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1 THE CIMF FRINGE FESTIVAL at the Canberra Centre Concert 1

Tuesday May 6

Level 1, Fashion Mall, Canberra Centre


Canberra’s Finest Classical Guitarists Callum Henshaw guitar and Andrew Blanch guitar

Concert 2

Wednesday May 7


Art Songs and Solo Piano Simone Riksman soprano and Tamara-Anna Cislowska piano

Concert 3

Thursday May 8 12.00pm

Art Songs and Solo Piano Christopher Saunders tenor and Calvin Bowman piano

Concert 4

Friday May 9


Piano Works for 2, 4 and 6 hands Timothy Young, Daniel de Borah and Adam Cook piano


Larry Sitsky Recital Room, ANU School of Music

Monday May 12 11.00am



ANU ARTIST IN PROFILE: Dr Alec Hunter, Composer

Tuesday May 13 10.00am




Wednesday May 14 2.00pm

THE GLASS SOLDIER: Don Farrands, Grandson of Nelson Ferguson An Anzac’s story told through music.


WESTLAKE ON WESTLAKE: Composer-in-residence Nigel Westlake on his music

Thursday May 15 10.00am

ANU ARTIST IN PROFILE: John Mackey composer and saxophonist on Jazz & War


WOMEN IN WARTIME: Lenore Coltheart, Canberra writer, historian and feminist

Friday May 16 10.00am

ANU ARTIST IN PROFILE: Tate Sheridan, Composer


IN CONVERSATION: Aaron Corn and William Barton


Sunday 18 May, 4.00pm Fitters’ Workshop, Kingston Arts Precinct, Kingston

Stuart Mackenzie, Ross Edwards and Christopher Latham debate the question: Why Music?


3 Pro Musica President’s message I am delighted to welcome you to the 20th Canberra International Music Festival. The Founder Ursula Callus would be as proud of this milestone as we are. The Festival has grown beyond all expectations. 2014 is the most ambitious ever. It is a result of many years of research by our Artistic Director Chris Latham, who has found many lost and neglected works of composers who perished or were injured in WWI and WW11. Alongside these less familiar pieces will be more familiar works, all performed by outstanding musicians from Australia and overseas. This year we have partnered with many European Delegations - we thank them for their support. As ever, we are grateful for the ongoing support of our principle sponsors: ACT Government, Australia Council and ACTEW Water. The Festival has become a true community activity through the incredible generosity of many individuals, and the hard work, loyalty and dedication of our staff and volunteers over many years. Billeting has saved many, many dollars which has enabled more to be spent on the artistic program. We are especially proud of the support we have been able to give to young musicians, giving them the opportunity to be mentored by world famous musicians and to make life long contacts. This is Chris Latham’s sixth and final Festival. Over those years Chris has taken us on an extraordinary musical adventure. We have heard huge works with orchestral sizes we never dreamed of attempting; intimate works in intimate spaces; newly commissioned works supported by the community; and the Amazing Spaces series that has delighted us all, unstintingly supported by the Architects from the Australian Institute of Architects (ACT Branch). We say farewell and a huge thank you to Chris. He has made the Canberra International Music Festival into the most innovative Festival in the country. Dorothy Danta President, Pro Musica Inc. Artistic Director’s message This is the 20th Canberra International Music Festival, and my last program in the series. In it we mark the centenary of World War I, as also the 75th anniversary of the start of World War II. The trauma caused by the two World Wars created an enormous hiatus in the classical music tradition. We lost performers and composers in droves, but in fact the real damage was done to the living. The surviving composers came home deeply traumatised, and the music they then wrote lost them their audience, who needed a different kind of music to grieve to. In this crisis of confidence the classical concert audience largely turned its back on the new, preferring a museum culture of the music from before the “Great War”. But strangely, given this crack in history that shaped the world in such profound ways, the music actually written during the course of World War I is a sadly unexplored country. Military historians routinely ignore the fact that some form of music making occurred every day in the trenches on all sides, and even, on one remarkable occasion, across the lines; and there is almost no literature devoted to the subject. But think about it: if you were facing near certain death, what music would you make? The answer to that question is gloriously life affirming. Composers in the trenches wrote sunny and optimistic works, nostalgic remembrances, funny and exuberant pieces, and quite notably, very peaceful works – unusually calm pieces that speak of a deep reconciliation with fate. Believing as I do “that the time for making war is over”, I welcome the support that 12 of Canberra’s Embassies have given this Festival. If it is true that optimism for a diplomat is the same as courage for a soldier, then let us all begin to imagine a future where diplomacy is empowered and the rule of the gun is relegated to history. This music has a great secret to teach us. It speaks to life, love and sacrifice. These are the last grapes before the frost, and their wine is distinctive. I welcome you all into this great Rose Garden – please take the time to smell these roses.

4 ONSITE CATERING We are pleased to welcome the Rotary Club of Jerrabomberra as our catering partners for CIMF 2014. The club will be providing a variety of wholesome, tasty and warm food ranging in price not exceeding $10. Food for CIMF concert patrons will be made available as follows: Day



Saturday 10th

Fitters Workshop - BBQ

12pm - 1:15pm

Saturday 10th

Albert Hall

6:30pm - 8pm

Sunday 11th

Albert Hall

5:30pm- 7pm

Fitters Workshop - BBQ

7pm - 8pm

Albert Hall

7pm - 8:15pm

Fitters Workshop - BBQ

7pm - 8:15pm

Tuesday 13


Wednesday 14 Friday 16th


We trust you will enjoy this wholesome, tasty and warm food and assist Rotary funded community projects by taking advantage of this service. VENUE ACCESSIBILITY Access for mobility impaired audience members is provided for at all our venues; however, audio induction loops are not available.






See page


Europe Day Opening Concert

Fri 9


Albert Hall



Music from No Man’s Land

Sat 10


Fitters’ Workshop



The Pianist

Sat 10


Fitters’ Workshop



20 Anniversary Gala

Sat 10


Albert Hall



The Vessel

Sun 11


Fitters’ Workshop



The Mystic, the Monk and the Muse

Sun 11


Fitters’ Workshop




Sun 11


Albert Hall



The Violin Sings

Mon 12


Fitters’ Workshop



Amazing Space 1 Sounding the Great Hall

Tues 13

12 noon

University House, ANU



Debussy and Ravel

Tues 13


Fitters’ Workshop



Triumph of the Heart

Tues 13


Fitters’ Workshop



Amazing Space 2 Sounding Nishi

Wed 14


Nishi Building, New Acton



The Glass Soldier

Wed 14


Fitters’ Workshop



Mozart Requiem

Wed 14


Albert Hall



Amazing Space 3 Sounding the Foreshore

Thurs 15

12 noon

Kingston Arts Precinct



Amazing Space 4 Sunset at the High Court

Thurs 15


High Court of Australia



The Birth of the Fitters’

Thurs 15


Fitters’ Workshop



Amazing Space 5 Sounding the Lake

Fri 16

11.30 for 12 noon

Lake Burley Griffin Southern Cross Yacht Club



The Christmas Truce

Fri 16


Fitters’ Workshop



Heart Strings

Fri 16


Fitters’ Workshop



A Brahmsian Delight

Sat 17


Fitters’ Workshop



Quartet for the End of Time

Sat 17


Fitters’ Workshop



The Fire and the Rose

Sat 17


Llewellyn Hall



Peter and the Wolf

Sun 18


CGGS Senior School Hall



Into the Rose Garden

Sun 18

1.30pm & 7.30pm

Fitters’ Workshop



Please note: There is a minimum of one hour between concerts.




Europe Day Opening Concert



Celebrating the European Union Opening address by His Excellency, EU Ambassador to Australia, Sem Fabrizi Australian National Anthem Anthem (Ode to Joy)

Anna Fraser SOPRANO, Song Company, Woden Vally Youth Choir, Canberra Festival Chorus and Orchestra, DIR Roland Peelman

George Frideric Handel (Germany/England) Battaglia from Rinaldo Heinrich Biber (Austria) Battalia op. 61 * The Wallfisch Band DIR Elizabeth Wallfisch

Leó Weiner (Hungary) Fox Dance (1941) Adam Cook PIANO

Władysław Szpilman (Poland) Mazurka (1942) Tamara-Anna Cislowska PIANO

Hamilton Harty (Ireland) In Ireland Kate Clark WOODEN FLUTE, Alice Giles HARP

Enrique Granados (Spain) Love and Death from Goyescas (1915) Simone Riksman SOPRANO, Mark Donnelly BARITONE and Tamara-Anna Cislowska PIANO

Ilse Weber (1903-1944) (Czech Republic) Wiegala Simone Riksman SOPRANO, Alice Giles HARP

Leo Smit (1900-1943) (Holland) La mort des amants Louise Page SOPRANO, Christina Wilson MEZZO-SOPRANO, Alan Hicks PIANO

Georges Antoine (Belgium) Ronde (1916-18) Christopher Saunders TENOR, Calvin Bowman PIANO

W Denis Browne (1888–1915) (England) To Gratiana Dancing and Singing Christopher Saunders TENOR, Calvin Bowman PIANO

Jean Cras (France) Pures – Mvt II from the Âmes d’enfants Adam Cook, Timothy Young, Daniel de Borah PIANO

Giacomo Puccini (Italy) Morire? (1917) Simone Riksman SOPRANO, Calvin Bowman PIANO

Einojuhani Rautavaara (Finland) Agnus Dei arr. for strings WP* The Wallfisch Band DIR Christopher Latham

JS Bach (Germany) Cantata: "Herr Gott, dich loben alle wir" BWV 130 * Song Company & Friends with guests Tobias Cole COUNTERTENOR, Richard Butler TENOR, The Wallfisch Band DIR Elizabeth Wallfisch, Roland Peelman CONDUCTOR

The Dove of Peace: Vladimír Godár (Slovakia) Cradle Song: ”What Does Little Birdie Say?” from Querela Pacis (2009) * Song Company & Friends, The Wallfisch Band DIR Roland Peelman, with the Woden Valley Youth Choir *PERFORMANCES ON PERIOD INSTRUMENTS NO APPLAUSE UNTIL THE END OF THE CONCERT

8 The Program Today, on Europe Day, we celebrate the achievements of the European Union. Our concert underlines these achievements – paradoxically – by reminding us of dark times when such a Union seemed a mad dream. But it was precisely this long history of European wars that provided far-sighted statesmen and their peoples with the will to end such horrors. A Union built on trade, cultural bonds, diplomacy and tough negotiations seeks to replace the barbarism of war. Where war both provoked and snuffed out creativity, it is now free to flourish in today’s Europe. This concert is a journey that explores musical responses to war – ranging from its glorification, through attempts to ameliorate its horrors, to hopes for peace, be it in another world or our own. Handel and Biber depict battle as energising, a perspective that will be subverted through the concert. Fox Dance is also rousing, but in 1941, the Jewish Hungarian Leo Weiner must surely have composed it as an ironic comment on his times and situation. Another dance tune, Szpilman’s Mazurka, is slightly melancholic but gives little hint that it was composed in the year when Szpilman and his family were taken from the Warsaw Ghetto to Treblinka – a story recently told in the movie The Pianist (2002). In the Theresienstadt death camp, Ilse Weber also composed poems and songs for the children she attended to – without medicine – as a night nurse. Going voluntarily to the gas chamber with a group that included her son, she sang her lullaby Wiegala to calm them. As we shall find throughout the Festival, music from times of suffering and trauma often seem to have been composed to escape the present, for example, Antoine’s cheerful Ronde. A promising composer, Antoine enlisted at the outbreak of the Great War but soon succumbed to illness in the trenches. He was discharged, lived in poverty, then rejoined the army in the summer of 1918, only to die of fever two days after the Armistice. Hamilton Harty, a naval officer in the same War, remembered his native Ireland when he wrote on In Ireland’s score: "In a Dublin street at dusk two wandering street musicians are playing." In 1917, Jean Cras, a career naval officer in command of a torpedo boat, composed a brilliant piano six-hander for his three daughters; in 1916 he had sunk a submarine, and rescued a sailor who had fallen overboard. In 1913, W. Denis Browne, a close friend of Rupert Brooke and F.S. Kelly, wrote To Gratiana Dancing and Singing based on 17th century music and lyrics celebrating Gratiana’s curvaceous dancing. In 1915 he would die from wounds sustained in an attack on Turkish trenches in the Third Battle of Krithia. In a letter written as he died, he said: “I’ve gone now too; not too badly I hope. I’m luckier than Rupert, because I’ve fought. But there’s no one to bury me as I buried him, so perhaps he’s best off in the long run.” In contrast, other composers have confronted the impetus to make war. Although probably more motivated by romanticism and nationalism, Granados’ El amor y la muerte (Love and Death – from Goyescas) was inspired by Goya’s etching of a horrified young woman cradling her dying lover. Returning from a triumphant premiere of the opera in New York in 1916, Granados himself perished in the attempt to rescue his drowning wife, when their boat was torpedoed in the English Channel. Composers of all periods have sought to find solace in the face of death. Smit sees it as a mystical entry to a higher life: “an angel, opening the doors” who “will come to revive, faithful and joyous, the tarnished mirrors and dead flames.” Puccini wonders what is it to die and concludes that “you who are on the other side, on the vast shore where the flower of life blossoms – I’m sure you know.” Rautavaara’s Agnus Dei is a warm and consoling conclusion to his recent Missa a cappella, here arranged for strings. Bach’s “Herr Gott, dich loben alle wir” was composed for feast of St Michael, the archangel who fought and defeated Satan. Its opening Chorale depicts angel choirs singing. The concert’s conclusion comes from Godár’s very recent Querela pacis. A reviewer wrote: “Lament of Peace refers to the nature of war, the paradox that ‘our civilization is probably since the WW2 still paving its existence by means of honorable killing in endless wars somewhere on Earth’. Godár’s effort to liberate humankind from this bloody illusion … is authentic and if you listen to it with attention, it is unbelievably touching, like an unselfish prayer, like an arrow aimed to God, which is almost physical.” We hope this concert plays a small part in the liberation project that it shares with the European Union.


Music from No Man’s Land



This concert is supported by an anonymous donor Recovering the lost works of Frederick Septimus Kelly and Willie Braithewaite Manson

Frederick Septimus Kelly: Theme, Variations and Fugue Timothy Young and Daniel de Borah PIANO

Songs Christopher Saunders TENOR, Calvin Bowman PIANO

Willie Braithewaite Manson: Songs Christopher Saunders TENOR, Calvin Bowman PIANO

Frederick Septimus Kelly: A Cycle of Lyrics for Piano solo Op. 4 No 1 Lament No 3 Idyll Adam Cook PIANO

Piano Quartet WP Rebecca Chan VIOLIN, David Pereira CELLO, Tamara-Anna Cislowska PIANO

Theme for Variations: Lento et Lamentoso (1916) WP Tamara-Anna Cislowska PIANO

String Trio AP Rebecca Chan VIOLIN, James Wannan VIOLA, David Pereira CELLO

F minor Piano Sonata:Slow Movement (1916) Tamara-Anna Cislowska PIANO

Frederick Septimus Kelly Frederick Septimus Kelly was born in Sydney, the fourth son of Irish-born wool broker and his Australian wife. He was educated at Sydney Grammar School and then sent to Eton College in England. He spent his adult life in England, where he performed with Pablo Casals, and had a notable musical friendship with the violinist Jelly D’Aranyi. An outstanding rower, he won Gold in the 1908 Summer Olympics. Following the outbreak of war in 1914, Kelly volunteered in the Royal Naval Division, along with his friends – the poet Rupert Brooke, the critic and composer William Denis Browne, and others of what became known as the Latin Club. Kelly was wounded twice at Gallipoli, awarded the Distinguished Service Cross and reached the rank of Lieutenant-Commander. As his diary for this period shows, however, his musical mind remained active in the course of his military activities: Friday, May 21st, 1915. Near headquarters at the White House … There is a very active body of snipers somewhere up by the firing line who have a line on the White House and the whole of the afternoon bullets have been whistling continuously over my dug‐out. I have ever since the day of Rupert Brooke’s death been composing an elegy for string orchestra, the ideas of which are coloured by the surroundings of his grave and circumstances of his death. Today I felt my way right through to the end of it,

10 though of course, much of it has still to take on definite shape. The modal character of the music seems to be suggested by the Greek surroundings as well as Rupert’s character, some passagework by the rustling of the olive tree which bends over his grave. It should work out to some nine minutes in performance.

Kelly’s Elegy (see Concert 20: Heart Strings, p.57) was only written down during medical leave in Alexandria: Wednesday, June 16 th, 1915. Hotel Majestic, Alexandria.
 In the afternoon I played for an hour on a fairly good Bechstein Grand…. I played … my D minor study and my new Elegy for strings in memoriam of Rupert Brooke. It is practically complete except for the writing down. I had never played it before and was pleased with it.

Sunday, June 27th, 1915. Same Place.
 I worked at my Elegy for string orchestra in memoriam Rupert Brooke, all the morning. I finished it by lunch time. I have still to put in the phrasing and expression marks.

Tuesday, June 29th, 1915. Majestic Hotel, Alexandria.
 I worked at my Elegy for strings orchestra in the morning and from 2.45 til 4.45 p.m., by which time I finished filling in the phrasing and marks of expression. It is so entirely bound up with Rupert Brooke and the circumstances of his burial that in a sense I feel myself the chronicler of its ideas rather than the composer. As we slowly made our way behind the coffin to the olive grove [a particular phrase] constantly recurred to my mind. The work is a true portrayal of my feelings on that night & the passionless simplicity of the surroundings with occasionally a note of personal anguish.

Ideas for two violin sonatas, in G major and B minor, were similarly worked out after his return to the field: Monday, October 18, 1915. Hood Battalion, Base camp, near D.H.Q.
 I went up to our new winter camp area with Freyberg and Egerton after breakfast and we discussed the arrangement of the various dug‐outs.… I slept from 2 till tea time and then went on with the first movement of my Violin Sonata.

Kelly survived the Gallipoli slaughter, only to die in the last days of the Battle of the Somme in November 1916, when rushing a German machine gun post, which eventually led to the final breakthrough in that campaign. His efforts allowed his friend Bernard Freyberg (later commander of the NZ Army and Governor General of NZ) to win the VC.

Willie Braithwaite Manson Willie Braithwaite Manson was born to a young New Zealand soprano Mabel Manson and her English husband in Dunedin on July 1, 1896. Around the age of 5 his parents took him to London, where his mother could better pursue her career. Before long he was showing a marked aptitude for music; he joined the elite Chapel Royal as a chorister, was educated in the Chapel Royal School, and at 17 was accepted into the Royal College of Music, where he was immediately recognised as an exceptional student, and won several awards. However, as Peter Downes has told us: Willie Manson's studies at the Royal Academy of Music were largely conducted under the cloud of the 1914-1918 world war…. The pressures for young men to fight for king and country were immense and Willie Manson found himself caught up in it all. During his third year of studies, 1915, it was announced that from the following February conscription would be brought in for single men aged from 18 to 41…. By nature he was not an aggressive person but a resolute sense of patriotism led him to enlist. He … volunteered for the London Scottish. Within four months Willie’s regiment was drafted to France and, on the last day of June [1916], took up a position on the northern edge of the British line near Gommecourt. The allied attack was scheduled to begin at 7.30 the next morning, but before then the Germans opened a counter defensive. The Battle of the Somme had begun. By 7.25 almost 300 British soldiers had already been killed; among them was Private 6492 William Braithwaite Manson. lt was the first day of the battle, the first day of July, and it was his 20th birthday.

All that was left of Manson’s musical output were two movements of an unfinished piano trio, since lost, and six songs to lyrics by Housman (A Shropshire Lad), Longfellow and Christina Rossetti.




The Pianist



This concert is supported by Bev and Don Aitkin A spectacular pianistic showcase, revealing the effervescent music of Władysław Szpilman (memorialised in the film The Pianist), and other wartime piano works

Béla Bartók Romanian Folk Dances (1916) Adam Cook PIANO

One of the foremost experts in Eastern European folk music, Bartók was drawn to Romanian folk music because of its timbral diversity and its variety and quality of tunes. Based on seven Romanian tunes from Transylvania, originally played on fiddle

or shepherd's flute, this set of dances consists of six movements which, according to the composer, it should take four minutes and three seconds to perform, though most professional pianists take up to five minutes.

Władysław Szpilman Concertino for two pianos (1940) Tamara-Anna Cislowska, Adam Cook PIANO

Born in 1911, Władysław Szpilman was initially trained at the Chopin Academy in Warsaw, and subsequently in Berlin with Leonid Kreutzer and Artur Schnabel. Returning to Poland in 1933 he embarked on a brilliant career as a soloist, and as a chamber music partner of such violinists as Henryk Szeryng and Ida Händel. By 1935 he was the house pianist of the Polish Radio, where he played a Chopin recital on the 23rd of September 1939 in the radio station’s last broadcast. Part of this recital was the Nocturne in C-sharp minor, the piece that he would later play for his rescuer Hosenfeld, and with which he would reopen the service of the Warsaw station in 1945. Through Roman Polanski’s award-winning film The Pianist (2002), based on Szpilman’s book Death of a City (1946), the story of

this Polish musician of Jewish origin reached an audience of millions. Szpilman’s book described the ghetto, and the deportation of his family to Treblinka, which he himself had escaped, having been picked out of a crowd of deportees as a famous musician. He also told of the solidarity of Polish friends who had risked their lives to shelter him, until he was saved from starvation by the German Wehrmacht officer Wilm Hosenfeld in an almost totally destroyed Warsaw. Szpilman’s great passion from the start had been composition, and it is more than deplorable that most of his work composed before the war was lost in the destruction of Warsaw. After the war Szpilman himself reconstructed the Concertino, completed in 1940 as the gates of the Warsaw Ghetto closed.

Leó Weiner Hungarian Folkdances for piano (1941) Adam Cook PIANO

A professor of composition at the Budapest Academy of Music, Leó Weiner came close to starvation in the ghetto during WWII. To him primarily is credited the reputation of Hungarian

musicians for their accuracy and depth of interpretation in chamber music, as in their solo and orchestral concert work as well.

Albéric Magnard (1865-1914) En Dieu mon espérance et mon épée pour ma défense AP Bengt Forsberg PIANO

The title of this piece is indicative of the obdurate individualism of its composer. Albéric Magnard studied law before entering the Paris Conservatoire, where his teachers included Dubois and Massenet; he later taught counterpoint at the Schola

Cantorum. On September 3, 1914, spotting a troop of German cavalry riding on his grounds, he shot two of them dead from his window. The Germans returned fire and burned down the house, where his body was later found in the ashes.

12 William Baines Seven Preludes (Selections) (1918-19) Bengt Forsberg PIANO

Born in Yorkshire, William Baines came from a musical family. He began piano lessons at a young age and at 18 gave his first public piano recital. In 1918 Baines was conscripted into the British Army, but within a fortnight was hospitalised due to septic poisoning. The war was over by the time he had

been discharged, although his health, already delicate, never fully recovered. He continued to compose and give recitals until a few months before his death in 1922. His Seven Preludes from 1919 are considered to be amongst his finest compositions.

Frank Bridge Lament – Catherine, aged 9 – “Lusitania” 1915 AP Daniel de Borah PIANO

Bridge studied at the Royal College of Music in London; he played the viola and conducted, but devoted himself primarily to composition. Bridge had strong pacifist convictions, and he was deeply disturbed by the First World War. On May 7, 1915, a German U-Boat fired torpedoes at the RMS Lusitania, a civilian ocean liner, and sank it in the Atlantic. 1,195 people died, and the

incident cause international furor, catalyzing the already messy First World War and giving America more reason to declare war a couple of years later. Among the lost was Catherine, a 9-year-old girl, who died with her family. The elegy Bridge wrote in memory of his young friend is perhaps the most beautiful piece of music ever written about a nautical disaster.

António Fragoso Nocturno (1917) AP The death of António Fragoso (1897--1918) at the age of 21 in the 1918 influenza pandemic robbed Portugal of a composer with the potential for greatness. He wrote a number of pieces for solo

piano, songs and chamber music; despite the evident influence of Chopin, Fauré and Debussy, his beautiful, melancholy music has an identity of its own, as this Nocturno clearly demonstrates.

André Devaere Grave et poignant for piano AP Calvin Bowman PIANO

Born in Courtrai, Belgium, in 1890, André Devaere entered the Brussels Conservatorium in 1903, gaining First Prize in piano in 1907. At his first concert at Ostende in September that year, he was praised for the beauty of his playing. He continued

his studies and concert appearances, devoting his free time to composition, until the outbreak of war in August, 1914. Enrolled immediately, he was gravely wounded in the chest in November, and died four days later at the age of 24.

Reynaldo Hahn Pour bercer un convalescent: Andantino non lento (1916) Timothy Young and Daniel de Borah PIANO

Reynaldo Hahn (1874-1947) was brought to Paris from Venezuela by his parents at the age of 3, and later became a French citizen. A child prodigy, he entered the Paris Conservatoire at 10. Hahn is best known as a composer of songs and for his relationship with Marcel Proust.

In 1914, at the outbreak of World War I, he volunteered for service in the French Army. Despite his age he was accepted and served, finally reaching the rank of corporal. This piano duo is dedicated à Henri Bardac, Sergent au 306° d'Infanterie, grièvement blessé à la bataille de l'Aisne.

Sergei Prokofiev Piano Sonata No 7 (War Sonata – 1939-42) Daniel de Borah PIANO

Prokofiev’s three “War Sonatas”, containing some of his most dissonant music, were an expression of

his true feelings under Stalin; ironically enough Sonata No. 7 won a Stalin Prize (Second Class).

Władysław Szpilman Mazurka (1943) AP Tamara-Anna Cislowska PIANO

Szpilman’s Mazurka, composed in the style of Chopin for a revue, bears witness to musical life in the ghetto when it was still possible; it stood in for

the real Chopin, whose music (a symbol of Poland’s struggle for national and cultural independence) the Nazis had categorically forbidden.




