CIMF 2013 Program by Canberra International Music Festival

The CIMF Musical Offering at the Canberra Centre Concert 1 Monday May 6 12.30pm Canberra’s Prize-Winning Guitarists Ca l l um Henshaw, Andrew Blanch

Concert 2 Thursday May 9 12.30pm Music for piano four hands by Debussy, Schubert and Bernstein Vi ney-Grinberg Piano Duo

Concert 3 Friday May 10 12.30pm Works for piano and violin by Elgar, John Williams, Vaughan Williams and Percy Grainger Ji Won Ki m VIOLIN, Tamara Anna Cislowska PIANO

Concert 4 Tuesday May 14 12.30pm Timothy Young Piano Recital Beethoven Piano Sonata No. 32 in C minor, Op. 111, Rameau Pièces de clavecin, Rachmaninov Études-tableaux Op. 39

The CIMF Musical Offering at the ANU Larry Sitsky Recital Hall, ANU School of Music

Monday May 13 10.00am

ANU School of Music ‘unplugged’

Tuesday May 14 10.00am 3.00pm

DRUMatiX with guests JB Smith and Charles Martin PERCUSSION “What Would Happen If … ?” 2013 CIMF Composer-in-residence Paul Dresher

Wednesday May 15 10.00am The Great Guitarists of the ANU 12 noon A Love Supreme John Mackey SAX, Gary France PERCUSSION and friends 3.00pm Bach and Handel Dr Paul McMahon 4.30pm Secrets of Steinway Ara Vartoukian (NB: at Albert Hall) Thursday May 16 10.00am Open Rehearsal: Vaughan Williams ‘Serenade to Music’ Roland Peelman and The Song Company 3.00pm From Harpsichord to Jazz ANU School of Music Keyboard Area Friday May 17 10.00am 3.00pm

Desert’s Edge: JB Smith PERCUSSION and Robert Spring CLARINET Bryars on Bryars – Lecture by 2013 CIMF Composer-in-residence Gavin Bryars

LECTURES – SUNDAY MAY 5, THURSDAY MAY 9 Sunday 5 May, 2.00pm – Free BARBARA BLACKMAN LECTURE James O Fairfax Theatre, National Gallery of Australia Daniel Docherty reveal the sacred geometry underpinning the Griffin plan for Canberra with Prof Keith Critchlow. Sponsored by the Barbara Blackman Temenos Foundation Thursday 9 May 2013, 6.00 pm - Free QUIROS LECTURE: Quiros and The Great South Land Lecture Theatre, National Library of Australia Festival Director Chris Latham discusses Sculthorpe’s TV opera Quiros (1981), and its rebirth as an oratorio for the Canberra International Music Festival in association with the Centenary of Canberra celebrations.

FREE EVENTS - SATURDAY MAY 11 3.00-6.30PM

CIMF AT THE KINGSTON FORESHORE

NORGROVE PARK, KINGSTON

FREE CONCERT at Norgrove Park sponsored and run by the Land Development Agency (LDA)

ABC CLASSIC FM LIVE BROADCAST

AT HOME WITH JULIAN DAY

7.00PM

ALBERT HALL

3 Festival Chairman's message I welcome all music-lovers to the 19th Canberra International Music Festival, which occurs in the Centenary year of our national capital. Appropriately, our Artistic Director has built the theme of the Festival around the planning and establishment of the city, and some of the musical influences of that time in history. As always, there is something for everybody. Music is a broad canvas, and each of us has his or her favourites. So there is music from other lands, music from the father of the Western classical tradition, J. S. Bach, music from the United States, the home of the city's designers, music you know well, music you have never heard before, music to sharpen the senses, music to send you into an enjoyable trance, music to wonder at. During the year Pro Musica is sponsoring The Musical Offering, a free musical event every day, and in the days before and during the Festival you can hear short performances that are part of that Centenary celebration. They are part of the Festival Fringe. My thanks go to the phenomenal workers on the Board of Pro Musica, and in the office, and on the production side. Those who enjoy the wonderful music should recognise that a Festival of this scale depends absolutely on voluntary work of all kinds, sponsorship from private individuals and companies, some critically important financial support from the ACT Government, and the generosity of our musicians, who give of their time and talent for beyond the fees we can afford to provide. Enjoy it all â&#x20AC;&#x201D; it is the culmination of years of effort! Don Aitkin Chairman, 19th Canberra International Music Festival

Pro Musica Presidentâ&#x20AC;&#x2122;s message I am delighted to welcome you to the Canberra International Music Festival for 2013, the year of the Canberra Centenary. For several years now the Festival has focussed on celebrating this city and its Amazing Spaces, and this yearâ&#x20AC;&#x2122;s Festival brings that celebration to a climax. Pro Musica could not achieve this without the help of a wide range of people. Our government and corporate sponsors make it possible for us to mount the Festival each year, and no less important are the individual sponsors whose names you will see associated with specific concerts in the program. Our small but dedicated staff work enormously hard to put the program together and bring it to fruition, and in this they are supported by a large number of volunteers whose enthusiasm reflects the cultural interests and the spirit of community that make this city what it is. To all these people Pro Musica, its artists and its audiences owe a great debt of gratitude. We are proud to present our 19th Festival program for your pleasure, and we look forward to meeting you at our concerts. Dorothy Danta President, Pro Musica Inc.

4 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), Peter Trick, Hanna-Mari Latham, Liz McKenzie, Jo Fisher, Geoff Millar, Dan Sloss, Vaughan Grant, Alex Raupach, Elise Janes, Jack Hobbs, Suzanne Kiraly Technical staff: Hugh Coffey, Tom Fisher, Lindsay Miller, Bob Scott, Jonathan Thurstan Pro Musica Board: Dorothy Danta (President), Anthony Henshaw (Vice-President), Will Laurie (Treasurer), Beverley Aitkin, Donna Bush, Phil Butler, Bev Clarke, Royston Gustavson, Govert Mellink, Christopher Chenoweth The Musical Offering: Don Aitkin (Chair of the Festival), Beverley Aitkin, Helen Moore, Diana Streak The Amazing Space Series Co-Directors: David Clarke, Ann Cleary, Dianne Firth, Graham Humphries, Chris Latham, Robyn Stone. Special thanks: Peter Tregear (Head of ANU School of Music), Gary France, Calvin Bowman, Paul McMahon, Harriet Torrens, Tobias Cole, David Pereira, Tor Frømyhr, Max McBride, Virginia Taylor, Megan Billing, Alan Vivian, Louise Page, Christina Wilson, Lyn Fuller, Miroslav Bukovsky, Bill Risby, Peter Sculthorpe, Paul Dresher, Gavin Bryars, Stephen Leek, Melinda Sawers, Craig Woodland, Leanne Mckean, Alpha Gregory, Sandra Taylor, Charles Martin, Christina Hopgood, Lucia Manrique, Graciela Mcnamara and the Spanish Embassy, Roland Peelman, Arn Sprogis and Margot Woods, Helen Rolland, Peggy Polias, Beverley Aitkin and Robyn Archer. Volunteers: Marwa Abou-Rida, Georgia Allen, Peter Callan, Megan Curlewis, Anne Davis, Gavin Ford, Margie Frey, Jan Fuhrman, Marya Glyn-Daniel, Jenny Harper, Deirdre Hyslop, Margaret Janssens, Peter Janssens, Gayle Lander, Alison Lockhart, Heather Macdonald, Jan O’Connor, Helen Parkes, Helen Pike, Eric Pozza, Oliver Raymond, Jackie Simons, Helene Stead, Lauren Sutherland, Annabel Wheeler , Jamie Winbank Billeters: Sue & Les Beaver, Lynne & Noel Bentley, Judy & Peter Biggs, Julie & Grant Butler, Peter & Margaret Callan, Barbara Campbell, Hilary Charlesworth, Chris & Rieteke Chenoweth, Bev Finalyson, Robert Goodrick, Sue Hall, Tony Henshaw & Cathy Crompton, Jack Hobbs, Gini Hole, Elspeth & Graham Humphries, Barbara and John Inglis, Peter & Margaret Janssens, Margaret Julian, Carol & Richard Kenchington, Marjorie Lindenmayer, Alison & Bruce Lockhart, Judy & John McKenna, Lilian & Govert Mellink, Bridget Middleton, Helen Moore, Eric Pozza & Megan Curlewis, Anna & Bob Prosser, Roger & Anne Smith, Michael & Mary Tatchell, Carol Taylor, David Uren, Jim & Peronelle Windeyer, Sam Behr Design – Brochure Designer 2013 Music lover photos by Greg Barrett, 2013 featured photographer Greg Barrett is one of the world's foremost photographers with a special interest in bodies in movement both within a commercial context and the performing arts. He has worked extensively in film direction, feature film gallery stills shoots, fashion photography, advertising and portraiture. His photography is widely collected and seen as a reference point for the possibilitie s of what the human body can achieve in non-verbal expression. Greg's first book, danceshots, was published in 1993 and his second, the critically acclaimed tutu, was published in 1999. CanberraLab for the fit-out of the Albert Hall Wine Bar (The Hub) 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.

5 CONCERT CALENDER NO.

CONCERT TITLE

MAY DATE

TIME

Venue

See page

Opening Gala: The Summoning

Fri 10

8.00pm

Albert Hall

Rhapsody in Red, White & Blue

Sat 11

1.00pm

Albert Hall

EmBACHations

Sat 11

3.00pm

Albert Hall

Bach Re-imagined

Sat 11

5.00pm

Albert Hall

The Great South Land

Sat 11

8.00pm

Albert Hall

The Shimmering City

Sat 11

10.30pm

NFSA Arc Theatrell

Carnival of the Animals

Sun 12

11.00am

Albert Hall

India’s Homage

Sun 12

2.00pm

Albert Hall

Lifting the Spirit

Sun 12

8.00pm

Albert Hall

Mon 13

12 noon

High Court of Australia

Mon 13

4.30pm

Tues 14

12 noon

10 11 12

Amazing Space 1 Sounding the High Court Amazing Space 2 Sounding the Arboretum Amazing Space 3 Sounding Murdoch

National Arboretum of Australia Gorman House, Ainslie Arts Centre

27 29

Wispelwey Plays Bach 1

Tues 14

6.00pm

Albert Hall

New Zealand String Quartet

Tues 14

8.15pm

Albert Hall

Castaway

Wed 15

6.00pm

Albert Hall

Rebirth

Wed 15

8.15pm

Albert Hall

Amazing Space 4 Sounding the Shine Dome

Thurs 16

12 noon

Australian Academy of Science

Wispelwey Plays Bach 2

Thurs 16

6.00pm

Albert Hall

The Last Romantic Symphony

Thurs 16

8.15pm

Amazing Space 5 Sounding the Lake

Fri 17

12 noon

Double Duo

Fri 17

6.00pm

Albert Hall

The Lark Ascending

Fri 17

8.15pm

Albert Hall

Jesus’ Blood

Sat 18

1.00pm

Albert Hall

Double Duo and Friends

Sat 18

4.30pm

Albert Hall

Wagner and the Grail

Sat 18

8.00pm

Llewellyn Hall

Marion’s Child

Sun 19

1.00pm

CGGS Senior School Hall

In Praise of Creative Women

Sun 19

4.00pm

Albert Hall

Wispelwey: Elgar, Adams

Sun 19

7.30pm

Llewellyn Hall

National Museum of Australia Lake Burley Griffin Yarralumla Yacht Club

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

55 57

CONCERT 1 THE CANBERRA TIMES presents:

Opening Gala: The Summoning

FRIDAY MAY 10 8.00PM

ALBERT HALL

This concert is supported by Christine Goode Glenda Cloughley & Hazel Hall Acknowledgement of Country A Chorus of Women, Ca nberra Festival Chorus (ANU School of Music Chamber Choir, Ca nberra Choral Society, Kompactus, Ll ewellyn Choir, SCUNA, UC Chora le), dir. Johanna McBri de

William Barton Didjeridu solo TaikOz Opening Rite Carl Orff O Fortuna from Carmina Burana Synergy Percussion, Viney-Grinberg Pi ano Duo, Ca nberra Festival Chorus (ANU School of Music Chamber Choir, Ca nberra Choral Soci ety, Kompactus, Ll ewellyn Choir, SCUNA, UC Chorale), cond. Roland Peelman

One of the most famous choruses in the classical repertoire, O Fortuna has captured the imagination of all who have come across it. Evoking a deep sense of shamanistic ritual, it is music of such visce ral power that even now in the age of science, it gives one the impression that time and space could bend in its presence to reveal something miraculous.

TaikOz Middle Rite Aaron Copland Fanfare for the Common Man Ca nberra Festival Brass a nd DRUMatix with JB Smith, cond. Roland Peelman

Aaron Copland's Fanfare for the Common Man was commissioned by Eugene Goossens in 1942 for the Cincinnati Symphony Orchestra. The title was inspired in part by a famous speech made earlier in the same year in which Vice President Henry A. Wallace proclaimed the dawning of the "Century of the Common Man". It is a strikingly powerful call for humanistic democracy, following on from such figures as Thomas Jefferson and Abraham Lincoln – a proud lineage to which Walter and Marion Mahony Griffin equally belong .

Arvo Pärt Hymn to a Great City *AUSTRALIAN PREMIERE

Arvo Pärt wrote Hymn to a Great City in 1984 as a gift to his friends Mirjam and William Miesse. It was always unclear which city Pärt was referring to, and it is notable for its lack of bombast. The Artistic Director feels its very clear construction and geometric proportions sit well with the Griffins’ designs for Canberra.

Witold Lutosławski Variations on a Theme of Paganini Vi ney-Grinberg Piano Duo

To earn a living during the German occupation of Poland in the early years of World War II, Lutosławski and friend and fellow composer Andrzej Panufnik formed a piano duo which performed in Warsaw cafés a repertoire including the first incarnation of Lutosławski's Variations on a Theme of Paganini. This highly original transcription of Paganini’s 24th Caprice for solo violin was later expanded into a concert piece for piano and orchestra, but tonight we hear the original version for two pianos.

Elena Kats-Chernin Beaver Blaze *PREMIERE OF THIS VERSION – COMMISSIONED BY BETTY BEAVER

Ca nberra Festival Brass, Synergy Percussion, Vi ney-Grinberg Pi ano Duo, cond. Roland Peelman

The Beaver Blaze was commissioned from Elena Kats-Chernin in 2007 by Betty Beaver as a gift for the Canberra International Chamber Music Festival, and was first performed by the Brass Band of the Royal Military College Duntroon as the opening fanfare of that year’s Festival. In various re -incarnations it has opened every Canberra International Music Festival since then.

Edward Elgar Canberra, Shimmering City Ca l vi n Bowman, ORGAN, Ca nberra Festival Chorus

TaikOz Closing Rite Ta i kOz, William Barton a nd Synergy Percussion

Carl Orff O Fortuna from Carmina Burana Synergy Percussion, Viney-Grinberg Pi ano Duo, Ca nberra Festival Chorus dir. Roland Peelman

INTERVAL

Igor Stravinsky Rite of Spring Vi ney-Grinberg Piano Duo, Synergy Percussion a nd guests

Tonight’s performance of Igor Stravinsky’s The Rite of Spring (Le sacre du printemps) commemorates its premiere in Paris in 1913 – one of the more notorious premieres in musical history. Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes. The Rite was the third such project, after the acclaimed The Firebird (1910) and Petrushka (1911). The concept behind The Rite is suggested by its subtitle, "Pictures of Pagan Russia in Two Parts"; in the scenario, after various primitive rituals celebrating the advent of spring, a young girl is chosen as a sacrificial victim and dances herself to death. When the ballet was first performed at the Théâtre des Champs-Élysées on 29 May 1913, the theatre was packed. The evening began with Les Sylphides, in which Nijinsky and Karsavina danced the main roles. The Rite followed; disturbances in the audience began during the Introduction, and grew into a crescendo when the curtain rose on the stamping dancers in "Augurs of Spring". It was soon impossible to hear the music on the stage. Pierre Monteux, the conductor, believed that the trouble began when the two factions in the audience began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Things grew noticeably quieter during Part II, and Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra and for Stravinsky and Nijinsky before the evening's programme continued. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved growing success as a concert piece. Stravinsky's score contains many features that were novel for its time, including experiments in tonality, metre, rhythm, stress and dissonance. The music has influenced many of the 20th century's leading composers and is one of the most recorded works in the classical repertoire.

