Podcasts about australian youth orchestra

This week's guest, Tim Hollo, is kind of like Green royalty in Australia. He heads The Green Institute, a think tank focussed on transformative issues in the green space, he founded Green Music Australia, he was the communications director for Christine Milne, and he has been at the environmental game since university in the 90's. His first love, however, was the violin. He's been playing it since he was a child and was in the Australian Youth Orchestra, attending the Atlanta Olympics. Tim's parents are refugees from Hungary and China. He grew up with a brother who also plays music. Tim is a member of Four Play, a string quartet. He has a book titled 'Living Democracy'. It was a treat having Tim on the blower from Canberra. Thanks, Tim! Keep up the great work!greeninstitute.org.augreenmusic.org.aufourplay.com.auTim signing his book, Living DemocracyTim at an AAPP protest

GUEST OVERVIEW: Jack Barton is Chairman of the University of Queensland Monarchist League (UQML) Australia's largest student society for constitutional monarchists. Barclay McGain is Secretary of UQML and Australian economic policy researcher. Alexander Voltz is an Australian composer. Voltz's music has been performed and supported by the Melbourne Symphony Orchestra, Opera Queensland, Australian Youth Orchestra, Ensemble Offspring, Flinders Quartet and others. He is twice a semi-finalist of the composition division of the Bartók World Competition. In 2021, Voltz independently produced his first opera, Edward and Richard: The True Story of the Princes in the Tower.

Doggie Doggie Where's Your Bone - A by Australian Youth Orchestra

There's plenty to do in Brisbane this weekend, with events from the Redlands Orchid Society Festival, Australian Youth Orchestra's Chamber Players and the AFLW tickets for free!See omnystudio.com/listener for privacy information.

As Artistic Director of the Brandenburg Orchestra, Paul Dyer leads a dedicated team of musicians and support staff who bring passion and excellence to every performance. In 2013 Paul was awarded the Officer of the Order of Australia (AO) for his ‘distinguished service to the performing arts, particularly orchestral music as a director, conductor and musician, through the promotion of educational programs and support for emerging artists'. Under Paul's direction, the Brandenburg has become one of the most outstanding period instrument ensembles in the world. Paul Dyer founded the Australian Brandenburg Orchestra with Managing Director Bruce Applebaum in 1989. The Brandenburg's first official concert was at the Sydney Opera House, a moment Paul readily recalls with fondness and disbelief at his own naivete with such an ambitious project. It is however this ambition and passion that Paul has brought to the organisation every day, and which has led the orchestra from strength to strength. Paul's dedication and enthusiasm continue to inspire the musicians and support team, as the orchestra grows and innovates, challenges and inspires, both audience and performer alike. Paul completed postgraduate studies in solo performance with Bob van Asperen at the Royal Conservatorium in The Hague, and has appeared as soloist, continuo player and conductor with many major Australian and European orchestras - the Sydney Symphony Orchestra, West Australian Symphony Orchestra, Opera Australia, Australian Youth Orchestra, Malaysian Philharmonic Orchestra, the Pacific Baroque Orchestra, Vancouver, and the Orchestra of the Age of Enlightenment, London. Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the world. In 1995 he received a Churchill Fellowship and Paul is also Patron of St Gabriel's School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music and in 2010 the Sydney University Alumni Medal for Professional Achievement. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Tony Prochazka pursued a non-conformist training in both medicine and music. He interrupted his medical career to study Jazz Guitar at the VCA, having played Cello with the Australian Youth Orchestra during his schooling. He studied Classical Cello in Germany and London before building a successful career in cosmetic surgery.QUOTES“By the end of it I was just sold on music and that was really my awakening I guess at just how fantastic it could be.”“I just remember we had some conversations, my parents and I. I said I would like to be a musician, they said it's a hard life there's no guarantees.” “The idea of the arc of a musical phrase is very similar to the idea of the construction of the face, or the balance of the face.”LINKSFind Tony on LinkedIN, Instagram, Corpus MedicorumPODCAST TEAMProduction Penny ManwaringAudio Engineering from Frazer RuddickTheme Music Composed by Danna YunTheme Music Composed by Natasha PearsonTheme Music Performed by Alison McIntosh-Deszcz (soprano), Natasha Lin (piano), and Susan Eldridge (horn). Theme Music Recorded Lady Marigold Southey Performance Studio, 3MBS Fine Music in Melbourne in October 2016. With thanks to recording engineer Cheryl Scott.FIRST BROADCAST06 December 2016