20th Anniversary Gala



This concert is supported by Betty Beaver Celebrating two decades of Festival music in Canberra

Glenda Cloughley (poem by Hazel Hall) Acknowledgement of Country A Chorus of Women with the Wallfisch Band

Clément Janequin La guerre (La bataille de Marignan 1531) Song Company (Tobias Cole COUNTER-TENOR, Richard Black TENOR, Mark Donnelly BARITONE, Clive Birch BASS)

Elena Kats-Chernin Beaver Blaze* Nigel Westlake The Eternal Fountainhead WP* Leo Duarte BAROQUE OBOE, Elizabeth Wallfisch BAROQUE VIOLIN

W Denis Browne To Gratiana Dancing and Singing AP Ivor Gurney Sleep Christopher Saunders TENOR, Calvin Bowman PIANO

Elena Kats-Chernin The Sleeper (poem by Val Vallis) Christopher Saunders TENOR, Elena Kats-Chernin PIANO

Johann Heinrich Schmelzer Lamento sopra la morte di Ferdinand III * The Wallfisch Band DIR Elizabeth Wallfisch

Enrique Granados Final Scene: ‘Love and Death’ from Goyescas (1915) Simone Riksman SOPRANO, Mark Donnelly BARITONE and Tamara-Anna Cislowska PIANO

Heinrich Biber Battalia op. 61* The Wallfisch Band DIR Elizabeth Wallfisch

Jean Cras Âmes d'enfants pour piano six petites mains (1917) AP Timothy Young, Daniel de Borah, Adam Cook PIANO

JS Bach (Germany) Cantata: "Herr Gott, dich loben alle wir" BWV 130 * Song Company with guests Tobias Cole COUNTER-TENOR, Richard Butler TENOR, Andrew Fysh BASS; Wallfisch Band DIR Elisabeth Wallfisch; Roland Peelman CONDUCTOR *PERFORMANCES ON PERIOD INSTRUMENTS

The Festival The Canberra International Music Festival was founded in 1994 by the late Ursula Callus (1939-2000), the then President of Pro Musica Incorporated, a non-profit community organisation founded in the 1980s by the late Edith Butler and a group of music lovers, who were concerned to provide performance opportunities in Canberra homes and boardrooms for the students of the Canberra School of Music. Under the artistic guidance of Geoffrey Lancaster, David Pereira and Virginia Taylor, Callus’s first Canberra International Chamber Music Festival, held in April, 1994, was a significant enough beginning to win the Canberra Critics Circle Award for Music Innovation. Like its successors, it owed a great deal to the support of a number of Diplomatic Missions in Canberra which not only hosted performances, but also arranged for international musicians to attend. Since then the Festival has developed into an annual event now held over two weeks in May each year, and while it remains true to its chamber music origins, its scope has broadened to include classical, jazz,

14 contemporary and world music. And this year, the CIMF which in its earliest years was hosted by Canberra’s Embassies, is proud to host those Embassies at its concerts. Over the last twenty years the Festival has brought together international performers who have come to us through the aid of foreign embassies; Australian performers from across the nation and overseas; and a variety of musical genres, lectures and other forms of artistic creativity, in venues of historical and cultural interest, amid all the colours of Canberra’s autumn. In the process it has achieved a national reputation for presenting an art music program which is both highly innovative and of exceptional quality. Festival performances have been reviewed extremely positively, and in recent years have reached a national audience far beyond Canberra through ABC broadcasts. In 2002 and 2008 the Festival won the Canberra Critics Circle Award, and in 2012 it won a MAMA (MusicACT Music Award) for its "Contribution to the ACT Music Industry". The Festival’s expansion over the last decade has been in large part due to a munificent gift in 2006 from philanthropist and audience-builder, and current patron of Pro Musica, Barbara Blackman. Barbara Blackman’s generosity and foresight is encapsulated in her own words: “The sincerest form of love is encouragement.” In this spirit, Pro Musica has invested heavily in commissioning and premiering new and rarely heard works of major international composers, as well as supporting Australian composers by showcasing their work and commissioning new works. This is particularly the case in this year’s Festival, where 16 new works will be heard for the first time, and in the order of 100 works lost from sight in the aftermath of the two World Wars will have their first Australian premieres. From its inception, a principal focus of the Festival has been to facilitate the participation of young musicians, vocal and instrumental, offering them opportunities to perform in a professional context, and to make contact with and learn from established musicians with national and international careers. What began in 2013 through the generosity of Drs. Arn Sprogis and Margot Woods has this year added the name of Ann and Roger Smith as the Sprogis Wood Smith Young Artists Program, bringing some 36 young musicians to Canberra from across Australia and New Zealand. We are also delighted to have ACO2, the youth arm of the Australian Chamber Orchestra, join us this year for the first time. In 2009, the CIMF took up an idea from the architect Ross Feller, and in partnership with the ACT Chapter of the Australian Institute of Architects inaugurated a series of free lunchtime concerts inviting audiences to enjoy both the architecture and the acoustics of major public spaces in Canberra. In 2011 the Amazing Space concert series was awarded the AIA (ACT)’s Clem Cummings Medal for “contributions by non-architects and architects to architecture and the public interest”. In 2012 it received the Australian Music Centre’s Art Music award for ACT Performance of the Year. This series achieved particular significance in the Centenary year 2013, when the Festival took as its particular focus the lives and the inspiration of Canberra’s inaugural designers, Walter Burley Griffin and his wife, Marion Mahony Griffin. In twenty years, then, the CIMF has established itself as a national event, drawing its audience not just from Canberra, but from across Australia. Through the generosity of its sponsors and the tireless enthusiasm of its largely volunteer staff, it has been able to create new opportunities for emerging and experienced contemporary composers, to build a larger and more interesting repertoire for chamber music, and to stimulate an audience enthusiasm for new music as well as old – music which challenges as much as it charms. Festival Directors, 1994 – 2014: 1994-1999: Ursula Callus 2000: Rae Mann, Eric McDonald 2001: Betty Beaver and Dorothy Danta

2002-2003: Aernout Kerbet 2004: Virginia Taylor, Geoffrey Lancaster & David Pereira 2005-2008: Nicole Canham

2009-2014: Christopher Latham




The Vessel



This concert is supported by Warren Curry and Randy Goldberg Celebrating the women in music

Music by composer-in-residence Elena Kats-Chernin Marcato: Festival Direction WP Two Stolen Pieces


April Code Prelude and Cube WP

Dance of the Paper Umbrellas WP

Tango Nochy WP

Russian Toccata Pv

Russian Rag

Eliza Aria


Elena Kats-Chernin, Tamara-Anna Cislowska PIANO

There is no doubt about it: if it weren’t for Canberra women this Festival would not be happening. As we saw on the previous page, the Festival originated through the concern of two women, Edith Butler and Ursula Callus, to ensure that music students in Canberra had places and occasions in which to perform. The organisation they created, Pro Musica, Inc., has been proud to claim women as its patrons, both current, Barbara Blackman, and recently retired, Dame Quentin Bryce. Four of the nine current Pro Musica Board members, including the current President, are women. The Festival owes a great debt of gratitude to the generosity of one woman in particular, Barbara Blackman, for a grant that enabled it to expand its scope from a small Chamber Music Festival to the nationally significant festival of today. But the impetus of that gift could not have been sustained without direct financial support for our concerts and our artists from individuals and couples in and beyond Canberra; and a glance at the list overleaf shows that this year, as in previous years, women constitute a significant majority of those supporters. Over the 20 years since 1994 the direction of the Festival itself has been shared pretty much equally between women and men. But a look at p. 84 shows that the current Director is supported in his role by a team in which women carry a major portion of the responsibility. And how would the Festival survive without the volunteers – men, certainly, but particularly women – who give it their time and effort? When it comes to the musicians themselves, the figures are very interesting. Of a total of more than 180 performers participating in the Festival, women slightly outnumber men – by about 95 to 85. (This is not counting the various participating choirs, in all of which women outnumber men to a significant degree.) What is particularly noteworthy is that among close to 70 young musicians participating in this year’s Festival, whether as Sprogis Wood Smith Young Artists, as members of ACO2, or as students from the ANU School of Music, there are well over twice as many women as men. Is something going on? The picture suddenly changes, however, when we look at the musical repertoire of the Festival. Admittedly, it reflects the musical practice of a past era, but it is striking that of the 100 composers represented in this year’s Festival, only 6 are women: Dora Pejačević, Lili Boulanger, Nadia Boulanger, Rosy Wertheim, Ilse Weber – and the composer who has established herself as one of the leading figures in Australian music, with an international reputation to match, and as a role model for the young women composers who are increasingly making their presence felt: Elena Kats-Chernin.

16 ACKNOWLEDGEMENT The 2014 Festival owes a special debt of thanks to the following Diplomatic Missions for their sponsorship of concerts in this Festival and for the assistance provided in bringing our international artists to Canberra:

Embassy of Austria

Embassy of France

Royal Belgian Embassy

Embassy of the Federal Republic of Germany

British High Commission

Embassy of Hungary

Embassy of the Czech Republic

Embassy of the Kingdom of the Netherlands

Royal Danish Embassy

Embassy of Sweden

Delegation of the European Union

Embassy of the United States of America

A SPECIAL THANK YOU TO OUR CONCERT AND ARTIST SUPPORTERS Without continuing support from people within the Canberra community who share our vision for the Festival, it would not be possible to present such a wonderful program of music each year. This financial support directly contributes to the quality and creativity of our artistic program, and to our capacity to bring the best national and international artists to the Festival. Many of our concerts supporters have been contributing for a number of years. We thank all our concert supporters for their generosity. We would like to thank the following individuals for so generously supporting the Festival in 2014: Concert 2 Concert 3 Concert 4 Concert 5 Concert 6 Concert 7 Concert 8 Concert 9 Concert 10 Concert 11 Concert 12 Concert 13

An anonymous donor Bev and Don Aitkin Betty Beaver Warren Curry and Randy Goldberg Cathy Crompton and Tony Henshaw Peronelle and Jim Windeyer Major General the Honourable Michael Jeffrey and Mrs Marlena Jeffrey Betty Beaver Janet Tomi, Vicki Moss, Antonia Lehn, Margaret Wada and Jennie Cameron Pro Musica Board in memory of Ursula Callus Margaret and Peter Janssens Gail and Bill Lubbock

Concert 14 Concert 15 Concert 16 Concert 17 Concert 18 Concert 19 Concert 20 Concert 21 Concert 22 Concert 23 Concert 24 Concert 25

Rieteke and Chris Chenoweth Elspeth and Graham Humphries Gail Ford Helen Moore, Eric Martin and Richard Arthur Marjorie Lindenmayer Anna and Bob Prosser David Geer Margaret Frey, Muriel Wilkinson and June Gordon David Geer David Geer Marjorie Lindenmayer Marjorie Lindenmayer and Peronelle and Jim Windeyer

Elizabeth Wallfisch is supported by Alison Clugston Cornes and Richard Cornes The Wallfisch Band is supported by David Geer Bengt Forsberg and The Uppsala Chamber Soloists are supported by the Swedish Embassy C A O2 is supported by Harriet Elvin and Tony Hedley The ANAM String Quartet is supported by Warren Curry and Randy Goldberg The Sprogis Woods Smith Young Artists are supported by Arn Sprogis, Margot Woods, Ann and Roger Smith The Song Company is supported by Dianne and Brian Anderson Simone Riksman is supported by Lou and Mandy Westende Daniel de Borah is supported by two anonymous donors David Pereira is supported by Christine Goode Roland Peelman is supported by Koula Notaras and Emmanuel Notaras Composer-in-residence Elena Kats-Chernin is supported by Warren Curry and Randy Goldberg Kay Dreyfus and Lieven Bertels are supported by Lyrebird Press (The list of concert and artist supporters was correct at the time of printing)

17 T&V PIANOS presents:

The Mystic, the Monk and the Muse




This concert is supported by Cathy Crompton and Tony Henshaw Sacred music of the Silk Road

The hauntingly beautiful music of George Ivanovich Gurdjieff / Thomas de Hartmann and Komitas AP

G.I. Gurdjieff/T. de Hartmann: Meditation AP Orthodox hymn for a midnight service AP Grigor Narekatsi (Gregory of Narek), 10th century - Komitas The Fowl of the Air [Hávoon, hávoon] AP G.I.Gurdjieff - Transcriptions for duduk and piano by Levon Eskenian and Emmanuel Hovhannisyan: Chant from a holy book AP Duduki AP No 40 AP Assyrian women mourners AP Khachatur Taronetsi (of Taron), 13th c. – Komitas Mystery Profound [Khorhourd Khoreen] AP Simeon Yerevantsi (of Yerevan), 17th c.- Komitas Lord, have mercy [Ter Voghormya] AP Komitas Seven dances for the piano: AP Manushaki – Yerangui – Unabi – Marali – Shushiki – Het u araj – Shoror Komitas Folk Songs AP Transcriptions for duduk and piano by Emmanuel Hovhannisyan and Lusine Grigoryan: Oror [Lullaby] – Garoun – Zulo – Garoun a – Yérkinqen Ampél á – Shogher jan – Shakhkr-Shoukhkr Members of the Gurdjieff Folk Instruments Ensemble: Emmanuel Hovhannisyan DUDUK, Levon Eskenian, Lusine Grigoryan PIANO

Georges Ivanovitch Gurdjieff (1866-1949); Thomas de Hartmann (1885-1956) Imagine the scene at Georges lvanovitch Gurdjieff’s Institute for the Harmonious Development of Man, based in the rambling Château du Prieure at Avon, outside Fontainebleau, and its Study House, a converted World War I airplane hangar, mocked-up with hand-painted glass to resemble a Mevlevi dervish lodge in Istanbul. In these theatrically

colourful surroundings, Gurdjieff’s music found an early form in the 1920s, as the self-styled “teacher of temple dances” put his disciples through their paces, shaping “Movements” intended to alter or heighten consciousness. The process was highly improvisational.

18 “Gurdjieff’s method of creating new exercises had a living spontaneity,” J.G. Bennett would write in “Witness”: “This was one secret of his success as a teacher. While the new pupils were practising on the stage, some of the Russians would gather round the piano, where Thomas de Hartmann sat with his bald head perked like a bird. Gurdjieff would begin to tap the rhythm on the piano top. When it was clear to all, he hummed the melody or played it with one hand on the piano, and then walked away. Hartmann would develop a theme to fit the rhythm and the melody. If he went wrong, Gurdjieff would shout at him and Hartmann would shout furiously back. There were vehement arguments. The stage became a chaos of dispute and gesticulation ... Suddenly Gurdjieff would give a peremptory shout and there would be a dead silence ... and Hartmann would begin to play the theme that by then he had worked into a rich harmony.” The melodies Georges lvanovitch whistled or hummed for Hartmann echoed music he had heard on his travels in Central Asia: folk music, peasant dances, sacred and ritual music and chants, as well as music recalled from his childhood on the border of Armenia and Turkey.

In 1919, Gurdjieff sent Hartmann to the Armenian capital of Yerevan, where he gave concerts of works by European composers and by the great Armenian priest-philosopher-composer Komitas (see below). The Yerevan trip also brought Hartmann directly into contact with ‘pure’ Armenian folk music and instrumentation and gave him, he felt, a better understanding of how Gurdjieff “wished his own music to be written and interpreted”. If Thomas de Hartmann had a personality only marginally less combative than his teacher’s, he insisted in his own memoirs, either with acquired spiritual modesty or through clenched teeth, that “the music is not ‘my music’, it is his. I have only picked up the master’s handkerchief.” It is hard, if not impossible now, to tell where Gurdjieff stops and Hartmann begins. Hartmann notated the music and secured its deceptively simple structure, which is neither wholly Oriental nor Occidental. Rather it serves as a window open to the East, one which allowed the West brief glimpses of other cultures, rituals and musical concepts, long before the advent of field recordings. – with acknowledgements to Steve Lake

Komitas (b. Soghomon Soghomonian; 1869-1935) Komitas (1869-1935) is considered a legend and national saint in Armenian history. Fascinated from childhood by Armenian musical folklore, Komitas gathered and organized more than three thousand folk songs and instrumental melodies. Unfortunately, only 1,200 originals of these songs remain; however, those that Komitas preserved and professionally catalogued constitute national treasures of Armenian musical folklore. Not only did he study Armenian folk songs, but also Turkish and Kurdish. From his writings, we know that he considered Armenian music to belong to the same branch as that of the Turks and Kurds, utilizing the same vocal techniques, rhythms and microtonal modes. Komitas was able to synthesize the peculiarities of Armenian modal music with European polyphony, thereby creating a practical, yet professional, Armenian musical language. Komitas possessed a beautiful baritone with a broad range, and he not only attained the level of a consummate performer but assumed the role of

benefactor as the founder of the Armenian National Vocal School. He worked as a voice and choral teacher and conducted choir performances of Armenian folk songs which he compiled and adapted. These choir compositions are now universally recognized as masterpieces of the genre. Komitas taught his students the fundamentals of music theory but also imparted to them the basics of ethno-musicology. He taught them to appreciate the cultural aspects of music and the spiritual rewards of musical scholarship and field research. On April 24 1915 Komitas was arrested and deported during the tragic events in which so much of the Armenian community of the Ottoman empire perished. Due to the efforts of United States Ambassador Henry Morgenthau, Komitas was able to return, only to find that he had lost everything – friends, students, and most of his life’s work. He succumbed to intense physical and mental anguish, and never composed or sang again. He died in a mental institution near Paris in 1935.






This concert is supported by Peronelle and Jim Windeyer Continuing our survey of JS Bach’s magisterial choral and instrumental masterworks on historical instruments

George Frideric Handel Battaglia from Rinaldo Rinaldo was the first Italian opera written for the London stage. Handel composed it soon after arriving in London from Germany in 1710. Set outside the walls of Jerusalem during the Crusades, with dramatic music, sensational staging and special effects, it was

very well received. Rinaldo leads the Christian army in besieging the city of Jerusalem, and his battle against the Saracens is evoked with trumpets, oboes, timpani and strings in Battaglia, a short instrumental military fanfare.

JS Bach Sinfonia in D major BWV 1045 Elizabeth Wallfisch SOLO BAROQUE VIOLIN, The Wallfisch Band

What we know of this work comes from what appears to be only a fragment of a score, encased in a covering sheet. Written in Bach’s own handwriting, the score is six pages long and its last page suddenly breaks off at bar 150. On the cover page that encases the score fragment, Bach labels it a Concerto for 4 voices, three trumpets, timpani, two oboes, solo violin, two violins, viola and continuo, and someone has added one and a half bars of ending. Whether this is Bach’s own intended ending is impossible to tell, as is the reason why the manuscript breaks off abruptly. Possibly this work was separated, maybe even torn out, from its original setting in order to be used elsewhere. It is even possible that Bach just didn’t want to finish the work. Bach’s own reference on the cover to four voices means it was most likely intended as a cantata. (The term “concerto” to Bach meaning a vocal concerto). The title of the surviving movement itself is “Sinfonia”, which is the usual name given to an instrumental introduction to a cantata. Bach was a great recycler of his own work, and it is likely that this sinfonia was

adapted from a movement of an earlier violin concerto, now lost, that he wrote over thirty years earlier in Weimar. It is clear from the neat handwriting Bach used when copying from one source to another that the continuo, strings and solo violin part were written before other parts. The more careless hand in the oboe, trumpet and timpani parts is evidence they were added later. As a fragment with vocal and orchestral scoring labelled, the sinfonia must have had a context, or an intended one at least, serving perhaps as the introduction to a church or secular cantata. Quite likely it opened a very festive cantata for a special service in Leipzig to celebrate the Peace Treaty of the Second st Silesian War on the 1 January in 1746 that ended Prussian troop occupation of Leipzig. But whatever it was intended for, Bach chose an orchestral ensemble that produces a brilliant effect with a virtuosic solo violin and three trumpets, highly suited to a festive celebration, but also adaptable to other musical contexts.

JS Bach Cantata: "Es erhub sich ein Streit" BWV 19 Song Company with guests Tobias Cole COUNTER-TENOR, Richard Butler TENOR; The Wallfisch Band LED BY Elizabeth Wallfisch, CONDUCTOR Roland Peelman

Chorus – the battle and victory; Bass recitative – Victory is assured but sinners beware; Soprano aria – peace after battle; Tenor recitative- God loves and protects man, the wretched sinner; Tenor aria –Teach me to sing your praises; Soprano recitative – Honour the angels; Chorale – Let the angels travel with me and protect me.

Es erhub sich ein Streit is the second of three surviving complete cantatas that Bach composed in Leipzig for the feast of St Michael. The story in Revelations of St Michael’s struggle with Satan inspired Bach to compose a work full of pictorial imagery of the battle in heaven. This battle is also between St Michael and the plague, mankind and disease, and the cantata speaks to our need to be vigilant and to praise God for his divine assistance.

20 From the opening choral fugue of the battle between St Michael and Satan, heaven and hell, to the heartbreaking cry of human frailty in the tenor aria, the

cantata demonstrates Bach’s extraordinary ability to illustrate a text and deepen our understanding of its meaning.

JS Bach Concerto for violin and oboe in C minor BWV 1060 Leo Duarte BAROQUE OBOE, Elizabeth Wallfisch BAROQUE VIOLIN and DIRECTOR, The Wallfisch Band

Allegro – Adagio – Allegro What we hear tonight is a reconstruction from the surviving version of the work for two harpsichords back into what is believed to be the original concerto composed for violin and oboe, most likely while Bach was in Cöthen or during his early years in Leipzig. The original violin and oboe lines have been traced from the right hand of the harpsichord parts and transformed into a full concerto. The work ranks with Bach’s Brandenburg Concertos in complexity and musical refinement. The use of solo violin and oboe, a popular Baroque combination, offers not only a

contrast in tone but also a true cantabile in the slow movement. The opening movement is an energetic allegro, beginning with a motif in the first bar that provides the entire movement with a core for its development into intertwined solo and ensemble passages. The Adagio slow movement is a sublime duet, a dialogue of unfolding melody between the solo instruments, with a gentle rocking metre in the relative minor key. Finally, the Allegro with its virtuosic solos and contrasting ensemble passages that come together in the final passages.

JS Bach Magnificat Song Company with guests Sonya Holowell and Susannah Bishop SOPRANOS, Tobias Cole COUNTER-TENOR, Richard Butler TENOR, The Wallfisch Band LED BY Elizabeth Wallfisch BAROQUE VIOLIN, with Leo Duarte BAROQUE OBOE; Roland Peelman CONDUCTOR

The people of Leipzig were given a splendid taste of things to come when the Magnificat was first performed at the first Christmas Vespers service in Leipzig in 1723, beginning the revitalisation of sacred music that Bach brought through his role as the Kantor of St Thomas. For this first performance, it was performed with Cantata BWV 63, a large-scale Christmas cantata, so it is not surprising that Bach felt the accompanying Magnificat needed to be short. In all, it lasts only 24 minutes, remarkably brief for a work of 12 movements. The text Bach sets is the Canticle (or Song) of the Virgin Mary (Luke 1: 46-55), which had been part of the old Roman Catholic service of Vespers. The words of the Magnificat are those uttered by Mary when she visits her cousin Elizabeth who is also pregnant. After hearing from Elizabeth that “the babe leapt in my womb for joy” Mary responds with the lines of the Magnificat. Each of the twelve movements takes a sentence of “Mary’s song” and expresses its essence or Affekt.

Bach, so masterful at getting to the core meaning of a text, does this perfectly in the Magnificat. It is a hymn of praise and gratitude, with contrasting moods created through a huge variety of vocal and instrumental composition. The swift-moving orchestral introduction ending with a rushing chorus is followed by two arias of the young Mary: Et exsultavit, full of excitement and joy, and the following Quia respexit, plaintive with the poignant sound of the oboe d’amore, which is interrupted by the spirited chorus Omnes generationes. The very difficult and energetic chorus Fecit potentiam and the fiery tenor aria Deposuit are followed by the tender Esuriente simplevit. (Note how in this movement Bach omits the flutes just at the moment when “the rich are sent empty away”, the emptiness of sound illustrating the text.) Suscepit Israel is an ethereally beautiful women’s chorus, with the trumpet quietly weaving in the Magnificat chorale tune. The work ends with the return of music from the opening for the words “As it was in the beginning, is now and ever shall be. Amen”. Alison Lockhart




The Violin Sings




This concert is supported by Major General the Honourable Michael Jeffery and Mrs Marlena Jeffery Remembering Alma Moodie (1898-1943): outback violinist, European star 6.15pm BOOK LAUNCH: Hosted by Lieven Bertels, Director, Sydney Festival

Bluebeard’s Wife by Kay Dreyfus, Lyrebird Press, 2014. Alma Moodie is perhaps the most gifted violinist ever to have left Australia, acclaimed in Germany in her youth as a “rare apparition in the world of virtuosity”. Born in Mount Morgan, Queensland, in 1898, Moodie left Australia when she was nine for studies in Brussels with internationally renowned teachers. Through the tumultuous years of the First World War, the Weimar Republic and the Third Reich she forged an exceptional career, playing with the likes of the Berlin Philharmonic Orchestra under such conductors as Nikisch, Furtwängler and Fritz Busch. Her untimely death in 1943 suggests that she was a victim of war just as surely as those many others whose fates were less ambiguous. By all accounts a charismatic personality and a prodigious musician, she left no recordings and has slipped into an obscurity as deep as it is undeserved. In piecing together the details of Moodie’s life, Kay Dreyfus reclaims her reputation as one of the outstanding violinists of her generation and as a leading exponent of the contemporary music of her day.

7.00pm THE VIOLIN SINGS Paul Hindemith (Germany) Solo Violin Sonata op. 11 No. 6 (1917-1918) AP Anna McMichael violin

This sonata, written in 1917/18, was long thought to be a fragment, until recently a manuscript copy of the entire work in three movements was discovered. Violinist Herwig Zack writes, “it's a wonderful piece … the work of a young, not 100-percent mature, but ingenious, composer. The last movement is very daring; not only is it extremely virtuoso and very difficult, but there's a certain violence in it. But the times were changing, and what was a secure thing yesterday, what was right yesterday, was not right any more."

Arthur Benjamin (Aus) Violin Sonata in E minor (1918) Rebecca Chan violin, Timothy Young piano

Born in Sydney, and brought up in Brisbane, Arthur Benjamin won a scholarship to the Royal College of Music in London in 1911. In 1914 he joined the Officer Training Corps, and in November 1917 he was attached to the Royal Flying Corps. On 31 July 1918 his aircraft was shot down over Germany by the young Hermann Göring, and he spent the remainder of the war as a German prisoner of war at Ruhleben camp near Berlin. The manuscript of the unpublished Violin Sonata in E minor bears the date 1918, the only surviving work of that year and one of very few to be written by Benjamin during the war.

Igor Stravinsky (Russia) Suite italienne Klara Hellgren violin, Bengt Forsberg piano

In 1919, Diaghilev suggested to the Stravinsky that he write a ballet based on themes by Pergolesi. The result, Pulcinella, led Stravinsky into the “neo-classical” style which dominated his output for several decades. In 1925, Alma Moodie’s friend and patron Werner Reinhart bought for her an eight-month performance exclusivity on the violin and piano arrangement of the Pulcinella Suite (later the Suite italienne), which obliged Stravinsky to invite Moodie first to perform the work with him when he included it in his recital programs. They premiered the work together in Frankfurt on 25 November 1925.

22 Georges Antoine (Belgium) Assez lent from Violin Sonata (1915-6) Rebecca Chan violin, Timothy Young piano

Born in Liège in 1892, Georges Antoine seemed well on the way to a significant musical career when war broke out in 1914. He joined up, but was soon struck down by illness in the trenches. Discharged from the army and without resources, he settled in Saint-Malo, where he gave lessons, organised concerts in aid of the poor and began to compose again. It was during this period, 1915-1916, that the Sonata op. 3 found its definitive form. Despite his fragile health Antoine was keen to return to the front, and he experienced the joy of entering a liberated Bruges in October, 1918. But struck down by fever, he died the following month.

