned Larry Sitsky a series of piano concertos, from which the first was premiered at the 1994 Sydney Spring International Festival of New Music. This performance was selected by the UNESCO International Rostrum of Composers (1995) for citation, and was recorded in 1997. In 1996, he composed Five Songs In Memoriam Takemitsu performed by cellist Nathan Waks.

Woodward was voted a National Living Treasure by the Australian National Trust in 1997. During that year he performed Feldman’s Triadic Memories at Théâtre Marigny for the Festival d’automne à Paris. He worked with Arvo Pärt at the Sydney Spring and premiered works by Gehlhaar, Radulescu, Dillon, Boyd. He founded the Joie et Lumière chamber music festival at Le Château de Bagnols (1997–2004), [87] to celebrate the life and work of Sviatoslav Richter.

He completed the degree of Doctor of Music at the University of Sydney in 1999, although by 1998 he was already recipient of four doctorates honoris causa.[88] He was awarded Australia's Centenary Medal (2001), L' ordre des arts et des lettres, France (2004) and the Polish Medal z okazji 25. rocznicy podpisania Porozumień Sierpniowych i powstania NSZZ "Solidarność" (2005).

Woodward (right) with partner Patricia Ludgate and children Elroy and Benjamin, Cazenac 2018.

In 2000–01 he was appointed chair of music at the University of New England,[89] and in 2002, chair of the School of Music at San Francisco State University, where he is currently professor of piano. In 2003, he performed at the New York Piano Festival and at the Ignacio Cervantes International Piano Competition. From 2002–18 he toured and recorded with the Alexander String Quartet in the United States and Germany. Between 2006-23, he recorded sixteen projects for the Celestial Harmonies label for which his performances of JS Bach's The-Well-Tempered Clavier, Hans Otte's Stundenbuch, Shostakovich's 24 Preludes and Fugues Op.87, Debussy's Preludes, Prokofiev's Piano Music 1908–38 and Horatiu Radulescu's Piano Sonatas, were highly praised by major critics. Woodward's recording of J.S. Bach's Partitas BWV 826, 830 and Chromatische Fantasie und Fuge BWV 903 was awarded Preis der deutschen Schallplattenkritik (2007). In 2011 he performed a series of concerts to exceptional critical acclaim with L' orchestre national de Lille with works by Xenakis and with the cellist Rohan de Saram and JACK Quartet, at Les flâneries musicales de Reims. In the same year he was awarded Poland's Gloria Artis (gold class). In 2018, he performed at the Canberra International Festival, toured in Germany. In 2019, he became honorary Fellow of the Australian Academy of the Humanities.

From eighteen years of age Woodward taught privately in Sydney, Warsaw, London and for the Dartington International Summer School. He gave master classes in Germany, Finland, Poland, Cuba, Mexico, the UK, USA, China, New Zealand and Australia. He is a regular guest on national and international piano competition juries.

Legacy

Woodward is a pianist gifted with a powerful virtuoso technique and his performances are renowned for their precision, insight, and depth of interpretation, although sometimes reviewed as unorthodox for their modernity. He has received wide critical acclaim as a leading interpreter of avant-garde works of the second half of the 20th century.[90]

Woodward with Iannis Xenakis, Lincoln Center NYC for world Premiere of Keqrops performed with Zubin Mehta and the NY Philharmonic Orchestra, 1986.

Among others, composers Anne Boyd,[91] James Dillon, Franco Donatoni, Morton Feldman,[92][74] Rolf Gehlhaar, Elisabeth Lutyens, Áksel Másson, Qu Xia-Song, Horațiu Rădulescu, Toru Takemitsu,[93][94] and Iannis Xenakis,[95][96][97] dedicated works to him.[98] Iconic performances[99][100] and recordings with Pierre Boulez,[101] Jean Barraqué,[102][103][104] Karlheinz Stockhausen,[56] Sylvano Bussotti,[105][106] Toru Takemitsu, Leo Brouwer, Barry Conyngham, Ross Edwards, Peter Michael Hamel, Elizabeth Lutyens, and John Cage[107] are established classics.[108]

Cycles have formed a significant part of his career, including the complete Beethoven's sonatas,[109][110] and concertos, and complete keyboard works of Anne Boyd, Toru Takemitsu, Feldman, Chopin, Debussy,[111][112] [113] Scriabin,[114] [115] Prokofiev, Shostakovich[116][117][118][119] and most of the works of J.S. Bach.[120] [121][122][123]

Steeped in church music and traditional repertoire, Woodward trained throughout his early life to perform established works side by side with more recent music as part of a belief that music was the essential expression of an experimental process. His concerts reflected this belief even though such programming was considered unorthodox for the time.[124] In recital, he often programmed traditional 18th and 19th century repertoire with new, little known, or neglected works such as those he championed by experimental fin de siècle Russian, Ukrainian and early Soviet composers[125] (Alexander Scriabin, Alexander Mosolov, Nikolai Roslavets, Ivan Vyshnegradsky, Nikolai Obukhov, Aleksei Stanchinsky).[126] His performances of the complete works of Scriabin attracted exceptional critical reviews.[115]

Roger Woodward and Pierre Boulez rehearsing Bartok's First Piano Concerto with the BBC Symphony Orchestra in London in 1972.