Tom is a Hobart-based freelance composer and pianist, with a bachelors of music from the university of Tasmania and a masters of composition from the university of Melbourne. Tom has composed pieces for some of Australia's most notable musical ensembles, including the Australian Chamber Orchestra, Australian Youth Orchestra, Ensemble Offspring, the Melbourne Symphony Orchestra and the Tasmania Symphony Orchestra.I approached Tom to be interviewed because of a commission he received in 2018 to compose a piece for the Hush Foundation. Tom and I chat about his commission, the Hush foundation, and the parallels between music therapy and music in medicine.

This week's guest is Genevieve Lang, a fellow mum who also sends her children to a Montessori program here in Australia. Now, this was one of those school situations when you realize that amongst us parents, we are still interesting adults with extraordinary life experiences. And it was during the recent lockdown that I had the opportunity to hear her play the harp for us all during our very own harp half hour.  What began as an intimate and very personal performance over Zoom turned out to be an opportunity for me to follow my curiosity and ask Genevieve to be a guest on this podcast. I have to say, I needed to muster my courage to make this ask. And this is the kind of bravery that I want to teach you too as a coach. It's the type of courage to share your talent with a new crowd or to reach out to a fellow parent and ask them how they decided on their career. It's the kind of bravery that we all need to live more enriching lives and to ultimately find it within ourselves to finally pursue our purpose right now, even in the midst of messy and uncertain times. It's also the courage that I feature front and center in my free download that you can find on my website on www.melissallarena.com/courage.  Have you yet grabbed your own copy of my Courage Makerspace Playbook? In this playbook, you'll have an opportunity to grow and test your own courage muscles. See where they are today and where they can use some strengthening so that you can get more out of your life. Pick any one of my 7 specific exercises and see where you rise up versus fall a bit apart. We all have our own sore spots when it comes to being courageous. So be sure to grab your own free Courage Makerspace Playbook right now. In this episode, we cover how some of our best and most intimate memories come out of ordinary moments including when she once played her harp in a carpark. She also shares her take on courage and the kind it took for her to hold back a bit in her own artistry to ensure the audience got what they needed (i.e. moment of silence to heal in some cases). We discuss where the women in music are and have been, as well as some orchestra best hiring practices that are also applicable to business that you may want to implement yourself. About Genevieve Lang Genevieve Lang has performed regularly as a section and guest principal harpist with the Sydney Symphony Orchestra. She has also enjoyed a long association with the Tasmanian Symphony Orchestra. Genevieve is a founding member of SHE (Seven Harp Ensemble), a group directed by harpist Alice Giles, which is active in commissioning and performing new Australian music. As a soloist she has performed with the Tasmanian, West Australian and New Zealand Symphony Orchestras.   Genevieve has presented courses in chamber music appreciation at the University of Sydney's Centre for Continuing Education and tutored the Australian Youth Orchestra's music journalism course, Words About Music. She has undertaken traineeships in artistic administration and music presentation, which gave her the opportunity to work with a number of Australian orchestras and with ABC Radio. Since then, she has worked with Gondwana Choirs, the Australian Youth Orchestra, and Pinchgut Opera. Genevieve regularly delivers pre-concert talks for the Sydney Symphony Orchestra, and has edited various publications for the SSO for the last 10 years. Amidst all that, she's still a very busy harpist! Share this conversation with anyone who enjoys classical music, who might really miss the arts, someone who is also interested and curious about what it actually takes to become a harpist and truly perform on the world's various stages. Enjoy this