9 BC CLASSIC FM LIVE BROADCAST

Rhapsody in Red, White and Blue

CONCERT 2

SATURDAY MAY 11 1.00PM

ALBERT HALL

This concert is supported by Rieteke and Christopher Chenoweth and Robin Gibson Viney-Grinberg Piano Duo: Liam Viney PIANO Anna Grinberg PIANO

Percy Grainger Fantasy on Gershwin's 'Porgy and Bess’ for two pianos *AUSTRALIAN PREMIERE

Grainger was a prolific transcriber and elaborator of the music of others, after the Romantic tradition begun by Liszt in his fantasies and paraphrases. He was particularly fond of Gershwin, and produced piano arrangements of

several of his songs—Grainger’s concert transcription of “The Man I Love” remains popular today. He completed this fantasy-like medley of themes from Porgy and Bess in 1951.

John Adams Hallelujah Junction for two pianos Note by the composer: Hallelujah Junction is a tiny truck stop on Route 49 on the Nevada-California border, not far from where I have a small mountain cabin. One can only speculate on its beginnings in the era of prospectors and Gold Rush speculators (although a recent visit revealed that cappucino is now available there). Here we have a case of a great title looking for a piece. So now the piece finally exists: the 'junction' being the interlocking style of two-piano writing which features short, highly rhythmicized motives bouncing back and forth between the two pianos in tightly phased sequences. This is a technique I first used in the 1982 Grand Pianola Music and later expanded in orchestral pieces.

Hallelujah Junction was written for a special concert at the Getty Museum in 1998. It lasts approximately fifteen minutes and is in four parts, linked one to the other. The first section begins with a short, exclamatory three-note figure which I think of as "-lelujah" (without the opening "Hal-"). This gesture grows in length and breadth and eventually gives way to a long, multifaceted "groove" section. A second, more reflective part is characterized by waves of triplet chord clusters ascending out of the lowest ranges of the keyboard and cresting at their peak like breakers on a beach. A short transitional passage uses tightly interlocking phase patterns to move the music into a more active ambience and sets up the final part. In this finale, the "hallelujah chorus" kicks in at full tilt.

Benjamin Britten - Overture to ‘Paul Bunyan’ arr. Colin Matthews

Paul Bunyan is a favourite American folklore hero, a lumberjack of unusual skill, said to have been 8 feet tall. (His 'legend' was actually created as an early advertising campaign for the lumber industry.) In 1941, while living in the United

States, Britten wrote an operetta about him. He drafted this overture for the first production, but dropped it when he revised the operetta in the 1970s. Nevertheless, it is an excellent piece, and stands as an exciting work in its own right.

Leonard Bernstein Maria and America from West Side Story for piano four hands arr. Carol Klose If there is one work in Leonard Bernstein’s oeuvre which is universally recognised, it is West Side Story. When it premiered in 1957, critics speculated that it would have a major influence on the course of musical theatre – thus John Chapman, for example, in the New York Daily News:

“This is a bold new kind of musical theatre – a juke-box Manhattan opera … extraordinarily exciting .... In [the score], there is the drive, the bounce, the restlessness and the sweetness of our town. It takes up the American musical idiom where it was left when George Gershwin died.

George Gershwin Rhapsody in Blue for two pianos At the end of 1923, band leader Paul Whiteman asked Gershwin to contribute a concerto-like piece for a concert he was planning to give early in 1924, to demonstrate that the relatively new form of music called jazz deserved to be regarded as a serious and sophisticated art form. Gershwin declined on the grounds that he would not have enough time.

for two pianos, and pieced Rhapsody In Blue together as best he could in the time available.

Late on the evening of January 3, while George was playing billiards, his brother Ira read an article in the New York Tribune, entitled "What Is American Music?", about the forthcoming Whiteman concert, which claimed that "George Gershwin is at work on a jazz concerto, Irving Berlin is writing a syncopated tone poem, and Victor Herbert is working on an American suite." Thus painted into a corner, Gershwin began work on January 7, as dated on the original manuscript

Of the composition of the Rhapsody, Gershwin told his first biographer, Isaac Goldberg:

The work premiered on February 12, 1924. At the first performance Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so we do not know exactly how the original Rhapsody sounded.

“It was on the train [to Boston], with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer... I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end.… I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”

CONCERT 3 ABC CLASSIC FM LIVE BROADCAST

SATURDAY MAY 11

EmBACHations

3.00PM

ALBERT HALL

This concert is supported by Randy Goldberg JS Bach Toccata and Fugue in D minor BWV 565 Ca l vi n Bowman ORGAN

This is the first of seven concerts in this year’s Festival to feature works by JS Bach, and in this concert, as in three of the six yet to come, we present his works in forms other than those of the standard canon – here, in transcriptions for string quartet or trio.

re-working of a lost violin piece – a hypothesis which could account for a number of features of this work which are either unique in Bach’s oeuvre or extremely rare. (Bach is known to have transcribed solo violin works for organ at least twice.)

Bach was no stranger to reworkings. He transcribed his own keyboard works for various ensembles, adapted other composers’ works, made instrumental pieces from medieval hymn tunes and his own chorales, and also rewrote some of his own ensemble compositions for the keyboard. In fact, it has been argued that the one work in this program which we hear in its familiar form, the Toccata and Fugue in D Minor BWV 565, probably the best known piece in the organ repertoire, may itself be a

Given that we do not have an autograph of the piece, there is yet another possibility: that this “signature” work is not by Bach at all! In 1982, scholar David Humphreys suggested that BWV 565 originated with Johann Peter Kellner (1705–1772), who had close ties with the Bach family. But then, the only near-contemporary source we have for it is a manuscript copy from a student of Kellner’s, Johannes Ringk, who clearly indicates on the title page that it is by – JS Bach.

JS Bach Chorale-Prelude "O Mensch, bewein’ dein’ Sünde groß" BWV 622 JS Bach “Seht, was die Liebe tut” (from the Cantata Ich bin ein guter Hirt, BWV 85) transcribed for string quartet by Calvin Bowman New Zealand Stri ng Quartet

The chorale prelude O Mensch, bewein’ dein’ Sünde groß is from the Orgelbüchlein, or “Little Organ Book”. Bach seems to have written this collection of 46 preludes as a guide to the art of improvising around chorales. Bowman has observed that, in his lifetime, Bach’s fame “rested on his abilities as a performer rather than as a composer. It is quite feasible to suggest that most of these chorale preludes may be written-down improvisations”. An excellent organist himself, Bowman is well placed to make both this hypothesis and this transcription. Slow and meditative, the present work is a highly ornamented version of a hymn-tune whose words begin “O man, weep for your great sin”.

In its original setting in Cantata no. 85, Seht, was die Liebe tut is an aria for tenor solo, and as Bowman says, it is “surely one of Bach’s most beautiful creations”. The cantata is based around John 10: 11-16, “I am the good shepherd: the good shepherd giveth his life for the sheep”, and the anonymous author of the text reflects on Christ’s having defended his flock with his life, on the cross. As so often with Bach, the nominal accompaniment, with its endless flowing lines, is rather more interesting than what the tenor is given to sing – which, of course, makes it an ideal subject to be rewritten for the democratic forum of the string quartet. With thanks to Alastair McKean.

JS Bach Goldberg Variations BWV 988 Aria mit verschiedenen Veränderungen (Aria with Diverse Variations) arranged for String Quartet by William Cowdery New Zealand Stri ng Quartet

According to Johann Nikolaus Forkel’s 1802 biography of Bach, this work was commissioned in 1741 by his patron and admirer, Baron von Keyserlinck, the Russian ambassador to the Saxon court. Keyserlinck, an insomniac, required music for his young protégé harpsichordist Johann Gottlieb Goldberg to play to him during his sleepless nights. The story goes on that Keyserlinck referred to the pieces as ‘his’ variations and paid Bach a golden goblet filled with 100 louis d'or coins. It is more likely that Bach composed the piece earlier under the heading Keyboard Practice and that he took a copy with him to Dresden on a visit to his son Carl Philipp Emanuel, then court harpsichord player to the Crown Prince of Prussia (later Frederick the Great). There is no dedication to Keyserlinck on either the manuscript or its first edition, and it is unlikely that Bach would have written the piece specifically for the 14-year-old Goldberg. Neither was there a golden goblet listed in Bach’s estate. Nevertheless, it provided Bach’s great work with a memorable title. Arranger William Cowdery writes: “On the whole Bach’s keyboard works – probably more than anyone else’s – admit of a vast range of interpretations. Composers from Mozart to Stravinsky have sought to illuminate Bach’s contrapuntal complexities by re-scoring his works

for expanded forces, thereby giving added dimensions of colour and space to his monochromatic keyboard blueprints. Above all, two of Bach’s last, greatest, and most encyclopaedic works, the so-called Goldberg Variations and The Art of Fugue, call loudly for adaptations to new media, and repay such experiments richly. The Goldberg Variations survey a broad sweep of compositional methods and techniques, from light song styles to learned counterpoint, from staid Renaissance-style polyphony to dazzling instrumental virtuosity. While a keyboard may suffice to bring off these many-sided compositional feats, Bach’s music gains even greater brilliance and clarity when taken up by a group of instruments that give due weight to each of the contrapuntal lines of the musical web. Perhaps no ensemble is more readily equipped to do this than the modern string quartet, whose four constituent instruments handily fit the demands of range and flexibility made by Bach’s intricate counterpoint.” William Cowdery is a senior lecturer at Cornell University and musical director and organist of the First Congregational Church, Ithaca, NY. He holds a PhD from Cornell for a dissertation on the early cantatas of JS Bach and has written articles in the New Harvard Dictionary of Music and the Harvard Biographical Dictionary of Musicians (1996).

NEW ZEALAND STRING QUARTET Donald Armstrong VIOLIN Douglas Beilman VIOLIN Gillian Ansell VIOLA

Rolf Gjelsten CELLO

Roger Lloyd 2007 ©

13 ABC CLASSIC FM LIVE BROADCAST

CONCERT 4

CANBERRA CENTRE presents:

SATURDAY MAY 11

Bach Re-imagined

5.00PM

ALBERT HALL

This concert is supported by Christine Goode Miroslav Bukovsky and Bill Risby pay a respectful tribute to Bach, the great improviser *PREMIERES

Improvisations on: JS Bach Bourrée in E Minor JS Bach “Air on a G String” JS Bach Aria from the Goldberg Variations JS Bach Cello Suite No. 1 JS Bach C minor Passacaglia JS Bach Preludes and Fugues JS Bach Ach Gott, wie manches Herzeleid BWV3 (Chorus & Bass Aria) (The listed works are suggestions only) Miroslav Bukovsky

TRUMPET, Bill

Risby

PIANO, Hamish Stuart DRUMS, Gary Holgate BASS

“It’s a dangerous idea,” says Miroslav Bukovsky, “to mess with jazz and Bach.” It seems therefore rather brave to put on a concert of re-imaginings of the great classical composer, referencing so many very familiar Bach works. But Bach has been reconstructed, reorchestrated and reinterpreteted by many musicians, not least by jazz musicians. After all, Bach’s music is defined by melody, chord progressions, modulations and improvisations on harmonies – the same harmonic devices used by jazz musicians. A jazz musician uses a melodic line or a harmonic skeleton, and improvises on it in an act of creative interpretation. This is essentially what Bach himself did in his Goldberg Variations, or in the C minor Passacaglia, where the opening ostinato theme stated on the organ’s pedals provides the basis for the variations that follow. For Bukovsky and Risby the jazz tradition mandates that you change what has been done before, you reinvent and do something different. But in essence this is what musicians have been doing for centuries. As Eric Barnhill notes, “J.S.

Bach, while he was alive, was little known as a composer — but he was renowned as the greatest improviser on the organ in Europe. A famous French organist once came to town to compete against him, and, hearing him improvise while warming up, promptly left town. Bach put improvisation skills at the centre of his teaching. Most of his instructional manuals are how-to books in improvisation. He often wrote out several different versions of his most popular pieces, such as the inventions, to show how a student might improvise on the structure.” By the same token, like other musicians of his time, he had no hesitation in adapting existing work, his own or that of other composers, to his own purposes. For example, the hymn Ach Gott, wie manches Herzeleid is a reworking, by priest and cantor Martin Moller (1547-1606), of a medieval hymn combined with the famous seventeeth century melody O Jesu Christ, meins Lebens Licht. Bach used Moller’s hymn as the core for a choral cantata (BWV 3), keeping the first and last stanzas unaltered and reworking the

14 inner stanzas as arias and recitatives. We will see what Bukovsky and Risby do with the opening chorus and the bass aria from this cantata. Re-workings by other musicians of works by Bach abound. The famous Air on the G String originated as a movement of an orchestral suite Bach composed for Prince Leopold of Cöthen between 1717 and 1723. In the late 19th century the virtuoso violinist August Wilhelmj arranged it for violin and piano, transposing it from D major to C major so he could play it on a single string, the G string, of his instrument. The Bourrée from the Suite in E minor for Lute has inspired Robert Schumann, Paul McCartney and Jethro Tull and is a particular favourite for guitarists. Jazz interpretations of Bach have probably happened since the early days of the last century, but came to be an significant part of international cultural currency from 1959, when Jacques Loussier formed the Play Bach Trio, and began to release his immensely popular series of “Play Bach” recordings (followed soon after by the

swing versions of another French group, the Swingle Singers). Popularising Bach’s melodies can risk sentimentalising them, and make them sound, in Bukovsky’s words, “a little corny”. What Bukovsky is aiming at is to do something “gentle” with Bach’s music; he refers to contemporary Norwegian musician Christian Wallumrød as an inspiration for a new, much freer approach. Bukovsky, Risby and friends may start with a very basic indication of where the music will go, maybe a chord progression or a few bars of melody, and they will use this material in an infinitely varied way, and in doing so reinvent the core material itself. Even the works listed on the previous page as sources for this concert are suggestions only. It is likely we will hear recognisable passages from most, if not all of them, and maybe even some others as well, as Bach is re-imagined. But however much or little we recognise, we will certainly be hearing music no-one has heard before.

15 ABC CLASSIC FM LIVE BROADCAST

CONCERT 5

666 ABC CANBERRA presents:

SATURDAY MAY 11

The Great South Land

8.00 PM

ALBERT HALL

This concert is supported by The Spanish Embassy, Acciona, Instituto Cervantes Sydney, and Marjorie Lindenmayer Peter Sculthorpe is supported as Composer-in-Residence by Betty Beaver Peter Sculthorpe The Great South Land * PREMIERE

Li bretto: Peter Sculthorpe a nd Brian Bell Quiros: Andrew Goodwin TENOR, Mendaña: Si mon Lobelson BARITONE, Dona Ysabel: Chri s tina Wilson MEZZO SOPRANO, Dona Ana: Loui se Pa ge SOPRANO, Geronima: Stephanie McLa ine or Hannah von Thrumm SOPRANO, Narrator: Peter Tregear ANU School of Music Chamber Choir, Oriana Chorale, Ca nberra Choral Society ( Bengt-Olov Pa lmqvist, Tobias Cole, Peter Tregear chorus directors), Ca nberra Festival Orchestra with the Sprogis Woods Young Artists and the ANU School of Music Faculty & Students i ncluding DRUMatiX Conducted by Roland Peelman.

Pedro Fernandes de Quiros was born in Evora, Portugal, in 1565. He entered Spanish service as a young man and became an experienced seaman and navigator. In April 1595 he joined Álvaro de Mendaña de Neira on his voyage to colonise the Solomon Islands, serving as pilot. After Mendaña’s death in October 1595 he took command under the direction of Mendaña’s ambitious wife Ysabel, and saved the only remaining ship of the expedition, arriving in the Philippines in February 1596. In March 1603, having obtained the support of the Pope and Philip III of Spain, Quiros set out as commander of his own expedition in search of Terra Australis, the mythical Great South Land. In May 1603 he reached what he believed to be his goal, but which was in fact the largest island of Vanuatu, and named it “Austrialia del Espiritu Santo”, a name which seems to add to the notion of the southern continent a diplomatic nod to Philip’s Austrian (Hapsburg) genealogy. Conflicts with his Spanish crew and their conflicts with the ni-Vanuatu led to his abandoning his “New Jerusalem” and returning to Spain, where for the rest of his life he repeatedly petitioned the throne for support to return to the Pacific.