As one of the most renowned Australian artists, Woodward has worked with the New York, Los Angeles, Beijing and Israel Philharmonic orchestras, five London orchestras, the Hallé Orchestra, London Sinfonietta, London Mozart Players, London Brass, RTE Radio, the BBC Northern Symphony Orchestra, the Royal Scottish National Orchestra, the Estonian National Orchestra, the Latvian National Symphony Orchestra, the Leipzig Gewandhaus Orchestra, Berlin Radio Orchestra, the New Zealand Symphony Orchestra, Royal Danish Orchestra, L'orchestre National de Paris, L'orchestre National de Lille, Orchestre Philharmonique de Radio France, the Mahlerjugendorchester, EEC Youth Orchestra, the Australian Youth Orchestra, and the Budapest and Prague Chamber Orchestras. He collaborated with: Charles Dutoit, Lorin Maazel, Yoel Levi, Edo de Waart, Charles Mackerras, Enrique Bátiz Campbell, Kurt Masur,[127] Nello Santi, Paavo Berglund, Moshe Atzmon, Marin Alsop, Henry Kripps, Tibor Paul, Albert Rosen, Werner Andreas Albert, Matthias Bamert, Henry Lewis, Isaiah Jackson, Dean Dixon, Georg Tintner, Hans-Hubert Schönzeler, Tan Lihua, William Southgate, Simon Romanos, Gyula Németh, David Atherton, Erich Leinsdorf, Eliahu Inbal, James Judd, Walter Susskind, Herbert Blomstedt, Georges Tzipine, Arturo Tamayo, Lukas Foss, Péter Eötvös, Lawrence Foster, Brenton Langbein, John Pritchard, Roger Norrington, Andrew Davis, Willem van Otterloo, Hiroyuki Iwaki, Colman Pearce, Alexander Gibson, Stuart Challender and Paul Terracini.

He has performed with the Arditti, Tokyo, New Zealand, Australian and Sydney String quartets, the Australia Ensemble, the Edinburgh String Quartet, JACK Quartet and the Alexander String Quartet, with whom he recorded Beethoven,[128] Chopin,[129] Shostakovich,[130] and Robert Greenberg.[131] He has collaborated with harpsichordist George Malcolm and jazz pianist Cecil Taylor in Lisbon, Paris, for the Patras Festival, and for extensive tours of the UK Contemporary Music Network from 1986–94. He has worked with musicologists Charles Rosen, Paul Griffiths, H. C. Robbins-Landon, Richard Toop, Paul M. Ellison, Nouritza Matossian and Sharon Kanach; violinists Philippe Hirschhorn, Ivry Gitlis, Ilya Grubert, Winfried Rademacher, Asmira-Woodward-Page and Wanda Wiłkomirska; violist James Creitz; cellists Rohan de Saram, Nathan Waks, and David Pereira; Synergy Percussion, Chris Dench, Adrian Jack, Elena Kats-Chernin, Alessandro Solbiati; the flautists Laura Chislett, Pierre Yves- Artaud; pianists: Yuji Takahashi, Alexander Gavrylyuk, Stephanie McCallum, Robert Curry, Michael Leslie, Noël Lee and Simon Tedeschi, James Dillon, James Morrison, David Gulpilil, Robyn Archer and Frank Zappa.

As a conductor, some of Woodward's performances include: the twenty-five performances of the Xenakis's ballet Kraanerg[132][133][134] (with the Sydney Dance Company in collaboration with Graeme Murphy), working with the Shanghai Conservatory Orchestra, the Adelaide Chamber Orchestra;[135] the Alpha Centauri Ensemble at Scala di Milano, for BBC2 Television,[136][137] the Festival d'automne à Paris,[138] the Academia Santa Cecilia, Biblioteca Salaborsa,[139] and for the Sydney Spring International Festival of New Music. His compositions have been performed in Poland, Australia, Cuba, the Netherlands, France, and at the Almeida International New Music Festival.

Principal recordings and publications
See also: List of Roger Woodward's principal first performances, recordings, and publications

Woodward's principal recordings have been issued by ABC Classics (Australia), Accord (France), Artworks (Australia), BMG, Col Legno (Munich), CPO, Decca, Deutsche Grammophon, EMI, Etcetera Records BV, Explore Records, Foghorn Classics (San Francisco), JB (Australia), Polskie Nagrania, Sipario Dischi (Milano), Unicorn (UK), Universal, Warner and RCA Red Seal (UK) for whom Woodward made the first complete recording (in the West) of Dmitry Shostakovich's Twenty-four Preludes and Fugues, Op. 87,[140] which was rereleased by Celestial Harmonies (2010).

Woodward's live concerts have been recorded for ABC Radio/TV, BBC Radio/TV, Radio NZ, RAI, Radio France, Radio/TV Cuba, Hong Kong Radio, Radio China, Radio/TV Japan, Polish Radio/TV, RTE (Dublin), multiple German radio stations including Radio Berlin; Hilversum Radio (Netherlands), and for the UNESCO Rostrum/Paris. Video recordings have been issued by Allied Artists (UK), BBC TV Productions, Chanan Productions (UK), Foghorn Classics (San Francisco), Kultur (China), Polygram (Australia), Smith Street Films (Australia) Abstract Productions and Endeavour Film Productions (Australia) and the Sydney Dance Company.