conversation today! Highlights Memories: Memories are made in the ordinary moments and the sensations that you experience in your body if you have that level of awareness of rising joy or catching it on the wing, and retaining it. Mastery: Mastering any skill, art or performance exists in the mind of letting go of aiming for perfection and allowing what happens and allowing for the audience to receive it in a very different way to how you might perceive it. Audacity: You have to learn how to channel what is the negative and nervous energy into a positive one and an excitement. It's very much a mental game. Healing: Harp therapy has massive applications from both ends of life – from neonatal tiny little tots in the neonatal ICU right through to end of life, palliative care, and everything in between. Simplicity: To play the harp therapeutically in a medical setting or a respite setting, you have to do very little plucking of the strings. In fact, the medicine is in the spaces between. The resonance of the harp, the way it sounds, and the way it lingers in your body, mind, and your ears is where the therapy is to be found. Simple music is what does the trick. Courage: As a classically-trained performer where she played music with deep complexity, Genevieve felt very uncomfortable with leaving so much space. And it took so much courage for her to hold back and learn to become comfortable with silence. Pattern: Math and music have a correlation in terms of patterns because we see patterns in music all the time and there are math patterns in nature and science. Curiosity: Feeling the need to diversify a little bit away from purely performance, Genevieve took a music journalism course. Is there another way to bring your talents to the world? Explore your alternatives! Creativity: For Genevieve, the act of crafting a narrative and selecting the words of telling the story from start to finish was more creative than anything she has done on the harp for 10 years. An orchestra is an act of performance, but writing words and composing words was a creative art.  Ensemble: SHE is a beautiful acronym for Seven Harp Ensemble, that Genevieve is a part of. The individual makeup of the group changes depending on people's availability. History of women in music: Women in music are everywhere. But for a really long time, they've been silenced by societal norms. For example, Clara Schumann had a 61-year career as a concert pianist.  Hiring: Women in orchestras started to grow, even outnumbering men. And that's because the screening process has changed where they've gotten rid of gender bias. Diversity: Businesses have adopted the orchestral model in a lot of places. They saw this diversity emerging from this new process of screened auditions. Brain Integration: Music, particularly for a developing mind, is an incredible full brain workout.  Emotions: How music elicits emotions is a mystery Genevieve wants to cherish and doesn't want to understand otherwise it will remove a layer of that wonder of being human. Links for more information Website: https://www.abc.net.au/classic/genevieve-lang/7952748 Instagram @abcclassic Twitter @ABCClassic FREE DOWNLOAD Want to grab your free copy of the Courage Makerspace (™) Playbook? Download the Courage Makerspace(™) here www.melissallarena.com/courage   Boost your courage in 7-days using the exact courage design tools that have worked for both me and my clients. Grab your free playbook instantly so that you can discover how to:   Figure out what makes you tick Be more accountable and not procrastinate Overcome imposter syndrome Stop caring about what others think Progress despite self-doubt Manage anxiety Ask for help You will have a step-by-step playbook to help you finally fulfill your life purpose! Do not miss out on this free opportunity as it will not be available for long.   Want to continue the conversation? Find me on Instagram! You can read my daily mini-blogs centered on the same three topics that my podcast features: creativity, courage, and curiosity. I believe that without all three it would be impossible to solve the challenges we were each uniquely made to solve. Wouldn't you agree? I'm easy to find on Instagram @melissallarena Rather keep it professional? Let's connect on LinkedIn. I encourage every single podcast listener to connect with me.