Quiros was eventually given leave to seek funds from the Spanish Viceroy in Peru, but died in Panama, on his way to Peru, in 1614. The figure of Quiros, the explorer dedicated to the pursuit of a new and better world, has fascinated Peter Sculthorpe for many years. James McAuley gave him a copy of his poem ‘Captain Quiros’ around 1963, and in 1968 H.C. ‘Nugget’ Coombs, inaugural Chair of the Australia Council for the Arts, urged Sculthorpe to consider taking it as the basis for an opera, originally with the opening of the Sydney Opera House in mind. Like Manning Clarke, Coombs saw Quiros as an example for modern Australia, searching not just for the Great South Land, but wanting to establish there “a new society … a new Jerusalem. … a land where the spirit of man can flourish in beauty and wisdom.” The projected opera did not materialise until 1982, when the Australian Broadcasting Commission invited him to compose an opera for television to celebrate its fiftieth anniversary, with Brian Bell as librettist. Like McAuley, Clarke and Coombs before him, Sculthorpe finds personal meaning in the Quiros story, even beyond the love of Australia. “I live

16 an obsessed life as a composer. I feel that the Quiros story relates to my own search for

Australia, for Australian-ness, to the seeking within all of us”.

The Great South Land: First Voyage

Second Voyage

1. Prelude

1. Introduction

2. Credo

2. Ana’s Song

3. Santa Cruz

3. Exhortation

4. East of India

4. Men of Greed

5. Motet: Is this the land?

5. Geronima’s Song

6. Soliloquy

6. Setting Sail

7. Disquiet

7. Unrest

8. Colonel’s Song

8. Landfall

9. Nocturne

9. The New Jerusalem

10. Proclamation

10. Salve Regina

11. Death of Mendaña

Third Voyage

12. Betrayal 1. Royal Spain 13. Coda 2. Letter Song 3. The Dream 4. Postlude

17 CONCERT 6

ABC CLASSIC FM LIVE BROADCAST

SATURDAY MAY 11

Shimmering City

10.30 PM

NFSA ARC THEATRE

This concert is supported by Debbie Cameron

Timothy Constable Shimmering City *PREMIERE OF THIS VERSION

Synergy Percussion: Timothy Constable PIANO and Bree va n Reyk VIOLIN with Eva n Ma nnell DRUMS Ima ges by Mi ke Chin (Tokyo Love In) Bob Scott a nd Hugh Coffey SOUND

Shimmering City is our new take on an ongoing project called City Jungle, specially devised and compiled for CIMF 2013 and celebrating Canberra's centenary. All the music was written by Noxious Aquatic (aka Timothy Constable). At a musical level the title references Jungle, a type of highspeed funk-beat-based music which came out of the British rave scene in the early nineties. You know it when you hear it. It gave birth shortly thereafter to Drum n Bass, Breaks, Garage, and now Dubstep. Jungle was a fiercely urban music, and was the first underground cult music to arise without any racial context ('any race colour or creed' - Roni Size 1994). It has an important part in the jazz, funk, soul and hiphop lineage in particular, but has inspired generations of musicians and electronica producers. The visuals, and the show as a whole, celebrate (broadly speaking) city life. The good, the bad, the ugly, and most certainly the exciting. The simmering. They were shot lovingly in Canberra, Sydney, Seoul and New York. By the end of the show, the audience will have seen over 20 000 images from all these places, so it's most certainly a wild ride and if you're not planning on getting up for a boogie, you might like to strap yourself into your seat. 1.

What exactly are UK breakbeats?

Pretty much any British dance music that isn't House, Techno or Trance. There’s a whole history to how the beats came off old funk and soul records, but I won’t bore you with that. The show name references Jungle, which was the first of these styles to emerge in the early 90s. Characterized by fast-moving “break”-beats set against a slow-moving subby bass, it achieved most popularity as Drum n Bass, which came to the fore a bit later on. We are using these styles (together with some Dubstep and Breaks) as a launch point for our own musical journey, one that is really all about city life, its maniacal as well as its wonderful qualities, seen through the eyes of someone who wants to dance.

If, poor soul, you want the history lesson, read on… On a James Brown funk record, when the drummer takes a solo (a "break"), they don't just go mental and hit everything they can (unlike lots of drum solos), but they keep playing the beat, with a few extra little funky hits thrown in. When Hip Hop producers started making music using looped beats in the early 80s, these "breakbeats" (quite illegally) were often lifted straight off old funk and soul records. The most popular "break" ever is the Amen break, recorded in 1969, a feature of close to a million tracks, and the backbone of jungle and DnB.

18 2.

I hear you’re a percussionist, composer, electronic producer and singer (did I miss anything?). Which came first?

It all started pretty early. I came from a musical household and went to an arty school, where we sang every day and played recorder … I started composing pretty young too, if you define it loosely. My parents made the mistake of buying me a pair of drumsticks when I was 3 years old… 3.

How did you come up with your alter ego Noxious Aquatic?

I’m a big fan of the production alias – it’s like a band name for one. It really helps you to get a vibe on when you’re writing alone, makes what you’re doing feel like part of something ongoing. If you play different instruments in a bunch of styles like I do, it also helps people know what they’re in for on a given night. 4.

How did you meet and decide to work with the collaborators of City Jungle?

It came out of discussions with Speak Percussion over doing a double-bill. When I first met Eugene (director of Speak) he said he was really into Drum n Bass. I thought he was joking (because I know almost no classical musicians who are!), but it turns out we had a shared passion for the style. We’ve talked on and off about doing a project like this ever since, and now here we are. My partners in crime at the Synergy end are Bree van Reyk and Evan Mannell – both of whom have played with everyone, have their own solo stuff going on, and are extremely inspiring musicians to be around. Equally so Tokyo Love-In, whose films and clips totally suited what we wanted to get across in this project. 5.

Previous to City jungle, which of all the

funky collaborations and tours you’ve done was the most “dangerous”? I feel like I have to say my time in Senegal working with Aly N’Diaye Rose and his family was the most dangerous, both overtly (because Dakar is a pretty wild city, a jungle in fact), and because it was so fundamentally challenging musically. But there have been lots – Synergy is a pretty brave musicmaking-machine when I think about it – and some times you’re there thinking: “ we’ve got a show to do tomorrow, how is this ever going to work?” But percussion is such a universal language, and somehow we always seem to come through ok! 6.

Do you ever DJ for dance parties or clubs?

Yeah, bits and pieces. I was in London for a while about 5 years ago and did a bunch then. I feel like I guest in that scene, even though it’s a mad rush to play for people when they’re going mental. I think if you want to write good dance music, then at some point you have to have a spin, otherwise you can’t really know what it’s like. It’s a whole other way of engaging with the music. 7.

So is the audience allowed to get up and boogie?

The audience should always be allowed to boogie. The show is not primarily about getting down, if only because once we get all our gear in there, there won’t be a lot of real estate to spare. We’re also trying to get across that this music is beautiful beyond its practical purpose (ie. to fill the dancefloor), and to bring it to people who might not be inclined to go out to a club night. It would certainly be a great place to start if you were planning an all-nighter. Think of it as an epic, immersive, music video. Timothy Constable

19 CONCERT 7

SUNDAY MAY 12

Carnival of the Animals

11.00 AM

ALBERT HALL

This concert is supported by Marjorie Lindenmayer

Francis Poulenc The Story of Babar, the Little Elephant for piano and narrator (text by Jean de Brunhoff) Ta ma ra Anna Cislowska PIANO, M Ma hony NARRATOR

One day during World War II, the French composer Francis Poulenc was visiting some relatives in Bordeaux. When they asked him for some music, he sat down at the piano, and started playing. But his four-year-old niece did not like it. With the certainty of youth, she took Poulenc's hands off the keyboard, and said "That is so ugly. Play this!" – and placed one of Jean de Brunhoff's Babar books on the music stand. Poulenc read the story, making up music to go with it as he did so. Word must have spread through the neighbourhood, because the composer soon found himself surrounded by neighbourhood children. When he got back to Paris he decided to write down the music you will hear today, and when this music was published, he put all the children’s names at the beginning, and dedicated the piece to them. The story follows the life of the elephant Babar from his birth and youth in the jungle to his life in Paris (where h e learns to drive a car), to his marriage to Céleste, his childhood sweetheart. If you have a copy of the book, we’d love you to follow the story (and the pictures!) in the book as you listen to the music.

Camille Saint-Saëns Carnival of the Animals for ensemble & narrator (text by Michael Leunig) Vi ney-Grinberg Piano Duo, Virginia Ta ylor FLUTE, Al an Vi vian CLARINET, New Zealand String Quartet, Ma x McBri de BASS a nd Joshua Hill XYLOPHONE; WB Griffin a nd M Ma hony NARRATORS

Saint-Saëns composed The Carnival of the Animals in February 1886. From the beginning, he regarded the work as a piece of fun. Much as he enjoyed writing it, however, he was afraid it might spoil his image as a “serious” composer, and refused to let it be published until after he died. Since then the work has become a firm favourite with both children and adults. In 1949 the American poet Ogden Nash wrote a set of verses to go with the music. Other people have done this too: in particular, the Australian cartoonist, poet and philosopher Michael Leunig, who wrote the words you will hear today. There are fourteen movements: Introduction and Royal March of the Lion; Hens and Roosters; Wild Asses; Tortoises; The Elephant; Kangaroos; Aquarium; Important People with Long Ears (Donkeys); The Cuckoo Deep in the Woods; The Birdhouse; Pianists; Fossils; The Swan; Finale.

20 A SPECIAL THANK YOU TO OUR CONCERT 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 201 3: Concert 1 Concert 2 Concert 3 Concert 4 Concert 5

Concert 6 Concert 7 Concert 8 Concert 9 Concert 10 Concert 11 Concert 12 Concert 13 Concert 14

Christine Goode Rieteke and Chris Chenoweth and Robin Gibson Randy Goldberg Christine Goode Spanish Embassy, Instituto Cervantes, Acciona Australia, and Marjorie Lindenmayer Debbie Cameron Marjorie Lindenmayer Centenary of Canberra Peronelle and Jim Windeyer Purdon Associates Major General Michael Jeffrey and Mrs Marlena Jeffrey Margaret Frey and Christine Goode

Concert 15 Concert 16 Concert 17 Concert 18 Concert 19 Concert 20 Concert 21 Concert 22 Concert 23 Concert 24 Concert 25 Concert 26 Concert 27 Concert 28

Don and Bev Aitkin Gail Ford Christine Goode Emmanuel and Jenny Notaras and John and Koula Notaras Friends of Ursula Callus Graham and Elspeth Humphries, June Gordon and Muriel Wilkinson Margaret and Peter Janssens Donna and Glenn Bush Richard Cornes and Alison Clugston Cornes Cathy Crompton and Tony Henshaw Marjorie Lindenmayer; Parrot Press, Canberra (Parsifal) Campbell & Co. Lawyers – Estate and Family Law Gail Lubbock and an anonymous donor Peronelle and Jim Windeyer

Pieter Wispelwey is supported by Peter William Weiss AO Composer-in-Residence Peter Sculthorpe is supported by Betty Beaver Composer-in-Residence Paul Dresher is supported by the Embassy of the United States of America Composer-in-Residence Gavin Bryars is supported by Harriet Elvin and Tony Hedley The Sprogis Woods Young Artists are supported by Arn Sprogis and Margot Woods The New Zealand String Quartet is supported by the New Zealand Ministry of Foreign Affairs Sharvari Jamenis and Ensemble are supported by the Australia-India Council

The Great South Land Community Commission Our 2013 Community Commission has supported the commissioning and presentation of Great South Land, by the prominent Australian composer Peter Sculthorpe. An important goal of the Canberra International Music Festival is to create and present new repertoire which is both innovative and of the highest standard. Through our commissioning policy we seek to make a meaningful contribution to the creation and promotion of compositions by Australian composers in particular. As in previous years all the funds to support our commissioning policy are raised from external sources – from our supporters, corporate sponsors and other stakeholders. The Community Commission allows many people with a love of music to contribute to the creation of new work. We would particularly like to thank our partner in this year’s commissioning project, the Embassy of Spain, for their generosity and support. We value this opportunity to celebrate our shared history. We are immensely grateful to the following organisations and individuals for their support of this project: The Embassy of Spain Instituto Cervantes Acciona Australia

Betty Beaver Margaret Frey Barry Hindess Judith & Tony McMichael

Govert & Lillian Mellink Leon Trainor Adrian & Anne Walter Jim & Peronelle Windeyer

(The list of concert and commission supporters was correct at the time of printing)

CONCERT 8

SUNDAY MAY 12

India’s Homage

2.00PM

ALBERT HALL

Sharvari Jamenis (Ka thak dancer) a nd ensemble (Nikhal Phatak TABLA, Ma noj Desai SINGER, Swapna Achyuta Soman VIOLIN, Chi nmay Kol hatkar HARMONIUM )

In 1935 through contacts in the anthroposophy movement Walter Burley Griffin won a commission to design the library at the University of Lucknow in Lucknow, India. Although he had planned to stay in India only to complete the drawings for the library, he soon received more than 40 commissions, including the University of Lucknow Student Union building, a museum and library for the Raja of Mahmudabad, a zenana (women’s quarters) for the Raja of Jahangirabad, and a memorial to King George V. He also won complete design responsibility for the 1936–1937 United Provinces Exhibition of Industry and Agriculture. Griffin was inspired by the architecture and culture of India: "he sought to create a modern Indian architecture ... and was able to expand his aesthetic vocabulary to create an exuberant, expressive architecture reflecting both the 'stamp of the place' and the 'spirit of the times'". In April 1936 Marion travelled to Lucknow to assist him with the drafting work, and contributed to several projects. In early 1937, five days after gall bladder surgery at King George's Hospital in Lucknow, Griffin died of peritonitis, and was buried in Lucknow’s Christian Cemetery. Marion Mahony Griffin oversaw the completion of the Pioneer Building that he had been working on at the time of his death. She then closed down their Indian offices, left their Australian practice in the hands of Griffin's partner, Eric Milton Nicholls, and returned to Chicago, where she died as a pauper at the age of 90, alone and suffering f rom dementia. She was buried in an unmarked grave. In total she lived for 24 years after her husband's death, a period of great loneliness that was longer than they had enjoyed together in life.

Kathak Dance Kathak is one of the classical dance styles of India, born and developed in Northern India. Balancing pure technique and expressive storytelling, with intricate footwork and spins, Kathak dance requires no prior knowledge to be enjoyed, but behind its entertaining façade are layers and layers of formal and historical complexity. The word katha in Sanskrit means “story.” In ancient times, professional storytellers in Northern India, called kathakas, recited stories from epics and mythology with elements of dance. These storytellers used temple courtyards on festival nights, embellishing their stories with hand gestures and facial expressions, with vocal music, instrumental music, and percussion. To this day the favourite subject of Kathak dance is the loves of Krishna and Radha of sacred legend.

It was when the dance reached the Mughal court after the 16th century that Kathak began to acquire its distinctive shape and features. Here it encountered other different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favour. Patronage soared as a social class of dancers and courtiers emerged in the royal palaces, where frequent dance competitions were held. The environment of the North Indian Mughal courts caused a shift in focus for Kathak, from a purely religious art form to court entertainment. Dancers imported from the Central Asia spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary.

22 Kathak began to shift away from other traditional Indian dances. The demi-pliĂŠ stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells were worn on each leg. It was also during this period that the signature chakkars (spins) of Kathak were introduced, possibly influenced by the whirling Sufi dervishes, while the straight-legged stance gave a new vitality to the footwork. Over time, the varied influences introduced great flexibility into Kathak in terms of presentation and narrative dance, with a less stylised and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it became substantially different from the other Indian dance forms, the roots of the style remained the same, and it still displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures common to most Indian dance forms. Many emperors and princely rulers contributed to the growth and development of Kathak into different gharanas, or schools of dance, named after the cities in which they developed. The Lucknow gharana, in which Sharvari Jamenis is trained, placed emphasis on the expressional qualities of the dancing, emphasizing sensuous, expressive emotion; it was famed for its subtlety and grace, as contrasted, for example, with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp and accurate dancing. Kathak was also extensively performed by tawaifs or courtesans, who themselves developed the art

in parallel to its refinement in court, with a performance style involving more of what in Kathak is termed nakhra (mischievous playfulness). As the dance teachers of these tawaifs were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak. The advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment (despite often privately enjoying the pleasures of the tawaif). Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion. By 1935, when Walter Burley Griffin arrived in Lucknow, Kathak had regained its popularity, and it is now one of the eight officially sanctioned classical dance forms of India. Interestingly, there are many striking similarities between Kathak and Flamenco, a southern Spanish dance style much influenced by the local gypsies, most notably in the upright stance, the percussive footwork, and the dependence on (sometimes complex) rhythmic cycles. It is thought that the Romani people travelled to Spain via Persia, where they encountered the same influences that the Mughal emperors brought into India. With the vigour of flamenco as well as the grace and lyricism of Indian classical dances, Kathak's current form is a synthesis of all the input it has had in the past: courtly, romantic and religious.