Tōru Takemitsu and Woodward in the Decca studios London, during their 1973 recording of Corona ("London version") For Away, Piano Distance and Undisturbed Rest

Three Celestial Harmonies compact disc recordings were named "Record of the Month" by MusicWeb International: Debussy Préludes Books 1 and 2 (March 2010); Roger Woodward In Concert (October 2013) and Prokofiev Works for Solo Piano 1908-1938 (April 2013),[141] which was nominated Best Classical Album at Australia's 1992 Aria awards. A recording for Etcetera BV of Scriabin's Piano Works was "Record of the Month" on Musicweb International (July 2002).The Etcetera BV release (1989) of Xenakis' Kraanerg with the Alpha Centauri Ensemble directed by Roger Woodward was selected by the music critics of The Sunday Times, UK, as one of the most outstanding releases of that year: "A stringent and sustained electro acoustical experience."

Woodward was the recipient of the Preis der Deutschen Schallplattenkritik (2007), for performances of J. S. Bach's Partitas BWV 826 and 830, and Chromatische Fantasie und Fuge BWV 903. This recording was also named one of the finest of the year by MusicWeb International (2008) and nominated Best Classical Album at Australia's 1993 Aria awards. His performances of J. S. Bach's Well-Tempered-Clavier was Editor's Choice for The Gramophone, UK (February 2010). Both were recorded by Ulrich Kraus and produced by Eckart Rahn as part of seventeen projects for Celestial Harmonies (2006–23).

In 1991, Woodward shared the Diapason d'or with fellow Australian and senior ABC recording producer Ralph Lane, for their recording of Morton Feldman's solo piano music (ABC Classics). This recording was record of the month in April 1991 (Télérama, Paris).

Ralph Lane recorded a wide range of live and studio projects with Woodward (1988–2018) some of which were named record of the month, including the aforementioned Prokofiev, Scriabin and Xenakis recordings. In 1991, he was recipient of the Ritmo Prize (Spain) for his Etcetera BV recording of Takemitsu's piano music (also produced by Lane). In January 1991, the same recording was record of the month (Télérama, Paris). In 2008, his recording of The Music of Frédéric Chopin was nominated Best Classical Album at Australia's Aria Awards.

In 2015, ABC Classics/Universal released A Concerto Collection comprising ten live concert and four studio performances of: J. S. Bach Keyboard Concerto in D minor BWV 1052, Haydn Keyboard Concerto in F major Hob XVIII, 6, Beethoven Piano Concerto No. 3 in C minor, Op.37, Beethoven Piano Concerto No. 4 in G major, Op. 58, Chopin Piano Concerto No. 1 in E minor, Op.11, Rachmaninoff Piano Concerto No. 2 in C minor Op.18, Scriabin Piano Concerto in F-sharp major, Op. 20, Scriabin Symphony No. 5, Op. 60 (Prometheus), Prokofiev Piano Concerto No. 3 in C major, Op.26, Schoenberg Piano Concerto Op. 42, Larry Sitsky Piano Concerto No. 1, Barry Conyngham Double Concerto for violin and piano, Qu Xiao-Song Huan, and Xenakis Kraanerg.

Woodward and Australian prime minister Bob Hawke at a Solidarity meeting, 1984.

He is published by Routledge Press,[142] Greenway Press, N.Y., Pendragon Press, NY,[143] Praeger[144] and E. R. P. Musikverlag, Berlin.[145] He has published two monographs for the University of Sydney, "Jean Barraqué" in Matters of the Mind (2001), "Music And Change: Some Considerations of the Sonata quasi una fantasia in C-sharp minor, Op.27, No.2," in Literature and Aesthetics (1998). In 2015, HarperCollins and Kindle published his autobiography Beyond Black And White–My Life in Music.[146]

Human Rights

From an early age Woodward was deeply impacted by the testimonies of Holocaust victims and refugees. He developed a firm belief in the need to reach out to others less fortunate and during the 1980s, dedicated himself to the Polish Solidarność Trades Union Movement which led to his being banned throughout Eastern Europe.

During this period his efforts were, unexpectedly, accompanied by misleading statements, rumors and damaging criticism in parts of Western Europe as well. With the downfall of Communism, the Republic of Poland conferred the Order of Merit upon him but the disinformation campaign intensified with frequent attempts to remove the artist’s personal and professional credibility.

Personal life

Woodward has three children: Asmira Woodward-Page, a concert violinist, Benjamin Woodward, director of Academy Tennis and Elroy Palmer MBE[30]