Drummer/Percussionist/Music Educator James (Jim) Bailey joins me in The Engine Room to discuss his fabulous musical journey both in Australia and overseas. Jim first became interested in music while living in England, he wanted to play the clarinet, but the school didn't have any available, so he was given a piccolo to take home to try. He didn't have much luck with this instrument, so he returned it to the school and then went back to playing sports which he was very good at. It wasn't until after his family had emigrated to Australia and he injured his foot during a game that Jim's interests once again returned to music, this time he decided to try drums, having seen an advertisement for a free aptitude test at the Adelaide College of Music. He began private drum lessons after meeting the drummer Jimmy Latta at the Boomerang Club. Jimmy introduced him to the world of modern jazz, making him aware of the playing styles of many of the world's greatest drummers. Jimmy moved to Canberra after joining the Australian Army Band. Jim then began to have lessons with one of Adelaide's leading players Gary Haines. Gary was a studio musician for Channel 9, and he also ran a business called Drumsville in Club Lane, which was the place that all of the young drummers would hang out. It was during this time that Jim decided that a music career was the path he wanted to pursue, so he quit his job and you took up part time work in the record department at David Jones. In 1965 he successfully auditioned to attend the Elder Conservatorium Single Studies program in classical percussion, where he was taught by Richard (Dick) Smith, who was a timpanist for the South Australian Symphony Orchestra, Dick ran the percussion program at the Conservatorium. Jim is regarded as one of Australia's leading teachers of classical and Latin percussion as well as jazz drumming. He has performed and taught throughout Australia, the United States, South Africa, Hong Kong, and Indonesia. A short list of his credentials includes: Performances with the Hong Kong Philharmonic; the Durban, Natal Symphony Orchestra; the Australian Youth Orchestra; the Australia Ensemble Lights; the Elder Conservatorium Wind Quintet and the Elder Conservatorium Wind Ensemble. His festival appearances include the Adelaide Festival, Barossa Festival, Manley Jazz Festival, Glenelg Jazz Festival, Standard Bank Jazz Festival in Pretoria, South Africa and the Living Treasures Festival 2000 in Durban South Africa. He toured South Africa with the world music group Warkala, performing and conducting master classes and workshops for the Australian High Commission and in fund-raising concerts for the relief of AIDS in children in South Africa. He is also Australia's foremost authority on the tuning and construction of mallet instruments — marimbas, vibraphones, and glockenspiels. All marimbas used in the group were made by him. Throughout his long career Jim has made an outstanding contribution to the percussive arts and education both here and overseas and has trained some of Australia's top percussionists during his teaching career as the Percussion Senior Lecturer and Head of Percussion at the Elder Conservatorium of Music. In 2011, Jim became the first Australian to be awarded the Lifetime Achievement in Education Award from the International Percussive Arts Society. The award recognises the contributions of the most highly regarded leaders in percussion education throughout the world. Prior to Covid, Jim spent many years traveling to be a guest speaker and teacher at various educational organizations worldwide. Music "Band It About" written and recorded by Catherine Lambert & Michael Bryant. "Ghanaia" written by Schmitt Matthew, performed by the Hormingo Ensemble. Contact banditabout17@gmail.com --- Send in a voice message: https://anchor.fm/dianne-spillane/message

The 2019 3MBS Young Performer of the Year, and the older sister of last week’s guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she’s the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte’s music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte’s music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.

The 2019 3MBS Young Performer of the Year, and the older sister of last week's guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she's the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte's music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte's music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.Support the show: https://3mbs.org.au/donateSee omnystudio.com/listener for privacy information.

Emma Hunt began learning the violin at the age of five in her hometown of Geelong. She loved music from a young age, but it wasn’t until she began studying music at university that she embraced the violin as her passion. While at the Melbourne Conservatorium of Music, she studied with William Hennessy, who became one of her most important musical influences, and developed a love of playing orchestral and chamber music. Following her undergraduate studies, she attended the Australian National Academy of Music (ANAM), under the tutelage of Adam Chalabi. As a student, Emma played with the Australian Youth Orchestra, the Young Australian Concert Artists’ Program and the Sydney Sinfonia. She won the C.D. Hume Violin Scholarship and the Australian Youth Classical Music Regional Competition and was a finalist in the ANAM Chamber Music Competition. She currently works as a freelance musician in Melbourne, performing regularly with the Melbourne Chamber Orchestra, Melbourne Symphony Orchestra and Orchestra Victoria, is in demand as a violin teacher and orchestral tutor and loves to play quartets and other chamber music whenever she gets the chance. In her spare time, she tries to grow edible things in her garden and listen to as much folk music as possible.