CONCERT 9

SUNDAY MAY 12

Lifting the Spirit

8.00PM

ALBERT HALL

This concert is supported by The Centenary of Canberra Music from the World’s Sacred Music Traditions BIRTH / CREATION Indigenous: Blessing of the Earth Wi l liam Barton DIDJERIDU a nd Delmae Barton VOICE Buddhist: Ian Cleworth Awakening (Aka Kiai) TaikOz Hindu: Sharvari Jamenis Ka tha k dancer a nd ensemble LOVE Christian: Saint Hildegard of Bingen, Monteverdi Lauda Jerusalem, Charles Villiers Stanford Beati Quorum Via The Song Company wi th Tobias Cole COUNTERTENOR, a nd guest Paul McMa hon TENOR, dir. Roland Peelman

Buddhist: Mahamrityunjaya Mantra Ti mothy Constable VOICE, Synergy Percussion, Ta ikOz Islamic: Sufi Chant Ibra him Ka raisli DEATH Christian: Henry Purcell Funeral Music for Queen Mary The Song Company, wi th Tobias Col e COUNTERTENOR, and guest Pa ul McMahon TENOR; Kompa ctus; Ca nberra

Festival Brass, Bree va n Reyk BASS DRUM dir. Roland Peelman;

Orthodox Christian: Arvo Pärt Arbos Ca nberra Festival Brass with Joshua Hill a nd Will Jackson PERCUSSION Buddhist: Trad. Onikenbai (Sword Dance) a rr. by Yos hikazu Fujimoto Ta i kOz

TRANSCENDENCE Islamic: Qur’anic Recitation Ibra him Karaisli Jewish: Steve Reich Know What is Above You *AUSTRALIAN

PREMIERE

The Song Company wi th guests Rachael Thoms SOPRANO a nd Tobias Cole COUNTERTENOR, Timothy Constable and Will Jackson PERCUSSION di r. Roland Peelman

Jewish: Alleluia Si mon Lobelson BARITONE Orthodox Christian: Vladimir Martynov The Beatitudes *AUSTRALIAN

PREMIERE

Sus a nnah La wergren SOPRANO, Anna Fraser SOPRANO, Tobias Cole

COUNTERTENOR, Ca nberra Choral Society a nd Kompactus, Ca nberra Festival Brass, dir. Roland Peelman

24 "Music matters - matters very much, matters at the heart of the matter, the inner being out of which our love of life grows, our culture thrives." Barbara Blackman Canberra, as the capital of a secular democracy, has difficulties with public expressions of the sacred. We are notably cautious about describing what we consider to be the essential inner spirit that animates matter into conscious life, to give expression to that which we consider beyond our experience – the transcendent divine. These matters are for the private parts of our lives, the hidden aspects of society – like the insides of those churches we drive past but never enter. As we enter our second century, we may gain sufficient confidence in the rigorous health of our democratic institutions, to allow more of the intimate nature of our belief systems to enter into public life.

the medium (water, sand, …) takes on as it vibrates in sympathy. This study of the shapes that vibrations create when passing through a fluid-like material is referred to as Cymatics. To witness this phenomena in action is to observe the endless variations that geometric form can take in nature – each one perfect and each one pure – but endlessly coalescing and evolving like a kaleidoscope of form. These mandala-like shapes remind us that the entire world is vibrating on a molecular level – that we are not solid, but an enormous consortium of vibrating atoms, enlivened by a spirit or consciousness, which is both of that nature and also separate from it.

This event is designed as a demonstration of the diversity of faiths within our capital, and the vast multiplicity of expressions of the inexpressible. Ultimately, religious life is expressed culturally. The fact that no image of the Buddha or Christ was ever recorded allows the Chinese to have laughing, smiling Buddhas, the Thais to have slender, elegant ones and the Japanese, impeccably severe yet serene manifestations. Similarly, Scandinavian Lutherans have blond, blue eyed Christs, while African depictions show dark skinned versions with black curly hair.

The Griffins’ plans for Canberra are an unbelievably elegant, and yet invisible, use of ancient sacred geometric forms. The pyramid, represented by their parliamentary triangle, is topped with an enormous eye that surrounds its highest point – reminding us that there is no single human being at the apex of power, but in fact that place is reserved for the Creator of all things. No man sits above his brothers in this symbology, and for these reasons this shape was chosen by Jefferson and the Founding Fathers of America as a potent symbol of democracy. It is likely that the Griffins embedded it in the fabric of our city to function as a Palladium – a sacred artwork that protects its constituents

Music has always been a servant of the sacred. Through its powerful effect on human physiology, music helps human beings to transcend their every day existence, and become both more receptive and settled. It helps to calm the mind and soothe our restless natures. Music is also a form of sacred geometry, but perceived aurally rather than visually. The vibration of a string is simply a series of rainbowlike arcs, with the harmonics all perfectly placed at the half, third, quarter, eighth and sixteenth points on the string. The more in tune a chord or vibration is, the purer the geometric form

Bryan Wilson of the Beach Boys said that music was God’s language. It is our wish to demonstrate here our ability to speak that language with fluency; to show that it diminishes no one to do so, and that it is a source of strength and cultural richness for a society to express a deep and mystical experience of the divine, and that all perceive benefit from that experience, whether secular or sacred. All faiths share the same beating heart, and the song of that heart is love. Chris Latham

CONCERT 10

AMAZING SPACE 1

MONDAY MAY 13

Sounding the High Court

12 NOON

HIGH COURT OF AUSTRALIA

This concert is supported by Peronelle and Jim Windeyer Speaker: Ross Feller

Water Ramp Processional TaikOz

Entering the High Court Wi l liam Barton DIDJERIDU

Graham Hilgendorf Daichi Ta i kOz

GF Handel Keyboard Suite in D minor HWV 428 Synergy Percussion

Claudio Monteverdi Possente Spirto from L’Orfeo Tobi as Cole

COUNTERTENOR, Veronique Serret VIOLIN, Synergy Percussion

Ian Cleworth After Sunrise Ta i kOz

Claudio Monteverdi Zefiro Torna from L’Orfeo Tobi as Cole COUNTERTENOR, Veronique Serret VIOLIN, Cl are Tunney BASS, Synergy Percussion

Kevin Man, Kerryn Joyce, Riley Lee Resounding Bell Ta i kOz, Riley Lee SHAKUHACHI JS Bach Chaconne from Partita No. 2 in D minor BWV 1004 Ti mothy Constable MARIMBA

JS Bach Chorale: Ein Feste Burg ist unser Gott BWV 80 Ta i kOz, Synergy Percussion HANDBELLS

TaikOz Infinite Space Ta i kOz, Synergy Percussion

THE HIGH COURT OF AUSTRALIA Architectural Note by Ross Feller The High Court of Australia is a rare Australian / Canberra example of the Brutalist Style used for a major building, and compares with two other Canberra examples: the adjacent Australian National Gallery and School of Music. The building is important as one of the dominant

elements within the Parliamentary Triangle and was the first building in the area to break away from a symmetrical design. The building is of social significance as the symbolic focus of judicial practice in Australia.

26 The High Court of Australia building is arranged on nine floor levels and rises some 41 metres. It houses three main courtrooms, Justices chambers with associated library and staff facilities, administrative offices and public areas including a cafeteria. The building form is almost a cube with administrative offices to the east and the vast south glass wall providing two disciplined faces the north and west elevations being more fragmented as internal functions break out or recede into the form. The public hall has an internal volume some 25 metres high and is the central point of reference for the public areas of the building. Ramps and stairs climb through the space. The three courtrooms are all entered on different levels and arranged in plan around a single circulation core of lifts and stairs. The Justices circulation system is strictly segregated from the public circulation and travels from the underground car park, through the intermediate courtroom levels, to Justice Chambers and library

at the upper level. A roof garden is provided for the Justicesâ&#x20AC;&#x2122; use. The building is primarily constructed from reinforced off-white concrete poured in situ as a monolithic structure. Large areas of glazing are supported on tubular steel frame structural backups. Careful attention has been paid to detailing and the use of controlled natural light in the courtrooms is noteworthy. Internal finishes are rich yet restrained. Flooring is aurisina stone, pirelli rubber or carpet. Wall finishes are concrete, plaster or timber panelling. Ceilings are plywood panelling, timber battened, plaster or concrete. A number of specially commissioned art works complement the public hall as applied finishes or are integrated into the buildings detailing. Included is a water feature in the forecourt designed by Robert Woodward, murals by Jan Senbergs forming an integral part of the public hall, the doors at the entry to Court 1 designed by Les Kossatz and George Baldessin and a wax mural by B Maddock in the public hall outside Courtroom 1.

27 CONCERT 11

MONDAY MAY 13

AMAZING SPACE 2

4.30 PM

Sounding the Arboretum

NATIONAL ARBORETUM OF A USTRALIA

Speakers: Peter Tonkin, Christopher Johnstone Terry Riley Dorian Strings Da vi d Pereira ELECTRIC CELLO, Bob Scott SOUND

Rosewood: JS Bach Prelude and Giga from the Partita in E major for solo violin BWV 1006 Ti mothy Constable XYLOPHONE

National Arboretum’s Village Centre Ebony: Igor Stravinsky 3 Pieces for Clarinet Al a n Vivian CLARINET

Rosewood: John Cage Amores 3 for 7 wood blocks JB Smi th, Gary Fra nce a nd DRUMatiX

Spruce: Nathan Milstein Paganiniana Ji Won Ki m VIOLIN

Rosewood: John Cage Amores 3 for 7 wood blocks JB Smi th, Gary Fra nce a nd DRUMatiX

Maple: David Pereira Black Mountain Views Da vi d Pereira CELLO

Rosewood: Steve Reich Music for Pieces of Wood JB Smi th, Gary Fra nce a nd DRUMatiX

Pernambuco: Carl Vine Inner World Da vi d Pereira CELLO WITH BACKING CD

NATIONAL ARBORETUM CANBERRA - Canberra, ACT 2005-2013 Architectural Note by Peter Tonkin In the wake of the disastrous bushfires that hit Canberra in 2003 an Australia-wide competition was held for the design of a National Arboretum, on a 290-hectare site of bushfire-damaged land north of Canberra’s Lake Burley Griffin. The competition was won by Tonkin Zulaikha Greer, in association with landscape architects Taylor Cullity Lethlean. The Arboretum is a collection of 100 forests, each home to a single internationally-endangered species. The species are chosen from the many thousands that are threatened world-wide, and curated according to colour of foliage, pattern of bark/leaf, filigree of branches, scent and texture,

and suitability to local growth conditions. A simple formal geometry, developed from Walter Burley Griffin’s Water Axis, interacts with the landform on which it is laid. 65-metre-wide forest bands are defined by native-planted clearings leading to the lake. Each forest offers an immersive experience of a single species of which it holds a viable population, creating a seed bank for each species’ native land, so that vulnerable and endangered species are preserved. The 1400-metre-long Central Valley forms a focal clearing at the centre of the site, with a sculpted series of terraces linked by a cascading stream and

28 a fully-accessible pathway. The linear water feature feeds as the main water storage facility, located at the foot of the Central Valley of the Arboretum. The dam and other water tanks will have a total capacity of 20 megalitres of recycled water, and will be a demonstration of water sensitive landscape design, showcasing contemporary design and ecological water recycling technology. By the time of the opening of the Arboretum to commemorate Canberra’s centenary in 2013, the majority of the 100 forests had been planted, complemented by a major Visitor Centre, the Event Terrace, a regional Playground and the first of the many gardens planned for the site. A full road and pedestrian circulation system is operational, and a site-wide interpretation strategy underlines the projects long-term ecological benefits. THE VILLAGE CENTRE The Village Centre is the main point of arrival for the National Arboretum Canberra, and provides a full range of visitor facilities to complement the outdoor experiences of the Arboretum. The Centre’s architecture develops the long-standing tradition of significant garden buildings as transparent enclosures with dramatic internal volumes and a strong sense of indoor-outdoor connection. Importantly, the strong presence of the building acts as a focus for the Arboretum while the trees are immature.

The exterior of the building is a sculptural form in the site’s rolling topography, contrasting low stone-clad wings with a high arching roof clad in weathered zinc, the form of which is inspired by the fronds of the adjoining forest of Chilean Wine Palms, and by the ribbing of many tree leaves. The interior subtly recalls the branched forms of mature trees. THE PAVILION The Pavilion is located on the south-western tip of the U-shaped Events terrace, looking across the grassed Amphitheatre to the Visitor Centre and out to the Central Valley and the city of Canberra beyond. Its axis aligns with the Captain Cook water jet, continuing Griffin’s structuring of the city by focal radiating axes. The building is kept below the landscaped ridge to the west, so that it is subordinate to the landform, whilst its roof shape is a defined curve in contrast to the rolling topography of the site. The pointed curve of the roof is an emphatic pause in the sweep of the Arboretum’s landscape, and a dramatic statement when viewed from the main car entry adjoining Tuggeranong Parkway. The interior of the Pavilion complements in feel and detail the ecological focus of the Arboretum. The limed plywood lining and the use of special elements in hardwood highlight the value of trees as sources of material and as carbon storage. The space has been extensively modelled for acoustics, suiting amplified and natural voice and music.

PROJECT TEAM: Peter Tonkin, John Chesterman, Juli Hallmann, Wolfgang Ripberger, Elizabeth Muir, Trina Day.

29 CONCERT 12

TUESDAY MAY 10

AMAZING SPACE 3

12 NOON

GORMAN HOUSE, AINSLIE ARTS CENTRE

Sounding Murdoch This concert is supported by Purdon Associates Speakers: Joseph Falsone, Minister Joy Burch, Dr Dianne Firth

Gorman House Arts Centre Adam Cook Flirt in the Dirt Adam Cook

KEYBOARD , John

Griffith PERCUSSION, Alec Coulson

QL2: Nigel Westlake Hinchinbrook Riffs

BASS,

Matt Withers GUITAR

CCAS: Larry Sitsky Sonata for solo flute David Shaw FLUTE

Ainslie Arts Centre Kate Moore Uisce The Song Company, dir. Roland Peelman David Pereira Mount Ainslie Rising *PREMIERE

David Pereira Lullaby for Yvana *PREMIERE OF THIS VERSION

David Pereira Song for Gillian *PREMIERE OF THIS VERSION

Da vi d Pereira CELLO, Tamara Anna Ci slowska

PIANO

GORMAN HOUSE and AINSLIE ARTS CENTRE, previously AINSLIE PUBLIC SCHOOL Architectural Note by Dr Dianne Firth Gorman House, which opened in 1925, is significant for its role in the historical, social and architectural development of Canberra. Gorman House was built on the north side of the city to provide comfortable and controlled domesticstyle accommodation for junior administrative staff on moderate salaries. From 1927 to 1945 Gorman House was used as a residence for single females and became known colloquially as ‘the hen coop’. After 1945 Gorman House was open to male and female residents. Prepared meals were served in the dining room, and sandwiches were available to take to work. Originally named Hostel No.3, then Ainslie Hotel, it was renamed Gorman House in honour of

Clarence Gorman, one of the three Federal Capital Commissioners, who died unexpectedly in January 1927. Hostel No.1 (Hotel Canberra) and Hostel No.2 (Hotel Kurrajong) were built on the south side of the Molonglo River and provided accommodation for higher status politicians and senior administrative staff. Designed by Commonwealth Chief Architect JS Murdoch, Gorman House is located on Ainslie Avenue, a major avenue in Walter Burley Griffin’s plan for Canberra. The buildings were originally single-storeyed and designed for 80 people. The two-storeyed pavilion additions at each end, also designed by Murdoch, were added in 1927 increasing the accommodation to 122. The

30 complex of eight buildings had a central core for dining and other public rooms that opened out to large garden courts with lawn, trees and flower beds. The accommodation was in seven detached pavilions connected by covered walkways. This was the first hostel completed under the direction of the Federal Capital Advisory Committee, chaired by John Sulman, and it contributes to a clearly recognisable early Canberra style. It reflects a combination of traditional Georgian and Inter-War Mediterranean sentiment with elements of the Prairie-style (perhaps an influence deriving from Murdochâ&#x20AC;&#x2122;s 1912 visit to Chicago where he met with Griffin and observed the buildings of Frank Lloyd Wright). Key design elements of Gorman House are the horizontality of the group of buildings, the interconnected pavilions in a symmetrical layout, the landscaped areas between the pavilions, the use of terracotta roof tiles (since replaced), red brick details, six-pane double-hung windows, and rough caste walls. The Brunswick green and cream colour scheme revives Georgian fashions. The garden setting continues the 1920s Canberra style of low hedges, lawns and plantings against the buildings that emphasise their horizontal character. The larger courtyards that open from the central dining room retain the original hawthorn trees. Wisteria vines are trained along the edges of the covered walkways, and deciduous and evergreen trees are carefully located to provide wind protection, summer shade, winter sun and seasonal delight. The brick pathways are a later addition. The building has technical interest, particularly as it expresses the frugality of its time of construction as well as the use of locally produced materials. The place has social significance to a diverse range of people. This includes its role as a housing hostel for nearly fifty years, its use as public service offices, as the home of a range of

community groups and activities, and as an active arts centre. Ainslie Public School, within easy walking of Gorman House, is one of Canberraâ&#x20AC;&#x2122;s oldest schools. Its opening in 1927 was the first official act of the Prime Minister, Stanley Bruce on his arrival in the national capital. Also designed by Commonwealth Chief Architect JS Murdoch, the building is of simple lines laid out symmetrically with the main entrance facing Northbourne Oval. A low hedge lines the front of the block and semi-circular entry driveway. Evergreen conifers and deciduous trees, distinctive of the planting when Alexander Bruce was Director of Parks and Gardens, has trees placed symmetrically at the front of the school and in formal plantations around the larger block. The school initially contained eight classrooms, each meant to accommodate fifty pupils, and a very large kindergarten classroom meant for one hundred pupils. The school included what were, for the time, spacious, even lavish, cloakrooms, playgrounds and staff room. The building itself was steam-heated with the latest methods of ventilation and up-to-date school furniture. With the building of a new larger Ainslie Primary School in 1938 facing Donaldson Street, the original school became the kindergarten. North and south wings were added in 1948. It is now the Ainslie Arts Centre, a venue dedicated to music education and performance and managed by Gorman House Arts Centre Inc. It provides rehearsal, tuition and performance space for community and youth music. The Centre is used by a range of community music organisations as well as musical groups and individuals. Both Gorman House and Ainslie Primary and Public Schools are entered on the ACT Heritage Register.