Principal awards and honours

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  • Stewart, Michael (1992). "Scriabin Piano Works". Gramophone.
  • Stockhausen, Karlheinz (1973). Lecture 7 [Part 1/3] Karlheinz Stockhausen – MANTRA (1973) British Lectures (Video). Archived from the original on 21 December 2021.
  • Service, Tom (4 January 2022). "Roger Woodward, Music Theatre in Britain". Music Matters (Podcast). BBC 3. Event occurs at 07:00. Retrieved 4 January 2022.
  • "Sydney Spring Festival of New Music". Retrieved 14 May 2022.
  • "Sydney Spring Gallery". Retrieved 14 May 2022.
  • Takemitsu, Toru; Gill, Dominic (1974). Booklet of Corona(London version) For Away/Piano-Distance Undisturbed Rest LP (PDF). DECCA.
  • "The London Music Digest From The Round House". discogs. Retrieved 4 August 2021.
  • University of New England Handbook. New South Wales, Australia: McPherson. 2001. ISSN 1320-873X.
  • Varga, Bálint András (1996). Conversations with Iannis Xenakis. Faber and Faber. ISBN 0571179592.
  • Woodward, Roger (May 1971). "Penderecki in London". In Music & Musicians. London: Hansom Books Press.
  • Woodward, Roger (1998). "Music and Change: Some Considerations of Beethoven's Sonata quasi una Fantasia in C sharp minor Op 27 no 2 (Moonlight)'". Literature and Aesthetics. 8. ISSN 1036-9368.
  • Woodward, Roger (2001). "Jean Barraqué". Matters of the Mind. ISBN 1864873620.
  • Woodward, Roger (2002). "Jean Barraqué (1928-1973)". In Sitsky, Larry (ed.). Music of the Twentieth-century Avant-garde: A Biocritical Sourcebook. Greenwood Press. pp. 31–42. ISBN 9780313296895.
  • Woodward, Roger (2002). "Preparation for Xenakis and 'Keqrops', Xenakis Studies: In Memoriam". Contemporary Music Review. 21: 109–120. doi:10.1080/07494460216660. S2CID 191181966.
  • Woodward, Roger (2005). "Sitsky's Keyboard Music: Si Yeoo Ki". In Sitsky, Larry (ed.). Australian Piano Music of The Twentieth Century. Praeger. pp. 129–155. ISBN 9780313322860.
  • Woodward, Roger (2006). Fryderyck Chopin: The Complete Nocturnes (cover note). Celestial Harmonies.
  • Woodward, Roger (2007). J.S. Bach: Chromatic Fantasia and Fugue, Partitas no. 2 and 6 (cover note). Celestial Harmonies.
  • Woodward, Roger (2007). Chopin Piano Concerto no. 2 in F minor, Beethoven in C major Piano Quartet (cover note). Celestial Harmonies.
  • Woodward, Roger (2008). J.S. Bach: Das Wohltemperierte Clavier (cover note). Celestial Harmonies.
  • Woodward, Roger (2009). Dmitry Shostakovich – 24 Preludes and Fugues Op. 87 (cover note). Celestial Harmonies.
  • Woodward, Roger (2009). Music of the Russian Avant Garde 1905–1926 (cover note). Celestial Harmonies.
  • Woodward, Roger (2010). "Conquering Goliath: Preparing and Performing Xenakis' Keqrops". In Kanach, Sharon (ed.). Performing Xenakis. Pendragon. pp. 129–155. ISBN 9781576471913.
  • Woodward, Roger (2012). Two Cadenzas: 1. for the Allegro maestoso of Mozart's Piano Concerto no. 25 in C major, KV 503. 2. For the Allegro con brio of Beethoven's Piano Concerto no. 1 in C major, Op. 15. ERP Musikverlag.
  • Woodward, Roger (2012). Sergei Prokofiev – Works for Piano 1908–1938 (cover note). Celestial Harmonies.
  • Woodward, Roger (2012). Roger Woodward in Concert (cover note). Celestial Harmonies.
  • Woodward, Roger (2014). Jean Barraqué Sonate pour piano (cover note). Celestial Harmonies.
  • Woodward, Roger (2015). Beyond Black and White – My Life in Music. HarperCollins/ABC. ISBN 9780733323034.
  • Woodward, Roger (2018). "Papers of Roger Woodward". Trove. Retrieved 11 August 2021.