Elaine Chia is CEO of City Recital Hall,  one of Sydney’s leading arts, entertainment and festival venues. Her career spans music, theatre and visual arts, and she is a passionate advocate for the arts. Elaine’s formal introduction into arts management began with the Australian Youth Orchestra. Her role on her first symphony orchestra tour was to source and coordinate host families for 110 young musicians in 10 cities across Australia. In 1996, she managed the National Music Camp with 240 music students and 100 staff and volunteers. Her role as coordinator, wrangler, persuader and responsible big sister was thus cemented. Elaine’s journey next took her to Belvoir St Theatre as business manager, then to Sydney Conservatorium of Music as marketing and development manager. Elaine moved to Melbourne in 2004 where she took on the role of acting CEO of the AMEB, and later, business and finance manager at Heide Museum of Modern Art. She returned to the Sydney Conservatorium in 2007, to the newly created role of international development manager. She established new off-shore programs and tours in Asia, Europe and the United States. In 2010 Elaine joined the Australia Council for the Arts, where she oversaw the Australian representation at three Venice Biennales, and the redevelopment of the new Australian Pavilion, which opened in 2015 on time and on budget. Both projects were delivered as public-private partnerships. She joined City Recital Hall in 2016 as the first CEO of the not-for-profit company established to manage and curate an annual program at the 1238-seat venue. In 2.5 years, the number of concert and events presented by the company has quadrupled. Elaine is the chair of Contemporary Asian Australian Performance, a resident company at Carriageworks which is dedicated to making exceptional contemporary Asian Australian work for all audiences. She also actively supports the arts as a donor, because she can, and therefore, simply, she should. When Elaine is not living and breathing the arts, she loves to run, mainly to balance out her love of gelato. https://www.cityrecitalhall.com/ https://newstories.net.au/elaine-chia/

Australian Israeli Singer and Songwriter, Lior, joined David Barr on Drive Tuesday to discuss his upcoming concert, Leaving the Western Shadows with the Australian Youth Orchestra’s, Momentum Ensemble. The orchestra will be directed by conductor Nigel Westlake, whose previous endeavours with Lior have included the co-creation of the award-winning song cycle Compassion. Leaving the Western Shadows is […]

Conductor Courtney Lewis will lead the Australian Youth Orchestra as they perform works by Britten, Tchaikovsky and Rachmaninov. Ahead of the concerts, we caught up with Courtney to find out a little more about the repertoire we'll be hearing.

Raised between Darwin and his ancestral home of Gabagaba in Papua New Guinea, Airileke Ingram was drumming from a young age. His grandfather taught him traditional techniques, igniting a love for percussion that led to a world tour with the Australian Youth Orchestra. Since then, Airileke has played with some of our most prominent Indigenous musicians, soundtracked a Hollywood film and scored an ARIA nomination. But it’s his passion for making community through music that really drives Airileke. His latest collaboration is Sorong Samarai, featuring West Papuan independence leader Benny Wenda. It brings together a talented mix of musicians from across Oceania, and is a rallying cry for freedom for West Papuans, sharing the unifying message ‘One people, one soul, one destiny’. This episode of It's a Long Story is hosted by Emily Nicol.

We caught up with AYO Alumna and Principal Oboist of Sydney Symphony Orchestra to talk about her upcoming collaboration with the Australian Youth Orchestra for our July Season concerts.