CONCERT 13

TUESDAY MAY 10

Wispelwey Plays Bach 1

6.00 PM

ALBERT HALL

This concert is supported by Major General Michael Jeffery and Mrs Marlena Jeffery Pieter Wispelwey is supported by Dr Peter William Weiss AO The first of two concerts in which Pieter Wispelwey performs the complete cycle of the JS Bach Solo Cello Suites Bach composed his six Suites for solo cello in or around 1720 in Cöthen in north-eastern Germany while he was Kapellmeister (musical director) at the court of Prince Leopold. The Prince was a capable musician himself, playing the harpsichord, violin and viola da gamba as well as singing baritone, and Bach was employed primarily to compose instrumental music. With many talented orchestral players at his disposal, Bach must have found his time at Cöthen between 1717 and 1723 immensely musically rewarding. It must have been a personally challenging time for him too. In the seven year period at Cöthen his first wife Maria Bach and his baby son died and he married his second wife Anna Magdalena. Much of his work from these years is lost, but what remains includes the six Brandenberg Concertos, the Well-Tempered Clavier and the Sonatas and Partitas for Solo Violin, as well as the six Cello Suites. Why did Bach write these suites for a solo instrument? – after all, it was virtually unheard of to write for unaccompanied cello, an instrument normally relegated to a supporting bass line. It may have been an experiment, or he may have been commissioned to write for particular instrumentalists. Cellist Carl Bernhard Lienicke and gambist Christian Ferdinand Abel were exceptional musicians in the Prince’s Cöthen orchestra at the time. It is likely that Bach composed each of the thirty-six movements in a single sitting.

The suite has its origins in the middle ages, when lutenists performed sequences of stylised dances of the day. Bach retained the rhythms of the original dance suite, but in his hands the suite became dance-like music rather than music to be danced to. The Six Suites for Solo Cello are among the finest examples of Baroque suites ever written. They explore the cello with all its idiomatic qualities and brim with virtuosity across the range of the instrument. Each suite contains six movements, beginning with a Prelude followed by a dance-based Allemande, a lively Courante, a stately Sarabande, a pair of “divertissements” for the fourth movement – Menuets (Suites 1 & 2), Bourrées (Suites 3 & 4) or Gavottes (Suites 5 & 6) – and finally a Gigue. The simplicity of this 6 x 6 structure acts as a solid foundation for the immense contrasts, musical and emotional, between and within the suites. Wispelwey considers the pieces a “collection of 36 character pieces”. Each suite has its own distinctive character and every movement within it its own personality. From the simple start of the first suite’s prelude in G major with the resonating open G-string the cello sets off in an amiable, engaging, cheerful way. The D minor of the second suite has a more introspective character, while the C major of the third connotes for Wispelwey “openness, riches and

32 magnanimity”. As the suites progress they increase in complexity, both for the player and the listener. The E-flat major of the fourth Suite is the one key whose tonic note cannot be played on an open (unstopped) cello string. Wispelwey Suite No. 1 in G major, BWV 1007 Prelude Allemande Courante

describes the C minor of Suite number 5 as: “De profundis, neither plaintive nor grieving, rather accusing, full of resistance to a tragic fate”, the final suite’s D major is for him “In excelsis – unearthly and in the light”.

Sarabande Menuet 1 & 2 Gigue

The Prelude of this opening suite, with its sequences of arpeggiated chords, is probably the most recognizable movement in the entire set of suites; it has been used in film and television soundtracks and is a popular piece for students of the cello. But it is not all amiable and harmonically predictable: before long, Bach the great improviser startles us with a use of chromaticism that distorts and unsettles. The Prelude is followed by a lyrical and rather reserved Allemande, a playful Courante, a slower and more formal Sarabande, the two courtly menuets and a straightforward joyful Gigue. Suite No. 2 in D minor, BWV 1008 Prelude Sarabande Allemande Menuet 1 & 2 Courante Gigue The second suite in D minor is more introspective, and in this related to the pensive character of the fourth suite. The Prelude is divided into two sections, the first i ntroducing a recurring theme and the second a contrasting cadenza. The Allemande also consists of cadenzas that make the music break free from its dance form. The Courante of this suite is the fastest of all the six Courantes, and like the Gigue, full of energy and youthfulness. Suite No. 3 in C major, BWV 1009 Prelude Sarabande Allemande Bourrée 1 & 2 Courante Gigue The third suite begins openheartedly with a rich scale-based Prelude which moves through fast and very technically demanding arpeggios and ends with an explosive final chord. A graceful Allemande follows and then a rapid Courante in one beat to the bar. The two Bourrées from this suite are sometimes heard played as solos by bass instruments such as the tuba, euphonium, trombone and bassoon. A jubilant, frolicking Gigue finishes the suite.

CONCERT 14 NEW ZEALAND HIGH COMMISSION presents:

TUESDAY MAY 10

New Zealand String Quartet

8.15 PM

ALBERT HALL

This concert is supported by Margaret Frey and Christine Goode Canberra welcomes back one of New Zealandâ&#x20AC;&#x2122;s leading music ensembles:

The New Zealand String Quartet: Donald Armstrong VIOLIN Douglas Beilman VIOLIN Gillian Ansell VIOLA Rolf Gjelsten CELLO

Ludwig van Beethoven Trio in G Major Op. 9 No. 1 Douglas Beilman VIOLIN Gillian Ansell VIOLA Rolf Gjelsten CELLO The Op. 9 trios are among the most important early chamber works by Beethoven. Each of the three works consists of four movements, like the then-recent Haydn symphonies. By this time Beethoven may well have been writing in the chamber/string genre as a means of testing his skills in the symphonic realm, which he was a bit hesitant to enter owing to Haydn's dominance of the field. Whatever his motives, he turned out three works whose chamber instrumentation perfectly suits their music. This G major Trio opens with an introduction marked Adagio. The Allegro con brio section that follows seems at first rooted in the same world as that of the Adagio, as a violin continues with the same music, albeit at a much livelier pace. The cello soon introduces the spirited main theme of the Allegro section. A second melody, more restrained, appears to complete the exposition. After the main materials are repeated, they are developed and there follow a recapitulation and coda. Overall, the mood of the opening movement is calm and features little conflict. The second movement, Adagio, ma non tanto e cantabile, continues the general serenity of the

work, though in the middle section the main theme intensifies somewhat. An important element here is the lullaby-like rhythm throughout most of the movement. It has a mesmerizing effect, as Beethoven's deft manipulation of the rhythm imparts an atmosphere of dreaminess. The third movement is a Scherzo, marked Allegro. There are two rather delightful themes in the main part and an attractive trio. The structure of the movement is interesting: after the main themes are repeated, the trio appears and seems headed to a full repeat, but fades away before it is completed. It is played again, now in another key, but fails to fully repeat, coming to a halt. After this pause one might expect a return to the main section of the Scherzo, but the ever-unpredictable Beethoven presents the trio section for a fourth time and in yet another key. The main Scherzo material finally returns for a full repeat, but with some clever changes. The finale is a lively and colorful Presto. The movement begins with an idea that is played staccato on the violin. This unusual opening is followed immediately by another surprise: a theme of a decidedly different persona takes

34 centre stage to offer startling contrast. The staccato music then returns to complete the exposition. There is a repeat of the expository materials, after which comes a development section. Here the composer demonstrates his deft sense of writing for the three instruments, imparting brilliant colour and wit to the busy

atmosphere. The recapitulation divulges further subtleties in the changes that the composer introduces. This remarkable movement caps a most remarkable work, which might be assessed as nearly the landmark in chamber music as his Third Symphony was in the symphony genre. Robert Cummings

Benjamin Britten 3rd String Quartet, Op.94 When a composer of note writes a string quartet very near to his death, and we have reason to know that the composer felt the imminence of the end, the listener somehow expects a personal deathbed statement, as it were, from this most intimate of musical media. Britten's final quartet meets this expectation. It is in a five movement form; like Britten's Second Quartet it contains a Passacaglia final movement and makes notable use of cadenzas. Very rarely for Britten there is a quotation from an earlier work. For there are frequent allusions to Britten's last opera, Death in Venice. Indeed, the final movement of the quartet is named "La Serenissima, " which is an old title for the Venetian Republic. Death in Venice occupied a very special place in Britten's output, for it was only then that he dealt openly with homosexuality as the main subject of a major work.

Britten revisited Venice after his half-successful surgery (he suffered his stroke during the surgery). It was a place he had always loved, as well as being the setting of the opera, and perhaps he realized it was his last visit. During the trip he wrote the string quartet in order to be sure of fulfilling a long-standing promise that sometime he would write another quartet; it is also likely that he realized that he must write it now. So his quotations from his Venetian opera are fraught with personal significance. There is an air of serene beauty, of an acceptance of self, that perhaps was achieved through the selfexamination that was inevitable in composing Death in Venice, and which Britten may have wanted to link to the city itself in the homage he gave it in this masterpiece of the modern string quartet. Joseph Stevenson

Johannes Brahms C minor Quartet Op.51, No.1 Johannes Brahms's String Quartet No. 1 in C minor and String Quartet No. 2 in A minor were published together in 1873, as Op. 51. Brahms was 40 years old at the time. He regarded the string quartet, like the symphony, as a particularly important genre, and refused to

publish anything in either of these genres that did not meet a very high standard. According to his friend Max Kalbeck, Brahms insisted on hearing several private performances of the Op. 51 quartets before they were published, after which he revised them substantially.

CONCERT 15

WEDNESDAY MAY 15

Castaway

6.00 PM

ALBERT HALL This concert is supported by Don and Bev Aitkin

Richard Strauss Enoch Arden Op. 38 Ti mothy Young PIANO, WB Griffin

NARRATOR

Enoch Arden is a melodrama for narrator and piano, written in 1897 by Richard Strauss to the words of the 1864 poem of the same name by Alfred, Lord Tennyson. These days the term “melodrama” refers to a dramatic work that exaggerates plot and characters in order to appeal to the emotions; but the French word mélodrame, combining the concepts of music and drama, originally referred to a technique of combining spoken recitation with pieces of accompanying music. By the early nineteenth century this practice was well established, in opera and elsewhere. In addition to the operatic use of melodrama by Mozart (Zaïde), Beethoven (the grave-digging scene in Fidelio) and Weber (the incantation scene in Der Freischütz), piano-accompanied melodramas were composed by Liszt, Schubert, and Wagner, among others. A decade after Enoch Arden Schoenberg sought an even closer integration of speech and music with the notated Sprechstimme (‘spoken voice’) in his Gurre-Lieder and Pierrot Lunaire. Copland’s Lincoln Portrait is in effect a mélodrame, as is Poulenc’s Babar, and Sculthorpe uses accompanied speech to highlight dramatic moments in The Great South Land. Like many a compositional project, Strauss’s Enoch Arden was inspired not so much by purely artistic goals as by more practical considerations: in order to solidify the composer’s friendship and beneficial professional relationship with the actor Ernst von Possart, a popular and powerful figure

renowned as a master of poetry recitation, who in 1896 helped Strauss obtain the prestigious position of chief conductor at the Munich Opera. To return the favour, Strauss sought a suitable poem to which to compose a piano accompaniment that he could perform together with Possart. Enoch Arden was one of Tennyson’s most popular narrative poems (two silent films were made of it, in 1911 and 1915), and Strauss' setting achieved his goals admirably. He and Possart toured extensively together, performing (in German translation) to large and appreciative audiences. Tennyson’s poem tells a story of three childhood friends in a small seaside village whose destinies are poignantly entwined in a manner perfectly calculated to appeal to Victorian bourgeois sensibilities. The orphaned “sailor’s lad”, Enoch, has a touch of Heathcliff about him; reserved yet passionate, his “large gray eyes and weatherbeaten face" exert an irresistible romantic appeal on young Annie Lee, “the prettiest little damsel in the port." Their playfellow, Philip Ray (“the miller’s only son") grows up to see Annie courted by Enoch and married to her, while he must look on disconsolately. Driven by the need to provide for his family in the wake of a period of misfortune, Enoch enlists with a merchant vessel bound for China. On the voyage back he is shipwrecked and subsists for a dozen years as a Crusoe-like castaway on a desert island. When Enoch is at last rescued, he returns to his village a ghost of his former self, recognized by no one.

36 Where once Philip had crept away unseen into the “hollows of the wood" after glimpsing Enoch's courtship of Annie Lee, now Enoch finds his ultimate redemption in remaining invisible to Annie and Philip, who have in the meantime married and brought up Enoch’s children together with one of their own. Strauss’s score provides a short prelude and several brief interludes that articulate the passage of time or changes of scene. The prelude music returns when the stranded Enoch recalls images of his home, including the “low moan of the leaden color’d sea" (suggested by the surging G minor scales of the piano's left hand). Most of the music, however, is designed to accompany portions of the recitation. Here the reciting text is carefully coordinated with the piano accompaniment, and sometimes accented syllables are aligned with the downbeat or the middle of a measure. But since the text is recited rather than sung, the speaker is able to declaim with a natural ﬂexibility of rhythm and accent unavailable to the singer of Lieder or of opera. Each of the three main characters is given a distinct leitmotif when first named, one after another, each in a different key and with a frank naiveté appropriate to their initial childish state. Annie's consists of a gently sinuous chromatic turn-figure in G, Philip's a simple triplet idea in E, and Enoch's a more energetic, leaping gesture in E flat with an accented dissonance. These principal leitmotifs are transformed and developed in the style of modern music drama, even though long stretches of unaccompanied recitation break up the music into small sections.