Joseph Haydn arr. Fritz Kreisler (Austria) Austrian Imperial Hymn Elizabeth Wallfisch period violin

Fritz Kreisler served briefly in the Austrian Army in WWI before being honourably discharged after he was wounded. He published a lively account of the experience in his book, Four Weeks in the Trenches (1915).

Dora Pejačević (Croatia) Adagio from Sonata in B flat minor op 43 “Slavic” AP Bernt Lysell violin, Bengt Forsberg piano

Dora Pejačević was born in Budapest in 1885, daughter of Croatian governor Count Teodor Pejačević and Hungarian Countess Lilla Vay de Vaya, herself a fine pianist, who gave her her first piano lessons. Dora began to compose when she was 12. She studied music privately in Zagreb, until her parents sent her to continue her study abroad. From then on she continued to enlarge her intellectual horizons through travel and new acquaintances. Dora Pejačević experienced World War I very differently from most members of her class. Her sensitive nature was appalled by the horrors of war, and when the wounded started arriving in her home town she took an active role as a nurse. Still, in these war years, Pejačević managed to create some of her finest works. These include the “Slavic” sonata from which we hear the Adagio tonight.

Eugène Ysaÿe (Belgium) Allegro Vivo con fuoco from Sonate à deux violons op posth (1915) AP Rebecca Chan violin, Yuhki Mayne violin

The Belgian violinist, composer and conductor Eugène Ysaÿe (1858-1931) was regarded as "The King of the Violin", or, as Nathan Milstein put it, the "tsar" – one of the finest violinists of his generation. His Sonata for Two Violins (1915) was composed in London, where Ysaÿe had taken refuge during the war. The work was lost, and only rediscovered fifty years later, long after his death.

Antonín Dvořák arr. Fritz Kreisler (Czech Republic) Negro Spiritual Melody (Largo from the New World Symphony) Hans Pfitzner (Germany) Sehr breit und ausdrucksvoll from Violin Sonata (1918) AP Hans Pfitzner was one of the composers who carried the German Romantic tradition well into the 20th century. Pfitzner dedicated his Violin Concerto in B minor, Op. 34 (1923) to Alma Moodie, who premiered it in Nuremberg on 4 June 1924, with the composer conducting. At the time, this was considered the most important addition to the violin concerto repertoire since Bruch. Moodie became its leading exponent, and performed it over 50 times. The Sonata from which we hear the slow movement tonight was composed the year before Moodie arrived in Berlin, but it is surely a work she would have known and played.

Erich Korngold (Austria) Garden Scene from Much Ado About Nothing (1918) Nils-Erik Sparf violin, Bengt Forsberg piano

One of the most astonishing youthful prodigies in the history of composition, Erich Korngold was already a veteran theatre composer at age 20, when he was invited in 1918 to write incidental music to Shakespeare's Much Ado about Nothing. When in a later production the orchestra members were not available to perform during an extended run, Korngold adapted the music for violin and piano; he later drew a four-movement suite from this version. WP = Premiere

AP = Australian premier

Pv = Premiere of this version





Sounding the Great Hall



This concert is supported by Betty Beaver Elena Kats-Chernin sounds Leonard French Speakers: David Clarke MC, David Hobbes, Dianne Firth and David Williams

University House Courtyard: Improvised Sound Installation Canberra Festival Brass, DIR Susan Williams NATURAL TRUMPET, with Leanne Sullivan NATURAL TRUMPET, Paul Goodchild TRUMPET, Alex Raupach TRUMPET, Gilbert Cami Farras NATURAL HORN, James McCrow NATURAL HORN, Nigel Crocker TROMBONE, Ros Jorgensen TROMBONE, Brett Page TROMBONE, Ed Diefes TUBA

Great Hall: Elena Kats-Chernin The JourneyWP - after Leonard French's iconic series of paintings: The Wharf The Ship The Cart The Fortress The Cannon

The Monument The Inferno The Burial The Wreck The Wind

Elena Kats-Chernin PromenadeWP– after French's Regeneration Elena Kats-Chernin, Tamara-Anna Cislowska PIANO

UNIVERSITY HOUSE A national university was a feature of Walter Burley Griffin’s plan for Canberra. The site he proposed at the foot of Black Mountain at the western point of his water axis was one of only a few which were subsequently developed for their intended purpose. The Australian National University was formally gazetted in 1946 with the mission of providing facilities for post graduate study and research both generally and in relation to subjects of national importance to Australia. A master plan for the campus was prepared by Brian Lewis, Professor of Architecture at Melbourne University. Following consultation with English academic advisors University House was developed as a faculty club based on the traditional English collegiate system whereby students and teachers living together in a purpose built community. In

addition it was to be a venue for celebrating the life of the university. Lewis’ design was a post war modernist version of Oxbridge colleges with accommodation and public spaces set out around a semi private courtyard. Reflecting the austerity of the times the buildings were to be simple and unpretentious but comfortable. Opened by in 1954 the building very much echoes 1950s British design. Perhaps the most significant feature is the incorporation of lighting, fittings, furnishings, artwork and landscaping to create a unified whole. As an architect the most striking thing for me about the building is the use and detailing of simple, familiar materials in an elegant and artistic manner which combine to create a place which is attractive, peaceful, comfortable and harmonious. The palette of colour and texture is restrained, grouping off

24 white walls and ceilings, walnut parquetry flooring and clear finished pale Ash joinery and simple furniture designed by Fred Ward. The design is simple but also intriguing. Ceilings soar to draw the visitor in, then swoop to direct the eye toward the ground and water plane. The subtle curve in the public wing when experienced in the corridors and the cloister draws the eye but stops short of revealing the destination, encouraging exploration. Contrasting window placement draws the gaze upward through highlights to sky and tree canopies and also downward and out to terrace, pond and courtyard. Shadows cast by the water on the low-slung eaves dance right into the rooms. The communal spaces are a clever balance between public and domestic. Their scale and symmetry is welcoming whether for a larger group in academic discourse or a few enjoying a drink around a fire. The greatest drama is reserved for the Great Hall and its Foyer. These are grander spaces without

being over-scaled. In the Foyer the cement rendered piers and beams in a basic egg crate pattern is a simple and conventional structural solution but nonetheless a highly attractive and artistic design, enhanced by the very 50s futuristic spun aluminium light fittings. Similarly spare forms continue in the Hall - the slender, repetitive tapering piers and beams an echo of ecclesiastical Gothic forms highlighted by elegant wall fittings thrusting upwards and downwards. These spaces are of course brought to life by the art and textiles adorning the walls. University House is remarkably intact and has as much resonance now as when it was built. Its heyday as a collegiate place has passed but its function as a place of accommodation, study, conferencing and celebration continues David Hobbes ARAIA

The Great Hall Paintings: In 1972, the ANU commissioned Melbourne artist Leonard French to design and erect a mural for the south end of the Hall at University House. The completed Regeneration mural, made using plaster relief and enamel paint on masonite panels, was mounted on a metal framework and installed in October 1972. Regeneration represents a new beginning….a rebirth”. The theme of the mural is based on Prometheus; an abstract figure emerging from the earth and the sea at the base of the picture reaching up to the sun, while life forms of fish, reptiles and birds stream down to the sea and the land. The technique owes its inspiration to illuminated manuscripts and Byzantine mosaics with heavy layers of enamel colour. The painting evokes Christian, Byzantine and Celtic symbolism and for the artist, the work “concerns his journey towards the thought of death and the resurrection from it”. Created in 1966-70, Leonard French’s Journey Series of 10 paintings was installed at the Founders’ Day Dinner, Feb 1996 to celebrate the ANU 50th anniversary.

Travel to the United States on a Harkness Fellowship in 1965-66 inspired French’s meditation on the violence of America during the Civil War and its current involvement in the Vietnam War. French’s abstract, evocative symbols represent a tragic search for meaning. The first painting The Wharf starts with hope and the motifs that follow set up a strongly ominous thread of death, fire, bones and destruction with the series in sequence: The Ship, The Cart, The Fortress, The Cannon, The Monument, The Inferno, The Burial, The Wreck. The Journey Series climaxes apocalyptically with The Wind, in which ‘a white vortex sweeps across the picture destroying all the images of the previous paintings’. Only the words from a Sumerian tablet remain: ‘The shattering wind roaring across the land, the people mourn, the country’s blood now fills its holes like the metal in a mould. Bodies dissolve like fat in the sun’. Emeritus Professor David Williams AM ANU HRC Adjunct Professor RSHA


Debussy and Ravel



This concert is supported by Janet Tomi, Vicki Moss, Antonia Lehn, Margaret Wada and Jennie Cameron The war-time works of France’s two best-known composers

Maurice Ravel: Le tombeau de Couperin (1914–17) Timothy Young PIANO

Ravel wrote his Tombeau de Couperin between 1914 and 1917. It serves, in its form as a dance suite, as a tribute to François Couperin, the great French composer of the early eighteenth century, but also as a tribute, in the dedication of each piece, to friends who fell in the war. It was first performed in Paris in April 1919 by the pianist Marguerite Long, to the memory of whose husband, Captain Joseph de Marliave, the final Toccata is dedicated. The work opens with an E minor Prelude and Fugue. These are followed by a Forlane that bears a more direct relationship with the work of Couperin. The lively Rigaudon, is followed by an elegant and evocative Menuet. The work ends with a rapid Toccata.

Claude Debussy: When the Guns of August thundered across the European Continent in 1914, Claude Debussy was already showing signs of the colon cancer that was to take his life four years later. Apprehensive about his health and tormented by the military conflict, his creative production came to a virtual halt. Except for the Berceuse héroïque, Debussy wrote no new music in 1914. The death of his mother in March 1915 further deepened his depression. In that same month, though, Debussy appeared in a recital in Paris, which seems to have kindled a spark that brightened his mood, and he was seized once again with the urge to compose. With the Germans posing a constant threat to descend on Paris, he eagerly accepted the offer to spend the summer at a friend’s seaside chalet near Dieppe. Temporarily freed from the terror of the war, that summer he completed his first compositions in over eighteen months: the Épigraphs antiques for piano four hands, the Études for solo piano, En blanc et noir for two pianos and the Sonata for Cello and Piano. Writing to his friends about the return of his inspiration and the quantity of work completed, Debussy insisted that these pieces were unprecedented and constituted a new stylistic phase for him. It was as if he had started all over again, enjoying the unbounded emotions contained in a beautiful timbre.

From the Études, Book 1 (1915) Adam Cook PIANO

The Études have all the characteristics of Debussy’s most mature idiom. Harmonies indifferent to the logic of tonality, a new suppleness of rhythm and melody and an unprecedented formal freedom combine with absolute coherence in a totally original approach to time in music.

En blanc et noir (1915) Bengt Forsberg, Adam Cook PIANO

Originally titled Caprices en blanc et noir, this two-piano masterpiece consists of three movements. The first piece is an energetic waltz (Avec emportement) dedicated to the Russian conductor, composer and doublebassist Serge Koussevitzky. The second movement (Lent. Sombre) was composed in memory of Debussy's to his friend Jacques Charlot killed in the war, and makes contrastive reference to Ein feste Burg and to the Marseillaise. A playful Scherzando dedicated to Igor Stravinsky brings the piece to a close.

26 Syrinx (1913) Kate Clark WOODEN FLUTE

Syrinx (1913) was meant to be incidental music for a play called Psyche, by Gabriel Mourey, and has lived on as the purest essence, even more than the Prélude à l'après-midi d’un faune, of French flute writing.

Noël des enfants qui n'ont plus de maison (1915) Simone Riksman SOPRANO, Tamara-Anna Cislowska PIANO

Appalled by the blind destructiveness of the conflict, Debussy composed this ‘Christmas carol’. This is a long cry of despair, the wail of a child almost, aimed at those who are children no longer. It voices the incomprehension that follows in the wake of all wars; but is also a cry of hate, ending in a plea: “give the victory to the children of France”. At the same time it is a cry of solidarity, for the children of Belgium, of Serbia, of Poland, and for those rendered homeless in general.

Pièce pour l’œuvre du “Vêtement du blessé” (1915) In 1915 the WWI relief organization “Le Vêtement du blessé” (“Clothes for the Wounded”) solicited from Debussy a manuscript page to sell at a fundraising auction, and he obliged with the autograph copy of a brief waltz for piano. Debussy later presented a copy of the piece to his wife, Emma, as a birthday present.

Élégie (1915) The sombre Élégie appeared early in 1916 in autograph facsimile, in a fundraising book called Pages inédites sur la femme et la guerre dedicated to the British Queen Alexandra, honours the role of women in wartime. Under the last bar appears the date 15 December 1915; a week earlier Debussy had undergone a cancer operation from which he never properly recovered.

Berceuse héroïque (1914) Daniel de Borah PIANO

The Berceuse héroïque, a lullaby for a hero, was composed as a homage to King Albert I of Belgium and his soldiers; in the middle section, Debussy quotes the Belgian Anthem. The work ends with ghostly trumpet calls, as if calling to arms from the other side an army that has fallen in battle.

Maurice Ravel: Frontispice for two pianos, five hands (1918) Timothy Young, Daniel de Borah, Adam Cook PIANO

Performed with two pianos and five hands, Frontispice is 15 bars long and lasts for less than two minutes. Apart from the orchestration of Alborada del gracioso, it was the only work that Ravel completed in 1918; he was in poor health , and still depressed by the death of his mother in the previous year. The work was presented as a frontispiece for Ricciotto Canudo's S.P.503: le poème du Vardar, a collection of poems based on the author's experience as a soldier in the Vardar (north of the Aegean).

La Valse (1919) Bengt Forsberg, Adam Cook PIANO

La Valse began life as a virtuoso orchestral work and then, despite Diaghilev's rejection of it, eventually became a ballet. Ravel's transcription of what he termed ‘a sort of apotheosis of the Viennese waltz’ captures all the cunningly graded excitement of the original. It celebrates in some senses a vanished era, in a way that, as elsewhere in his work, has echoes of Edgar Allan Poe, and is, as Diaghilev perceived, “the portrait of a dance". Ravel explained the narrative evoked: Through swirling clouds, waltzing couples can be made out: the clouds gradually disperse, revealing a great hall, with a whirling crowd of dancers: the scene is gradually illuminated, with the chandeliers bursting into light, revealing an Imperial court of about 1855.



Triumph of the Heart




This concert is supported by Pro Musica Board in memory of Ursula Callus Music from the camps

Erwin Schulhoff (Czech Republic) Sextet Uppsala Chamber Soloists (Klara Hellgren VIOLIN, Nils-Erik Sparf VIOLIN, Susanne Magnusson VIOLA, Bernt Lysell VIOLA, Erik Wahlgren CELLO) with guest artist David Pereira CELLO

Erwin Schulhoff (1894-1942), one of the earliest and most successful exponents of art music drawing on jazz, reflects multiple approaches of his time, from Dada to Expressionism, and from a distanced selfmockery to the stolid seriousness of Socialist Realism. When Germany occupied the Czech lands in 193839, Schulhoff’s life, as a communist of Jewish heritage, was doubly at risk. He successfully applied for Soviet citizenship, but was arrested the day after the Nazi invasion of the Soviet Union on June 22, 1941, for being a Soviet citizen rather than for being a Jew. Unlike the other Czech composers in this concert (and indeed his own father), Schulhoff was not taken to the Theresienstadt camp, but was deported to a concentration camp in Bavaria, where he died of tuberculosis in August 1942.

Pavel Haas (Czech Republic) Suite per oboe e pianoforte (1939) Eve Newsome OBOE, Bengt Forsberg PIANO

Born into a wealthy and prominent Jewish family in Brno, Pavel Haas (1899-1944) became an important composer of theater and film music, composing music, for example, for Karel Ĉapek's infamous RUR. The war years severely limited Haas' professional development, and in 1941 he was sent to Terezín. Although at first he was too ill and depressed to compose, he later became part of the rich musical life of the camp, writing several works that are considered classics of that time. He was deported to Auschwitz in midOctober 1944 and immediately killed. The most formative influence on Haas’s music was the oeuvre of Leoš Janáček, and his use of Moravian musical elements. This integration of Janáček's style with his own mature voice can be heard in the Suite for Oboe and Piano.

Rosy Wertheim (Holland) Le tsigane dans la lune AP Simone Riksman SOPRANO, Tamara-Anna Cislowska PIANO with Anna McMichael VIOLIN

Born in 1888 into a wealthy Amsterdam family, Rosy Wertheim devoted her life in equal measure to music and social causes. She composed songs and choral works in a romantic idiom, taught music, and directed several choirs, including a choir for children from the poor Jewish district. Following the German occupation she organised house concerts in her cellar featuring modern music, particularly banned works by Jewish composers. She survived the war, though most of her family perished, but died in 1949 after much illness, leaving a body of nearly 90 compositions.

Viktor Ullman (Czech Republic) Clere Vénus from 6 Sonnets, Op. 34 AP Louise Page SOPRANO, Christina Wilson MEZZO-SOPRANO, Alan Hicks PIANO

Up to his deportation to Theresienstadt in September, 1942, Viktor Ullman’s list of works had reached 41 opus numbers and contained an additional three piano sonatas, song cycles on texts by various poets, operas, and a piano concerto which he finished nine months after the entry of German troops into Prague in 1939. Most of these works are missing, but thirteen items have survived. The particular nature of the camp at Theresienstadt enabled Ullmann to remain active musically: he was a piano accompanist, organized concerts, wrote critiques of musical events, and composed. As he wrote: "By no means did we sit

28 weeping on the banks of the waters of Babylon. Our endeavor with respect to arts was commensurate with our will to live." On October 16, 1944, he was sent to Auschwitz-Birkenau, where he died two days later.

Leo Smit (Holland) La mort AP I. La mort des artistes II. La mort des amants III. La mort des pauvres Louise Page SOPRANO, Christina Wilson MEZZO-SOPRANO, Alan Hicks PIANO

Leo Smit (1900-1943) was one of the most talented and accomplished Dutch composers of the first half of the twentieth century. He moved to Paris in 1926, living and working for a decade and spending another year in Brussels before returning to Amsterdam in 1937. His setting of three poems by Baudelaire, La mort, dates from 1938. The National Socialists took over the Netherlands in May 1940, and after three years of ghettoization, Smit and his wife were executed at the Sobibór extermination camp in April 1943.

Dick Kattenburg (Holland) Palestinian Songs AP Born to a prosperous family in Amsterdam, Dick Kattenburg (1919-1944) had a very good early musical education. He had a liberal upbringing, but during the war years became ever more conscious of his Jewish background. His series Songs of Palestine (1940-45) are zionist in character and praise the Promised Land (still referred to at that time as Palestine): in the words of Kadima Hapoel, "Onward, comrades, to the Promised Land". The title Kattenburg actually gave this song cycle was “Songs of Romania”, to protect the manuscripts at a time when Jews were in hiding. Kattenburg’s music was never performed during his lifetime, and with the exception of one manuscript, was believed lost until 2004, when the composer’s niece discovered a large quantity of his works in the attic where they had been hidden.

Ilse Weber (Czech Republic) Ich wandre durch Theresienstadt Simone Riksman SOPRANO, Tamara-Anna Cislowska PIANO

Ilse Weber (1903-1944) wrote more than 60 poems in Theresienstadt, a number of which she set to music and sang herself, to her own guitar accompaniment, during her night rounds as a nurse. In their simplicity and heartfelt inwardness, they are among the most moving works written in Theresienstadt.

Robert Emanuel Heilbut (Holland) Excerpts from Muziekboekje (1943): Wiegenlied BB-Lied

Stemming-Wals Pietje

Callum Henshaw and Andrew Blanch GUITARS, Virginia Taylor and Vernon Hill FLUTES, Nicole Canham CLARINET, Paul Goodchild TRUMPET

An amateur musician before the war, Rob Heilbut (1919-1945) was deported in the summer of 1943 to Westerbork transit camp, where he wrote songs lightly satirising life in the camp, together with other music which he performed with his fellow inmates. He was transferred to Bergen Belsen, and died shortly after its liberation in 1945 as a result of the severe living conditions in the camp.

Ilse Weber (Czech Republic) Wiegala AP Simone Riksman SOPRANO, Alice Giles HARP

Ilse Weber went voluntarily to her death with the sick children from the Theresienstadt camp. Eyewitnesses report that in the gas chamber she sang this lullaby to the children. SECOND HALF: NO APPLAUSE UNTIL END





Sounding Nishi



This concert is supported by Margaret and Peter Janssens Portrait concert of composer-in-residence Nigel Westlake Speakers: David Clarke MC, Ann Cleary, Rodney Eggleston (March Studio) and Nigel Westlake

Nishi Grand Stair:

Nigel Westlake Fabian Theory J.B. Smith MARIMBA

Nigel Westlake Omphalo Centric Lecture Nigel Westlake Kalabash for percussion quartet Uncut Percussion: Stephen Fitzgerald, Charles Martin, Christina Hopgood and Veronica Bailey PERCUSSION

Hotel Hotel Mosaic Room:

Nigel Westlake Songs from the Forest Callum Henshaw and Andrew Blanch GUITARS

Nigel Westlake Beneath the Midnight Sun Nigel Westlake The Hinchinbrook Riffs Alice Giles ELECTROACOUSTIC HARP

Nigel Westlake Quicksilver Light for clarinet, cello, marimba and vibraphone Desert’s Edge: Robert Spring CLARINET, J.B. Smith PERCUSSION with guests David Pereira CELLO and Charles Martin MARIMBA

The Nishi Building Located in NewActon, a diverse new precinct in Canberra, Nishi Commercial is a major new development housing government departments, private offices, a cinema and cafes. The lobby, designed by March Studio, projects a unique identity through thousands of lengths of repurposed timber, blurring boundaries while directing views and movement. A grand stair - the stage for performances as much as idle procrastination - leads up to the HotelHotel lobby and bar. In the stair the timber is heavy, grounded, a stacked agglomeration. Freed to scatter up the walls and across the ceiling, the suspended timber filters exterior light and views into and from internal spaces. Spidery, pixellated shadows are cast on the floor and bare walls. The stair links Nishi Commercial to Nishi Residential, a multi-storey apartment building, housing 2 floors of hotel rooms, wrapped around a

central courtyard and light well. The ground floor contains HotelHotel's lobby, reception, concierge and bar, as well as retail and hospitality tenancies. On the ground floor of the boutique hotel, March Studio was engaged to create spaces which encouraged residents, guests and visitors to linger in what can often be a transient space. The walls in the hotel lobby - and the seating, the benches, the counters - are an attempt to bring the handmade into the rigorous, polished building around it. Materials - custom gluelam timber, precast concrete beams - are allowed to sit, unadorned, stacked in a simple manner, overlapping, their joints overrunning and poking out. The singular system - the same for both materials - is stretched where needed, opened where useful, broken where forced. A large space is enveloped in this manner and then diffused, variegated by operations within these rules, to

30 allow for spaces which have their own character. Doors that are part opening, part display, continue this language in apparently weightless steel. This steel is picked up to lighten the bar, where stacked concrete props up sleek steel, which weaves into and halts the flow of suspended timber bursting up the stairs from the commercial lobby. Above the seating in front of the bar, large holes have been punched into the concrete slab capping the space. These portholes allow glimpses into the courtyard above and natural light to enter the space. The main entrance to Nishi Residential, opposite the linking stair, was also part of March Studio's brief. Outside is a canopy which shrugs off its

weight with flowing timber recalling the Commercial Lobby. The entrance airlock is lined on two walls and ceiling with what could be steel punchcards for an ancient mainframe. Filling the gaps punched in these steel sandwich panels are amber marbles, thick glass which filters the light and warms the space. The directionality of the commercial lobby is mirrored here, in the lines of punched holes on wall and ceiling, which scatter across the rear wall and flow into the stacked timber of the HotelHotel library.

March Studio 15.01.2014



ACT RSL presents:

The Glass Soldier



This concert is supported by Gail and Bill Lubbock The story of Nelson Ferguson, trumpeter, painter, stretcher-bearer, glass artist Excerpts from Nelson Ferguson’s diary read by Donald Farrands, Alex Sloan and Nigel Westlake

Thomas Moore The Minstrel Boy Paul Goodchild cornet

"The Minstrel Boy" is an Irish patriotic song written by the Irish poet, singer, songwriter, and entertainer, Thomas Moore (1779–1852) who set it to the melody of The Moreen, an old Irish air. It is widely believed that Moore composed the song in remembrance of a number of his friends, whom he met while studying at Trinity College, Dublin and

who had participated in (and were killed during) the Irish Rebellion of 1798. The song gained widespread popularity and became a favourite of many Irishmen who fought during the American Civil War and gained even more popularity after World War I.

Ernest Farrar Bredon Hill from English Pastoral Impressions op. 26 AP Ernest Farrar’s suite English Pastoral Impressions, written in 1915, and dedicated ‘To Ralph Vaughan Williams’, is one of the finest examples of the tradition which gives the piece its title. The second section, ‘Bredon Hill’, is really a miniature tone poem employing an ABCABA structure. The open-

ing solo viola also places the music clearly within the world of Vaughan Williams. The opening and closing are muted and languorous, their beauty lies deep. The martial music in between offers just the right contrast. - Bernard Benoliel

Nigel Westlake The Glass Soldier Suite Canberra Festival Orchestra, COND Christopher Latham: David Pereira CELLO, Desert’s Edge: Robert Spring CLARINET, J.B. Smith

and friends: Simone Riksman SOPRANO, Gary France PERCUSSION, Miroslav Bukovsky, Paul Goodchild, Alex Raupach TRUMPETS, Nigel Crocker, Ros Jorgensen, Brett Page TROMBONES, Ed Diefes TUBA PERCUSSION

Anon Amazing Grace Simone Riksman soprano with Desert’s Edge and Friends

THE GLASS SOLDIER SUITE Based in Melbourne, Australia, Hannie Rayson is an internationally acclaimed writer. Her works include Life After George, Hotel Sorrento, Inheritance and Two Brothers. Her play THE GLASS SOLDIER (2007) was inspired by the life of Nelson Ferguson who served in France as a Field

Ambulance officer in World War I. It is an epic story about war and art and the triumph of love told from the point of view of a young Australian who was plunged into a powerful international tragedy, the likes of which he could never have anticipated.

Notes by Nigel Westlake 1. The Glass Soldier Beginning slowly and tentatively, this is a portrait of the young Nelson; an artist imbued with dignity and optimism as he embarks upon his journey to France, an ill fated adventure that will change his life

forever. The low register trumpet phrases in the final bars suggest an apprehension of the fate awaiting Nelson and his comrades that lies over the horizon.


2. The Age Of Destruction An orchestral impression of the battle of VillersBretonneux in North France (April 17-24, 1918) in which Nelson, a stretcher- bearer, was embroiled. This music seeks to describe the relentless juggernaut of war and the terror of life on the battlefield. Nelson (via the trumpet) can be heard from time to time; a vulnerable lone voice searching for reason amongst the surrounding mayhem.

Various effects are incorporated into the score in an attempt to conjure the desolate atmosphere of death and destruction including a wind machine, thunder sheet, air raid sirens and gas alarms. On the battlefields of World War I, empty shell casings were hung and struck like a bell to warn of an impending gas attack.