See also

References
  1. Gill, Dominic (2001). Meher-Homji, Cyrus; Ellison, Paul (eds.). "Woodward, Roger". Grove Music Online. doi:10.1093/gmo/9781561592630.article.30558. ISBN 9781561592630. Retrieved 14 June 2023.
  2. Bonnie Lois, b. February 1931, Maureen Caroline, b. November 1936, James Francis, b. January 1940, Roger Robert, b. December 1942.
  3. Woodward 2015, p. 45.
  4. Gladys Alma, b. 26 May 1904, second daughter of Sarah Bennett and Robert Bracken.
  5. Francis William Wilson b. 20 August 1901, first son of Jesse Elizabeth Wilson and Thomas William Woodward.
  6. Clara Kraus, 1987; Peter Kraus, 2020; Paul Kraus, 2015.
  7. Woodward 2015, p. 1-35.
  8. Woodward 2015, p. 61.
  9. Woodward 2015, p. 63-66.
  10. Woodward 2015, pp. 45, 80.
  11. Woodward 2015, p. 103-11.
  12. Woodward 2015, p. 79-100.
  13. Woodward 2015, p. 128.
  14. Woodward 2015, p. 114-15.
  15. Woodward 2015, p. 323-25.
  16. Woodward 2015, p. 313-20.
  17. Solo piano works recorded in 1986 by Woodward for BBC Radio 3.
  18. Stockhausen 1973.
  19. Woodward 2015, pp. 425, 435–436.
  20. Woodward 2015, p. 353-99.
  21. Barraqué 2019.
  22. Heribert 1997.
  23. Griffiths 2003.
  24. Hodeir 1961.
  25. Woodward 2015, p. 123-30.
  26. Woodward 2015, p. 138-40.
  27. Woodward 2015, p. 164-67.
  28. Woodward 2015, p. 163.
  29. Programs are available in the NLA Roger Woodward's Collection: Woodward, Roger (1960), Papers of Roger Woodward, 1960-2017
  30. Woodward 2018.
  31. Woodward 2015, p. 155-56.
  32. Woodward 2015, p. 209.
  33. Woodward 2015, p. 202-3.
  34. Woodward 2015, p. 208.
  35. Woodward 2015, p. 212.
  36. OASD 7560, 7561, 7562, 7567—EMI catalogue numbers of Woodward's first four commercial recordings released 1970 following Yehudi Menuhin's statement to the EMI Recording Co. shortly after hearing Woodward's Jeunesses Musicales performances in Paris, 1969: "Roger Woodward's performances of contemporary music showed that there were just so many different ways that he was able to interest and fascinate the listener, not only with sounds freely produced at the keyboard, but with magical sounds that came from inside the piano, from under it; from every possible part of the instrument. In every context his playing was beautiful, sensitive and wonderfully musical; his approach personal and imaginative as was proved by his Skryabin and Chopin." EMI subsequently printed the statement in full on each of the recordings.
  37. Woodward 2015, p. 210.
  38. Woodward 2015, p. 451-52.
  39. Janzen, Rose-Marie; Jack, Adrian (1989). "A Biographical Chronology of Jean Barraqué". Perspectives of New Music. 27 (1): 234–45. doi:10.2307/833269. JSTOR 833269 – via JSTOR.
  40. London Music Digest, The Roundhouse London, 1970s, https://www.discogs.com/Roger-Woodward-Jean-Barraqu%C3%A9-Sylvano-Bussotti-Leo-Brouwer-The-London-Music-Digest-From-The-Round-Ho/release/6479510; Woodward 2015, pp. 211, 326–29, 334, 389, 419, 423–25.
  41. Woodward 2015, p. 400-4.
  42. Hodeir, André. 1961. La musique depuis Debussy. Paris: Presses universitaires de France. English edition, as Since Debussy: A View of Contemporary Music. pp- 193-196Translated by Noël Burch. Evergreen original, E-260. New York: Grove Press; London: Secker and Warburg, 1961.https://www.harmonies.com/13325-2_woodward_barraque/hodeir_barraque.pdf
  43. Woodward 2002, p. 31-42.
  44. Jobling 2001.
  45. Woodward 2015, p. 576-78.
  46. This collaboration is detailed in the 1972 BBC Promenade Concerts publication booklet (online) and, in addition to Woodward, involved David Tudor, Cornelius Cardew, John Tilbury, Frederick Page, Annea Lockwood, and Richard Bernas, directed by John Cage.
  47. Woodward 2015, p. 423.
  48. Ohtake 1998.
  49. Woodward 2015, p. 327-30.
  50. Woodward 2015, p. 331-32.
  51. Woodward 2015, p. 416-17.
  52. Woodward 2015, p. 160.
  53. Feldman, Morton (1975). Piano and Orchestra | UE16076. Universal Edition. ISBN 9783702426606.
  54. Woodward 2015, p. 354.
  55. Woodward 2015, pp. 361–62.
  56. Stockhausen's Mantra lecture managed by Allied Artists (London); filmed at Imperial College, London July 19, 1973.
  57. Kanach 2010.
  58. Worked together with Rolf Gehlhaar in Strangeness, Charm and Colour (1978), Diagonal Flying (1989), and Quantum Leap (1994).
  59. Worked together with Toru Takemitsu: Undisturbed Rest (1952-59), For Away (1973), and Corona—London Version (1973).
  60. Anne Boyd, Angklung (1974), The Book of Bells I, II, III, IV, Meditation on a Chinese Character (1996), and Kabarli Meditation (Dawn) (2012).
  61. Feldman 2000, p. 152-54; Worked together with Morton Feldman, Piano and Orchestra (1975), Piano (1977), and Triadic Memories (1981)..
  62. Woodward 2015, pp. 498–500.
  63. Woodward 2015, p. 213.
  64. Woodward 2015, pp. 496–97.
  65. Woodward 2015, pp. 264–265, 308–309, 382.
  66. Woodward 2015, pp. 163, 358.
  67. Woodward 2015, pp. 297–98.
  68. Woodward 2015, p. 383.
  69. Woodward 2015, p. 282.
  70. Woodward 2015, p. 317-19.
  71. In "Morton Feldman in conversation with Christopher Gough and Roger Woodward Edinburgh, August 1980" https://www.cnvill.net/mfgoughwoodward.pdf
  72. Anne Boyd, As I Crossed a Bridge of Dreams (Faber & Faber: London, 1975).
  73. Feldman, Morton (1977). Piano| UE16516. Universal Edition. ISBN 9783702419875.
  74. "Morton Feldman: The Johannesburg Masterclasses, July 1983- Session 5: Works by Feldman (Piano)"https://www.cnvill.net/mfmasterclasses05.pdf