Philip's theme sinks and fragments with his “dark hour, unseen" in the woods, but returns to chime the merry wedding bells when Annie, despairing of Enoch's return, later agrees to become his wife. Enoch’s theme shadows him throughout his wanderings and undergoes the most extensive transformations, as for instance when Annie misinterprets a dream-vision of him “under a palm tree" as signifying that his departed soul has gone to rest among the heavenly host, or later at the opening of Part 2, when he is watching wearily on the shore of his desert island for the sight of a sail. The three main character-motives are all dramatically developed and intertwined at the emotional climax of the poem, when Enoch looks in, silently and unseen, at the domestic idyll of Annie, Philip, and the children gathered about them. While successful with the public at the time that Strauss wrote it, Enoch Arden fared less well over the years with music critics who considered it slight and lacking in melodic development. But it was never intended to be appreciated simply as a piece of music, and as the soundtracks of film and television dramas have gained critical respectability, so interest has revived in a performance genre that is not unallied to that of the audiobook. In recent years the work has attracted some notable names in both the speaker's role, including Dietrich Fischer-Dieskau, Michael York, Claude Rains and Patrick Stewart, and the pianist's role, including Glenn Gould, Emanuel Ax and Marc-André Hamelin. – With acknowledgements to James Pritchett and Thomas Grey.

42 James Saunders James Saunders is a graduate of the VCA, and has performed with the Sydney Theatre Company, Melbourne Theatre Company, Company B Belvoir, Bell Shakespeare Company, Playbox, Eleventh Hour and La Mama, as well as in both the Melbourne International Arts Festival and numerous international festivals throughout Europe and USA. He wrote and performed The Harry Harlow Project, premiering at the Victorian Arts Centre in 2009, and touring to Australian capital cities in 2011. Other recent theatre credits include On the production of Monsters, Richard III, Don Juan in Soho, all for the MTC; Song of the Bleeding Throat for Eleventh Hour, Appetite (KAGE Dance Theatre) for the Melbourne Festival, Antigone for Company B Belvoir, Fat Pig for STC, Small Metal Objects for Back to Back Theatre touring around Australia and to Europe in 2007-9, and Bell Shakespeare’s Two Gentlemen of Verona. He won a Best Actor Green Room Award for Stuck Pigs Squealing’s The Black Swan of Trespass, which then toured to New York. He was also a member of the Green Room Award winning ensemble Playbox Inside 2001, where he featured in Seven Days of Silence, Ancient Enmity and Public Dancing. He received a Goethe Institute Scholarship to Berlin in 2005. Some other theatrical credits include Inheritance, Full Dress Prodn’s, Conquest of the South Pole, Store Room; The Death of Ivan Ilych, MIAF 2002; Minutiae and Gilgamesh for Uncle Semolina and Friends. Film credits include the feature Animal Kingdom. TV credits include Offspring, City Homicide, Neighbours, Wilfred, Blue Heelers and Stingers. James featured in the German/Australian coproduction film A Familiar Lullaby by Lally Katz.

Maude Davey Maude Davey trained at the Victorian College of the Arts and has worked as an actor, director and writer for more than twenty-five years, with her primary focus being the creation of new work. She collaborates regularly with Finucane and Smith as a member of The Burlesque Hour ensemble, touring nationally in 2012 as Caravan Burlesque. Other collaborations include Carnival of Mysteries for the 2010 Melbourne Festival, and several seasons of Salon de Dance. Other recent performing work includes The Flood by Jackie Smith, (2012 national tour) and The Berryman by Patricia Cornelius for Hothouse Theatre (2010). Film and television work includes: The Slap; Rush; Offspring; Tangle; Miss Fisher’s Murder Mysteries; My Year Without Sex, by Sarah Watts, Roy Hollsdottir Live and Noise both by Matthew Saville, and Summer Heights High. She has recently directed renowned Tartar singer songwriter, Zulya Kamalova, in an original music theatre piece, The Queen the Witch, the Mother, and reigning Queen of Burlesque Imogen Kelly in Herstory. She was a member of a cappella theatre group Crying in Public Places, which toured nationally and internationally with their three shows, Crying In Public Places, Jump! and Skin, the last of which premiered at the 2000 Adelaide Festival. Her writing credits include: Every Angel is Terrible, a music theatre work with Sarah Ward and Bec Matthews; Way Dead Cool, with Peter Farnan for Oz Opera, Parallax Island with David Pidd for Hothouse Theatre, Infectious with Marcia Ferguson, and three one-woman shows, Mouthing the Day, Pickle or the Pickle Jar and Future of the Species Part One. She was Artistic Director of Vitalstatistix Theatre Company in Adelaide between 2002 and 2007, and of Melbourne Workers Theatre, 2008/2009.

43 Pieter Wispelwey “Cello playing of incomparable technical and musical accomplishment.” The Sunday Times “Wispelwey’s playing is at once supremely lyrical and furiously intense” The Guardian "Wispelwey is one of the deepest of contemporary cellists” American Record Guide Photo: Hang-Jin Cho

Pieter Wispelwey is among the first of a generation of performers who are equally at ease on the modern or the period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in repertoire ranging from JS Bach to Schnittke, Elliott Carter and works composed for him. Born in Haarlem, Netherlands, Wispelwey’s sophisticated musical personality is rooted in the training he received: from early years with Dicky Boeke and Anner Bylsma in Amsterdam to Paul Katz in the USA and William Pleeth in Great Britain. In 1992 he became the first cellist ever to receive the Netherlands Music Prize, which is awarded to the most promising young musician in the Netherlands. Pieter Wispelwey recently formed a string quartet, Quartet-Lab, with Patricia Kopatchinskaia, Pekka Kuusisto and Lilli Maijala. Quartet-Lab’s debut project was at the Konzerthaus Dortmund in September 2012, and extensive touring is being planned in 2013 and 2014, including Wigmore Hall, Konzerthaus Berlin, Concertgebouw Amsterdam, Helsinki Festival and Beethovenfest Bonn. Pieter Wispelwey celebrated his 50th birthday this year by embarking on a project showcasing the Bach Cello Suites. He recorded the complete Suites

for the third time, released in September 2012, on the label ‘Evil Penguin Classics’. The box set also includes a DVD featuring illustrated debates on the interpretation of the Bach Suites with eminent Bach scholars. Wispelwey’s career spans five continents and he has appeared as soloist with many of the world’s leading orchestras, including the Sydney Symphony, London Philharmonic, BBC Symphony, Orchestra of the Age of Enlightenment and Academy of Ancient Music, collaborating with conductors including EsaPekka Salonen, Herbert Blomstedt, Jeffrey Tate, Sir Neville Marriner, Philippe Herreweghe, Paavo Berglund, Ton Koopman, Libor Pesek and Sir Roger Norrington. Pieter Wispelwey’s impressive discography of over 20 albums has attracted major international awards. His most recent releases include Walton’s Cello Concerto (Sydney Symphony/Jeffrey Tate), Prokofiev’s Symphonie Concertante (Rotterdam Philharmonic/Vassily Sinaisky), the Britten Cello Symphony – all recorded live - and a unique set of works by Schubert for cello and piano (Fantasy D934, Grand Duo D574, Arpeggione Sonata), recorded on period instruments. On his current Australian tour Pieter Wispelwey is playing a 1760 Giovanni Battista Guadagnini cello.

48 2013 Composers in Residence Peter Sculthorpe Peter Sculthorpe is Australia's best-known and most-loved composer, with a catalogue of more than 350 works. His output relates closely to the social and physical climate of Australia, and the cultures of the Pacific Basin. He has been influenced especially by the music of Japan and Indonesia. In 1982 Sculthorpe was commissioned by the Australian Broadcasting Commission to write an opera for television, Quiros, about a Portuguese navigator who sailed in Spanish voyages of discovery in the Pacific Ocean in search of Terra Australis. Sculthorpe is the recipient of many awards, including being chosen as one of Australia's 100 Living National Treasures (National Trust of Australia, 1997). In 1977 he was appointed OBE and he was appointed AO in 1990. In 2009 Peter Sculthorpe was invited to Madrid to receive the prestigious Casa Asia Prize for his stellar career in music, the first composer from the Pacific region to receive this honour.

Gavin Bryars "... The music of Gavin Bryars falls under no category. It is mongrel, full of sensuality and wit and is deeply moving. ... He allows you to witness new wonders in the sounds around you by approaching them from a completely new angle. With a third ear maybe…" Michael Ondaatje

Gavin Bryars’ first musical reputation was as a jazz bassist focusing on improvisation, after which he worked for a time in the US with John Cage. His first major works as a composer were The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971). He has composed prolifically for the theatre and dance as well as for the concert hall, and has written three full-length operas. Among his other works are three string quartets and a great deal of chamber music. He wrote a series of vocal works for The Hilliard Ensemble, and since then vocal music has been a major preoccupation.

Paul Dresher “Paul Dresher exemplifies the spirit of West Coast music both in the richness of his sound world as well as the inventiveness of his mind. … Paul has invented new instruments, both mechanical and electronic, each of which has expanded his musical thinking. ... He's a maverick in the very best sense of the word.” John Adams

As both a composer and performer, Paul Dresher is uniquely able to integrate different musical influences into a coherent and remarkably personal style. He composes and performs experimental opera and music theatre, chamber and orchestral music, and instrumental electro-acoustic music. A 2006-07 recipient of a prestigious Guggenheim Fellowship in Composition, Dresher’s music has been performed at venues and festivals in North America, Europe and Asia.

CONCERT 16

WEDNESDAY MAY 15

Rebirth

8.15 PM

ALBERT HALL This concert is supported by Gail Ford We dedicate the concert to the memory of Len La Flamme

JS Bach Motet “O Jesu Christ, meins Lebens Licht” BWV 118 *AUSTRALIAN PREMIERE

JS Bach Cantata “Christ lag in Todes Banden” BWV 4 GM Hoffman, attr. to JS Bach Cantata “Schlage doch, gewünschte Stunde” BWV 53 *AUSTRALIAN PREMIERE

Tobi as Cole COUNTERTENOR

JS Bach Cantata “Erfreut euch, ihr Herzen” BWV 66 The Song Company wi th guests Rachael Thoms ALTO, Tobias Cole COUNTERTENOR, Andrew Goodwin TENOR, Ca nberra Festival Ca merata wi th Ca lvin Bowman CHAMBER ORGAN, Clare Tunney CONTINUO, dir. Roland Peelman

Bach’s musical legacy includes a magnificent collection of vocal music including the Passions, Masses and Oratorios, but by far the largest proportion of it is his cycles of church music. These cantatas were written for Sundays and other holy days in the church calendar, and with around 65 celebrations each church year, this meant producing over three hundred works. About two hundred of these sacred cantatas remain, the others lost when Bach’s estate was divided. In tonight’s program we hear cantatas spanning Bach’s life, from Christ lag in Todesbanden BWV 4 composed in 1707 when he was in his early twenties, to his work of thirty-three years later in Leipzig: O Jesu Christ, meins Lebens Licht BWV 118. O Jesu Christ, meins Lebens Licht BWV 118 (O Jesus Christ, light of my life) This beautiful melancholy work, with its stirring graveside of the Leipzig governor Count Friedrich instrumental opening followed by the slow von Flemming in 1740. The original chorale tune introduced by the sopranos and instrumentation of 2 litui (a lituus was a military extended into a six-part counterpoint, is based on horn or trumpet), one cornetto and 3 sackbuts a single hymn stanza by Martin Behm (1557would have been appropriate for an open-air 1622). Although first published among Bach’s performance at a cemetery. Some time later, cantatas, this unique work in one movement is Bach prepared an indoor version, with strings and not in fact a cantata, but a chorus for four-part continuo, with woodwinds doubling the vocal choir which Bach himself labelled a Motetto. It lines. was probably first performed outside at the Christ lag in Todes Banden BWV 4 (Christ lay in death’s bonds) This cantata, one of Bach’s earliest, was probably which both text and music are based on a composed for an audition for the position as Lutheran hymn, in this case the hymn of the same organist at the Church of St Blasius in name by Martin Luther. The cantata begins with Mühlhausen, on Easter Sunday, 1707, one of the an instrumental Sinfonia, which introduces the audition requirements being a vocal composition. first line of the melody. The seven stanzas are It is a chorale cantata, a type of composition in treated in seven movements as chorale variations

50 "per omnes versus" (for all stanzas) with the melody always present as a cantus firmus. The sequence of the seven stanzas shows Bach’s respect for symmetry: chorus – duet – solo – chorus – solo – duet – chorus. Every stanza ends with the word Halleluja, and unlike Bach's later cantatas, all the movements are in the same key, E minor. The opening slow Sinfonia sets the grave yet calm tone. A lively chorus follows with the soprano line chanting the cantus firmus (chorale tune) over the lower voices. The second verse has the soprano and alto weeping in canon, with

dissonance on the words den Tod (death) and gefangen (imprisoned). The solo tenor of the third verse illustrating the struggle between life and death stops on the word nichts (“nothing”) but ends in a joyful Halleluja. In the chorus that follows, the way is set from death to life; the final bass solo declares victory in Hallelujas spanning two octaves. The chorale tune begins the next verse in a duet for soprano and tenor but quickly the voices are dancing joyfully to triplets emphasizing the word Wonne (joy). The cantata concludes with a four-part harmonization of the chorale with the tune floating quietly above.

Schlage doch, gewünschte Stunde BWV 53 (Strike at last, you longed-for hour) In order to cope with the immense workload as probably written by Georg Melchior Hoffmann Cantor of Thomasschule and Director of Music in (1684-1715), an organist in Leipzig. Bach must Leipzig, Bach relied on repeat performances of have admired the work because he copied it in earlier sacred cantatas, reworkings of his early his own hand. It is a gentle uncomplicated piece secular cantatas from his time in Cöthen and that accepts dying and welcomes death. If it were borrowing from other composers. Schlage doch, by Bach, the inclusion of bells in the orchestration gewünschte Stunde is a mourning cantata, would makes it unique in his surviving output. Erfreut euch, ihr Herzen BWV 66 (Rejoice, you hearts) By Easter Monday in 1724, the Monday of Bach’s first Easter as Thomaskantor, Bach had composed and performed his St John Passion, his largest work to date. This must have been a tremendously busy time for him, and for the services and festivities that followed he reworked earlier cantatas into new versions suitable for the occasion. Erfreut euch, ihr Herzen was recycled from a work he had written five years earlier in Cöthen for the birthday of his employer, Prince Leopold. Bach re-ordered the movements of his earlier work, and added an Easter hymn as the final movement. The work opens with a rousing chorus with a radiant solo trumpet, setting the atmosphere for a work expressing the joy of Easter. The opening chorus Erfreut euch, ihr Herzen, Entweichet, ihr Schmerzen (Rejoice, you

hearts! Away, you sorrows!) and the two arias are all in major keys, triple time and da capo form. There are moments of great fanfare, ascending strings and driving orchestral and choral passages in the opening chorus that then contrast with the descending lines of “sadness, fear and anxious timidity” before the jubilation returns. The bass aria Lasset dem Höchsten ein Danklied erschallen (Let a song of thanks ring out to the Almighty) with its exhilaration in words and music is easy to imagine as a birthday paean for Prince Leopold. The alto and tenor duet Ich furchte zwar nicht des Grabes Finsternissen (I fear not at all the darkness of the grave) abounds in fanfare motifs and a sense of victory. The final Chorale opens with a threefold Halleluja.