3. White Birds Fly over the Valley of the Somme Solo cello is featured in a slow lament for the aftermath of the battle. The image of white birds juxtaposed over a desolate landscape devastated beyond recognition is a metaphor for hope, the title being a scene descriptive from Hannie Rayson's original screenplay. As Nelson surveys the killing fields of the Somme he

yearns to be back in the arms of his true love, Madeleine. The sweet sounds of her piano playing inhabit his daydreaming and offer a glimpse ofhope amongst the scarred earth and mud-filled trenches. Towards the end of his life Nelson played the cello, an instrument that he himself had made.

4. Symphonies of Glass Escaping from the horror of the trenches, Nelson has carved out a moment in time (on leave) and finds himself inside an ancient village church somewhere in the French countryside. He admires the grandeur of the stained glass windows and lovingly communes with the spirits of the artisans responsible for such beauty, empathizing with and marvelling at their work. Their search for beauty, for colour. Basking in the play of light, the music opens with a reference to the 15th Century French Advent plainchant “Veni, Veni, Emmanuel" over which is superimposed a filigree texture of harp arpeggios, celesta, crotales (pitched metal discs) and solo violin.

Nelson reflects on the meaningless slaughter of the war and berates the Almighty for allowing such atrocities to occur, at which time the orchestral texture is expanded and intensified, exploding at the peak of his anger as a stray bomb lands on the roof of the church and Nelson is covered in broken glass as the windows collapse upon him. Engulfed by mustard gas, there is panic and a deep awareness exploding in a sense of catastrophe. He is hurled into darkness. His visual world is destroyed and his life with it. He is buried alive, suffocated by helplessness and claustrophobia. The mustard gas takes his sight.

5. I Was Blinded But Now I See This is the struggle for a man plunged into darkness to find the light. Literally, and metaphorically. For Nelson blindness is akin to being a lost man. Caught up in turmoil and anxiety and unable to be the author of his own life, with extraordinary

tenacity the trumpet cadenza charts Nelson's journey as he sets about the process of regaining control. Optimistic and uplifting, this finale speaks of hope and rebirth; the regeneration of the human spirit.

I would like to thank Hannie Rayson for her guidance and feedback throughout the composition process, and also Don Farrands for offering me a unique opportunity to render his family's powerful story through the medium of music. Nigel Westlake




Mozart Requiem



This concert is supported by Rieteke and Chris Chenoweth Classic works of mourning and reflection

Luigi Boccherini Stabat Mater Pv New edition by Professor Elisabeth Le Guin Susannah Lawergren SOPRANO, Anna Fraser SOPRANO, Christopher Saunders TENOR; The Wallfisch Band with ACO2 CONDUCTOR Roland Peelman

Born into a family of professional musicians in Lucca, Italy, Luigi Boccherini (1743-1805) was considered a cello virtuoso by the age of 13, and like the young Mozart, performed with his father, a noted bass player, at various European courts and capitals, in particular, that of Imperial Vienna. He reputedly organised the first public performance of a string quintet in Milan in 1765, and made a sensational Paris debut in 1766, where he also published for the first time. In 1768, he was invited to perform in Madrid which became his permanent home. Here he married and eventually became court composer to the Spanish Infante, Don Luis. Despite a life of early celebrity and quiet fame in Europe and Spain, Boccherini’s last years were marked by poverty and depression, the result perhaps of his life-long ill health, the uncertainties of patronage and the sudden death of his second wife and daughters in 1804. A prolific composer, Boccherini is chiefly remembered for his chamber music, especially that for string quintets, in which he was ‘never surpassed’ (Emilio Moreno). His surviving oeuvre includes 11 cello concertos, over a hundred quartets, 50 trios, and more than 24 symphonies and 120 string quintets. His vocal music by comparison is much smaller, but includes the neglected masterpiece, the poignant Stabat Mater. Originally conceived in 1781 as a piece for solo soprano voice with string accompaniment (two cellos, two violins and a viola), the 1800 version added an overture plus two additional voices, a contralto and tenor. While the earlier version treats the voice much like an instrument, the second is more dynamically vocal and has richer instrumentation. Both versions, however, appear strongly influenced by the perennially popular Stabat Mater of Pergolesi – in their pathos , use of the F minor key, and operatic appoggiaturas; but the elegant harmonic complexity belongs entirely to Boccherini. Tonight’s performance of the 1800 version will be played from a new edition prepared by Elisabeth Le Guin. Harriet Searcy

Wolfgang Amadeus Mozart Requiem Simone Riksman SOPRANO, Hannah Fraser MEZZO-SOPRANO, Christopher Saunders TENOR, Andrew Fysh BASS, The Wallfisch Band with ACO2, Elisabeth Le Guin CELLO, Albert-Jan Roelofs ORGAN, Song Company with the Sprogis Woods Smith Young Artists, COND Roland Peelman.


Introitus: Requiem aeternam Kyrie Sequenz Dies irae Tuba mirum Rex tremendae majestatis Recordare, Iesu pie Confutatis maledictis



Lacrimosa dies illa Amen Offertorium Domine Iesu Christe Versus: Hostias et preces Agnus Dei Communio: Lux aeterna Cum sanctis tuis


Mozart’s Requiem Everyone knows that Mozart's Requiem was commissioned anonymously by Count Walsegg, who wished to pass it off as his own work written in memory of his wife, and that Franz Xaver Süssmayr completed it after Mozart’s death. These bare statements are incontrovertible; but over the years the account has become enveloped in such an extraordinarily dense and seductive fog of legends, speculations and romantic fiction that it is now difficult to retain one's judgement and distinguish what is historical fact. A familiar version of the legend tells how Mozart, already mortally ill, took Count Walsegg’s ‘grey messenger’ to be an emissary from the other world and set towork feverishly to write his own Requiem, giving his faithful pupil Süssmayr full instructions on how to complete it if he had to leave it unfinished. How much of this story is true? The question is not merely one of biographical detail, but is the key to many crucial problems raised by the music of the Requiem. How much of it did Mozart compose, possibly in the form of sketches that have not survived? Are we right to suspect that the traditional version has puzzling lapses of quality – or are such thoughts sacrilegious? Above all, what exactly was Süssmayr 's role? If it is true that he faithfully carried out Mozart's detailed instructions, then his completion is the next best thing to genuine Mozart, and we must not tamper with it for fear of falsifying Mozart's intentions. But if on the other hand the legend is false and Süssmayr’s contributions lack Mozart's authority, are they acceptable at all if their craftsmanship is inadequate?

So writes Richard Maunder, the editor of the version of Mozart’s Requiem that you will hear performed tonight, and author of a book* explaining in detail how this edition came to be. Maunder argues that Süssmayr was far from being Mozart’s most esteemed pupil, nor, by his own admission, was he the first choice of Mozart’s wife, Constanze, to complete the score when, harrassed by debt, she sought to deliver to Count Walsegg an ostensibly complete work by her husband. From a detailed analysis of the Süssmayr score, he concludes that “there is no genuine Mozart in … the Sanctus, Osanna and Benedictus, which are therefore pure Süssmayr” – and which, for this reason, Maunder has rejected, without any attempt to replace them. The process of analysis and synthesis that underlies Maunder’s edition is too complicated even to outline here. But we present this restoration confident in the belief that it is as close as we can now come to Mozart’s original intentions in creating one of the supreme meditations on human life and mortality in Western music. *Richard Maunder, Mozart’s Requiem: On preparing a new edition; Clarendon Press, 1988.



WP = Premiere

AP = Australian premier

Pv = Premiere of this version




Sounding the Foreshore




This concert is supported by Elspeth and Graham Humphries Exploring the Kingston Arts Precinct Speakers: David Clarke MC, Ann Jakle, Colin Stewart and Jessica de Rome Glassworks:

Desert's Edge Sound installation Desert’s Edge: J.B. Smith and Robert Spring with Uncut Percussion: Stephen Fitzgerald, Charles Martin, Christina Hopgood, Veronica Bailey, the Canberra Festival Brass, and William Barton GLASS DIDJERIDU

Old Bus Depot Markets:

Lt. James Reese Europe: On Patrol in No Man’s Land (1917-1918) Goodnight Angeline (1918) Irving Berlin God Bless America (1918, rev. 1938) Colonel Charles Gurdon Sage Banner in the Sky (1944) Male singers from the Song Company and the Sprogis Woods Smith Young Artists with Desert’s Edge: Robert Spring CLARINET, J.B. Smith PERCUSSION and friends: Miroslav Bukovsky, Paul Goodchild, Alex Raupach TRUMPETS, Nigel Crocker, Ros Jorgensen, Brett Page TROMBONES, Ed Diefes TUBA

Fitters’ Workshop:

Hans Eisler Songs (1917-1918) AP Dumpfe Trommel und berauschtes Gong Der müde Soldat Louise Page SOPRANO, Phillipa Candy PIANO

Die rote und die weisse Rose Christina Wilson MEZZO-SOPRANO and Alan Hicks PIANO

André Caplet Les prières AP I Oraison dominicale (Lord’s Prayer) II Salutation angélique (Hail Mary) III Symbole des Apôtres (Apostles Creed) Christina Wilson MEZZO-SOPRANO and Alan Hicks PIANO

Rudi Stephan (1887-1915) Lieder AP Ich will dir singen ein hohe Lied (Selections) Kythere In Nachbars Garten Pantherlied Maurice Delage Ragamalika AP Louise Page SOPRANO and Phillipa Candy PIANO

36 Charles Ives World War 1 Songs In Flanders Fields (1917) Serenity (1919) John Alden Carpenter The Road Home (1917) Christopher Saunders TENOR and Calvin Bowman PIANO

Matthijs Vermeulen On ne passe pas AP Lili Boulanger Clarières dans le ciel (Selections) (1913-1918) AP 1 Elle était descendue au bas de la prairie 8 Vous m'avez regarde avec toute votre âme 6 Si tout ceci n'est qu'un pauvre rêve 9 Les lilas qui avaient fleuri Simone Riksman SOPRANO, Tamara-Anna Cislowska PIANO

Francis Poulenc: C Bleuets Simone Riksman SOPRANO, Tamara-Anna Cislowska PIANO

Samuel Barber Sure on this Shining Night Ivor Gurney Songs AP All night under the moon You are my Sky Far in a western brookland (From Ludlow and Teme) In Flanders Sleep Christopher Saunders TENOR and Calvin Bowman PIANO

Lt. James Reese Europe James Reese Europe is cited in books about ragtime and early jazz as the most respected black bandleader of the 'teens', but he should also be recognized among World War I historians because of his musical compositions inspired by wartime experiences and the achievements of his band, known as the 369th U.S. Infantry "Hell Fighters" Band. Tin Pan Alley produced hundreds, perhaps thousands, of songs about the First World War, but popular singers like Henry Burr, Irving Kaufman, Billy Murray and Nora Bayes never fought in the war they sang about. Jim Europe and his musicians experienced that war's horrors and, after the Armistice, were among the first African-American soldiers to enter a disarmed Germany. Europe's group performed as a military band but there is a freedom and swing evident in the band's recordings that no other military bands attempted. The music is rich in syncopation and jazz effects. Europe's combat duties had included going out on patrol, and a harrowing experience inspired lyrics for "On Patrol in No Man's Land," which he put on paper while in a hospital after a gas attack. Europe performed it at the piano while the band made "all the sound effects of a bombardment." Nothing is romanticized. The lyrics give listeners some sense of what being in No Man's Land was like. An officer leads men "over the top" of the trenches for patrol, warns them of danger from German weapons, and gives an order to attack.


Key Artist Elizabeth Wallfisch A leading interpreter of music on the baroque and classical violins, Elizabeth Wallfisch is a favourite with both audiences and orchestras because of her virtuosity, her generous, sparkling personality and her impeccable musicianship. Her appearances are marked by a daring and spontaneous approach to performance that results in electrifying musicmaking. Renowned not only as a prominent interpreter of 17th and 18th century violin music, she is also an inspiring leader and director.

Elizabeth Wallfisch has been a Guest Director/Leader on the violin with many of the world's 'period instrument' orchestras including the Orchestra of the Age of Enlightenment, Netherlands Bach Society, Tafelmusik- Canada, Apollo's Fire, the Hanover Band, L'Orfeo Barockorchester, the Australian Brandenburg Orchestra and Philharmonia Baroque, Carmel Bach Festival Orchestra, Concerto d'Amsterdam, Brandywine Baroque, Raglan Baroque, Musica Angelica, Pacific Baroque Orchestra. More and more the world of 'modern' Chamber Orchestras are demanding an in depth look at the 'Concepts of Style' in their playing of the music of the 17th and 18th centuries, leading to many invitations to direct. It is a privilege to direct such fine orchestras as the Saint Paul Chamber Orchestra, Israel Chamber Orchestra, the Vancouver Symphony, the Herford Symphony Orchestra, Leipzig Chamber Orchestra, Stuttgarter Kammerorkester, Vasteras Sinfonietta, Australian Chamber Orchestra. Elizabeth Wallfisch's long and impressive discography offers a window onto her expansive musical world. From the High Baroque Italian violinist-composers such as Vivaldi, Corelli, Veracini, Tartini, Geminiani and the Classical and Romantic greats from Mozart to Mendelssohn. She has explored the music of Paganini and Viotti and has recorded much of the music of the great Baroque tradition, from the earliest Italian violin music of Cima, to Biber, Telemann, Bach and the rich, sensual music of the French Baroque. Always keen to nurture young talent, Elizabeth has recently formed the Wallfisch Band, a unique international period-instrument orchestra in which highly talented younger players, either still studying or on the threshold of their careers, play alongside Elizabeth and her 'seasoned' colleagues-all players at the very top of the profession. The experience is a living 'masterclass' within an intensive rehearsal and concert environment. The combination of youthful energy and musical experience results in performances of the greatest vigour, intensity and passion. The ensemble made its debut in the 2008 Lufthansa Festival of Baroque Music and has performed, and will continue to perform, in the UK, Germany, New Zealand and Austrailia in the coming seasons. Elizabeth Wallfisch has published a treatise, specifically on fundamental aspects of baroque violin playing: The Art of Playing Chin-Off for the Brave and the Curious, published by King's Music.


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Sunset at the High Court



This concert is supported by Gail Ford French and German vocal wartime masterworks, with architectural aural renderings by architects of the Australian Institute of Architects and University of Canberra graduates

Lili Boulanger Les sirènes AP Anna Fraser SOPRANO, Song Company with the Sprogis Woods Smith Young Artists, Adam Cook PIANO, DIR Roland Peelman

Hugo Distler Es ist ein Ros entsprungen AP Lili Boulanger Prelude in D flat major AP Adam Cook PIANO

Maurice Ravel Trois beaux oiseaux du paradis from Three Songs (1915) Song Company with the Sprogis Woods Smith Young Artists DIR Roland Peelman

Fritz Jürgens Lieder AP Der Geworbene Rosen Späte Rosen Frühlingswunsch Christina Wilson MEZZO-SOPRANO, Alan Hicks PIANO

Abend im Tal Maeienfrühe Husarendurchmarsch Malönchen Liebe ein Quell Louise Page SOPRANO, Phillipa Candy PIANO

Francis Poulenc Un soir de neige (Christmas 1944) Francis Poulenc Liberté from Figure humaine (1943) Hugo Distler Selections from Totentanz AP Song Company with the Sprogis Woods Smith Young Artists DIR Roland Peelman

Botho Sigwart Graf Zu Eulenburg Slow Movement from Piano Sonata in D major op. 19 AP Daniel de Borah PIANO

Lili Boulanger Vieille prière bouddhique (1914 – 17) AP Christopher Saunders TENOR, Song Company with Sprogis Woods Smith Young Artists, Adam Cook PIANO, DIR Roland Peelman

WP = Premiere

AP = Australian premier

Pv = Premiere of this version

50 Architectural Notes by Ann Cleary FRAIA In sounding the High Court of Australia at sunset, the intention within this year’s Amazing Space program is to explore the resonant qualities of the architectural volume of the High Court, as a space aurally and visually rendered in light. With the setting sun casting hues of mellowed light across the concrete abutments and carved voids of the ‘brutalist’ architectural form, the High Court’s iconic scale and exalted coffers holds our thoughts in suspended volumes. The symbolism of a single column rising above us as pillar and capitol focuses our sights on the weight bearing role of the judiciary within; and yet a lightness and transparency is sensed in the spatial openness of dissolved thresholds, limits clear and unencumbered. Drawing the landscape in and extending the interior outwards, the central ramp rises as a gestural boldness within the space, folding back at calibrated intervals to incise and carve for light and tone. This is the space of the public and it asserts a singular presence. As light changes to darkness within the spatial volume our perception of solid and void, note and interval is inverted. A stillness heightens the aural tone and a subtlety of attenuation pervades. In the same way as light, this acoustic resonance finds its way
through these interstitial cuttings
to render the architecture as an instrument in itself, to be drawn out and ‘sounded’ for its abstract tonality. Edwards, Madigan, Torzillo and Briggs, as the architects of this spatial rendering, imagined a confluence of scale and distillation. It is perhaps this sense of awe transcended by light that imbues our understanding, as an instilled sense of the essential. In architect Romaldo Giurgola’s words, “ a poetic manifestation of life… “. Architectural aural renderings : “Of all the arts, architecture is most closely related to poetry…” Romaldo Giurgola, architect One of the great beauties of architecture Is that each time, It is like life starting over again Renzo Piano, architect So the first of my favourite ideas is this: to plan the building as a mass of shadow then afterwards, to put in light as if you were hollowing out the darkness, as if the light was a new mass seeping in. Peter Zumthor, architect Atmospheres We seek out
the resonance of a space, its articulation for natural light,
its tone for sound and stillness, its reductive qualities by which
we understand the conceptual intent, and its measure. Ann Cleary, architect Just as music is the controlled ordering of sound, held within intervals of silence … architecture is the conscious modelling of matter in space to build up or carve solids and voids. The resulting forms provide degrees of enclosure and openness, of stasis and movement. Ross Feller, architect I sense Light as the giver of all presences, and material as spent Light. What is made by Light casts a shadow, and the shadow belongs to Light. Louis Kahn, architect

666 ABC CANBERRA presents:



The Birth of the Fitters’


FITTERS’ WORKSHOP This concert is supported by Helen Moore, Eric Martin and Richard Arthur Music from the time when the Fitters’ Workshop was built MC: Alex Sloan

Lili Boulanger (1883-1918) Theme and Variations for piano AP Adam Cook PIANO

Arthur Bliss Pastorale for clarinet and piano (1916) AP Nicole Canham CLARINET, Timothy Young PIANO

Bliss’s Pastoral for clarinet and piano was written in December 1916 or in January 1917 during his military service, and the first performance took place on 17 February 1917. Originally Pastoral formed the second of two pieces, the first being Rhapsody. Pastoral was published in 1980, but the music of Rhapsody has never been published and the whereabouts of the original manuscript remain unknown. Pastoral is therefore one of Bliss’s earliest surviving works.

Alban Berg Hier ist Friede (“Here is peace”) op. 4/5 (1917) AP Bernt Lysell VIOLIN, Erik Wahlgren CELLO, Albert-Jan Roelofs ORGAN, Bengt Forsberg PIANO

Berg served in the Austrian army from 1915 to 1918. In March 1917 he produced this arrangement of the last of his Five Songs on Picture Postcard Texts by Peter Altenberg for a group of friends which may have included Alma Mahler.

Carlos Salzedo Five Preludes for Harp (1917) Alice Giles HARP

Salzedo is regarded by many as history's greatest harpist. Drafted into the French army at the beginning of WWI, Salzedo was made head cook for his infantry unit, and happened to be in the same unit as several musicians, whom he organized into a performing group that sang for soldiers and toured hospitals. He was discharged in 1915 after an attack of pneumonia which hospitalised him for several months; however, the Five Preludes may have been written during his period of active service.

Georges Migot Trio for violin, viola and piano (1918) AP Klara Hellgren VIOLIN, Susanne Magnusson VIOLA, Bengt Forsberg PIANO

Mobilised on July 21, 1914, Migot was seriously wounded on August 24.

Hamilton Harty In Ireland (1915) Kate Clark wooden FLUTE, Alice Giles HARP

The fantasy In Ireland was composed in the last year of the First World War. The score is prefaced by a short note:- "In a Dublin street at dusk two wandering street musicians are playing." The superscription is slightly misleading: it is a well written and deeply moving piece, and has not much to do with 'busking'.

Joseph Boulnois Maximes, sentences et proverbes from Piano Trio (1916) AP Nils-Erik Sparf VIOLIN, Erik Wahlgren CELLO, Bengt Forsberg PIANO

Reynaldo Hahn Le ruban dénoué (1915) AP Timothy Young and Daniel de Borah PIANO

Reynaldo Hahn Puisque j'ai mis ma lèvre à ta coupe... (1915) Christopher Saunders TENOR, Calvin Bowman PIANO

The Fitters’ Workshop

52 The Fitters’ Workshop was designed by John Smith Murdoch (1862-1945), who emigrated to Australia during the 1880s Depression. As Government Architect (1914) and then Chief Architect (1919-29), he was influential in the key bodies advising on the implementation of the Griffins’ plan for Canberra. Murdoch designed over seventy buildings now heritage-listed, twenty of them in Canberra – most notably Old Parliament House (1927) and the Hyatt Hotel (1922-25). His designs drew from Renaissance notions of proportion, the geometry of the square and most probably Masonic numerology. Plans for Canberra from November 1912 show a “Power Plant and Workshops” on the southern bank of the Molonglo. The Power House was commenced in 1912, followed by “Engineers’ Workshops” (March 1915Feb 1916), now known as the Fitters’ Workshop. The building was to accommodate the traction engines – very large pieces of machinery – which accounts for its size and spaciousness. In the period during and immediately after World War I, Canberra’s construction effectively ceased, and the Fitters’ became a storage facility. When activity re-commenced, various extensions and other ancillary temporary and semipermanent buildings were added and extended. In 1941, a conference of government officials expressed concern about the haphazard industrial development in Kingston. Various plans for rationalising “Electrical and Mechanical Workshops” were advanced, but not acted on. A 1955 Senate Select Committee recommended – to no avail – that all industrial activity be relocated to the new area of Fyshwick and that Kingston should become the important residential area originally proposed by the Griffins. This shift in direction gained momentum in the early 1980s when local community activist Ian Hurst proposed that the Power House and Fitters’ Workshop be converted into an arts and entertainment centre. In 1981, the Power House was classified by the National Trust and two years later entered on the Register of the National Estate. 1993 saw a Conservation Manage-ment Plan for the “Kingston Power House Precinct”. In 1995, having acquired the Kingston Foreshores site, the ACT Government began consultations on the area. A 1997 national design competition was won by Colin Stewart, who proposed a cultural precinct centred on the Power House and the Fitters’ Workshop. In 1998 the Old Bus Depot Markets opened. From 2000 onwards, discussions on developing a “Kingston Arts Precinct” began between the ACT (Labor) Government and four visual arts organisations, including Megalo Art Studio. The ACT Government’s 2003 Arts Facilities Strategy identified the Fitters’ Workshop as a “future hub for visual arts production”. In 2004 the Power House and Fitters’ Workshop were heritage listed, and the Fitters’ “proportions of space” were noted as one of its heritage values. In 2006-2007, Colin Stewart Architects undertook a basic restoration of the Fitters’ Workshop, which has given us the appearance of the building today. In 2007, the Power House was opened as the Canberra Glassworks. In late 2008, Chief Minister Jon Stanhope accepted a proposal from Megalo Print Studio and made an executive decision that the building should be adapted for their use. This decision coincided with the discovery by Pro Musica that the building’s reinforced concrete structure, curved false ceiling and elegant “proportions of space” made it an ideal venue for many of the concerts in the Canberra International Music Festival. Concerts were staged in the Fitters’ Workshop from May 2009 – 2011, attracting over 8,000 ticket sales. Meanwhile plans proceeded for housing Megalo’s activities within a ‘pod’ inside the building (required because the large and resonant space was unsuitable) and a new annexe. The announcement at the 2011 Festival that it was the last to be held in the Fitters’ Workshop provoked a campaign by music lovers, heritage activists and musicians who had performed in the space. They argued that the building’s interior should not be disrupted and should be maintained as a performance and exhibition space. An ACT Legislative Assembly Inquiry found in favour of this argument in mid-2012 but the Government remained committed to the building’s ‘adaptive re-use’ as a print workshop. Concurrently, the National Trust’s President, Eric Martin, and the then President of the ANU Choral Society, Helen Moore, assisted pro bono by barrister, Richard Arthur, brought the matter to the Administrative and Civil Appeals Tribunal. In December 2012, when the matter was again deferred on the discovery of revised plans that had not been submitted to planning authorities for approval, Megalo – frustrated by years of delay – relinquished their claim on the building. This year therefore sees the re-birth of the Fitters’ Workshop as a prized heritage space, unique in Canberra, for music performances.