  75. Lutyens 1977.
  76. At Cardiff University (1977), at the Adelaide Festival (1978), at Kenwood House, London (1979), at the Sydney Festival (1980), further performances of the Beethoven cycle followed at the Queen Elizabeth Hall, London (1980).
  77. Les griffures du silence de Morton Feldman Le Monde Renaud Machart 31.10.97, p.29. Machart, Renaud (10 October 1997). "Les griffures du silence de Morton Feldman". Le Monde. p. 29.
  78. Now the Queensland Orchestra.
  79. Matossian (2005); Anther (1986).
  80. Varga 1996, p. 182-83.
  81. Woodward 2015, p. 244.
  82. Woodward 2015, pp. 442–43.
  83. Woodward 2015, p. 276-77.
  84. Woodward 2015, p. 278.
  85. With the musicians of the Alpha Centauri Ensemble during which he premiered Xenakis' "Paille in the Wind" with Jacopo Scalfi.
  86. Program of the Athens 1979 Festival https://iscm.org/wnmd/1979-athens; September 1979, Woodward played Liszt's Les jeux d'eaux à la villa d'este, Feldman's Piano (1977), and premiered Rolf Gehlhaar's Strangeness, Charm and Colour with London Brass, at the Odéon Herodes Atticus at the 52nd International Society for Contemporary Music Festival (ISCM World Music Days).
  87. Woodward 2015, pp. 278, 504.
  88. Doctor of Creative Arts, University of Wollongong (1992); Doctor of Music, University of Sydney (1996); Doctor of Letters, University of New England (1998); and Doctor of Laws, University of Alberta, Canada (1998).
  89. The University of New England Handbook. University of New England. 2001. p. 118. ISSN 1320-873X.
  90. Gill, Dominic (2001). Meher-Homji, Cyrus; Ellison, Paul (eds.). "Woodward, Roger". Grove Music Online. doi:10.1093/gmo/9781561592630.article.30558. ISBN 9781561592630. Retrieved 14 June 2023.
  91. Boyd 2021.
  92. In the early 1980s, British composer and music critic Adrian Jack was Director of the MusICA concert series at the Institute of Contemporary Arts (ICA) in London. On Sunday October 4, 1981, the Australian pianist Roger Woodward played the London premiere of Mists by Iannis Xenakis, followed by the world premiere of Morton Feldman's Triadic Memories. Recalling the night of the premiere, Jack writes: "That night it poured, and the rain on the tin roof of the ICA theatre was almost louder than the music. Feldman was present and sat next to Harrison Birtwistle. He kissed Roger's fingers after the performance!" Feldman himself commented on Woodward's performance of Triadic Memories: "Roger Woodward: more traditional, which also means more unpredictable in how he shapes and paces. I would call it a prose style. Where Tudor focused on a moment, Woodward would find the quintessential touch of the work, hold on to it and then as in one giant breath, articulate the music's overall scale. Like Tudor, Woodward played everything as primary material. He is a long-distance runner. Tudor jumps high over the bar. Where Tudor isolates the moment, by not being influenced by what we might consider a composition's cause and effect, and Woodward finds the right tone that savours the moment and extends it." (Feldman, 2001) Jack, Adrian (15 May 2022). "The Premiere of Triadic Memories". Morton Feldman web page.
  93. Interview between Tōru Takemitsu and Dominic Gill, British critic and writer quoted by the Decca Record Company Limited, Headline Series HEAD 4, 1974. Toru Takemitsu (1974), Booklet of Corona (London Version), For Away, Piano Distance, Undisturbed Rest LP, Decca.
  94. See also Peter Burt, The Music of Tōru Takemitsu (Cambridge: Cambridge University Press, 2001), pp.128-31.
  95. Eric Anther (1986). Mi-homme, mi dragon par Iannis Xenakis (PDF). https://commons.wikimedia.org/wiki/File:%22Mi_homme_mi_Dragon%22_par_Iannis_Xenakis_(Propos_recueill%C3%ADs_par_Eric_Anther).pdf in Le monde de la musique. France: Le monde and Telerama.
  96. Richter commented about Woodward's recorded performance of Xenakis' Mists and Sinaphai: C'est la première fois que j'entends de la musique de Xenakis; je suis sidéré, même si je ne suis pas certain d'avoir vraiment (ou même vraiment pas) compris cette musique. L'intuition? Mais peut-on toujours s'y fier? Que Woodward joue cette musique de façon convaincante, je l'ai maintenant compris. Il me semble que voilà effectivement de la vraie 'nouvelle' musique." (Monsaingeon, 1998, p. 342).
  97. Comments about Woodward's performance in the XXII Reims International Festival Flâneries 2011 / Xenakis à la conquête de Reims. Publié le jeudi 14 juillet 2011. https://www.flaneriesreims.com/images-78-flaneries-2011-l-xenakis-a-la-conquete-de-reims-flaneries-musicales-de-reims.html https://www.flaneriesreims.com/pdf-76-union-xenakis-a-la-conquete-de-reims-flaneries-musicales-de-reims.html.
  98. Gill, Dominic (2001). Meher-Homji, Cyrus; Ellison, Paul (eds.). "Woodward, Roger". Grove Music Online. doi:10.1093/gmo/9781561592630.article.30558. ISBN 9781561592630. Retrieved 14 June 2023.
  99. "For decades Roger Woodward had been an icon of new piano music and had worked with practically all important composers of the day. Hans Otte characterized him as 'sensitive but has power; a musical genius.' " Wilfried Schäper, Musikredaktion, Radio Bremen, Germany, January 6, 2007, review of live concert recording in the Sendesaal, Celestial Harmonies Booklet 13324.