CONCERT 17

THURSDAY MAY 16

AMAZING SPACE 4

12 NOON

Sounding The Shine Dome

AUSTRALIAN ACADEMY OF SCIENCE

This concert is supported by Christine Goode Paul Dresher is supported as Composer-in-Residence by The Embassy of the United States of America Speakers: Victoria Grounds and Ann Cleary

Paul Dresher In the Name(less) *AUSTRALIAN PREMIERE Pa ul Dresher ELECTRIC GUITAR, Joel Davel PERCUSSION

Terry Riley In C Double Duo, Desert’s Edge, Synergy Percussion, Mi roslav Bukovsky a nd Alex Raupach TRUMPETS a nd ANU School of Music faculty, di r. Pa ul Dresher

AUSTRALIAN ACADEMY OF SCIENCE, SHINE DOME Sir Roy Grounds, Architect, 1957-1959 , WL Irwin & Associates, Engineer Architectural note by Ann Cleary FRAIA, Senior Lecturer in Architecture, University of Canberra The Shine Dome is recognised as an internationally significant exemplar of modern architecture and has been highly awarded, receiving in 1959 both the Sulman Award and the Canberra Medallion, and later in 2000 the 25 Year Award from the Australian Institute of Architects. It is also importantly listed in the National Heritage Register and the International Register of Significant 20th Century Architecture. The Shine Dome stands as an enduring testament to the foresight and ‘daring‘ of a group of scientists who came together to form the Australian Academy of Science in the early 1950s and commissioned the modest yet now iconic building as an embodiment of their ambition and ideals for the sharing of scientific knowledge for the wider public good. In his book A big, bold, simple concept, commissioned to celebrate the fifty years since the opening ceremony of the building and the first scientific gathering, Alan Roberts notes the Shine Dome as “…a hallmark of Canberra’s growth and

modernism…”, and in the Foreword Academy Fellow Kurt Lumbeck comments: “…Above all, it is the symbol of excellence in science. I believe that to most scientists…it does not fail to instil a certain awe upon entry, particularly to the first time speaker. Or even a first time visitor. I certainly recall the day of my induction, a quarter of a century ago.” It is this sense of ‘awe’, a discovered and unexpected spatial experience one is immersed in within the dome that is compelling, carefully calibrated and crafted to amplify our engagement with the architecture and what it represents. From a series of shortlisted competition entries, architect Roy Ground’s proposal was selected both for its ‘daring’ in form and innovation, and its natural fit in scale and purpose to the landscape qualities of its siting, and its intent as a focus of ideas and thoughtful exchange. Grounds commented in response to questions on the domed form:

52 “Attention was concentrated on controlling Canberra’s blindingly brilliant natural light while designing a building suited to the locality and the semi circular perimeter of the site. The domed shape was a corollary of the rounded hills and mountains that enclose the valley of Canberra…” Alan Roberts further comments in his book: “The Academy (like the Sydney Opera House) is one of the earliest major examples of the new language of monumentality made possible by the plasticity of reinforced concrete. It encouraged striking experimental and sculpturally expressive structures.” The Shine Dome is an exceptional example of ‘geometric structuralism’. The ‘dome’ shell, clad in a light patina copper, lifts at its edges on sixteen points to create a finely tuned rhythm of permeability and support, drawing in light, sky and outlook as well as passage, movement and ambulation. Grounds carefully articulated the circulatory progression towards the inner plenary chamber through a mediation of natural light levels as well as a scaling of the materiality of the enclosing elements. Light is reflected and captured on the underside of the concrete arches off the encircling moat of water to quietly activate the still dome form and elegantly imbue a timeless quality to our engagement with the architecture, one that is always felt in the present. Once inside, we are drawn around encircling walls of brick-work,

further linings of timber slats and passage, opening to pause spaces of light and connection. The detailing of the stairwells with curved undercroft to each step and landing further disseminates light; and fluted ceiling coffers accentuate the geometric cadence, as we arrive into light-filled liminal spaces with outlook seen through the frame of the arches. Within the chamber, the vertical timber slats are again deployed to encircle and ‘hold’ the space, an upper balcony set in behind, and the dome now apparent in the space above. Interestingly, the vertical timber slats also provide a rhythm of solid and void with an air gap between the spacings, integrated as part of the acoustic treatment of the space. An inventive solution to the visual illusion that resulted in many feeling motion sickness, was later added in the form of tensioned strings in the gaps that steadied the visual disturbance while ensuring air movement was maintained. The strings subtly ‘vibrate’ when the space is in use. In this sense, the finely calibrated and crafted detail of the architecture provides a continuous experience of immersion, scaled to both the natural setting and the cadence of our progression towards the inner plenary space. The architecture of Ground’s Shine Dome is a heightened experience of ‘spatial intervals’ that coherently describe and define both its geometry and its resonance.

In support of the spatial ‘sounding’ of the Shine Dome, Master of Architecture students from the Univer sity of Canberra have explored the synergies between architecture and music in a series of spatial renderings and interval drawings. These studio studies in spatial interval, articulated light, public itinerary, geometric structuralism, material presence and spatial resonance, amplify an understanding of an architecture calibrated for its resonance, for its sensory immersion and essential timelessness. They underpin further ideas for the Shine Dome precinct and Academy programs that the students are explori ng which will be on display as project concepts in drawing and model form. Our sincere appreciation to Dr Sue Meek, Kylie Walker and Mitchell Piercey from the Academy of Science, and Chris Latham, Director of the Canberra International Music Festival for their support and contribution to the project intentions, aspirations and engagement with the Master of Architecture Studio.

CONCERT 18

THURSDAY MAY 16

Wispelwey Plays Bach 2

6.00PM

ALBERT HALL

This concert is supported by Emmanuel and Jenny Notaras and John and Koula Notaras Pieter Wispelwey is supported by Dr Peter William Weiss AO Pieter Wispelwey completes his cycle of JS Bach Cello Suites by candlelight. The story of the discovery of the six solo cello suites reads like a good mystery. Aspiring cellist Pablo Casals at the age of 13 found the earliest known manuscript of the works in a second-hand music shop in Barcelona in 1890 - although it wasn’t until after the Spanish Civil War that he finally made the first-ever recording of the six suites. No manuscript signed by Bach has been found, but there survives a hand-written copy by Bach’s second wife, Anna Magdalena. Since that first recording by Casals, the suites have been cherished by cello players. They are seen as a rite of passage, the “cellist’s bible” or in Wispelwey’s words “a touchstone for cellists”. For Wispelwey they have also been his companion – he has recorded them three times and performed in concert halls all over the world.

Suite No. 4 in E-flat major, BWV 1010 Prelude Sarabande Allemande Bourrée 1 & 2 Courante Gigue In this opening suite to the second part of the set of six, we move from the triumphal and joyful third suite in the key of C major to one in E flat major. This suite challenges both listener and player. Bach demands fleeting passages, complex rhythms and intervals, demanding cadenzas and concentrated tension. It is through the fourth suite that we see and hear the extraordinary qualities of the cellist and the cello as an instrument. The Prelude, with its slow-moving harmonic rhythm and arpeggios, is reminiscent of the first Prelude in C major of the Well-Tempered Clavier (BWV846). Normally, a Sarabande is in 3/4 time with emphasis on the first beat in a bar, but in this one the third beat of the bar is characteristically tied across the bar line to the first beat of the next, leading to a perceived stress on the second beat. An invigorating Gigue ends the suite.

Suite No. 5 in C minor, BWV 1011 Prelude Sarabande Allemande Gavotte 1 & 2 Courante Gigue Suite number 5 in C minor was originally scored with scordatura tuning: the A-string was tuned down to G, darkening the tone of the instrument. Nowadays standard tuning can be used without altering the music significantly.

54 The suite begins with a slow Prelude that explores the cello’s ability to convey intense emotions. An eloquent and disciplined introduction gives way to a rapid single-line fugue and a powerful finish. The Allemande that follows juggles emotions and moods; it is followed by a masculine and vigourous French Courante. When the first names of the dead were read out at the site of the World Trade Centre on September 11, 2002, the acclaimed cellist Yo Yo Ma played the Sarabande of this suite. The desolation, loneliness and longing in this movement are created through a single line of music with no double stops (chords produced by playing two strings simultaneously). The haunting mood of the Sarabande reappears in the second Gavotte in this suite, and the Gigue is intense and brooding.

Suite No. 6 in D major, BWV 1012 Prelude Sarabande Allemande Gavotte 1 & 2 Courante Gigue In the manuscripts of this Suite the player is instructed to tune “the fifth string” to E natural, indicating that it may have been written for a 5-string violoncello piccolo (small cello). Modern cellos and techniques now make this high tessitura possible with a four-stringed cello, although the cellist has to use very high positions to achieve the high-pitched notes. Like other early music specialists, Wispelwey generally uses a five-string cello for this suite – when the constraints of air travel do not prevent it, as they do on this tour. This final Suite, in the bright, triumphal key of D major, is a celebration from start to finish. Ascending passages modulate upwards from D to A major to E minor to reach the high new E string where the music continues to radiate with its cadenza-like passages, modulations and octaves. The very slow Allemande is in total contrast to all those before it – a baritone aria full of devotion. A virtuosic Courante and a majestic Sarabande in 3/2 time follow, both transcending those of the earlier suites. Then to finish, a Gigue in total contrast to the simplicity of the Gigue of the first Suite. In Pieter Wispelwey’s words, “Things get completely out of control [in this final Gigue], where frenzy is driven to the limit in the orgiastically repeated sixteenth-note pairs towards the endings of the A and B sections. Here the domain of the cello suite is left behind forever.”

CONCERT 19

The Last Romantic Symphony

THURSDAY MAY 16 8.15 PM

NATIONAL MUSEUM OF A USTRALIA

This concert is supported by Friends of Ursula Callus in her memory We dedicate the concert to Chris Peters A collaboration with the NMA in support of their exhibition Glorious Days: Australia 1913 Gustav Mahler 9th Symphony arr. for chamber ensemble *AUSTRALIAN PREMIERE

1. 2. 3. 4.

Andante comodo Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb Rondo-Burleske: Allegro assai. Sehr trotzig Adagio. Sehr langsam und noch zurückhaltend

Ca nberra Festival Ca merata, cond. Christopher La tham

The Symphony No. 9 by Gustav Mahler was written between 1908 and 1909 – the last symphony he completed – and premiered in 1912 by the Vienna Symphony Orchestra under Bruno Walter. As Leonard Bernstein says in his “personal introduction” to Mahler’s 9th Symphony, Four Ways to Say Farewell, “All Mahler symphonies look back nostalgically to the innocent past and having failed to find it, look forward (fearfully or hopefully) to some sense of resolution.” In the 9th, each movement is a farewell: the first is a farewell to tenderness, passion - human love; the second and third are farewells to life – first to country life, then to urban society; the finale is a farewell to life itself. The first thing we hear is “a premonition of death” - the irregular rhythm that Bernstein was convinced represented Mahler’s irregular heartbeat. As the Symphony opens, this rhythm is very gentle, unassuming, tentative perhaps; only later, as it appears at certain climactic points, does it begin to take on the aspect of a “Fate Rhythm,” a dramatic emphasis appearing at climaxes

marked “triple forte”. With this heart-beat motive are coupled other musical germs – the harp notes that immediately follow, becoming another, perhaps more regular version of this heart-beat; the horn call which, in one form or another, permeates the textures and themes of the movement. The first real theme is based on a falling motive that fits the word Lebwohl – “Farewell”, which some say is quoted from Beethoven’s Piano Sonata in E-flat Major, the “Les Adieux” Sonata. Throughout the first movement these three elements – these two heart-beat motives and the Farewell Motive – are constantly intertwined. Near the very end is a very strange passage featuring a solo flute, a solo horn and the cellos and basses rumbling along with their own solo line. The chamber-music-like texture is striking: the horn-call is like a song of nature, the flute’s trills bring to mind bird-calls, quietly grounded by the basses – something composer Alban Berg described as “a vision of the hereafter”. If this huge first movement is a farewell to love, the second movement is a farewell to the

56 pleasures of country life. Outwardly, it is a dance movement, a country ländler where Mahler quotes or implies a couple of Bohemian folksongs which he had used in some of his earlier songs. But there is an almost kaleidoscopic fracturing of the mood, an underlying sarcasm and bitterness that makes this scherzo not so much a humorous “joke” (which the word means literally), but a philosophical one. For all its low-class humour, this movement is one of the most sophisticated Mahler ever wrote, and probably the most difficult one in this symphony to perform – and to interpret. The third movement, a second scherzo, is another problem. One minute it is sprightly, and then suddenly it turns hysterical and finally demonic. This movement is subtitled “Burlesque” – in the sense that it becomes a take-off on the expected as well as a perversion of what started out as a lively picture of urban life and its joys and social whirl. But as the movement progresses, it becomes increasingly more manic and vile. Written in 1909, this is Europe teetering on the verge of what would eventually become World War I – political and social tensions that had been fermenting not far below the surface since the end of the 19th Century before it finally broke through, five years after Mahler completed the symphony. Subtitled Adagio (slow), though Mahler marks the tempo molto adagio (very slow), the fourth movement is not depressed or mournful – if anything, it is consoling, almost “hopeful” about the peace one finds after death, whether there is an after-life or “other world” or not. As many people have written, the main difference between Bruckner and Mahler, two composers who both

wrote very long symphonies, was that Mahler was always looking for God, but Bruckner had already found Him. When told that Mahler never seemed to be as close to God as he was at the moment he was so close to death in this 9th Symphony, Bruno Walter, who had been Mahler’s friend and assistant conductor, said “They are the same: on the other side of Death is eternity – Death is the doorway to God.” If the opening theme sounds like the hymn “Abide with me” (whether Mahler actually knew that hymn is doubtful, though he might have heard it when he was in New York), the next section, after all this intensity, is so spare and suspended in time, it’s as if Mahler was engaging in a Zen kind of transcendental meditation. He then returns to a more European spirituality and finally alternates between them, rallying his strength to another climax - but twice it collapses. The last one tries to rebuild but after a short while, it’s as if the composer has now accepted Fate: now, at the age of 49 and more through silence than notes, he attains, as Bernstein says, a “blissful serene acceptance of the ending of life.” In the last 24 bars of the symphony Mahler quotes one of his own songs, from the last of the four “Kindertotenlieder,” the songs on the death of children he wrote when his wife Alma was still pregnant with their second daughter, and for which he blamed himself when their first child died of scarlet fever shortly afterward. He uses the music setting the words “The day is beautiful from those heights,” the ultimate consolation. Just as it had done in the famous Abschied (“Farewell”) that concludes Das Lied von der Erde, the music then slowly unwinds, breath by peaceful breath, until at the end - there is no more.

With thanks to Dick Strawser http://dickstrawser.blogspot.co m.au/2009/01/mahlers-symphony-no-9-up-close-personal.html

CONCERT 20 ACTEW WATER presents:

AMAZING SPACE 5

FRIDAY MAY 17 12 NOON – 3PM, BOARDING 11.45

LAKE BURLEY GRIFFIN BOAT CRUISE

Sounding the Lake

This concert is supported by Graham and Elspeth Humphries, June Gordon and Muriel Wilkinson Speakers: Mark Sullivan, Dr Dianne Firth, Ann Cleary and Stuart McKenzie To and From Scrivener Dam:

To be sung on the water: Henry Purcell Two Daughters of this Aged Stream Franz Schubert Auf dem Wasser zu singen Franz Schubert Die Forelle Trad/Britten O Waly, Waly Trad/Copland At the River Sculthorpe Parting Trad Shenandoah

Trad Santa Lucia Ernesto De Curtis Torna a Surriento Ernst Chausson Sérénade italienne Gabriel Fauré Les berceaux Hector Berlioz L’île inconnu Henry Mancini Moon River Jacques Offenbach Barcarolle

Loui se Pa ge SOPRANO, Christina Wilson MEZZO SOPRANO, Alan Hicks PIANO

At the National Carillon:

Plain Hunt Major Change Ringing Jef Denyn Prelude in D minor Alexandre Borodin Aria from Polovtsian Dances Larry Sitsky Peal Traditional Russian Great Easter Peal Lyn Ful ler CARILLON

At Commonwealth Place:

Malcolm Williamson Canberra Fanfare Leoš Janáček Fanfare from Sinfonietta Ca nberra Festival Brass cond. Christopher La tham

LAKE BURLEY GRIFFIN Architectural note by Dr Dianne Firth A national capital beautified by water was an idea at the time of Federation, and the city site at Canberra was selected with consideration of its potential to form a large lake on the flood plain of the Molonglo River. The competition for the design of the Federal capital listed ornamental water as a requirement, and surveyor Robert Scrivener showed its potential and possible dam

sites on the base map of the city site that was included with the competition materials. Supply reservoirs were promised on the Molonglo and Queanbeyan Rivers. The winning design of Walter Burley Griffin showed a grand lake at the heart of the city incorporating both formal basins and informal

58 picturesque lakes. Following the flow of the Molonglo River from east to west, Griffin proposed an expansive East Lake that would be held back at a higher level (1835 ft) by a causeway that would carry the railway connecting Canberra to Yass and thence to Melbourne. Below the causeway would be three formal basins: East Basin, Central Basin and West Basin, leading into the informal West Lake, all held at the level of 1825 ft by an impounding dam near Yarralumla House. However, in 1916, when the Public Works Committee looked into the cost and reality of implementing Griffin’s lake scheme, it decided that this was a project that could wait. Over the following decades the gazetted plan for Canberra continued to show the outline of the future lake. But in 1950, with road transportation taking precedence over rail, the rail connection to Yass was removed from the gazetted plan along with East Lake. West Lake also posed a problem in that it would cover the existing golf course and racecourse, and was surreptitiously removed from the plan in 1954. However, the 1955 Senate Inquiry into the development of Canberra questioned these changes, and in 1958 the newly formed National Capital Development Commission (NCDC) undertook feasibility studies,

including the reinstatement of West Lake, as a priority project. Between 1961 and 1964 the lake and its surrounding parklands took shape. Scrivener Dam, the dam to impound the lake, was officially closed on 20 September 1963, but the lake was slow to fill. However, in April 1964 a cloudburst in the catchment suddenly brought the lake to its full capacity. The reality of the lake, gauged by the public response, took everyone by surprise. The large body of water surrounded by sweeps of grass and groups of trees dramatically changed the scale of the space, made sense of Griffin’s axes and animated the scene with colour and light. Although not exactly the lake that Griffin had designed, it was officially named Lake Burley Griffin by Sir Robert Menzies on 17 October 1964. The successful creation of Lake Burley Griffin provided a boost of confidence to Canberra. Over the 1960s and 1970s it encouraged a sense of public pride in the city not seen before, and helped attract people and business to move to the city. The lake landscape helped meet the expectations of the growing middle-class population for recreation by providing a range of aquatic opportunities and parkland facilities as well as the setting for major national institutions.