12 NOON – 3PM, BOARDING 11.30

Sounding the Lake


This concert is supported by Marjorie Lindenmayer Commemorating the 50th anniversary of the filling of Lake Burley Griffin Speakers: David Clarke MC, Dianne Firth, Ann Cleary, Stuart MacKenzie and Graham Humphries Lotus Bay to Carillon

George Butterworth Songs When the lad for longing sighs Loveliest of trees The Lads in their Hundreds Is my team ploughing Ivor Gurney Songs Most Holy Night Western Sailors AP Ha'nacker Blaweary Down by the Salley Gardens Aaron Copland At the River, Long time Ago W D Browne Diaphenia AP Christopher Saunders TENOR and Calvin Bowman PIANO

Georges Antoine (1892 – 1918) Chansons (1915-1918) AP Crépuscule Claire de lune Voici, riche d'avoir pleuré L'oiseau de paradis Reynaldo Hahn Cinq petites chansons La balançoire Nuits de grand vent Mon petit bateau Les étoiles Un bon petit garçon Ivor Novello We’ll gather lilacs Louise Page SOPRANO and Phillipa Candy PIANO

National Carillon

Ross Edwards 60,000 Bells: A Peal for the FallenWP Lyn Fuller and the National Carillonists

Kingston Marina

George Frideric Handel Water Music Canberra Festival Brass directed by Paul Goodchild

54 Kingston Foreshore to West Basin along Water Axis, then via ANU International Sculpture Park to Lotus Bay

Enrique Granados La Maja Dolorosa Christina Wilson mezzo soprano, Alan Hicks piano

Fritz Jürgens (1888 - 1915) Lieder AP Der Wanderer und der Bach Liebeswoche Frühlingsankunft Louise Page SOPRANO and Phillipa Candy PIANO

André Caplet: L’adieu en barque from Cinq ballades françaises, Forêt from Le Vieux coffret (1914–1917): Reynaldo Hahn from 20 Mélodies: 16. À nos morts ignorées (1918)AP 18. Le plus beau présent (1917)AP Christina Wilson MEZZO-SOPRANO and Alan Hicks PIANO

Jean Sibelius Tanken (The Thought) Louise Page SOPRANO, Christina Wilson MEZZO-SOPRANO and Alan Hicks PIANO

Charles Sablon Chanson de Croanne Christina Wilson MEZZO-SOPRANO and Alan Hicks PIANO

Norbert Schultze Lily Marlene Louise Page SOPRANO and Phillipa Candy PIANO

Sounding the Lake In its vast scales and fragile sensibilities, Canberra is a place of insight, poetic and revealing. It emerges from an ancient landscape, formed slowly over 425 million years, shaped by intense geological activity. Once a vast ocean basin, it is a place of limestone sediments and coral reefs deposited under a shallow sea. It is a place deeply embedded within a profound landscape condition that offers both immersion and a spatial clarity of light and expansiveness that lifts our thinking to contemporary explorative perspectives. We are a young city in an ancient landscape of unique attributes and we share an innate sensibility for its transformative beauty, reflective and essential, that gives a sense of measure and enduring resilience. We immerse ourselves in its ephemeral yet grounded qualities, in our shared discourse in a walk up a ridge trail, in the intimacy of the rocky knolls, in the moment of lifting fog, the hue of the sunsets and the shimmering light on the lake. The limestone from which Canberra and the ‘Limestone Plains’ is attributed comes from the earliest geological period when the area was an

ocean floor. Ironically, most of the remaining limestone deposits are again under a body of water, Lake Burley Griffin. Re-crystallised limestone - in this case, black marble – from the long abandoned Acton Limestone Quarry, can be seen in the floor and columns of the foyer of the National Film and Sound Archive (originally the Museum of Anatomy) sited nearby. The only exposed outcrop from this era is found on the eastern bank of the Acton Peninsula, surfaces chiselled and polished to reveal clear veins of white crystal within. It sits as a quiet marker of this ancient place, an encounter that one comes upon while on a walking track at lake’s edge. Intriguingly, it also aligns with the Griffins’ Water Axis, a contemporary construct marking a line drawn from the summit of Black Mountain across the water to meet the Land axis - a line drawn from the summit of Mt Ainslie through the Parliament House on Kurrajong Hill and to Mt Bimberri beyond. Tangibly and ephemerally, it is through the frame of these poetic constructs that we see our ancient place most clearly. Ann Cleary, FRAIA


The Christmas Truce




This concert is supported by Anna and Bob Prosser Music from the Western Front, Christmas 1914: recreating the moment when music stopped a war

Featuring male singers from Song Company and Sprogis Woods Smith Young Artists, Australian Defence Force Academy; with Elizabeth Wallfisch VIOLIN, Anton Wurzer ACCORDION, David Pereira CELLO, John Ferguson BAGPIPES, Robert Spring CLARINET, Vernon Hill FLUTE, Graeme Reynolds TRUMPET, Albert-Jan Roelofs ORGAN. Choirs directed by Kris Bowtell and Tobias Cole. From a letter written in the trenches by Private Frederick W. Heath - January 9th, 1915 “… The night closed in early – under a pale moon, one could just see … the German trenches two hundred yards away. Fires in the English lines had died down, and only the squelch of the sodden boots in the slushy mud, the whispered orders of the officers and the NCOs, and the moan of the wind broke the silence of the night. The soldiers' Christmas Eve had come at last, and it was hardly the time or place to feel grateful for it…. With overcoat thick with wet mud, hands cracked and sore with the frost, I leaned against the side of the trench, and, looking through my loophole, fixed weary eyes on the German trenches. Thoughts surged madly in my mind; but they had no sequence, no cohesion…. Still looking and dreaming, my eyes caught a flare in the darkness. A light in the enemy's trenches was so rare at that hour that I passed a message down the line. I had hardly spoken when light after light sprang up along the German front. Then quite near our dug-outs, so near as to make me start and clutch my rifle, I heard a voice. there was no mistaking that voice with its guttural ring. With ears strained, I listened, and then, all down our line of trenches there came to our ears a greeting unique in war: "English soldier, English soldier, a merry Christmas, a merry Christmas!" Following that salute boomed the invitation from those harsh voices: "Come out, English soldier; come out here to us." For some little time we were cautious, and did not even answer. Officers, fearing treachery, ordered the men to be silent. But up and down our line one heard the men answering that Christmas greeting from the enemy. We kept up a running conversation with the Germans, all the while our hands ready on our rifles. The night wore on to dawn - a night made easier by songs from the German trenches, the pipings of piccolos and from our broad lines laughter and Christmas carols. Not a shot was fired, except for down on our right, where the French artillery were at work. Came the dawn, pencilling the sky with grey and pink. Under the early light we saw our foes moving recklessly about on top of their trenches. But did we shoot? Not likely! We stood up ourselves and called benisons on the Germans. Then came the invitation to fall out of the trenches and meet half way. Still cautious we hung back. Not so the others. They ran forward in little groups, with hands held up above their heads, asking us to do the same. Not for long could such an appeal be resisted. Jumping up onto the parapet, a few of us advanced to meet the on-coming Germans. Out went the hands and tightened in the grip of friendship. Christmas had made the bitterest foes friends. Here was no desire to kill, but just the wish of a few simple soldiers (and no one is quite so simple as a soldier) that on Christmas Day, at any rate, the force of fire should cease. We gave each other cigarettes and exchanged all manner of things. We wrote our names and addresses on the field service postcards, and exchanged them for German ones.

56 We cut the buttons off our coats and took in exchange the Imperial Arms of Germany. But the gift of gifts was Christmas pudding. The sight of it made the Germans' eyes grow wide with hungry wonder, and at the first bite of it they were our friends for ever. Given a sufficient quantity of Christmas puddings, every German in the trenches before ours would have surrendered. And so we stayed together for a while and talked, even though all the time there was a strained feeling of suspicion which rather spoilt this Christmas armistice. We could not help remembering that we were enemies, even though we had shaken hands. As I finish this short and scrappy description of a strangely human event, we are pouring rapid fire into the German trenches, and they are returning the compliment just as fiercely. Screeching through the air above us are the shattering shells of rival batteries of artillery. So we are back once more to the ordeal of fire.” From a letter quoted in the Carlisle Journal, January 8, 1915: Extraordinary scenes on Christmas Day

Football match between British and German troops “This has been a strange Christmas…. The most extraordinary scenes took place between the trenches. In front of our bit our men and the Germans got out of their trenches and mixed together talking, exchanging cigarettes etc. The regiment actually had a football match with the Germans who beat them 3-2.

The Saxons and our people opposite them have arranged a sing-song for tonight having mutually agreed not to reopen hostilities before midnight. After all this has been almost a happy though strange Christmas.”

Ethel Cooper, an Australian musician, lived in Leipzig throughout WWI. The following is an excerpt from a letter dated December 12, 1915, to her sister Emmie in Adelaide: “... I was really glad to see Herr Lange – we have always stayed very good friends. ... He has told me a lot of interesting little things – I must tell you about last Christmas. He was sent into the trenches near Ypres about then, with the English lying opposite, the trenches only 50 yards from each other. The first night he was there, he was on duty and about 11 saw figures come crawling across in the dark. ‘Who goes there?’ he called. ‘Don’t get upset, old man, we haven’t got our rifles,’ came the answer. They were our Tommies with their pockets full of tinned meat: they had run out of tobacco, and had come over, as usual, to exchange. ‘Filthy is no word for them,’ said Herr Lange – ‘we were dirty enough, but we were only wading in water in our trenches – they were swimming.’ Well, they exchanged, had a smoke and a chat, and crawled back. Then on the 23rd, the Germans put up little Christmas trees along the front of the trench line, and that night came the Tommies to know what they were there for. ‘That’s our custom – we keep Christmas on the evening of the 24th,’ they were told. Then two of them vanished, but came back presently, saying that two of their officers wanted to speak to the Major. Their plan was a private truce for the 24th and 25th, and on those two days not a shot was fired, and the men wandered up and down between the lines, compared and exchanged Christmas presents, read each other their newspapers – the English and German was beyond description, but they managed to understand each other, and were like one family! But the difficulty began on the 26th, when the order to fire was given, for the men went on strike. The officers stormed up and down, but the only answer they got was, ‘We can’t – they are good fellows, and we can’t.’ Finally, the officers turned on the men with, ‘Fire, or we do – and not at the enemy!’ At last they fired, and an answering fire came back, but not a man fell. ‘We spent that day and the next,’ said Herr Lange, ‘wasting ammunition in trying to shoot the stars down from the sky.’ Then they had to transfer the regiment! That is what they try and make people here believe is a people’s war!”




Heart Strings



This concert is supported by David Geer Showcasing the Festival's finest string players

Works for strings from World War I performed on period instruments Edward Elgar Sospiri op. 70 (1914) Elgar originally intended this short work as a companion piece to Salut d'Amour, a light popular work for the masses. What emerged, however, was a work of considerably greater substance. He composed it in the months leading up to the

outbreak of the First World War, and it was perhaps the gathering stormclouds of war that moved him to write a heartfelt, bleak adagio that would not be out of place as the slow movement of an Elgar symphony.

Frederick Septimus Kelly Elegy for Rupert Brooke (1915) C

The Wallfisch Band and A O2 DIR Elizabeth Wallfisch

Frederick Septimus Kelly Serenade for Flute, Harp and Strings (1911) AP


Kate Clark WOODEN FLUTE, Alice Giles HARP, Gilbert Cami Farras HORN; The Wallfisch Band and A O2 COND Christopher Latham

(For notes on Kelly’s military service and music, see Concert 2: Music from No Man’s Land, p. 9.)

Herbert Howells Elegy for Viola and Strings (1917) AP C

James Wannan SOLO VIOLA, The Wallfisch Band and A O2 DIR Elizabeth Wallfisch

Born and bred into the English Cathedral Tradition, Herbert Howells has perhaps become best known for his choral music. He had, however, a profound love of the string sound, in which he found the closest instrumental approximation to the sound of voices in which he had been steeped from childhood. The Elegy for solo viola, string quartet, and string orchestra is the composer’s response to

the horrors of the Great War. Some 37 students at the Royal College of Music lost their lives in that ‘war to end all wars.’ The piece is dedicated to the promising young viola player – Francis Purcell Warren – a Second Lieutenant in the South Lancashire Regiment, who was killed on 3 March 1916.

Works for strings from World War II performed on modern instruments Anton Webern arr. Latham Langsamer Satz for chamber orchestraWP Webern's Langsamer Satz was written in June 1905 when the composer was just 21. Two events of profound im-portance had taken place: his meeting in Vienna with Amold Schönberg, with whom he had just begun to study, and his idyllic spring holiday with his 19-year-old cousin, Wilhelmine Mittl, who cap-tured his heart. Both events had an influence on the Langsamer Satz (Schönberg had urged him to work at quartet sketches), but surely it is Wilhelmine whose presence accounts for the ecstasy of this work. Their marriage lasted until Webern’s tragic accidental death in 1945, when he

was shot by an American soldier outside his son-inlaw's house near Salzburg. The Langsamer Satz pours forth its rapture in the spirit of Strauss and Mahler, both of whom Webern admired. He was still firmly anchored in tonality — in this case, the key of C minor — and his organization of the movement follows a sonata-form pattern worthy of any of the great classicists who had preceded him. The luxuriant opening subject, spaciously laid out, contains the seeds of all that follows.

58 Harold Truscott Elegy for string orchestra (1944) AP Harold Truscott was bom into a working-class Essex family in 1914. He had to wear a hip-brace until he was twelve and was duly passed unfit for milita service in 1939. For much of his life he eamed his living teaching music; he also became known as one of the most perceptive and knowledgeable writers on music in the immediate post-war period. Composed in 1943,his Elegy for string orchestra

was not discovered until 1993. Mystery enshrouds the circumstances of its creation, but the character of the Elegy belies any funerary or memorial connotations, despite the obvious intensity of feeling. Sadness and regret rather than grief suffuse the music, which at times is gentle and radiant in expression; here is no “parting beyond the end of the world”, but one less mortal.

Richard Strauss Metamorphosen for 23 solo strings (1944) ACO2 and the Canberra Camerata led by Nils-Erik Sparf violin and the Uppsala Chamber Soloists, COND Christopher Latham

Metamorphosen, Study for 23 Solo Strings, subtitled "In memoriam", is a composition by Richard Strauss, scored for ten violins, five violas, five cellos, and three double basses. It was composed during the closing months of the Second World War, from August 1944 to March 1945. Strauss dedicated it to the Swiss conductor, patron and impresario Paul Sacher, who gave it its first performance in January 1946. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich, especially places such as the Munich Opera House, although in fact Strauss, who died in 1949, never said what the piece was about. A differing view was published in the 1990s by Timothy L. Jackson who, after a careful analysis of sketch materials, concluded that Metamorphosen was a philosophical, Goethean study of the underlying cause of war in general; the cause being the bestial nature of humankind. Jackson's view is that in Metamorphosen Strauss used the classical concept of metamorphosis as a process of transcending from the mundane into the divine, but inverted it such that the outcome of metamorphosis is not an attainment of the divine but rather a descent into bestiality. Another 1945 piece, München, is clearly a memorial for Munich, and scholars have associated the sketches of München with Metamorphosen since the 1950s. Jackson argues that scholars have assumed the early sketches of München were the basis for Metamorphosen based on weak, even untenable assumptions. This new view has gained some acceptance, although the view of Metamorphosen as an elegy for Munich is still widespread.

Near the very end of the piece, several bars of the funeral march theme from Beethoven's Eroica Symphony are quoted explicitly in the bass part, accompanied by the words "In Memoriam!" in the score. The Eroica theme is motivically related to the main themes of Metamorphosen, but Strauss wrote that the connection did not occur to him until he was almost finished. There are several theories about how and why Strauss quoted Beethoven, and who or what "in memoriam" refers to. In 1947 the critic Matthijs Vermeulen claimed the whole piece was an elegy for the Nazi regime, and "in memoriam" referred to Hitler himself. This theory was quickly and strongly denied by Willi Schuh, who had been involved with the work from the beginning. Schuh claimed that "in memoriam" referred not to Hitler but Beethoven, and most scholars since then have supported this idea. Another theory involves Beethoven's Eroica having originally been dedicated to Napoleon but after Beethoven's disillusion with Napoleon rededicated "to the memory of a great man", while Napoleon was still alive and in power; Strauss's quotation of the Eroica and writing "in memoriam" can be seen as having interesting parallels with Strauss's own involvement and rejection of Hitler and the Nazi regime. Beethoven had ironically "buried" and memorialized the still-living Napoleon. Strauss could have been pointing to a famous precedent for his own rejection of a tyrant he had once supported. One must remember, however, that Strauss was fond of oblique references and multiple layers of meaning and connotation, and for him the Eroica quotation and words "in memoriam" may have had many meanings.



A Brahmsian Delight




This concert is supported by Margaret Frey, Muriel Wilkinson and June Gordon Brahms masterworks for strings

Wilhelm Stenhammar Poco adagio from String Quartet No. 6 op. 35 in D minor (1916) AP Uppsala Chamber Soloists (Nils-Erik Sparf VIOLIN, Klara Hellgren VIOLIN, Susanne Magnusson VIOLA, Bernt Lysell VIOLA, Erik Wahlgren CELLO)

Stenhammar (1871-1927) was trained as a pianist, became a virtuoso and was considered the finest Swedish pianist of his time. Writing in a style that was essentially Romantic, if modified by his study of Classical composers, his music is imbued with a Nordic sound without specifically quoting Swedish folk song. Sadly neglected outside Sweden, Stenhammar's six string quartets are widely regarded as the most important written between those of Brahms

and Bartók. His sixth and finale string quartet was composed in 1916 – not a particularly happy time for the composer. It distressed him that World War One was destroying the old European civilization, and on a personal level, his closest musical friend, the Swedish Violinist Tor Aulin, had recently died. The valedictory resignation of the beautiful Poco adagio is doubtless a tribute to Aulin.

Johannes Brahms String Quintet No 2 op. 111 Brahms’ second quintet, the Quintet for two violins, two violas and cello in G major, Op. 111, composed in the summer of 1890, was first performed in Vienna on November 11, 1890. In the summer of 1890, Brahms planned to retire from his composing career, intending his String Quintet, Op. 111 in G major to be his swan song. When he signed off on the final publisher’s proof of his second viola quintet, Brahms added a note stating, “With this letter you can bid farewell to my music, because it is certainly time to leave off . . .” Nevertheless, permeated with an Austrian vivacity, the Op. 111 quintet gives no hint of being planned as a valedictory work. As with many of his compositions, the piece was originally conceived for a different ensemble; the opening of the first movement, the cello tune included, derives from sketches Brahms had made in Italy for a fifth symphony. And though it ended as a string quintet with two violas, a grand

symphonic sonority still graces the outer movements. Brahms' favorite stringed instrument, the viola, introduces the theme of the Adagio, cast in variation form in D minor. Wistful and transparent, the Adagio is marked by unexpected shifts between major and minor and finally closes on D major. The composer's longtime friend Elisabeth von Herzogenberg found the Adagio and the Minuet much to her liking, recognizing in them "such perfect unity of emotion, vigor and effect." Fragments of firstmovement themes appear in the opening melody of the minuet-like third movement. The fourth movement is peppered with a Hungarian csárdás flavor, especially its animated coda. This is an extraordinary work, one of the finest in Brahms’s oeuvre and therefore all of chamber music: exuberant, elegant, subtle, original and unmistakably Brahms in nearly every bar.

60 Johannes Brahms Sextet No 1 in B flat op. 18 Allegro ma non troppo Andante ma moderato Scherzo: Allegro molto – Trio: Animato Rondo: Poco Allegretto e grazioso The Wallfisch Band and friends: Elizabeth Wallfisch and Brendan Joyce GUT VIOLINS, Raquel Massadas and Deirdre Dowling GUT VIOLAS, Daniel Yeadon and Rosanne Hunt GUT CELLOS

In 1857 Johannes Brahms moved to the small princely Court of Detmold to assume his first official position in the world of music. His main duties were to give piano lessons to Princess Friederike, to perform as pianist at court concerts (of which there were many, since music was the prince’s overriding passion), and to conduct the choral society. The appointment came at an auspicious time for Brahms. His good friend and champion, the composer Robert Schumann, had died the year before, and Brahms found solace in his frequent long, solitary walks in the nearby Teutoburger Forest. This period of tranquility and study of the classic composers resulted in a rich outpouring of compositions from the young Brahms. The first of Brahms’s two sextets for strings was written during 1859 – 60 and was premiered on October 20, 1860, with the composer’s good friend, the great violinist Joseph Joachim, as part of the sextet. Brahms regarded the string quartet as a hallowed genre, and treated it with the same reverence he famously held for the symphony. In his first works for strings without piano, he added ‘extra’ instruments to the quartet to get a sense of writing for strings while having two more instruments to aid him with harmony and texture. The advantage of this is seen at the outset of the first sextet, when the first cello presents the opening theme against the bass provided by the second cello, something that

WP = Premiere

would be impossible in a quartet. The pair of violas often plays in parallel harmony, creating another sound that cannot be heard in a quartet. In a sense, Brahms was conceding that it was easier to write for more instruments to “get his feet wet” before attempting the leaner and more “hallowed” genre of the quartet, for which he claimed to have made over 20 abortive attempts. This first sextet is an excellent product of the youthful Brahms, and the earliest of his chamber works that is played with any regularity today. He still uses a traditional Beethovenian scherzo movement here in third position), something he would largely abandon later on (but, as he would do later, he sets it in a contrasting key). The outer movements, while extremely expansive, have very clear-cut classical forms. Both are sunny, melodious movements in an almost “pastoral” vein. There are parallels between them, as both begin with the cello presenting the principal theme, and both end with prominent plucked (pizzicato) parts. The second movement is perhaps the most famous. It is a noble, if quite square Theme and Variations that boasts an especially exquisite coda. The variations are structurally strict, but diverse transformations. This movement exists in an often-played version for solo piano. Its stern minor key adds a striking contrast to the rest of the Sextet’s brightness. The character of the work is often compared to that of the two orchestral Serenades (Opp. 11 and 16) with which it is roughly contemporary.

AP = Australian premier

Pv = Premiere of this version



Quartet for the End of Time




This concert is supported by David Geer Music of transcendence

Toivo Kuula Songs Imandran laulu (Imandra's Song) Marjatan laulu (Marjatta's Song) Tuijotin tulehen kauan (Long Gazed I Into The Fire) Simone Riksman SOPRANO, Bengt Forsberg PIANO

Eighteen years Sibelius’s junior, and his first composition student, Toiva Kuula (1883-1918) is known for his songs and choral music, which draw on the folk legends and song of his native Finland. A fierce Finnish nationalist, Kuula died of a bullet wound in January 1918, in the course of the disastrous Finnish Civil War.

Peter Sculthorpe Salve Regina for soprano and string quartet WP Simone Riksman SOPRANO, ANAM String Quartet, Justin Bullock DOUBLE BASS

A new arrangement of Dona Ana’s aria from Great South Land (2013).

Jean Sibelius The Spruce Bengt Forsberg PIANO

The suite of piano miniatures, “The Trees”, of which The Spruce is the last movement, was written in 1914 as a distraction from Sibelius’ struggles with his Fifth Symphony, and reflects his well-known love of nature.

Jean Sibelius Songs Kaiutar (The Echo Nymph) from 6 Songs, Op. 72/3 Och finns det en tanke? (And Is There A Thought?) from 6 Songs, Op. 86/4 Systrar, bröder, älskande par ( Sisters, Brothers, Loving Couples!) from 6 Songs, Op. 86/6 Simone Riksman SOPRANO, Bengt Forsberg PIANO

Jean Sibelius (1865-1957) wrote nearly a hundred solo songs, from monumental nature portraits to the lightest of bagatelles. The three songs performed tonight were all written during the First World War.

Erich Korngold Lied from Suite for 2 Violins, Violoncello and Piano (left hand) Op. 23 AP Nils-Erik Sparf VIOLIN, Klara Hellgren VIOLIN, Erik Wahlgren CELLO, Bengt Forsberg PIANO

Commissioned by Paul Wittgenstein, who had lost his right arm in the war and did so much to commission and perform music for left hand alone, this unusual suite was extremely well received, both critically and by the public. The sparse score gives full rein to the pianist's virtuoso capabilities and the five small movements range from bitter disillusion to a melodious sense of peace and fulfillment.

Lili Boulanger Pie Jesu for string quartet, harp and organ Nadia Boulanger Lux Aeterna for voice, organ, harp and strings AP Simone Riksman SOPRANO, ANAM String Quartet, Justin Bullock DOUBLE BASS, Alice Giles HARP, Albert-Jan Roelofs ORGAN

Nadia Boulanger writes of her younger sister Lili: “[Having returned home from Italy because of the war, [Lili] devoted herself to caring for wounded soldiers. Knowing that her days were numbered, she worked feverishly. Towards the end of her life, she dictated to me her Pie Jesu…. She died on 15th March 1918.” Since 1918, Nadia’s Lux aeterna and Lili’s Pie Jesu have been sung every 15th March at a memorial Mass in Paris.

62 Einojuhani Rautavaara Agnus Dei arr. for stringsWP Uppsala Chamber Soloists, ANAM String Quartet, Justin Bullock DOUBLE BASS, DIR Christopher Latham

Einojuhani Rautavaara has often described himself as a mystic, and the metaphysical element is very much to the fore in his Missa a cappella (2011).

Jehan Alain Ave Maria Simone Riksman SOPRANO, Albert-Jan Roelofs ORGAN

A skilled motorcyclist, Jehan Alain (1911-1940) became a despatch rider in the French Army. On 20 June 1940, encountering a troop of German soldiers on the road, he abandoned his motorcycle and killed 16 of them with his carbine before being killed himself. He was posthumously awarded the Croix de Guerre for his bravery, and was buried by the Germans with full military honours.

Giacomo Puccini Morire? Simone Riksman SOPRANO, Calvin Bowman PIANO

Puccini wrote this song for a collection Per la Croce Rossa Italiana published by Ricordi in 1917.

Olivier Messiaen Quatuor pour la fin du Temps (Quartet for the End of Time) Bernt Lysell VIOLIN, Erik Wahlgren CELLO, Bengt Forsberg PIANO, Craig Hill CLARINET

Olivier Messiaen (1908–1992) was 31 years old when France entered World War II. Although a pacifist, married, and the father of a two-year-old son, Messiaen volunteered for the hospital corps. When captured by the German army in June 1940 and imprisoned in a camp in Görlitz, Silesia, he managed to take with him a knapsack stuffed with scores by Bach, Ravel, Beethoven, Berg, and Stravinsky. Discovering this, the camp commander gave him manuscript paper and a quiet place to compose. Three other musicians, a cellist, a violinist, and a clarinetist, were in the camp, and Messiaen began to write for them. The quartet was completed late in 1940, and performed in January 1941 to an audience of prisoners and guards. Of that first audience Messiaen later said, “Never have I been heard with as much attention and understanding.” In a Preface to the score Messiaen writes that the work was inspired by a text from the Book of Revelation: And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and the angel lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer: But in the days of the voice of the seventh angel, when he shall begin to sound, the mystery of God should be finished....

The work is in eight movements, entitled: I. Liturgie de cristal ("Liturgy of crystal ") II. Vocalise, pour l'Ange qui annonce la fin du Temps ("Vocalise, for the Angel who announces the end of Time") III. Abîme des oiseaux ("Abyss of birds") IV. Intermède ("Interlude") V. Louange à l'Éternité de Jésus ("Praise to the Eternity of Jesus") VI. Danse de la fureur, pour les sept trompettes ("Dance of fury, for the seven trumpets") VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps ("Tangle of rainbows, for the Angel who announces the end of Time") VIII. Louange à l'Immortalité de Jésus ("Praise to the Immortality of Jesus") Michael R. Linton writes: … what is most miraculous about this quartet is its character. This is deeply peaceful and joyous music, yet it is written in a prison camp, by a prisoner, in the middle of a war, about the end of the world. … A prisoner unsure if he would ever again see his family or home again, Messiaen composed a vision of heaven where anger, violence, vengeance, and despair are not so much repressed as irrelevant. This work has nothing to do with war, or prison, or “man’s inhumanity to man.” This piece is entirely about the work of God and the glory of Jesus. There is no darkness here. There is no bitterness. There is no rage. Instead there is power, light, transcendence, ecstasy, and joy eternal.



The Fire and the Rose



This concert is supported David Geer An orchestral epic of war and peace ACT 1

Gustav Holst Mars - The Bringer Of War from The Planets (1914-16, WW1) Canberra Festival Orchestra including ANU School of Music faculty, staff and students and Sprogis Woods Smith Young Artists, CONDUCTOR Christopher Latham

Holst always denied a link between “Mars” and World War I, , saying that "Mars" was completed before war was expected. Nevertheless, "Mars" is

seen as prescient of mechanical warfare, something that did not become a reality until after the entire suite was complete.