  100. Vincent Plush, reviewing a performance in the Canberra International Music Festival of the two books of Chopin Études and works by Debussy in Limelight Magazine (April 30, 2018), https://limelightmagazine.com.au/news/canberra-international-music-festival-opening-weekend-roundup/.
  101. The Politics of Music (1972) by Michael Chanan Productions, BBC2, interview with Pierre Boulez, Roger Woodward at rehearsal with BBCSO for BBC Roundhouse world premiere of Bernard Rands Mésallianz for piano and chamber orchestra: http://vimeo.com/13799532.
  102. Jean Barraqué'—public statement concerning Woodward's performance of his Piano Sonata: https://commons.wikimedia.org/wiki/File:Jean_Barraqu%C3%A9%27s_public_statement_about_Roger_Woodward_March_20_1973.pdf.
  103. Musicologist Richard Toop about Woodward's performance and recording of Barraque's Sonata, https://www.harmonies.com/13325-2_woodward_barraque/index.html
  104. Richter comments about Woodward's Barraqué Sonate pour piano recording: (Monsaingeon, 1998, p. 346).
  105. Bussotti 1973.
  106. Bussotti 1974.
  107. BBC Proms 23 (13 August 1972) program: https://www.bbc.co.uk/events/emw5v2.
  108. Tom Service wrote of Woodward's recording of the Jean Barraqué's Piano Sonata, interview for the BBC in Music Matters program https://www.bbc.co.uk/sounds/play/b06k8x4d.
  109. Lopez, Sergio Raul (14 October 2001). "Roger woodward: La reinterpretacion novedosa de los clasicos". Reforma. ProQuest 310698831. Retrieved 16 May 2022.
  110. 1979 program of the complete Beethoven cycle: London Diary for February, The Musical Times, vol. 120, no. 1631, pp. 93–96.
  111. Dominy Clements' review of Woodward's recording of Debussy's Préludes (recording of the month in March 2010), http://www.musicweb-international.com/classrev/2010/Mar10/Debussy_Woodward_132792.htm.
  112. Jade Godart's comments about Woodward's performance in the XXII Reims International Festival Review Concert n°57 du 08/07/2011: Roger Woodward, la perfection du bout des doigts Publié le lundi 04 juillet 2011 à 07H37 https://www.flaneriesreims.com/a-47-roger-woodward-flaneries-musicales-de-reims.html English version: http://www.rogerwoodward.com/index.php/home/more/xxii_reims_international_festival_-_debussy_bach/.
  113. Andy Gill wrote in The Independent (March 26, 2010) about Woodward recording of Debussy's Preludes, Books 1 and 2, https://www.independent.co.uk/arts-entertainment/classical/reviews/album-roger-woodward-debussy-preludes-books-1-2-celestial-harmonies-1927869.html.
  114. Gramophone's review of the Scriabin Piano Works CD: https://www.gramophone.co.uk/review/scriabin-piano-works-7.
  115. Beaumont, Damien (23 May 2022). "Roger Woodward plays Scriabin at the 10th Sydney Spring Festival in 1999". ABC Classic.
  116. The Playful Assembler of Sounds Roger Woodward discovers a different Shostakovich Reinhard J. Brembeck's review of the Woodward's Shostakovich's 24 Preludes and Fugues recording, available in https://www.harmonies.com/pdf/Woodward%20SZ%20Shostakovich%20english.pdf.
  117. Robert Greenberg review about Woodward's recording of Bach's and Shostakovich's Preludes and Fugues, https://robertgreenbergmusic.com/dr-bob-prescribes-the-well-tempered-clavier-and-shostakovichs-preludes-and-fugues/.
  118. Dominy Clements wrote in Musicweb International about Roger Woodward's Dmitri Shostakovich's 24 Preludes and Fugues, Op.87 recording, http://www.musicweb-international.com/classrev/2010/oct10/shostakovich_woodward_143022.htm
  119. Gill, Dominic (2001). Meher-Homji, Cyrus; Ellison, Paul (eds.). "Woodward, Roger". Grove Music Online. doi:10.1093/gmo/9781561592630.article.30558. ISBN 9781561592630. Retrieved 14 June 2023.
  120. Dominy Clements wrote in Musicweb International about Roger Woodward's Well-Tempered Clavier recording, http://www.musicweb-international.com/classrev/2010/Mar10/Bach_Woodward_199225.htm
  121. Reinhard J. Brembeck wrote about Roger Woodward's recording of the complete Well-Tempered Clavier the article Shiva meets Bach in the Süddeutsche Zeitung (Munich, 17 April 2010): "These recordings resulted in four-and-a-half stellar hours of the Bach discography. Because Woodward approaches the two cycles fluently and briskly as one unified work, because, as a graduate of the avant-garde he doesn't need to shy away from any technical challenge, because he knows how to courageously take full advantage of the possibilities of the modern grand piano, because he relies less on interpretation than on fiercely incendiary presentation, Woodward removes anything historical, elitist or alienating from this music; he understands Bach as a contemporary of innovators such as Xenakis, Cage, Feldman, and Ligeti. No looking back, no nostalgia, no more educational high-browism, no more old Europe. Never before did Johann Sebastian have such a future ahead of him".
  122. Andy Gill wrote in The Independent (London, UK, 19 March 2010).
  123. Cecilia Bazile's comments about Woodward's performance in the XXII Reims International Festival Flâneries / Remarquable Roger Woodward! Publié le jeudi 07 juillet 2011 https://www.flaneriesreims.com/pdf-53-union-remarquable-roger-woodward-flaneries-musicales-de-reims.html English version: http://www.rogerwoodward.com/index.php/home/more/xxii_reims_international_festival_bach_june_2011_REVIEW//.