،مری آنکہ یک دم کھلی دیکھتا ہوں کھلی کھڑکیوں سے ، سریع گاڑیاں چیختی تھیں ، کہ گھڑیوں کی ٹک ٹک کی آواز اتنی بلند سے بلند تر ہوئی جا رہی تھی کہ جیسے کوئی زور سے اپنے گرانڈیل ہاتھوں سے ان ساعتوں کا طبل پیٹتا جا رہا ہو !!وہ گرانڈیل مجھ کو جگاتا تھا ، جاگو وہ سرگوشی کرتے ہوئے، نیم وا سی نظر مجھ پے ڈالے ، یہ کہنے لگی بھیڑیں گن لو ، اور اس ایک لحظے میں بھیڑوں کی جگہ سر کٹے بھیڑیے ، اپنے دندان نیش اور کالے مسوڑے نکالے ہنسے جا رہے تھے ! ہنسے جا رہے تھے ، کوئی کھڑکیاں بند کر دے کوئی بیٹری اس گھڑی کی نکالے کوئی مجھ سے کہہ دے میں زندہ ہوں اور ،یہ فقط خواب ہے ایک کابوس ہے مرےحس کے پنجے تنوں میں کھبے شجر اوہام پر چند لنگوروں کی مانند چڑھے جا رہے تھے کوئی میرے برزخ کے اس گہرے کویں میں اب ڈول ڈالو کوئی ؟ کوئی ہے ؟ سنو !!؟ کوئی ہے ؟ !!میں زندہ ہوں مجھ کو نکالو کوئی عزرائیلوں سے ان اسرافیلوں سے کہہ دے کہ اب صور پھونکیں ، میری روح کو قبض کر لیں میں زندہ نہیں ،پر مرا بھی نہیں ہوں میں اس دار پندار پر ، اپنی چند آخری ہچکیاں لے رہا ہوں Background music mixed from : William Barton using a CrookedStixz and a Bruce Rogers Didgeridoo performance at the Sydney Opera House with the Australian Youth Orchestra. to listen to the whole performance please follow the following link : www.youtube.com/watch?v=cLu9GmV2vF0 I have mixed parts of the performance and create the background music for my poem

،پھر سے دزدان ابد، بحر فنا کے قزاق ،میری راتوں میں تلاطم کے پیالے تھامے ....رجز آیندہ پے ہا ہوہ کیے جاتے ہیں آه جکڑے ہے رگ جاں کو یا کیڑوں کا ہجوم ؟) ( ریشہ ریشہ بنے، ریشم کے رسن طوق کیے !سچ کی آغوش ، دل واماندہ ، پرتگاه عمیق سچ کی آغوش وہ بے پایاں لحد ہے جس میں !رمز ہستی کی ہزاروں ہڈیاں مدفون !بام فردوس سے کودیں گے حشیشین ابھی !منہ میں دابے ہوئے طوماروں پے پیغام خدا سم میں ڈوبا ہوا خنجرہے ، پہ تریاق نہیں) (غم میں ڈوبا ہوا آھنگ، فقط خاک نہیں برہنہ حرف معنی کے لبادے اوڑے اک گرانڈیل سے سائے کی طرح رکساں ہیں آتش خرد کے ، الحاد کے گرد ...اک پریزاد کے گرد Yet Again the thieves of eternity and the pirates(Cossacks- The Ukrainian military men who attacked Ottoman Empire in 16th Century ) of the ocean of fragility hold glasses of turbulence in my nights while chanting to the paean of the future ... ( Is it my sigh that grabs my breath or a horde of worms who weave silk, with silk nooses in their necks) Oo failed heart ! the lap of truth is a steep precipice the lap of truth is an abyss in which thousands of bones of "being" are buried From the edge of the heavens, the assassins are about to jump holding in their lips the scrolls with the message from the gods ( as if I have the a dagger dipped in poison but no antidote sad music keeps playing, but there is no salvation) Naked words , wearing cloaks of meaning dance, dance like a giant shadow around the bonfire of thought around the bonfire of infidelity around the bonfire of a nymph Background music mixed from : William Barton using a CrookedStixz and a Bruce Rogers Didgeridoo performance at the Sydney Opera House with the Australian Youth Orchestra. to listen to the whole performance please follow the following link : https://www.youtube.com/watch?v=cLu9GmV2vF0 I have mixed two part of the performance and create the background music for my poem.