Ralph Vaughan Williams Romanza from the 5th Symphony (1938-43, WW2) “He hath given me rest by his sorrow and life by his death" Vaughan Williams’ Symphony No. 5 in D major was written between 1938 and 1943, and dedicated to Jean Sibelius. Many of the musical themes in the symphony stem from Vaughan Williams' temporarily abandoned operatic work (or "morality"), The Pilgrim's Progress. The Romanza might well be considered the spiritual core of the symphony. The opening cor anglais solo

is taken virtually without change from Act 1 of the opera, and the lyric sung to this melody, "He hath given me rest by his sorrow and life by his death", was originally set as an inscription on this movement; while the contrasting agitated theme of the central section is taken from the Pilgrim's lyric, "Save me! Save me, Lord! My burden is greater than I can bear".

Richard Strauss Sunset, Epilogue and Evening from An Alpine Symphony, op. 64 (1915) An Alpine Symphony is a symphonic poem that musically re-creates a day’s mountain climb in the Bavarian Alps. Strauss began sketching the piece in 1911, and returned to these sketches when his main opera librettist, Hugo von Hofmannsthal, was absorbed into the military during World War I. The “Alpine Symphony” had its first performance in Berlin in 1915, under the composer’s baton.

As a young teenager, Strauss and a group of friends had set out before dawn to climb a mountain, reached the summit five hours later, and been driven back down the mountain by a tremendous thunderstorm. In the final sections of the work, as the climbers arrive at the mountain’s base, the Sun is setting. The storm has passed, night has come, and they are enfolded in the darkness. ACT 2

Cecil Coles Cortège from Behind the Lines (1918, World War 1) AP Canberra Festival Orchestra including ANU School of Music faculty, staff and students and Sprogis Woods Smith Young Artists, CONDUCTOR Christopher Latham

Cecil Coles began writing the orchestral suite Behind the Lines while on active service, in November 1917. He sent the first movement Estaminet du carrefour (‘tavern at the crossroads’) to his close friend Gustav Holst, who presumed that the remaining movements were lost after Coles was

killed trying to rescue a comrade on the battlefield. However, a short score of the third movement, Cortège, survived, with some indications of instrumentation. Coles dedicated this suite ‘To the comrades who have shaped the pleasure and the landscape of life in France 1917’.


Ross Edwards Symphony No 1 ‘Da Pacem Domine’ (1991, Gulf War) Canberra Festival Orchestra including ANU School of Music faculty, staff and students and Sprogis Woods Smith Young Artists, William Barton DIDJERIDU, CONDUCTOR Christopher Latham

Conceived and partly composed during the Gulf Crisis, the tone of the Symphony Da Pacem Domine is unremittingly sombre. As I worked on the score I began to think of it as a threnody for the gravely ill Stuart Challender, then Chief Conductor of the Sydney Symphony Orchestra, who died shortly after its completion and to whom it is dedicated. A large, monolithic single movement, the Symphony evolves slowly and organically over a deep, insistent rhythmic pulse. It is thus, in effect, a sort of massive orchestral chant of quiet intensity into which my subjective feelings of grief and foreboding about some of the great threats to humanity: war, pestilence and environmental devastation, have

been subsumed into the broader context of ritual. And although it is manifestly more architectonic than some of my other ‘contemplative’ music, the Symphony is designed to create a sense of timelessness associated with certain Oriental and Mediaeval Western musical genres. A hymn-like episode based on a fragment of the plainsong ‘Da Pacem Domine’ (Give Peace, Lord) gives the work its title. Symphony Da Pacem Domine was commissioned by the Australian Broadcasting Corporation with assistance from the Australia Council. Ross Edwards


Rued Langgaard Music of the Spheres (World War 1, 1916-18) AP Louise Page SOPRANO, Canberra Festival Orchestra and Canberra Choral Society (with the ANU School of Music Chamber Choir, Sprogis Woods Smith Young Artists, Woden Valley Youth Choir and Turner Trebles) with VOX - Sydney Philharmonia Choirs, CONDUCTOR Roland Peelman

Originally subtitled “A life and death fantasia”, this is one of the most distinctive and experimental compositions of the early twentieth century, foreshadowing in its technique the work of Ligeti in the 1960s. Langgaard wrote that: In The Music of the Spheres I have, in the darkness and despair of night, completely abandoned any sort of motif, planned structure, form or coherence.

In the wake of the First World War Langgaard was greatly preoccupied with the figure of Antichrist, the end of the world and the idea of a new Utopian social order that was to be based on a fusion of religion and art. The programme of the work includes much of what we associate with the Art Nouveau style and Symbolism, not least a life-and-

death symbolism whose duality is expressed in the cryptic preface to the score: The celestial and earthly music from red glowing strings on which life plays with the claws of a beast of prey - this life, with an rainbow-crown round its marble-face and its stereotypic - yet living - demonic smile as if from lily cheeks.

In the final section, Antichrist – Christ, the composition ends with an apocalyptic vision: a fortissimo chord one and a half minutes long in the choir, around which the full orchestra entwines with rapid arabesques, followed by ‘celestial' harp glissandi and ethereal chords from the choir. The work fades out into space with a dissonant chord of nine notes.

Nigel Westlake Finale: O Sol almo immortale from Missa Solis – Requiem for Eli (in memory of Eli Westlake 1987-2008) Canberra Festival Orchestra and Canberra Choral Society (with the ANU School of Music Chamber Choir Sprogis Woods Smith, Young Artists, Woden Valley Youth Choir and Turner Trebles) with VOX - Sydney Philharmonia Choirs, CONDUCTOR Roland Peelman

The tragic death of Nigel Westlake’s son Eli in 2008 left the composer devastated by grief: When he eventually returned to work, Westlake was determined to channel these powerful feelings into his composition. He had finished a first draft

of Missa Solis right before the tragedy; completing this manuscript became a means for expressing his consuming sorrow: What had begun as music celebrating the sun became a spiritually driven tribute to the son Westlake had lost.




Peter and the Wolf



This concert is supported by Marjorie Lindenmayer The world's best-loved musical fable for children Narrator: Duncan Driver

Calvin Bowman Curly Pyjama Letters: Seven movements for narrator and string quartet to texts by Michael Leunig ANAM String Quartet

The Curly Pyjama Letters are a small fragment of the vast correspondence known to have taken place between lone voyager Vasco Pyjama and his friend and mentor Mr Curly of Curly Flat. While domestic contentment and ease with the natural world are Mr Curly's major attributes, Vasco's restless nature has compelled him into a great voyage of discovery. In the company of his direction-finding duck, he has wandered far and wide, risking, finding, enjoying and observing much. Theirs is a language of unique personal protocol, as is often found in conversations between creative and intelligent minds in awe of life's complex grandeur, beauty and pathos. – Penguin Books

Calvin Bowman writes: The writing of incidental music for some of Michael Leunig's Curly Pyjama Letters occurred straight after I had completed a song cycle for soprano and piano to Leunig texts for the Lyrebird Society in Melbourne. I hope, in the near future, to continue this exploration of Leunig's prose and poetry through the creation of further works as I feel his aesthetic and outlook complement my own extremely well. It's a privilege to be able to work with words which so unashamedly go straight to the heart. The work is dedicated to Amber van Dreven.

Sergei Prokofiev Peter and the Wolf Virginia Taylor FLUTE, Eve Newsome OBOE, Robert Spring CLARINET, Simone Walters BASSOON, Gilbert Cami Farras, James McCrow, Alex Miller HORNS, Paul Goodchild TRUMPET, Nigel Crocker TROMBONE, Adam Cook PIANO, J.B. Smith PERCUSSION, Uppsala Chamber Soloists, ANAM String Quartet, Justin Bullock DOUBLE BASS, COND Albert-Jan Roelofs

Sergei Prokofiev (1891-1953) was born in a village in the Ukraine. Even as a young child he was very clever at music: he was composing piano pieces when he was five, and he wrote an opera at nine. His first teacher was his mother, a talented pianist. He studied music for ten years at St. Petersburg Conservatory from 1904 to 1914, winning the prize for best student pianist when he graduated. Like Vasco Pyjama, he traveled widely: he spent many years in London and Paris, and toured the United States five times. In 1936, Prokofiev returned to the Soviet Union to live. One of the first things he did after his return was to write Peter and the Wolf or a children's theatre in Moscow. Prokofiev made up the story and wrote the narration himself, drawing on memories of his own childhood. He decided to use the music to introduce the children to the orchestra, so each character in the story is represented by a different instrument or group of instruments: Peter by the strings, the bird by the flute, the duck by the oboe, the cat by the clarinet, the wolf by the horn section, and so on. On the next page you can read the story of Peter and the Wolf.

66 Peter and the Wolf


by Sergei Prokofiev

arly one morning, Peter opened the gate and walked out into the big green meadow. On a branch of a big tree sat a little bird, Peter's friend. "All is quiet" chirped the bird happily. Just then a duck came waddling round. She was glad that Peter had not closed the gate, and decided to take a nice swim in the deep pond in the meadow. Seeing the duck, the little bird flew down onto the grass, settled next to her and shrugged his shoulders. "What kind of bird are you if you can't fly?" said he. To this the duck replied "What kind of bird are you if you can't swim?", and dived into the pond. They argued and argued, the duck swimming in the pond and the little bird hopping along the shore. Suddenly, something caught Peter's attention. He noticed a cat crawling through the grass. The cat thought: "That little bird is busy arguing, I'll just grab him.” Stealthily, the cat crept towards the bird. "Look out!" shouted Peter and the bird immediately flew up into the tree, while the duck quacked angrily at the cat, from the middle of the pond. The cat walked around the tree and thought, "Is it worth climbing up so high? By the time I get there the bird will have flown away." Just then grandfather came out. He was angry because Peter had gone in the meadow. "It's a dangerous place,” he said. “What if a wolf should come out of the forest? Then what would you do?" Peter paid no attention to his grandfather's words. Boys like him are not afraid of wolves. But grandfather took Peter by the hand, led him home, and locked the gate. No sooner had Peter gone, than a big grey wolf came out of the forest. In a twinkling the cat climbed up the tree. The duck quacked, and in her excitement jumped out of the pond. But no matter how hard the duck tried to run, she couldn't escape the wolf. He was getting nearer, nearer, catching up with her. Then he got her, and with one gulp, swallowed her whole. So now, this is how things stood: the cat was sitting on one branch, the bird on another – not too close to the cat. And the wolf prowled around and around the tree, looking at them with greedy eyes. In the meantime, Peter, without the slightest fear, stood behind the closed gate watching all that was going on. He ran home, got a strong rope, and climbed up the high stone wall. One of the branches of the tree where the wolf was stretched out over the wall. Grabbing hold of the branch, Peter climbed over on to the tree. He said to the bird: "Fly down and circle around the wolf's head. Only take care that he doesn't catch you!" The bird almost touched the wolf's head with his wings while the wolf snapped angrily at him, first this way, then that. How the bird teased the wolf! How the wolf wanted to catch him! But the bird was too clever, an d the wolf simply couldn't do anything about it. Meanwhile, Peter had made a lasso from the rope. Carefully letting it down from the tree, he caught the wolf by the tail, and pulled with all his might. Feeling himself caught, the wolf began to jump wildly trying to get loose. But Peter tied the other end of rope to the tree, and the wolf's jumping only made the lasso tighter around his tail. Just then, some hunters came out of the woods, following the wolf's trail and shooting as they went. But Peter, sitting in the tree, said: "Don't shoot! The Bird and I have already caught the wolf. Now help us take him to the zoo." And now, imagine the triumphant procession: Peter at the head; after him the hunters carrying the wolf; and winding up the procession, grandfather and the cat. Grandfather shook his head grumpily: "Well, and what if Peter hadn't caught the wolf? What then?" Above them flew the bird, chirping merrily: "My, what brave fellows we are, Peter and I! Look what we have caught!" And if you listen very carefully, you will hear the duck quacking inside the wolf, because in his hurry, the wolf had swallowed her alive.



Into the Rose Garden


SUNDAY MAY 18 1.30PM & 7.30PM


This concert is supported by Marjorie Lindenmayer and Peronelle and Jim Windeyer The Festival Finale - a recreation of the first Australian performances, in English and on period instruments, of Brahms' German Requiem

Johannes Brahms An Australian Requiem op. 45 The Wallfisch Band, ACO2 , Canberra Festival Chorus (including Sprogis Woods Smith Young Artists, Oriana Chorale, The Resonants, Igitur Nos, Kompactus and VOX - Sydney Philharmonia Choirs); Simone Riksman SOPRANO, Alexander Knight BASSBARITONE, Roland Peelman CONDUCTOR

W Denis Browne To Gratiana arr. for voice and orchestra by Calvin Bowman WP Christopher Saunders TENOR, The Wallfisch Band, ACO2, Sprogis Woods Smith Young Artists, Roland Peelman CONDUCTOR

It is generally accepted that the death of Brahms’ mother in January 1865 was the immediate reason for the composition of Ein Deutsches Requiem, a large scale work that developed gradually over the years immediately following. Three of six completed movements were performed in Vienna in 1867 under the direction of Johann Herbeck, but were badly received. Things were very different the following year, when all six movements were performed on Good Friday 1868 in Bremen Cathedral, under the direction of the composer. This time the work was very successful, and with the addition of a soprano solo which became the fifth movement of seven, the Requiem went on to establish the wider reputation of Brahms as a pre-eminent German composer. As a North German Protestant, Brahms had chosen to make use of texts taken from the Lutheran Bible, drawing on the Old and New Testaments and on the Apocrypha. The texts he chose avoid overt Christian reference, and Brahms himself wrote to a friend: "As far as the title is concerned, I will confess that I would very gladly omit the 'German' [Deutsches] as well, and simply put 'for Mankind' [Menschliches]." European settlers in the Australian colonies kept in touch with cultural developments in their homelands via periodic newspaper reports from correspondents in such centres as London, Dublin, Berlin and Vienna, and the earliest reference we have found to Brahms was in 1874, in a review of a book on musical training, which pointed out that Tonic Sol-Fa was not welladapted to singing a modern work like the “Deutsches Requiem” “in which there are frequent and abrupt changes of tonality”. The first reported Brahms performance is of the “Song of Destiny” in a drastically over-long concert of the Melbourne Philharmonic Society, which may account in part for a less than enthusiastic review:

It is on a first hearing somewhat monotonous, being full of chromatic and restless harmonies, unrelieved by any strain of tune which it would be easy to remember. There is plenty of work in it for the orchestra, and it was generally well performed by both band and chorus, but there was nothing telling in the effect.

Six years later the Sydney Evening News announced: A composition entirely new to Sydney — and we believe to Australia also — The Song of Fate, by Brahms, one of the grandest of modern composers. This work is for chorus and orchestra, and those who have practised it pronounce it to be indescribably lovely and descriptive, some of the effects being very novel and striking.

By the end of the ’90s Brahms was well-known as the leading modern German composer, and news of his death on April 3, 1897, received by cable from London, was published within two days across the continent, from Rockhampton to Kalgoorlie. It was in December 1898 that an “augmented choir” of 150 singers and an orchestra of 52 was convened for Australia’s first performance of Brahms’ “German Requiem”, with Schubert’s Unfinished Symphony, at St Paul’s Cathedral, Melbourne. Was this in English or in German? We don’t know for certain, but it was certainly advertised under the English title. A letter to the Argus a few days before requested: that the words of the "Requiem" be printed separately, and either sold for a nominal sum or distributed gratis to all ticket-holders, otherwise I fear that only a small minority of the congregation will know the words that are being sung, and therefore to most the service would be an unintelligible performance, and in no sense an act of worship, which I assume the Cathedral authorities intend it should be. - I am, &c., R.C.N.

Neither this letter nor the reassuring reply from the Cathedral make any reference to a German text or the need for a translation. What is certain is that reports

68 of the next Australian performances of the Requiem, in Adelaide in 1902 (three movements) and 1903 (the complete work), consistently reference the seven movements by their first lines in the English translation by Elizabeth Traquair and R.H. Benson. So does every newspaper report on the Requiem until well after World War II, indicating that this was the accepted standard in Australian performances. Indeed, an impression seems to have arisen that the work was originally written in English, as witness the Brisbane Courier of May 1933: At St. John's Cathedral, Ann Street, to-night the State and Municipal Choir and Orchestra will celebrate the centenary of the birth of Brahms by the performance of his "Requiem." Unlike many of such famous compositions, the words in this instance are in English, which should add greatly to the enjoyment of the performance.

Traquair’s translation, which you will hear in today’s performances, appears to date from 1871, and was most probably the version used that year in the Requiem’s first performance in England. This was a private affair, held in the drawing-room of an eminent surgeon, Sir Henry Thompson, in Brahms’ own piano reduction à quatre mains, with Julius Stockhausen, the soloist in the first Bremen performance, conducting some 30 singers and singing the baritone solos. The translation may even have been known to Brahms himself; he certainly seems to have had no objection to the work being sung in languages other than German (except for Latin, which he did not want), and refers in letters to his publisher to an English translation which “fits easily”.

worked up with enthusiasm. Master Reginald Massey sang quite correctly the high soprano solo, with passages on the word "Sorrowful" that caused the listeners acute mental and physical discomfort, thus fully realising the spirit of the verbal text.

While noting that in Dublin on the evening of th December 17 , 1914: Brahms’ beautiful requiem was performed in Christ Church Cathedral ..., and was felt to be in keeping with the mourning which has fallen upon so many homes through the war …

Australian newspapers did not fail to report a controversy that arose in London in April 1915, when the composer Sir Charles Villiers Stanford led a protest against the performance of the German Requiem at a Bach-Beethoven-Brahms festival in the Queen’s Hall. The Brisbane Courier Mail commented: While the British communities are right in condemning Prussian militarism and seeking to substitute British for German goods, when war is declared on German music it is quite another affair. Exclude German music, and you at once shut out a world of varied beauty. Only a narrow and bitter spirit would seek to do that. The intelligent Bntish man and British woman are capable of appreciating Bach, Beethoven, Handel, Schubert, Schumann, Mendelssohn and Wagner without feeling that their loyalty to British ideals is in the least degree weakened. The little Englander spirit in music is as objectionable as it is in politics.

However, there were other views, reflecting on the language rather than the music: Not a few protests have been heard with reference to the singing of some Brahms' songs in German at a concert in London.... Sir Charles Stanford probably voiced the feelings of a good many people when he entered a protest against the recent performance here of that composer's "Requiem." But the work, at any rate, was sung in English, a circumstance which makes all the difference in the world.

The work had its first Sydney performance in 1904, when it received a somewhat mixed review from the Sydney Morning Herald’s critic, who described it as including some stupendous effects, some few charming phrases, and a plentiful crop of excruciating but expressive discords. In other words, it is a Great Modern German Composition ... well calculated to tax the understanding rather than to please the ears of the listeners.

Of the performance, he noted that: Mr Percy Herford made the great success of the evening in the baritone music, more especially in the wonderfully expressive passages of No. 6 ("Behold, I Tell You a Mystery"), which were powerfully declaimed. This formed a truly noble piece of music. The choral allegro fugue "Worthy art Thou" was of a tremendous and aweinspiring nature, and at this point the ensemble was

WP = Premiere

But as the SMH critic had noted back in 1904, the music of the Requiem was perceived as “extraordinarily difficult”, and there is little doubt that it was pragmatics rather than nationalism that dictated the language in which the Requiem continued to be sung: in 1926, when it was next performed in Sydney, and thereafter in every major Australian city, right up to 1967, when the Canberra Times announced the Canberra Choral Society’s first performance of the Requiem – presumably the first in the Capital – and noted: “The Brahms work will be sung in English.”

AP = Australian premier

Pv = Premiere of this version


Festival Director Chris Latham Chris Latham is an accomplished violinist, with a Masters of Chamber Music from the San Francisco Conservatory of Music. He played with the Australian Chamber Orchestra, and has worked in musical publishing, among many other activities. He believes that music can act as a healing force in the world, and that musicians will increasingly work hand in hand with the medical establishment, and with diplomats. He is the Music Director, Gallipoli Symphony 2005-2015, has been Artistic Director of the Four Winds Festival (Bermagui), and has served as Artistic Director of the Canberra International Music Festival since 2009. The 2014 Festival completes his tenure of this position.

Principal Conductor Roland Peelman Acclaimed musician of great versatility, Roland Peelman was born in Flanders, Belgium and has been active in Australia over 25 years as a conductor, pianist, artistic director and mentor to composers, singers and musicians alike. Peelman has received numerous accolades for his commitment to the creative arts in Australia and specifically for his 20-year directorship of The Song Company, during which the ensemble has grown into one of Australia’s most outstanding and innovative ensembles. Peelman is widely recognised as one of Australia’s most renowned musicians receiving the NSW Award for “the most outstanding contribution to Australian Music by an individual” and named “musician of the year” by the Sydney Morning Herald’s music critic in 2006. The following year, he was again featured as one of Sydney’s top twenty musicians and most recently, he was listed in “The 100 Most Influential People in Sydney” -published by The Sydney Magazine at the end of 2009. He has worked with most orchestras in Australia and has conducted an abundance of new work with specialist ensembles such as Sydney Alpha, Libra and Ictus (Belgium-Germany) and most regularly with Australia’s leading new music group Ensemble Offspring. He remains a regular guest at festivals in Australia and abroad and with the Song Company continues to develop new projects that intend to change and re-invigorate the nature of concert, both in form and content. As of July, 2014, Roland succeeds Chris Latham as Artistic Director of the Festival.

70 COMPOSERS IN RESIDENCE Elena Kats-Chernin Elena Kats-Chernin is one of the most cosmopolitan composers working today, having reached millions of listeners worldwide through her prolific catalogue of works for theater, ballet, orchestra, and chamber ensemble. Her dramatically vivid music communicates a mixture of lightheartedness and heavy melancholy, combining strong rhythmic figures with elements of cabaret, tango, ragtime, and klezmer. Born in 1957 in Tashkent (Uzbekistan), Kats-Chernin received training at the Gnesin Musical College before immigrating to Australia in 1975. She graduated from the New South Wales Conservatory in 1980 and was awarded a DAAD (German academic exchange) grant to study with Helmut Lachenmann in Hanover. She remained in Germany for 13 years, returning in 1994 to Australia where she now lives in Sydney. In 2011 Kats-Chernin was appointed Composer-in-Residence with the Queensland Symphony Orchestra. Her first symphony, Symphonia Eluvium for organ, choir and orchestra commemorating the devastating Queensland floods of January 2011, was premiered that year by QSO conducted by Asher Fisch at the Brisbane Festival. In 2012, the work was voted by the readers of the Australian monthly performing arts journal Limelight as the best composition of the year. One of Elena Kats-Chernin’s most recent major premieres was her adaptation of Monteverdi’s three operas (Orpheus, Odysseus, Poppea) at the Komische Oper Berlin, directed by Barrie Kosky, in September 2012 – a 12 hour Marathon performance with live telecast. In January 2014, her music for the drama Frankenstein at the Sydney Ensemble Theatre won the "Sydney Theatre Award 2013 for best score". Elena KatsChernin's music is published exclusively by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes

Nigel Westlake Nigel Westlake's career in music has spanned more than 3 decades. He studied the clarinet with his father, Donald Westlake. In 1983 he furthered his studies of contemporary music in the Netherlands. From 1987 to 1992 he was a clarinettist with the Australia Ensemble resident at the University of New South Wales. His interest in composition dates from the late 1970's when he formed a classical/jazz-rock/world-music fusion band to play original music. During this time he started to receive offers to compose for radio and circus. Commissions for TV and film soon followed. His film credits include the feature films Miss Potter, Babe, Babe - Pig In The City, Children Of The Revolution, A Little Bit Of Soul, The Nugget and the Imax films Antarctica, Imagine, The Edge & Solarmax. His romantic score for the Beatrix Potter biopic Miss Potter won "Feature Film Score of the Year" & "Best Soundtrack Album" at the 2007 APRA / AGSC Screen Music Awards. Westlake's work has been widely performed and has earned numerous awards, including the Gold Medal at the New York International Radio Festival and numerous APRA and Screen Composer Guild awards for his film and concert music. His opus one, Omphalo Centric Lecture (1984) for percussion quartet has become one of the most frequently performed and recorded works in the percussion repertoire by groups in the USA, Japan, Europe and Australia. In 2004 Nigel Westlake was awarded the HC Coombs Creative Arts Fellowship at the Australian National University. In 2008 he founded the Smugglers of Light Foundation in memory of his son Eli, to promote cultural awareness and empowerment through education via the mediums of music and film in youth and indigenous communities. His much-awarded tribute in music to his son, Missa Solis – Requiem for El", received numerous performances by the Melbourne Symphony and Sydney Symphony Orchestras in 2011 and 2012, and has recently been released to critical acclaim on ABC Classics, conducted by the composer. Nigel holds an honorary Doctorate in Music, awarded by the University of New South Wales in 2012.

71 Ross Edwards One of Australia’s best known composers, Ross Edwards has created a distinctive sound world which seeks to reconnect music with elemental forces and restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time deeply connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim he is conscious of the exciting potential of this vast region. Ross Edwards’ compositions include five symphonies, concertos, choral, chamber and vocal music, children’s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the dawning of the new millennium from the sails of the Sydney Opera House in a worldwide telecast. Works designed for the concert hall sometimes require special lighting, movement, costume and visual accompaniment – notable examples are his Fourth Symphony, Star Chant, premiered by the Adelaide Symphony and Richard Mills at the 2002 Adelaide Festival; the oboe concerto Bird Spirit Dreaming, which Diana Doherty premiered with the Sydney Symphony and Lorin Maazel, subsequently performing it with the New York Philharmonic and many other orchestras around the world; and The Heart of Night, for shakuhachi and orchestra, composed especially for shakuhachi Grand Master Riley Lee and the Melbourne Symphony. Recently completed commissions include Sacred Kingfisher Psalms for The Song Company, Ars Nova Copenhagen and the Edinburgh Festival; a Piano Sonata for Bernadette Harvey commissioned by the Sydney Conservatorium; Full Moon Dances, a saxophone concerto for Amy Dickson, the Sydney Symphony and the Australian symphony orchestras; Five Senses, a song cycle to poems of Judith Wright; The Laughing Moon for the New Sydney Wind Quintet; Zodiac Dances, a ballet score for Stanton Welch and the Houston Ballet; and his String Quartet No. 3, Summer Dances, for the Kelemen Quartet, commissioned by Kim Williams for Musica Viva Australia.

Calvin Bowman Described variously as “a uniquely talented musician” (Philip Glass), “one of the finest musical minds this country has produced” (Graham Abbott), and “truly gifted” (Ezra Laderman), Calvin Bowman is currently Head of Composition and University Organist at the Australian National University. Calvin Bowman has presented the complete Bach organ works twice in public, once in 1995 and then again in 2009 for the Melbourne International Festival when he performed them in a single seventeen hour sitting. For the latter feat he was nominated for a Helpmann Award in the “Best Individual Classical Music Performance” category. He has premièred major keyboard works by Philip Glass, Peter Sculthorpe, Ross Edwards, Graeme Koehne, Richard Mills and Andrew Schultz, and appeared as keyboard soloist with many Australian orchestras including Orchestra Victoria, and the Melbourne, Adelaide, West Australian and Tasmanian Symphony Orchestras. His organ recordings have met with widespread critical acclaim and been featured in publications such as the Gramophone Good CD Guide. As a composer, Calvin Bowman has been awarded an Australia Council Fellowship and been commissioned by Ars Musica Australis, Symphony Australia, and by many individuals and ensembles. His artsongs have been lauded by Barbara Bonney as “very beautiful and well written,” and he has been described as “the finest exponent of artsong composition we have in Australia” (Richard Mills).