  124. The Financial Times, Music on the West Coast by Dominic Gill, 24 May 1972, http://www.rogerwoodward.com/images/PDF/LAPO-Mehta-Hollywood_Bowl.pdf The article covers a series of New Music concerts at UCLA where Zubin Mehta directed the Los Angeles Philharmonic Orchestra. Roger Woodward's debut performance program was a mixture of a recital of modern music-Australian Richard Meale's Coruscations, Japanese Toru Takemitsu's Undisturbed Rest, Cuban, Leo Brouwer's Sonate pian'e forte well as Beethoven's Hammerklavier Sonata. This contemporary music marathon went on to include Xenakis' Eonta for piano and five brass from the LAPO. The rehearsal was attended by Olivier Messiaen, a personal friend of Iannis Xenakis and his composition teacher, who personally corrected the brass parts during rehearsal. His wife, Yvonne Loriod, was also present at rehearsal, along with comedian Danny Kaye.
  125. Dominy Clements wrote in Music Web International about Roger Woodward's Music of the Russian Avant-Garde 1905-1926 (Celestial Harmonies, 13255-2) recording: "This fascinating collection of works covers the period of transition from Tsarist Russia to the establishment of the Soviet Union. To a certain extent it relates to Woodward's re-release of the Preludes and Fugues, Op. 87, by Shostakovich on Celestial Harmonies 14302-2 (see review), which, dating from 1975, has acquired its own historical significance. Many of these pieces are little-known compositions that Woodward discovered as a student in Warsaw in the early 1970s, gaining access to rare works from Prokofiev's widow Lina Prokofieva."
  126. Woodward 2015, p. 554 (item 70).
  127. Roger Covell wrote in Sydney Morning Herald (November 22, 1977) about Woodward's recording of the Brahms First Piano Concert with Kurt Masur (RCA RS 25031 LP), http://www.rogerwoodward.com/images/PDF/Brahms_1_PC_with_NPO,_Kurt_Masur,_RCA.pdf/; Sviatoslav Richter described this performance thus: "Brahms: robuste, viril, convaincant." Sviatoslav Richter and Bruno Monsaingeon Notebooks and Conversations (London: Faber & Faber, 2005), p. 341.
  128. Piano Quartet No.3 in C major, WoO36, in a co-production recorded for Celestial Harmonies and Radio Bremen, Germany, 13277-2.
  129. Piano Concerto No.2 in F minor, Op.21, in a co-production recorded for Celestial Harmonies and Radio Bremen, Germany, 13277-2.
  130. Piano Quintet in G minor, Op. 57, for Foghorn Classics, CD 1988.
  131. Invasive Species for Piano Quintet.
  132. Performance recording on https://www.youtube.com/watch?vxBMvJrdoFP4; the concert programme is in the NLA Roger Woodward Collection. Compact disc recorded in 1989 by Etcetera Records BV.
  133. Whittall, Arnold. "Xenakis Kraanerg". Gramophone. Retrieved 16 May 2022.
  134. "Xenakis: Kraanerg". BBC Music Magazine. 20 January 2012. Retrieved 16 May 2022.
  135. The programs are in the NLA Roger Woodward Collection.
  136. Dench Planetary Allegiances recorded for BBC2TV, London; Grateful Dead/Rex Foundation (Dec. 1992); NLA Collection. Composer's statement 1992 Sydney Spring International Festival of New Music program publication, p. 15; copy of MS in NLA.
  137. Program notes and photos of the concert available in the Scala di Milano's online archives: https://www.teatroallascala.org/archivio/interpreti.aspx?lang=en-US&id_allest=3841&id_event=8868&id_allest_conc=23458&uid=2dd1d15f-cd94-454c-9a66-05781920f434&objecttype=base.
  138. Festival d'automne à Paris—in the NLA Roger Woodward Collection. The all-Xenakis programme was recorded by Radio France at the Festival d'automne, December 1992, by the Alpha Centauri Ensemble in the presence of the composer.
  139. The program is in the NLA Roger Woodward Collection.
  140. Dominy Clements wrote in MusicWeb International about Woodward's Dmitri Shostakovich's 24 Preludes and Fugues, Op.87, recording: "This remarkable recording stands alone as a landmark." Complete article at http://www.musicweb-international.com/classrev/2010/oct10/shostakovich_woodward_143022.htm
  141. Dominy Clements wrote in June 2013 about Woodward's recording of Prokofiev's works (Sergei Prokofiev Works for Piano: 1908-1938 Celestial Harmonies 13292-2) in MusicWeb International, http://www.musicweb-international.com/classrev/2013/June13/Prokofiev_piano_132922.htm.
  142. "Xenakis Studies: In Memoriam," Contemporary Music Review, Vol. 21, Nos. 2/3, pp. 109–120.
  143. "Conquering Goliath: Preparing and Performing Xenakis' 'Keqrops'" in Performing Xenakis, ed. Sharon Kanach, Xenakis Series No. 2 2010.
  144. "Sitsky's Keyboard Music: Si Yeoo Ki," in Australian Piano Music of the Twentieth Century, ed. Larry Sitsky (2005), pp. 173–215.
  145. "Two Cadenzas for the Mozart Piano Concerto No. 25 in C Major, KV 503, and Allegro con brio of the Ludwig van Beethoven Piano Concerto No. 1 in C Major, Op. 15 2012.
  146. Woodward, Roger (2014). Beyond Black And White–My Life in Music. HarperCollins. ISBN 9780733323034.
  147. The award was shared with Patricia Ludgate and Jędrzej and Josie Wierbicki following the April 1981 Brixton riots in South London. 2 Citations—(a) Patricia Ludgate, Butterflies of a Brief Summer, MoshPit Publishing, 2016, Kindle, Location 3608-21; (b) Leslie George Scarman, Baron Scarman, The Brixton Disorders 10–12 April 1981: Report of an Enquiry (Harmondsworth: Penguin, 1982).
  148. Kingdom of Bréifne; Former orders, decorations and medals of Ireland; papers of Roger Woodward–National Library of Australia.
  149. humanities.org.au.
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