72 ENSEMBLES The Wallfisch Band The Wallfisch Band is an outstanding and unique international period-instrument orchestra directed by its founder, the celebrated baroque violinist Elizabeth Wallfisch. The Wallfisch Band brings together young instrumentalists with seasoned international professionals, providing a living and working masterclass for the young musicians within an intensive rehearsal and concert environment. The result is performances of the greatest vigour and passion. The orchestra was founded in 2009 and has given concerts in the UK, Holland, France, Germany, Australia and New Zealand. In 2010 the late Gustav Leonhardt made one of his final appearances on the concert stage conducting The Wallfisch Band in its debut at London’s Wigmore Hall. The following year the Band began an association with principal guest conductor Bruno Weil which continued at the 2012 Augsburg Mozartfest for which The Wallfisch Band was the resident orchestra. In 2013 the orchestra gave the inaugural concert in a year-long series, entitled Bach Unwrapped, at London’s newest concert hall, Kings Place, and future engagements include a return invitation to the Lufthansa Festival in London and concerts in Germany, France and The Netherlands. The Wallfisch Band has already recorded 4 CD’s (of Telemann violin concerti) for the German record label CPO in addition to a ground-breaking live CD for NTR in The Netherlands including Mozart symphonies and a world-premiere th recording of works by the 18 Century Dutch composer Josina van Boetzelaar.

The Song Company The Song Company is Australia’s leading vocal ensemble, proud to celebrate 30 years of music making. Since its formation in 1984, it has provided audiences with international standard performances in the field of vocal chamber music. The group’s repertoire covers vocal music from the 10th century to the present day and is unique in its stylistic diversity. Under the leadership of Roland Peelman, Artistic Director since 1990, the six-voice ensemble has developed its style by successfully integrating serious scholarship, tonal clarity, vocal daring and unbridled performance dynamics. Over 30 years, the ensemble’s schedule has grown to include a mix of national and international touring, a subscription series in cities across Australia, recording projects, education activities, and special artistic collaborations. The Song Company remains at the forefront of contemporary vocal music and looks forward to many years of continued innovation and excellence in vocal music.

Uppsala Chamber Soloists Uppsala Chamber Soloists, one of Sweden’s foremost string ensembles, occupies a unique position in Swedish music. The ensemble (Nils-Erik Sparf, Bernt Lysell, Klara Hellgren, violin, Susanne Magnusson, viola, Erik Wahlgren, cello) pursues extensive activities, often in collaboration with interesting guest musicians; they have also worked together with actors and mimes. What is striking is the ensemble’s fidelity to style, regardless of whether they are playing baroque, classical, romantic or more recent music. Uppsala Chamber Soloists tours often both in Sweden and abroad and is regularly heard on Swedish Radio; they have also made numerous CD recordings; their recording of the Brahms string quintets has been praised in numerous reviews. The members of the ensemble also serve as concertmaster and principals in the Uppsala Chamber Orchestra.

Nils-Erik Sparf, violin Nils-Erik Sparf works at Music in Uppsala, Sweden, as concertmaster of the Uppsala Chamber Orchestra and principal violinist of the Uppsala Chamber Soloists. Moreover, he serves as leader of the Drottningholm Baroque Ensemble and concertmaster of the Stockholm Sinfonietta. He has previously been the concertmaster of the Stockholm Royal Court Orchestra and the Royal Stockholm Philharmonic Orchestra. He has made a great number of CD recordings. Nils-Erik Sparf has been a member of the Royal Academy of Music since 1992. He has garnered a number of distinctions and awards for his unique interpretations. In January 2004 he was awarded the Litteris et Artibus Medal, conferred by King Carl XVI Gustaf, and in November 2013 the Interpret Prize from the Royal Academy of Music. Nils-Erik Sparf plays an Antonio Stradivarius from 1709 owned by the Järnåker Foundation.

73 Bernt Lysell, violin Bernt Lysell graduated as a soloist from the Royal College of Music in Stockholm, where he studied with Prof. Josef Grünfarb. He then continued his training in Freiburg and Munich before moving on to the U.S. for further studies with Prof. Joseph Gingold. In 1970–72 he was employed by the Royal Court Orchestra in Stockholm and then by the Swedish Radio Symphony Orchestra (from 1977 as leader). For a few years in the 1990s he held the same post with the Royal Stockholm Philharmonic Orchestra. He then returned to the Swedish Radio Orchestra until 2010. Bernt Lysell plays first violin in the Lysell Quartet, which has played in many European countries and made a number of recordings. He is also leader of the Stockholm Sinfonietta. Bernt Lysell has been awarded the Litteris et Artibus medal and is a member of the Royal Academy of Music. As of 2010 Bernt Lysell has been employed by the Uppsala Chamber Soloists and as leader of the Uppsala Chamber Orchestra.

Klara Hellgren, violin Klara started playing the violin at age six. She completed her studies at the Royal College of Music in Stockholm with soloist diploma in 2001 and a medal of excellence. She also studied at the Academy of Music in Gothenburg and at the Royal College of Music in London. The Swedish Royal Academy of Music has awarded her a number of generous scholarships that made her study abroad possible. Klara made her solo debut in 2001 together with the Royal Philharmonic Orchestra in Stockholm performing the Sibelius Violin Concerto. As a violinist Klara Hellgren is active within various musical fields, working both as concertmaster, soloist and chamber musician. In May 2014 she will perform Nielsen's Violin Concerto with the Uppsala Chamber Orchestra and the conductor Paul Mägi. Klara has been a member of Uppsala Chamber Soloists since 2004. She also serves as concertmaster of the Uppsala Chamber Orchestra, and is a member of Trio Nova. She plays a violin by Antonio Gragnani 1773, kindly loaned by the Swedish Järnåker Fund.

Susanne Magnusson, viola Following her graduation from the Royal College of Music in Stockholm, Susanne Magnusson was awarded a scholarship for study abroad from the Royal Academy of Music, which she used for studies with Serge Collot at the Conservatoire Supérieure National de Musique in Paris. Susanne has been a member of Quatuor Margand, principal in the Orchestre National de Chambre de Toulouse, and alternating principal in the Orquestra Sinfonica National de Barcelona y Catalunia. She is often featured as a soloist, and as a chamber musician. Susanne has toured in Europe, Asia, and South America and recorded a number of CDs. Susanne is represented on Spanish Radio, French Radio and Swedish Radio. Besides serving as principal viola in the Stockholm Sinfonietta, as of 2000 she has been employed by the Uppsala Chamber Soloists and the Uppsala Chamber Orchestra.

Erik Wahlgren, cello Erik Wahlgren started playing the cello at the age of five. His teacher until 2002 was Helena Råberg-Schrello, after which he moved on to the Royal Music Academy in Stockholm and professor Elemér Lavotha, the solo cellist of the Royal Swedish Philharmonic Orchestra. In 2007-2008 Wahlgren studied with Marko Ylönen at the Sibelius Academy in Helsinki, and he received his masters degree at Edsberg castle in 2009 under the auspice of Torleif Thedéen. He has participated in several master classes in Sweden and abroad with Frans Helmerson, the Altenberg Piano Trio, Johannes Goritzki and others. As chamber musician Erik Wahlgren has performed and toured with some of Sweden’s foremost musicians. He visits Swedish and international festivals regularly and has held master classes in Sweden and USA. As soloist Wahlgren has performed with renowned conductors such as Okko Kamu, Paul Mägi, Glenn Mossop and Magnus Ericsson. He is also artistic director for the Vamlingbo chamber music festival in southern Gotland. Since 2010 he has been a member of the Uppsala Chamber Soloists, and section leader in the Uppsala Chamber Orchestra.

Gurdjieff Folk Instruments Ensemble The Gurdjieff Folk Instruments Ensemble was founded in 2008 by the Armenian musician Levon Eskenian, with the aim of creating ethnographically authentic arrangements of the G.I. Gurdjieff/Thomas de Hartmann piano music. The ensemble consists of Armenia’s leading Eastern folk instrumentalists playing duduk, blul/nay, saz, tar, kamancha, oud, kanon, santur, dap/daf, tombak and dhol. In 2011,the German record label ECM released the Gurdjieff Ensemble’s recording “Music of Georges I. Gurdjieff” to international acclaim and prestigious awards, including: Australian Broadcasting Corporation (ABC) Classic FM CD of theWeek (2011), Editor’s choice as top of the world for the Songlines Magazine’s November/December issue (UK) (2011), Q2 Classic Music Radio album of the week for January 7 (2012), and Best Folk Music Album 2011 at Armenian National Music Awards, Yerevan, Armenia (2012). Since the ECM release, the Gurdjieff Ensemble has presented concerts throughout Europe and Asia including performances at many prestigious festivals such as the Wege Durch Das Land in Germany; the imago Dei in Austria; the Stansern Musiktage in Switzerland; the Fiestival in Belgium and many others.

74 Levon Eskenian, Artistic director Levon Eskenian is an Armenian composer and pianist who was born in Lebanon in 1978. In 1996 he moved to Armenia where he currently lives. In 2005 he graduated from Yerevan Komitas State Conservatory with a Master’s degree in piano (class of professor Robert Shugarov). In 2007 he obtained his postgraduate degree from the class of Professor Willy Sargsyan. He has also studied composition, organ and improvisation classes at the Conservatory and harpsichord in Austria and Italy with the English organist and harpsichordist Christopher Stembridge. Levon Eskenian is one of the most active figures in Armenia’s musical life.Being the artistic director of various ensembles,he has performed both as a soloist and chamber musician with a program ranging from early baroque to contemporary music in Europe, Middle East and in Armenia.
His interests in folk music and G.I. Gurdjieff’s work have led him to study the music of the Middle East and the Caucasian region. He is the founder and artistic director of the Gurdjieff Folk Instruments Ensemble, through which he presents his ethnographically authentic arrangements of Gurdjieff’s music. Between 2005 -2012 Eskenian organised more than 600 concerts, lectures, master classes and classical music festivals in Armenia. He is a founder member of the Naregatsi Chamber Music Society with its chamber orchestra and small ensembles, which were created to promote rarely performed repertoire ranging from early to contemporary music.

Desert's Edge The Desert’s Edge Duo, consisting of J.B. Smith, percussion, and Robert Spring, clarinet, was formed in the Fall of 1988 to commission, perform and record the highest quality music at the highest possible level. The group has toured throughout the United States, Canada, Europe, China and Australia. They have performed for numerous international conventions including the International Clarinet Association, Percussive Arts Society, Music Educators National Conference, (USA), and have been in residence at almost 100 colleges and universities world wide. Their recordings of new works have set the standard for this type of ensemble.

J.B. Smith, percussion Dr. J.B. Smith is Professor of Music and the Coordinator of Percussion Studies in the School of Music at Arizona State University. He is internationally recognized as a performer, composer, educator and conductor. He directs the ASU Contemporary Percussion Ensemble and has performed with a variety of ensembles including The Desert's Edge Clarinet-Percussion Duo with Dr. Robert Spring, Crossing 32nd Street, Ensemble 21, The Daniel Lentz Group, Summit Brass and The Phoenix Symphony. His CDs Apparitions for Percussion, First Reflections and At the Desert's Edge are available from Percussion Solo 2011 and LIVE Chamber Music with Percussion are available from Dr. Smith proudly endorses Pearl Drums, Adams Percussion, Remo Drumheads, Zildjian Cymbals, Mike Balter Mallets, and Grover Pro Percussion.

Robert Spring, clarinet Robert Spring has been described as "one of [America]'s most sensitive and talented clarinetists". Spring attended the University of Michigan where he was awarded three degrees, including the Doctor of Musical Arts degree. Spring has performed as a recitalist or soloist with symphony orchestras and wind bands in the United States, Canada, Europe, Asia and South America. He was President of the International Clarinet Association from 1998-2000 and is presently Professor of Clarinet at Arizona State University. Dr Spring is also principal clarinet of the ProMusic Chamber Orchestra of Columbus, Ohio.

ACO2 Zoe Black, violin Zoe Freisberg, violin Emily Sheppard, violin Monique Lapins, violin Janet Anderson, violin Thibaud Pavlovic-Hobba, violin Peter Clark, violin

Freya Franzen, violin Katie Yap, viola William Clark, viola Rebecca Proietto, cello Adam Szabo, cello Hugh Kluger, double bass

75 SINGERS Simone Riksman, soprano The young lyric soprano Simone Riksman finished her Bachelor at the Academy of Music in Rotterdam, the Netherlands with the highest degree, and the following year became a member of the Dutch National Opera Academy. From the age of 19 Simone Riksman has been a member of “Cappella Amsterdam”, a professional choir acclaimed all over the world, conducted by Daniel Reuss. Through this she has encountered all styles of music, and has sung many solo parts under such conductors as Frans Brüggen, Reinbert de Leeuw, Valery Gergiev and Sir Colin Davis. In 2008 she was awarded the Premier Prix d'Opéra and the Prix d'Orchestre in the Concours lyrique de Macon, France. Simone Riksman has a substantial number of operatic roles in her repertoire. In 2008 she performed and recorded La Blanche Aline in Honegger’s Les aventures du Roi Pausole with Opera Trionfo, conducted by Ed Spanjaard. She followed this up with her debut as Despina in Cosí fan Tutte (Mozart) in St. Gallen, Switzerland, and then Creusa in Medea in Corinto (Mayr). She made her English debut as Micaela in Bizet’s Carmen at Dorset Opera, and sang First Priestess in Gluck’s Iphigénie en Tauride at the Netherlands Opera under Marc Minkowski. In 2011 she returned to St Gallen to sing Pamina in Mozart's Zauberflöte, Oscar in Verdi's Un ballo in maschera and to participate in Purcell's The Fairy Queen. In the 2012-2013 season she performed Walther in Catalani's La Wally, Annina in Johann Strauss's Nacht in Venedig, Pamina in Mozart's Zauberflöte, Sandrina in Mozart's Finta Giardiniera, Oscar in Verdi's Un ballo in Maschera and Echo in Richard Strauss's Ariadne auf Naxos. In the current season she is making her debut as Zerlina in a new production of Don Giovanni by Guy Joosten, and reprising both her role as Echo in Ariadne auf Naxos and her leading role as Annina in Nacht in Venedig, before performing the Vixen in Janáček’s Cunning Little Vixen. Simone Riksman is also greatly acclaimed for her recitals and chamber music making, as for her performance of the oratorio and concert repertoire, including the St. John and St. Matthew Passions of Bach, Mozart’s Requiem, Fauré’s Requiem, Haydn’s Stabat Mater and The Seasons, and Mahler’s Fourth Symphony. She has performed at numerous festivals, including the Delft Chamber Music Festival and the Gergiev Festival. th

Four years ago Simone joined us to take part in the 16 Canberra International Music Festival, and we are delighted to th welcome her back for the 20 Festival this year.

Christopher Saunders, tenor A graduate of the Guildhall School of Music and Drama in London, Christopher Saunders is one of the finest tenors of his generation. In London he studied with Vera Rozsa, David Pollard and was a Samling Scholar where he studied with Sir Thomas Allen. Excelling in opera, oratorio, lieder and operetta, Christopher Saunders’ repertoire is far ranging. His roles have included Don Ottavio in Don Giovanni by Mozart for Opera North and Holland Park Opera; Ferrando in Così fan Tutte by Mozart for Opera North, Glyndebourne and Victorian Opera; Jupiter in Semele by Handel; Hylas in The Trojans by Berlioz for the English National Opera. Christopher made his debut in the UK at Barbican Hall in London in 1996 singing Serenade for tenor, horn and strings by Britten. In 1998 he made his debut at Wigmore Hall singing Acis in Acis and Galatea by Handel. Other roles in the UK included Flute in A Midsummer Night’s Dream by Britten for Opera North and Glyndebourne; Tobias in Sweeney Todd by Sondheim in a touring production for Opera North, including performances at Leeds, London (Sadler’s Wells) and a BBC broadcast from Queen Elizabeth Hall; Don Polidoro in La Finta Semplice by Mozart for the Classical Opera Company; Frederic in The Pirates of Penzance by Gilbert and Sullivan for the D’Oyly Carte Opera Company at the Queens Theatre in the West End; Lady Windermere’s Fan for the Covent Garden Festival with Penelope Keith. Christopher was the chosen tenor to sing Handel’s Messiah for the Prince of Wales at Gloucester Cathedral and sang Petite Messe Solennelle with the Northern Sinfonia as well as performing numerous recitals and other works throughout the UK and abroad. He also broadcast many times for the BBC in opera and recital. In 2006 he returned as Ferrando in Così fan Tutte for Victorian Opera and has recorded recitals including Dark Wind Blowing- Songs of Love and Loss with songs by Gurney, Quilter, Butterworth and Kats-Chernin (with pianist Stefan Cassomenos) and Liederabend with songs by Mozart, Schubert and Schumann. He also recorded the role of Gualtiero in Griselda by Vivaldi in a live recording for Pinchgut Opera. Christopher has performed with the Tasmanian Symphony Orchestra, the Sydney Philharmonia Orchestra, the Royal Melbourne Philharmonic, Victorian Opera and Pinchgut Opera as well as in recitals at the Port Fairy Festival, the Melbourne Recital Centre and the Sydney Recital Hall. Upcoming performances will include further recitals throughout Australia and with Pinchgut Opera. Further recordings are scheduled for 2014/15. S

76 Louise Page, soprano

Richard Butler, tenor

Canberra soprano Louise Page is one of Australia's most highly regarded and versatile singers, appearing in opera, operetta, oratorio, cabaret, recital and broadcasts for various groups throughout Australia and Europe, including as a young artist at the Vienna State Opera. In 2007 she received a Canberra Critics Circle award for music and in the same year was named the Canberra Times Artist of the Year. She has recorded seven CDs of music varying from lieder to operetta, premieres of Australian music and Christmas songs. In 2013 she was made a member of the Order of Australia for services to the performing arts.

A 2013 Gramophone award-winning artist as principal soloist for the Gabrieli Consort ( A New Venetian Coronation, 1595), English tenor Richard Butler now lives in Sydney with his two children. In Europe, Richard performed in solo roles in many of the great concert halls, including principal tenor in a Purcell program at the Concertgebouw in Amsterdam, and in Monteverdi's Vespers at the Berlin Philharmonia Hall. More recently he performed Handel's Acis and Galatea across the continent, Blow's Venus and Adonis at the Wigmore Hall in London, and Britten's St Nicholas in Cardiff. In Australia, last year Richard was Pastore in the ABO's production of Orfèo by Monteverdi, and was Principal tenor for the same in their Mozart the Great series this year. Richard also was principal tenor in Monteverdi Vespers for St Mary's Cathedral, Sydney. He also performed the title role of Ruggiero in a performance of an opera by Francesca Caccini for Ondine Productions as well as Evangelist in JS Bach's St John Passion for the Sydney Graduate Choir. Most recently Richard was soloist for the ABO's 25th anniversary concert series and he was guest soloist in the Bowral Music Festival performing works by Buxtehude, Bach, Monteverdi and lesser known French composers. Future engagements include a St John Passion Evangelist for Trinity College, Melbourne and performances with the ACO in their ‘Timeline’ series.

Christina Wilson, mezzo-soprano Mezzo soprano Christina Wilson has performed in Britain, Europe, the US and Australia at venues such as the Royal Albert Hall, the Wigmore Hall, Glyndebourne Festival Opera, St Johns Smith Square, Westminster Abbey, Canterbury Cathedral, Temple Square and the Paris Conservatoire. Winner of the Australian Singing Competition, she is a graduate of the Canberra School of Music, the Royal Northern College of Music, Manchester, and the National Opera Studio, London. She is regularly broadcast on ABC Classic FM and was the featured soloist in the 2013 Canberra Symphony Orchestra Prom Concert. She teaches voice at the University of Canberra.

Tobias Cole, counter-tenor Tobias Cole is one of Australia’s most successful countertenors, having performed throughout Australia, the UK and USA. He is also Artistic Director of the Canberra Choral Society. After winning the Metropolitan Opera Young Artist Study Award, spending three months studying in New York at The Metropolitan, Tobias made his U.S. debut in 2004 playing Ottone in L’Incoronazione di Poppea, returning to sing Apollo in Death in Venice and Oberon in A Midsummer Night’s Dream, all for the Chicago Opera Theater.Highlight performances have included the title role in Julius Caesar, Medoro in Orlando, Oberon in A Midsummer Night’s Dream and Mozart Anniversary Concerts (Opera Australia); the title role in Xerxes (NBR NZ Opera and Victorian Opera) for which he won a Green Room Award; Studz in Alan John’s How to Kill Your Husband (Victorian Opera); Roberto in Griselda and Athamas in Semele (Pinchgut Opera); La Speranza and Pastore 3 in L'Orfeo (Australian Brandenburg Orchestra); Dr Who Symphonic Spectacular (Melbourne Symphony); Carmina Burana (West Australian Symphony and Queensland Music Festival); Messiah and St. John Passion (Queensland Symphony); Masterpieces of Time (Synergy Percussion); Bach’s B minor Mass (Song Company/Canberra International Music Festival); and regular appearances with Sydney Philharmonia, including John Adams’ El Ñino and Bach’s B minor Mass.

Andrew Fysh, bass Born and raised in Hobart, bass Andrew Fysh has performed with many of Australia's leading vocal groups as chorister and soloist. Now resident in Canberra, he balances musical interests with a full-time career as a naval officer. Renaissance and Baroque music is Andrew's particular interest, nurtured over thirteen years with Melbourne’s acclaimed Ensemble Gombert. In 2005–06, he sang with the Choir of the London Oratory, England’s senior professional Catholic church choir. On return to Australia, he joined the Choir of St James', Sydney, with recent solo performances in Bach Mass in B minor and Handel Messiah. A regular guest artist with The Song Company, Andrew appears on three recordings including the 1996 world-premiere release of Schütz Der Schwanengesang. Other solo engagements this year include Mozart Requiem at the Festival of Voices (Hobart), Buxtehude Membra Jesu nostri with Igitur Nos (Canberra), and Bach St John Passion with St Mary’s Baroque Soloists (Sydney).

Alexander Knight, bass-baritone Alexander Knight is in his final year of an Advanced Diploma of Opera at the Sydney Conservatorium of Music, having graduated with a Bachelor of Music in Performance. He has recently performed with many Australian ensembles in venues around NSW and the ACT, including Sydney Philharmonia Choirs, Sydney

77 Chamber Choir, Sydney University Graduate Choir and the Song Company. Last year Alexander received the audience prize and was a finalist in the IFAC Australian Singing Competition, and sang the role of Aeneas alongside Fiona Campbell in Purcell's Dido & Aeneas with Sydney Philharmonia. Operatic roles have included

Figaro in Mozart's Le nozze di Figaro at the Sydney Con, Aeneas in Purcell's Dido & Aeneas, Uberto in Pergolesi's La Serva Padrona with Penrith Symphony, Arthur/Officer 3 in Peter Maxwell-Davies' The Lighthouse and the Forester in Janáček’s The Cunning Little Vixen with Sydney Chamber Opera.

INSTRUMENTALISTS Bengt Forsberg, piano Bengt writes: “Born in 1952, I play a lot of chamber Music and solo concerts & recitals and sometimes also with singers like mezzo soprano Anne Sofie von Otter, with whom I've had a quite successful collaboration over more than 30 years.I am eager to explore the vast, still unknown repertoire, composers like Grainger, Medtner, Suk, Novak, Karg-Elert, Koechlin, Ireland, Bax and so many others - as much as I love the established classics, to give a personal view on Schubert, Schumann, Brahms, Bach, Fauré, Beethoven et cetera... What more? I have the most wonderful calling: to share beautiful, comforting and exciting music with people... What more can I ask for?”

Tamara-Anna Cislowska, piano Tamara-Anna Cislowska is one of Australia’s most acclaimed concert pianists and chamber musicians, and winner of many prizes including the Rovere d'Oro, Freedman Fellowship, and APRA-AMCOS Art Music Award for Performance of the Year (ACT). She won the 1991 ABC Symphony Australia Young Performer Award, Australia’s most prestigious classical music award, at the age of 14, the youngest pianist ever to do so. A regular guest of orchestras and festivals worldwide, Tamara has performed as soloist with the London Philharmonic, New Zealand Symphony, and all Australian Symphony Orchestras, toured with the ACO, and recorded for Chandos, Naxos, ABC Classics, Artworks and MDG (Dabringhaus und Grimm), with 3 ARIA nominations for 'Best Classical Release'. Recent engagements include as soloist with the Sydney and Queensland Symphony Orchestras, Auckland Philharmonia Orchestra, chamber recitals with AWO Trio, Sydney Soloists, and for Recitals Australia, Melbourne Recital Centre, Sydney Opera House and ABC Classic FM.

Adam Cook, piano Adam Cook started playing the piano at a young age and continued through high school, learning both classical and jazz. At the age of 16, as a scholarship student, he moved straight on to study composition at the University of Western Australia, under Prof. Roger Smalley. He also received private lessons in classical piano from Anna Sleptsova. After playing for Larry Sitsky, Professor Emeritus at the ANU School of Music,

Adam was invited to move to Canberra and complete a degree in piano performance. In 2007, he was invited to participate in one year of private study in France with Emeritus Professor of the University of Ottawa, Jean-Paul Sevilla, with whom he completed a Diplôme d’Excellence en Musique. Returning from this trip, Adam completed his Bachelor of Music in piano and French, and is currently enrolled at the ANU in an Honours degree in piano. As part of the degree, he premiered Sitsky’s Sonata No. 2 for piano, composed for Adam in 2010. Adam Cook composes regularly for his own ensemble. The Monotremes began as a keyboard duo but later evolved into trio with drums, then five-piece with electric bassoon and bass. Bassoon was replaced by trumpet, and in its current manifestation the band has both a trumpet and baritone saxophone. Adam’s compositions experiment with rapidly shifting styles and genres, and are influenced by Adam’s favourite composers, including Bach, Shostakovich, Monk and Zappa.

Daniel de Borah, piano Daniel de Borah was a major prize winner at the 2004 Sydney International Piano Competition and has since appeared as soloist with the English Chamber Orchestra, the London Mozart Players, and with the Royal Philharmonic Orchestra at the Barbican and Cadogan Halls, London. He has given recitals on four continents and has partnered many leading soloists and ensembles including the Australian String Quartet, the New Zealand String Quartet, Li-Wei Qin (cello), Kristian Winther (violin) and Andrew Goodwin (tenor) at major venues and festivals including London’s Wigmore Hall and Southbank Centre, the Canberra International Music Festival, the Huntington Estate Music Festival and the Australian Festival of Chamber Music in Townsville. Born in Melbourne in 1981, Daniel studied at the Liszt Academy of Music in Budapest, the St. Petersburg State Conservatoire and the Royal Academy of Music, London. During his studies Daniel won numerous awards including 3rd Prizes at the 2004 Sydney International Piano Competition, the 2001 Tbilisi International Piano Competition and the 2000 Arthur Rubinstein in Memoriam Competition in Poland. He is also a past winner of the Australian National Piano Award and the Royal Overseas League Music Competition in London.

78 Timothy Young, piano

William Barton, didjeridu

Currently the Head of Piano at the Australian Academy of Music and a founding member of Ensemble Liaison, Timothy enjoys a reputation as one of Australia's leading pianists. He performs regularly in recital as a soloist and in partnership with leading Australian and international musicians and ensembles. In recent years Timothy has appeared at the Queensland Biennial Festival of Music, the Melbourne International Arts Festival, Port Fairy Festival (Victoria), Bangalow Music Festival, Tyalgum Festival, Melbourne International Festival of Brass, Music in the Round at Monash University, the Utzon Room music series at the Sydney Opera House, Canberra International Music Festival, the Aurora Festival (ISCM) in Sydney, the Perth Concert Hall Summer Series, Perth Festival, Woodend Festival, the Novi Sad Music Summer Festival in Serbia and the Kotor Arts International Festival in Montenegro. Timothy has been an assistant teacher to Professor Lidia Baldecchi Arcuri at the Nicolo Paganini Conservatorium, and a guest lecturer for the music faculties of Melbourne University, the Victorian College of the Arts, Griffith University and has taught and lectured at the Australian Institute of Music, Sydney. He has made numerous recordings on the Melba Records and Tall Poppies labels.

William Barton is one of Australia’s leading didjeridu players and composers and is a powerful advocate for the wider perception of his cultural traditions. Born in Mount Isa, he was taught the instrument by his uncle, an elder of the Waanyi, Lardil and Kalkadunga tribes of western Queensland. At 17 years, William played his first classical concert with the Queensland Symphony Orchestra. Since 2001 he has collaborated with Australian composer Peter Sculthorpe. Sculthorpe’s Requiem (2004), performed by the Adelaide Symphony Orchestra, the Royal Melbourne Philhramonic and at the UK’s Lichfield Festival, was composed with William in mind, while Earth Cry, Songs of Sea and Sky, Mangrove, Kakadu, and From Ubirr were re-arranged to include didjeridu. Other composers William has worked with include Sean O'Boyle, Ross Edwards, Philip Bracanin and Liza Lim. William’s compositions include Songs of the Mother Country and Journey of the Rivers, performed at the Pompidou Centre, Paris in 2006. In 2004 he performed at Gallipoli for the 90th anniversary of the ANZAC landing and recently in Belgium for the 90th anniversary of the Battle of Passchendaele. William performed at the Beijing Olympics Opening Ceremony which was broadcast to a world wide audience and was one of three composers for the Australian segment.

Alan Hicks, piano Alan Hicks is one of Australia's foremost vocal coaches and accompanists. He is Head of Vocal Performance at the University of Canberra, Musical Director of the UC Chorale and teaches in the graduate Opera Unit at Sydney Conservatorium of Music. Alan has performed in duo partnerships with Geoffrey Lancaster and Alan Vivian, and appears regularly at the Australian Flute Festival, with the Canberra Symphony Orchestra and in recordings and broadcasts for ABC Classic FM.

Phillipa Candy, piano Phillipa Candy’s versatility has seen her work as an accompanist, conductor, pianist, private teacher, college teacher, repetiteur, and vocal coach. In 1992, Phillipa formed an artistic partnership with soprano Louise Page to promote and foster art song. Since 2011 she has been touring with Louise in the shows Nellie Melba: Queen of Song and The Magic of Operetta. They have produced six CDs of varying genres. Phillipa has mainly performed for Lieder and Artsong concerts, and ABC “Sunday Live” with Louise, flautist Teresa Rabe, and violinist Barbara Gilby. She has also teamed with mezzo-soprano Sally-Anne Russell for recitals for Art Song Canberra. Phillipa and Louise are currently exploring current Australian Art song by Ann Carr-Boyd, Betty Beath, Stuart Greenbaum, and Horace Keats.

Paul Goodchild, trumpet Paul Goodchild studied trumpet in Sydney and Europe and was appointed a full-time member of the Sydney Symphony at age 18, later becoming Associate Principal Trumpet. With the SSO, he has toured extensively throughout the USA, Europe, Japan, Taiwan and Asia, as well as Singapore, China and Korea with the Adelaide Symphony Orchestra. He is Principal Trumpet of many of Sydney's freelance orchestras and frequently performs with the Chamber Soloists of Sydney, Collegium Musicum at UNSW, Australia Ensemble, and the Australian Chamber Orchestra, with whom he has also been a soloist. In 2009 he performed in the Townsville Chamber Music Festival and in the Sydney Festival with the London Sinfonietta and Morphoses Ballet. This year, he will perform at the International Trumpet Guild World Conference in Sydney. Leading Australian composers have written works for him, including Carl Vine, Ross Edwards, Barry McKimm, David Stanhope, Matthew Hindson and Paul Stanhope. In 2005 he gave the premiere of Alan Holley's trumpet concerto Doppler's Web with the Sydney Symphony, reprising it in 2006 with the Queensland Orchestra. Paul Goodchild is Musical Director of the Waverley Bondi Beach Band and Director of Sydney Brass, one of Australia's oldest and most respected chamber music ensembles.

79 Kate Clark, wooden flute Born Sydney 1962, Kate Clark is a graduate of Sydney University (modern and baroque flutes - 1985), the Royal Conservatorium of The Hague (baroque flute 1990) and the Schola Cantorum Basiliensis (renaissance music and theory - 1992). In 1993 she won first prize in the Brugge International Early Music Competition. Kate Clark performs and records as a soloist and with chamber ensembles and orchestras throughout Europe including Les Musiciens de Louvre, Cantus Cölln, The Amsterdam Baroque Orchestra and The Orchestra of the 18th Century. She is co-founder of the romantic wind quintet Osmosis and artistic leader of the renaissance ensemble The Attaignant Consort whose trilogy of CDs presenting the art of the renaissance flute won a diapason d'or in January 2014. Kate has been teaching historical flutes at the Royal Conservatory of The Hague since 1994 and is regularly invited as a guest teacher at conservatoriums and summer schools all over Europe. She lives with her husband and their two sons in Amsterdam.

Virginia Taylor, flute Virginia’s love of the flute began at the age of 10 after having spent several years learning the recorder. She gained a scholarship to study at The Sydney Conservatorium at the age of 16, Virginia continued her studies there before moving to Canberra where she studied for 4 years with Vernon Hill. Virginia has given recitals in all capital cities of Australia, and performed as soloist with almost all of the Symphony Australia Orchestras. Alongside her love of solo and orchestral repertoire, Virginia has equally enjoys playing chamber music with long-standing friends and colleagues. She is currently Distinguished Artist-in-Residence at the ANU School of Music, and Co-ordinator of Flute at ANAM, and a board member of Pro Musica, Inc.

Vernon Hill, flute Vernon Hill was Principal Flute in the Melbourne Symphony Orchestra for more than 10 years. He represented Australia in the World Symphony Orchestra in the USA in 1971 and has played guest principal flute with many orchestras including the London Symphony, the BBC, and the Sydney Symphony Orchestras. Vernon’s teaching career spans more than 35 years and has had a profound influence on helping to raise the quality of flute playing in Australia. He joined the faculty of the ANU School of Music in 1980, was Head of the Woodwind Department from 1983 – 1999, and is now continuing his association at the School as a Visiting Fellow for the Australian National University.

Nicole Canham, clarinet Clarinettist Nicole Canham is a freelance performer and curator with a wide range of artistic interests. Her

many collaborative projects with artists from outside the world of music, including theatre, film, photography, visual art and dance, enable her to explore music performance from multiple perspectives. She has performed throughout Australia and abroad in the USA, Mexico, France, Belgium, Germany and the UK. Much of Nicole’s work is concerned with connections between artists and audiences and this has expanded in recent years to include projects involving interactive sound and visual technologies, harnessing st 21 century possibilities to reinvigorate the concert form. From 2005 to 2008, Nicole was the Artistic Director of the Canberra International Music Festival. Nicole is a Churchill Fellow, was one of two ACT Creative Arts Fellowship winners in 2007 and was the 2008 ACT Artist of the Year. Nicole has been a Move Records artist since 2005. She is currently a doctoral candidate at the University of Queensland researching the career pathways of independent classically trained artists.

Alice Giles, harp Alice Giles is celebrated as one of the world’s leading harpists. First Prize winner of the 8th Israel International Harp Contest, she has performed extensively as soloist word-wide. Regarded by Luciano Berio as the foremost interpreter of his Sequenza II, solo recitals include London’s Wigmore Hall, New York’s 92nd Street 'Y' and Merkin Hall and Frankfurt Alte Oper. She is a frequent guest at international music festivals and as soloist with orchestra, with regular tours and master classes in Europe, North America and Asia. As recipient of an Australian Antarctic Arts Fellowship she performed at Mawson Station in 2011 to commemorate the Centenary of the First Australasian Antarctic Expedition. Her discography includes solo, chamber music and concerto discs for the Tall Poppies, Musikado, ABC Classics, CDI, and Marlboro Recording Society labels. She is director of the Seven Harp Ensemble, and Artistic Director of the World Harp Congress, Sydney July 2014.

Elisabeth Le Guin, cello Elisabeth Le Guin has developed two careers so far, as a Baroque cellist and as a musicologist; this dual perspective has permitted her to develop a series of dialogues, in tones and words, between theory and practice. She is a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet, appears in over 40 recordings, and continues to perform and record nationally and internationally, while aspiring ever more earnestly to the condition of an amateur. She has taught at UCLA since 1997, during which time she has received the American Musicological Society's Alfred Einstein Award (for an article on Boccherini published in JAMS, summer 2002), as well as grant support from the ACLS, The UC

80 Presidents' Research Fund, the Institute for International Education (Fulbright program), UCLA's International Institute, and the Program for Cultural Cooperation between Spain and United States Universities. Professor Le Guin's book Boccherini's Body: an Essay in Carnal Musicology was published by the University of California Press in 2006. Her current book project, which will appear both Spanish and English versions, is on the tonadilla, a genre of comic musical theater popular in Madrid from c. 1750-1808. This apparently narrow focus permits her to explore issues as far-flung as medieval Iberian verse metrics, the oralization of print literature, early modern identity dynamics between the Metrópoli and its colonies, and the epistemology of creative reconstruction in historical research.

Anna McMichael, violin Anna McMichael is an Australian born violinist who returned to live in Australia in 2010 after 17 years in Europe performing in many of the major ensembles and orchestras. Anna has performed at many European music festivals with a number of Dutch chamber ensembles and toured extensively with groups such as the London Sinfonietta, Amsterdam Sinfonietta Chamber Orchestra, Nieuw Ensemble, ASKO/Schoenberg ensemble, Netherlands Chamber Orchestra, Ensemble Modern, the Royal Concertgebouw Orchestra, as guest assistant concert master and principle second of the Netherlands Ballet Orchestra (Holland Symfonia) and recorded for a number of European labels. In Australia, Anna has performed at 4 Canberra International Music Festivals as guest artist, been a soloist and member of Melbourne Chamber Orchestra, guest Associate Concertmaster of Adelaide Symphony Orchestra, Assistant Concertmaster of the Canberra Symphony Orchestra and Concertmaster of Orchestra Victoria. Anna has performed with Ensemble Offspring, Pinchgut Opera and Ludovico's band among others. She has been invited to perform concerts with the pianist, Daniel de Borah, nationally and for Sunday Live ABCfm. Anna has appeared with the Australian World Orchestra in 2011 and 2013. She has recorded old and newly written Lullabies for the Tall Poppies label together with pianist Tamara Anna Cislowska which have been performed at the Port Fairy Spring Music Festival, Mona Foma Festival in Hobart and Peninsula Music Festival and was Cd of the week on ABC Classic FM. Anna is Co-Artistic Director of the Tyalgum Music Festival.

Rebecca Chan, violin Violinist Rebecca Chan has been soloist with many of Australia’s major orchestras, including the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Adelaide Symphony Orchestra, Canberra Symphony

Orchestra, Orchestra Victoria and Melbourne Chamber Orchestra, and has also performed as soloist in Europe. She has had success in many competitions, winning the string section and Nelly Apt Scholarship in 2008 ABC Young Performers Awards, winning the ANAM concerto competition twice (2005 and 2007) and the Australian Concerto and Vocal Competition and John Hopkins Fellowship in 2009. In 2010 she was a prizewinner at the International Cittá di Brescia Violin Competition. An avid chamber musician, Rebecca has performed in numerous festivals and series around Australia and Europe. She was a founding member of the Hamer Quartet, winners of the first prize, the audience prize and the overall Musica Viva award in the inaugural 2009 Asia Pacific Chamber Music Competition. Rebecca was a core member of the Melbourne Chamber Orchestra for many years, often as soloist, principal or guest director. She has also played regularly with the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra and Camerata Bern and has been invited to perform as Guest Principal Second Violin with the London Philharmonic Orchestra. Rebecca has been a core member of the ACO since 2010 and was also a 2008 ACO Emerging Artist.

James Wannan, viola Violist James Wannan is a founding member of the Australia Piano Quartet and co-Artistic Director. James is based in Sydney, having studied viola with Alice Waten in Melbourne and viola d’amore in Vienna with Marianne Rônez. He explores his passion for music from ancient to contemporary on a number of instruments. As a soloist James has played with orchestras including the Melbourne Chamber Orchestra, the Tasmanian Symphony Orchestra, and the Melbourne Symphony Orchestra. He has performed as a viola d’amore soloist in festivals in Austria and Germany, and has been invited to perform as guest principal viola with the Hong Kong Philharmonic Orchestra. James was a prizewinner in the Australia– New Zealand Viola Society’s International Competition and the Watson Forbes Centenary International Viola Competition, Scotland. He was a finalist in the Symphony Australia Young Performers Awards and has won the ANAM Concerto Competition on two occasions. He has performed and researched the viola d'amore in France, Switzerland, Germany, England and Austria with the assistance of a Churchill Fellowship. As a passionate baroque violist he has studied with Dorothea Jappe in Switzerland.

David Pereira, cello David Pereira is one of Australia’s most accomplished cellists. Widely experienced, he continues to evolve as a player, teacher, composer and writer. He was for eleven years cellist of the Australia Ensemble (resident at the UNSW), for seven years Principal Cellist of the

81 Australian Chamber Orchestra and for three years Principal Cello with the Sydney Symphony Orchestra. From 1990 to 2008 David was Senior Lecturer in Cello at the ANU School of Music. Currently, David is a Distinguished Artist in Residence at the ANU School of Music.

Max McBride, double bass In 1992 Max McBride took up a full-time teaching position at the ANU School of Music, but has kept up a busy performing schedule. He has been invited as guest principal to play with all the major Australian orchestras. Max has also had an active conducting career, working with most of the professional

orchestras in Australia, including the Australian Chamber Orchestra, Sydney Symphony Orchestra, Queensland and Adelaide Symphony Orchestras and the Victoria State Orchestra. Since 1994 he has also been lecturing in conducting at the Canberra School of Music, where in 2001 he was promoted to Senior Lecturer in Double Bass. He has been invited to play in the Vienna State Opera under such conductors as Daniel Barenboim, Simone Young and Seiji Ozawa. His ex-students have held and are holding leading positions in the Berlin Philharmonic, and the Vienna Philharmonic, as well as major Australian orchestras. Max is now Principal Conductor and Artistic Director of Sydney Youth Orchestra.

And also Teresa Rabe, flute Megan Billing, oboe Jane Downer, oboe Leo Duarte, oboe Eve Newsome, oboe Joel Raymond, oboe Craig Hill, clarinet Owen Watkins, clarinet Benny Aghassi, bassoon Brock Imison, bassoon Simone Walters, bassoon/contrabassoon Carly Brown, horn Gilbert Cami Farras, horn Doree Dixon, horn Julian Hunt, horn Graham Nichols, horn Josephine Smith, horn Miroslav Bukovsky, trumpet Zach Raffin, trumpet Graeme Reynolds, trumpet Helen Gill, natural trumpet Leanne Sullivan, natural trumpet Susan Williams, natural trumpet Nigel Crocker, trombone

Ros Jorgensen, trombone Michael Bailey, bass trombone Brett Page, bass trombone Ed Diefes, tuba Bjorn Pfeiffer, tuba Veronica Bailey, percussion Stephen Fitzgerald, percussion Christina Hopgood, percussion Charles Martin, percussion Tim White, percussion Meriel Owen, harp Laura Tanata, harp Hayley Bullock, violin Matthew Greco, violin David Irving, violin Brendan Joyce, violin Jen Kirsner, violin Deirdre Dowling, viola Tor Frømyhr, viola Heather Lloyd, viola Raquel Masadas, viola Rosanne Hunt, cello Daniel Yeadon, cello Justin Bullock, double bass

ANU Students Paul Broomhead, flute Nichaud Mundy, flute Caitlin McAnulty, oboe/cor anglais Fiona Judge, clarinet Robert Scott, clarinet / bass clarinet Matthew Ventura, bassoon Nicole Fung, horn Malcolm Newland, percussion Alex Denning, violin Alison Giles, violin

Anna Harrison, violin Helena Popovic, violin Kei Tse (Ida) Yan , violin Xin Yang (Alice) Ying , violin Anneliese McGee-Collett, cello Amelia Noble, cello Julia Talbot Jones, cello Clara Teniswood, cello Imogen Thompson, cello William Tu, cello

82 Sprogis Woods Smith Young Artist Program Liane Sadler, wooden flute (Sydney) Ellan Hyde, bassoon (Melbourne) Hannah Murray, horn (Newcastle) Louis Sharpe, percussion (Melbourne) Anna Cortes, piano (Melbourne) Samuel Andrews, violin (Brisbane) Julian Baker, violin (Wellington) Laura Barton, violin (Wellington) Bridget Hall violin (Sydney) Julianna Kim, violin (Brisbane) Jasmin Parkinson-Stewart, violin (Perth) Isabel Tzorbatzaki, violin (Melbourne) Emma Williams, violin (Melbourne) Flora Wong, violin (Brisbane) Alina Junc, violin (Wellington) Yuhki Mayne, violin (Hobart) Stephanie Grenning, violin (Brisbane) Alexa Thomson, viola (Wellington) Georgia Betros, viola (Brisbane) Cecile Ross, viola (Sydney) Eli Vincent, viola (Brisbane)

Kieran Welch, viola (Brisbane) Sariah Xu, viola (Brisbane) Joseph Eisinger , cello (Sydney) Lucy Gijsbers, cello (Wellington) Arran Hamilton cello (Sydney) Heather Lewis, cello (Wellington) Camilla Tafra, cello (Brisbane) Kinga Janiszewski, double bass (Melbourne) Jaan Palandi, double bass (Sydney) Harriet Beckett, singer (Perth) Kristin Bowtell, singer (Perth) Bonnie de la Hunty, singer (Perth) Owen Elsley, singer (Sydney) Robert Hansen, singer (Sydney) Steve Hodgson, singer (Melb) Sonya Holowell, singer (Sydney) Hannah Irvine, singer (Melb) Andrew O’Connor , singer (Perth) Leighton Triplow, singer (Melbourne) Lachlan Hughes, singer (Sydney)

CHOIRS Canberra Choral Society


Currently directed by Tobias Cole, the Canberra Choral Society aims to facilitate the performance of choral music to the highest professional standard, to foster a love of music generally and to encourage young musicians. The choir continues to innovate, with a new youth choir, a Come-and-Sing program, and a long-term project to present all 29 Handel oratorios.

Kompactus is a youth chamber choir formed by David Yardley, currently directed by Daniel Brinsmead, which aims at further developing the skills of talented singers between 18-29. Kompactus performs a truly versatile array of music, from the earliest medieval music to a cappella arrangements of contemporary songs.

A Chorus of Women

A regular participant in the CIMF, the Oriana Chorale is one of Canberra's leading a cappella choirs. Founded in 1977, it has been directed by some of Canberra's most distinguished musicians, including Tobias Cole and David Mackay. Oriana has won particular acclaim for its innovative programming, singing works ranging from Palestrina, Victoria, Bach and Schütz to Copland, Orlovich, Finzi, Pärt and Rautavaara.

A Chorus of Women began when some 150 women filled the Australian Parliament on the day Australia's intention to invade Iraq was announced. Their name is inspired by the Citizens’ Chorus in the ancient theatre of Athens when democracy was new and vibrantly participative. They aim to listen for the wise course and weave the threads of humanity and equity more consciously into the fabric of Australian society.

Igitur Nos Igitur Nos is a chamber choir that sings sumptuous sacred works for lovers of the choral tradition in Canberra and further afield. It delights in over 1500 years of music from Gregorian chants to living composers, taking in the Renaissance to the Romantics and everything in between and after. As an ensemble it is devoted to excellent blend and production, and high standards of musicianship and presentation.

Oriana Chorale

Resonants The Resonants is an ensemble of young professionals and university students who came together in 1990 through a common love of choral music. The choir regularly presents its own concerts, as well as performing with other artists including Canberra Symphony Orchestra, The Idea of North and CIMF. It has successfully competed in numerous eisteddfods, including winning the ACT state final of ABC Classic FM's inaugural Choir of the Year Competition in 2006.


FESTIVAL TEAM Pro Musica would like to offer special thanks to the following people who have invested time or resources in the Canberra International Music Festival, giving us the opportunity to present this ambitious program. Pro Musica and Festival Staff: Chris Latham (Artistic Director), Kathleen Grant (General Manager), HannaMari Latham (Office Manager), Liz McKenzie (Production Manager and Volunteer Co-ordinator), Peter Trick (Producer), Geoff Millar, Dan Sloss, Suzanne Kiraly, Rachel Walker, Helen Moore, Pamela McKay, Jack Hobbs, Alex Raupach Technical staff: Olga Pagrati (Venues Manager), Hugh Coffey, Lindsay Miller, Simon Peart Pro Musica Board: Dorothy Danta (President), Dr. Arn Sprogis (vice President), Will Laurie (Treasurer), Tony Henshaw (Secretary), Donna Bush, Bev Clarke, Royston Gustavson, Govert Mellink, Associate Professor Virginia Taylor; Associate Professor Timothy Kain, AM (Artistic Advisor to the Board) The Amazing Space Series Co-Directors: David Clarke, Ann Cleary, Dianne Firth, Graham Humphries, Chris Latham, Peter Trick, Robyn Stone, Jessica de Rome, Australian Institute of Architects (ACT Branch) Special thanks: Peter Tregear (Head, ANU School of Music), Kay Dreyfus, Lieven Bertels, Lenore Coltheart, John Mackey, David Irving, Alec Hunter, Don Farrands, Nigel Westlake, Elena Kats-Chernin, Ross Edwards, Stuart MacKenzie, Calvin Bowman, Tate Sheridan, Gary France, Paul McMahon, Harriet Torrens, Tobias Cole, David Pereira, Tor Frømyhr, Max McBride, Megan Billing, Louise Page, Christina Wilson, Alan Hicks, Phillipa Candy, Lyn Fuller, Miroslav Bukovsky, Peter Sculthorpe, Alpha Gregory, Sandra Taylor, Roland Peelman, Margaret Hansen, Peter Hislop, Graham Humphries and Cox Architects, Jessica de Rome, Margot Woods, Peggy Polias, Matt Rankin, Megan Young (NSW Art Gallery), Caroline de Mestre Walker Volunteers: Andrew Blanckensee, Margaret Blood, Maureen Boyle, Chris Clarke, Melissa Crowther, Anne Davis, Jan Edwards, Louise Flood, Margaret Frey, Marya Glyn-Daniel, Peta Gould, Bryan Griffin, Barbara Inglis, John Inglis, Gayle Lander, Maureen Lundy, Mary Mallett, Robyn Oates, Jan O’Connor, Helen Parkes, Helen Pike, Gabriela Samcewicz, Jackie Stepanas, Lauren Sutherland, Annabel Wheeler, Jennifer Whipp Billeters: John Agnew; Brenda Akister; Liese Baker; Andrew Blanckensee; Peter & Margaret Callan; David Campbell; Chris & Rieteke Chenoweth; Bev Clarke; Mary & Philip Constable; Gail Ford; Marya Glyn-Daniel; Robert Goodrick; Peta Gould; Sue Hall; Tony Henshaw & Cathy Crompton; Virginia Hole; Peggy Horn; Elspeth & Graham Humphries; Jenny & David Harper; Barbara & John Inglis; Margaret & Peter Janssen; Carol & Richard Kenchington; David & Libby Kendall; Rod & Elizabeth King; Marjorie Lindenmayer; Mary Martin; Duncan McIntyre; Judy & John McKenna; Govert & Lillian Mellink; Honey Nelson; Alison & Dan Oakleigh; Robyn Oates; Brendan & Helen O’Loghlin; Pam & Allan O'Neil; Anna & Bob Prosser; Lynlea & Clive Rodger; Kathleen Routh; Janet Salisbury; John & Jill Studholme; Mary & Michael Tatchell; Carol Taylor & David Moore ; Jane Thompson; Gabrielle Tryon; David Uren; Prue Watters; Peronelle & Jim Windeyer; Margot Woods; Peter & Wendy Wurfel Geoff Millar – Program Design Sam Behr Design – Designer 2014 All information in this program is correct at the time of publishing. The CIMF Artistic Program may be subject to change depending on availability of artists and festival programming needs. The Artistic Director reserves the right to make changes, alter, amend or delete sections of the scheduled program without notification.


Securing our Future: Make a Donation Pro Musica is a community based, not for profit organisation run by a small number of part-time staff and many volunteers. We are passionate about music and Canberra, our City of Music. The ongoing success of the Canberra International Music Festival is highly dependent on the generosity of many extraordinary people in the Canberra community. We are very excited about the program our new Artistic Director, Roland Peelman is putting together for 2015 and we want to ensure he has the resources to deliver his vision. Festival ticket sales do not fully cover the costs of presenting the Festival. We are reliant on other sources of income such as ACT and federal government funding, corporate sponsorship and private philanthropy. Your donation will directly contribute to the quality and creativity of our artistic program, and increase our capacity to bring the best national and international artists to the Festival. Pro Musica is a Registered Gift Recipient with the Australian Tax Office. This means that a donation of over $2.00 is tax deductible. For every donation over $2.00 the donor will receive a tax invoice indicating the amount of the donation. If you would like to donate you can:   

Talk to our Front of our Staff at the Festival; Visit our website Go to Support us and then Donate; or Call our office on 02 62305880 or email .





CIMF 2014 Program  

2014 Festival Program. Canberra International Music Festival

CIMF 2014 Program  

2014 Festival Program. Canberra International Music Festival