STATISTICS Volume: 33,000,000 m³ Length: 11 km Shoreline: 40.5 km Depth: 1.9 m - 17.6 m

Surface Area: 6.64 km² Width: 0.3 km - 1.2 km Elevation: 555.93 m above sea level Islands: 6 (3 named, 3 small)

CONCERT 21

FRIDAY MAY 17

Double Duo

6.00PM

ALBERT HALL

This concert is supported by Margaret and Peter Janssens Paul Dresher is supported as Composer-in-Residence by The Embassy of the United States of America Double Duo: Karen Bentley Pollick VIOLIN, Lisa Moore KEYBOARD , Joel Davel PERCUSSION, Paul Dresher ELECTRIC GUITAR /QUADRACHORD , with guests Graeme Jennings VIOLIN and Robert Spring CLARINET

Paul Dresher Elapsed Time *AUSTRALIAN PREMIERE

1st Movement: Variations 2nd Movement: Almost 3rd Movement: Racer Elapsed Time was composed for violinist David Abel and pianist Julie Steinberg during the ﬁrst three months of 1998. , and consists of three related movements: Variations, Almost, and Racer. The title refers to my on-going interest in

how the nature of musical development (or lack thereof) affects our sense of the passage of time, as well as my teenage obsession with top fuel drag racing (an aspect possibly evident in the last movement).

Paul Dresher Chromatic Quadrachord *AUSTRALIAN PREMIERE

An idea for an instrument usually starts with the question “What would happen if …”. The “if” in that answer might be something like: “we put strings on a 16 foot long beam?” or “we explore the way a hurdy gurdy mechanically bows strings?” or “dispense with the keyboard and invent new ways to play a pipe organ?” Of course, behind any of these questions is a curiosity about sounds and a desire to discover either a new sound world or a new way of creating or controlling sounds that might already be in our musical vocabulary. The Quadrachord is an instrument invented in collaboration with instrument designer Daniel Schmidt as part of my music theater work Sound Stage. The instrument has a total string length of

160 inches, four strings of differing gauges but of equal length and an electric-bass pickup next to each of the two bridges. It can be plucked like a guitar, bowed like cello, played like a slide guitar, prepared like a piano, and hammered on like a percussion instrument. It is always a substantial compositional step when one attempts to move the sound of a new invention in order to create a more layered or complex music. But if one is combining that invented instrument with conventional instruments, one has to grapple with the very basic issues of the tuning system one chooses to use, and of course, important characteristics of sound “colour” and dynamics. In this work I decided to explore that question directly by

60 choosing an ensemble that combined different instrumental families: bowed strings (violin), clarinet (woodwind), struck strings (piano) and percussion (marimba). And because the Quadrachord does NOT play in the same tuning system as these conventional instruments – all its intervals are derived from the natural harmonic series – I decided to make the difference between their tuning systems one of the main subjects of the work itself. What we’ll hear from the Quadrachord in tonight’s performance is a relatively simple

exploration of orchestration and intonation. The piece begins with the Quadrachord alone, establishing its distinct sound world and playing the simple bowed pattern that it will use throughout the work. The musical content at that point is simple and entirely in tune with the tuning systems that all the other instruments will use. As the piece develops, each instrument plays a short duet with the Quadrachord. As the piece progresses, duets turn into trios, then quartets and then the full quintet towards the end, and at each instrumental change, the Quadrachord moves higher in the harmonic series.

Paul Dresher Concerto for Violin and Electro Acoustic band *AUSTRALIAN PREMIERE

Cage Machine - Gra eme Jennings SOLO VIOLIN Chorale Times Two - Ka ren Bentley Pollick SOLO VIOLIN

I have always been rather ambivalent about the concerto form, at least as it has come down to us from the late 18th and 19th centuries. The form typically derived its energy from conﬂict and resolution between the soloist and ensemble, and it has often been a vehicle for technical display at the expense of other musical values. This goes inherently against my interest in an equal-voiced or layered contrapuntal texture. In approaching this form I felt I had to explore different possible relationships, ones that more honestly reﬂected both my musical and social perspectives.

In each of the movements I have used contrasting models for the instrumental ensemble. In the first movement, Cage Machine, it is that of a rock and roll band; in the second movement, Chorale Times Two, it is an orchestra. The title of the ﬁrst movement, Cage Machine, and most of the electronic keyboard and percussion sounds in the whole work, are indebted to John Cage and his invention, the prepared piano. I have long been inspired by the revolutionary idea of Cage's invention, as well as the music he composed for the instrument.

Paul Dresher Double Ikat Part 2 The title of this piece refers to a style of weaving common in South East Asia in which both the threads of the warp and weave are dyed to create the pattem or image. For me, the title thus relates to the interrelationships of the three instruments and to the title of the choreographic work, Loose the Thread, from which it sprang. I wish to thank Brenda Way for creating much of the atmosphere which infuses the work; Lou

Harrison for providing the inspiration to create my most blatantly lyrical work to date; and William Winant, Julie Steinberg, and David Abel for working closely with me throughout the composition, rehearsal, revision and recording of the piece. The last section of Part Two of the work is an homage to Nikhil Banerjee, one of the finest musicians of this century, who died at far too early an age in 1986.

CONCERT 22

FRIDAY MAY 17

The Lark Ascending

8.15 PM

ALBERT HALL

This concert is supported by Donna and Glenn Bush Gavin Bryars is supported as Composer-in-Residence by Harriet Elvin and Tony Hedley Benjamin Britten Fanfare for St Edmundsbury Pa ul Goodchild, Za ch Raffan, Owen Morris TRUMPETS

Gavin Bryars from The Second Book Of Madrigals for 6 Voices *AUSTRALIAN PREMIERES

The Song Company wi th Tobias Cole COUNTERTENOR a nd Andrew Goodwin TENOR, dir. Roland Peelman

Andrew Ford Australian Aphorisms *PREMIERE

Texts by Les Murray, Judith Wright, David McCooey, Peter Porter, Ba rbara Blackman & Davi d Ca mpbell The Song Company dir. Roland Peelman

Benjamin Britten Hymn to St Cecilia The Song Company dir. Roland Peelman

INTERVAL

Ralph Vaughan Williams The Lark Ascending for solo violin and chamber orchestra Ma deleine Mi tchell VIOLIN, Ca nberra Festival Camerata (Anna McMi chael leader) i ncorporating the Sprogis Woods Young Arti sts and the ANU School of Music faculty & s tudents, cond. Christopher La tham

Benjamin Britten Folksongs Andrew Goodwin TENOR, Roland Peelman PIANO

John Metcalf Paradise Haunts *AUSTRALIAN PREMIERE

Ma deleine Mi tchell VIOLIN, Tamara Anna Ci slowska PIANO

‘So Canberra achieves the difficult feat of being one of the last Cities Beautiful, and also the world’s biggest Garden City.’ – Sir Peter Hall (2002) The Garden City philosophy in urban landscape design, in combination with American ‘City Beautiful’ principles, underpinned the initial planning of Canberra between 1920 and the Second World War. The planners and architects for the new Australian Capital considered it important to establish an aesthetic of balance, light and space – an aesthetic that evoked a desirable lifestyle. To create this, they turned to a method of urban planning initiated in 1898 by Sir Ebenezer Howard in the United Kingdom – the Garden City Movement,

many of whose principles were integral to Walter Burley Griffin’s winning design for the new Federal Capital of Australia. In this centenary concert we commemorate this important British influence on Canberra’s urban development. We also celebrate another centenary: the birth of Britain’s greatest 20th century composer, Benjamin Britten, in 1913, and this concert acknowledges both centenaries by opening with the Fanfare for St Edmundsbury which Britten wrote in 1959 for a "Pageant of Magna

62 Carta" in the grounds of St Edmundsbury Cathedral, Bury St Edmunds. Britten’s birthday, 22 November, is the day dedicated to the patron saint of music, St Cecilia. As early as 1935 Britten had been looking for lyrics for a Hymn to St Cecilia, and in 1940 he asked his friend and collaborator, the poet Wystan Auden to provide a text. Peter Parfitt comments: “There is little doubt that Auden planted in Britten's mind the issues that stalked the composer's work ever after. Issues of innocence and corruption, the individual and society, and the acceptance or denial of desires…. In his poem, ending with the lines: ‘O bless the freedom that you never chose, O wear your tribulation like a rose’, Auden … both acknowledges the composer's struggle with his loss of innocence and urges him to celebrate it.’ Britten's setting convincingly embraces this idea of celebration, [even if] Auden's relentless attempts to liberate Britten from his inhibitions ... led Britten to distance himself permanently from Auden [thereafter].” Work on the Hymn was started in the early years of World War II, while Britten was resident in the United States, and it was during this stay that he also made his first arrangements of traditional British folksongs. It was a way in which the homesick composer could reconnect with his English roots while also, more pragmatically, providing some ‘popular’ material for his numerous recitals with his life partner, the tenor Peter Pears. Britten’s folksong arrangements link him with the English pastoral tradition which finds perhaps its most iconic expression in Vaughan Williams’ idyll, The Lark Ascending, inspired by George Meredith's poem of the same name. There is another link here, too: Vaughan Williams sketched the work while watching troop ships cross the English Channel at the outbreak of the First World War. A small boy observed him making the sketches and, thinking he was jotting down a secret code, informed a police officer, who subsequently

arrested the composer. When Britten returned to England in 1942, he lost his first drafts of the Hymn to St Cecilia to customs officers on the same suspicion. This Festival’s British composer-in-residence, Gavin Bryars, has explored many forms of musical expression. “It was in 1998”, he writes, “that I embarked on a project to write 3, 4 and 5-part madrigals for the Hilliard Ensemble…. My Second Book of Madrigals, written for three sopranos and three tenors, set Petrarch in the original 14th century Italian. I also added an extra madrigal (“Marconi‘s Madrigal"), which derives from a piece commissioned to celebrate the ﬁrst transmission of a radio signal – the single letter“S” – across the Atlantic Ocean by Marconi in December 1901. (My thanks to percussionist Luciano Zampar for the idea of combining a typewriter and wood blocks, in order to recreate the sound of Marconi’s Morse telegraph.)” In a concert celebrating links with Britain, it is appropriate to include an Australian import from the Old Dart. Born in Liverpool, Andrew Ford came to Australia in 1983 to teach at Wollongong University, since when he has won awards for his many compositions, has written seven books on music, and since 1995 has endeared himself to us all as the weekly presenter of the ABC’s Music Show on Saturday mornings. We are delighted to premiere the Australian Aphorisms he has drawn from the writings of a number of our compatriots. Welsh composer John Metcalf’s Paradise Haunts returns us to the theme of the Garden City. A gardener himself, Metcalf “was fascinated when, in June I995, the book about the ﬁlm-maker Derek Jarman’s garden was published…. One image in particular sticks in my mind: a photograph of Jarman dressed entirely in black against a background of brilliant colour. One quotation in the book was also memorable: ‘paradise haunts gardens and it haunts mine.’”

CONCERT 23 QANTAS presents:

SATURDAY MAY 18

Jesus’ Blood

1.00 PM

ALBERT HALL

This concert is supported by Richard Cornes and Alison Clugston Cornes Gavin Bryars is supported as Composer-in-Residence by Harriet Elvin and Tony Hedley Gavin Bryars Laude *AUSTRALIAN PREMIERES

De la crudel morte de Cristo (Lauda 41) Salutiam divotamente (Lauda 42)

Stomme allegro (Lauda 13) Omne homo (Lauda 19) Amor Dolçe Sença Pare (Lauda 28)

Sus annah Lawergren SOPRANO, Anna Fraser soprano, Richard Black and Andrew Goodwin TENORS, Mark Donnelly BARITONE, Ja mes Wa nnan VIOLA, Davi d Pereira CELLO, Gavi n Bryars BASS, Paul Dresher ELECTRIC GUITAR

My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied laude for solo soprano voice found in a collection from 14th century Cortona. The people who originally sang such things - the ‘laudesi’ - banded together in confraternities not usually associated with any particular church, and this music was not part of any liturgy. These pieces are written quickly – seldom taking more than a couple of hours – and some were written for specific occasions. Somewhat heretically I have written some with instrumental

accompaniment, or for larger choral forces. But at the heart of them all is a love of the solo soprano voice, alone, or paired with that of a tenor. In all cases I respect the original laude: adhering as far as possible to the same number of notes to a syllable as are in the mediaeval versions, frequently following the melodic contours and even quoting individual phrases. I relish the challenge of writing something so exposed, so naked and unadorned, where I cannot hide behind, say, an orchestrated accompaniment or rich harmonies. Like a Zen artist refusing the possibility of revision or correction.

Gavin Bryars Adnan Songbook Ja mes Wannan, James Eccl es VIOLAS, Davi d Pereira CELLO, Gavin Bryars BASS, Pa ul Dresher ELECTRIC GUITAR, Ca llum Henshaw GUITAR, Robert Spring CLARINET/BASS CLARINET, Susannah La wergren SOPRANO dir. Roland Peelman

The songs in the Adnan Songbook set a group of eight love poems by the Lebanese writer Etel Adnan, with whom I have collaborated on several projects. The vocal part is for a high lyric soprano, and the instrumental music was written with the members of my own ensemble in mind.

There are many cross-references between the songs, as there are between the poems themselves. The first two songs are played together without a break and three of the songs are extended by instrumental epilogues. The epilogue at the end of the last song was conceived in the spirit of Schumann’s piano coda for his Dichterliebe.

INTERVAL

64 Percy Grainger Blithe Bells Synergy Percussion with guest JB Smith PERCUSSION, Ti mothy Young a nd Tamara Anna Ci slowska PIANOS

Blithe Bells is a free ramble on Bach's Sheep may safely graze. The work is coloured by the thought that in the opening melody Bach may have aimed at giving a hint of the sound of sheep bells. This work

is an early example of the tuned percussion keyboard instruments that Joe Deagan invented on Percy Grainger’s instruction.

Gavin Bryars One Last Bar, Then Joe Can Sing Synergy Percussion with guest JB Smith PERCUSSION

This piece originates in the last bar of the ﬁrst part of my opera Medea, a very short coda for untuned percussion. Here, however, one apparently casual bar is repeated and modified until it is taken over by

tuned instruments. The piece serves as a kind of homage to Joe Deagan, a close collaborator with Percy Grainger in the development of tuned percussion music between the wars.

Gavin Bryars Jesus’ Blood for mixed ensemble Ca nberra Choral Society (director Tobias Cole), Kompactus (director Judith Cl ingan), Ca nberra Ca merata incorporating Synergy Percus sion, the Sprogis Woods Young Artists and a nd the ANU School of Music faculty & s tudents, dir. Ga vin Brya rs

In 1971, my friend, Alan Power, was making a film about people living rough in the area around Elephant and Castle and Waterloo, and asked me to help him with some of the audio tapes from the film. In the course of being filmed, some people broke into drunken song, and one old man, who in fact did not drink, sang a religious song, Jesus’ Blood Never Failed Me Yet. This footage, however, was not ultimately used in the film and I was given all unused tape, including this extract. When I played through the tape again at home, I found that his singing was in tune with my piano and I improvised a simple chordal accompaniment. At the time I had made a number of pieces using tape loops, and I noticed that the first section of the song formed a curiously effective loop which repeated in a slightly unpredictable, but inevitable way. At the time I was working in the Fine Art Department at Leicester Polytechnic, and I took the tape loop there to copy it on to a continuous reel in the recording studio. While I was copying the loop, I left the door of the recording studio open (it opened onto a large painting studio) while I went downstairs to get a cup of coffee. When I came back I found the normally lively room unnaturally

subdued. People were moving about much more slowly than usual, and a few people were sitting alone, quietly weeping. I was puzzled until I realized that the tape was still playing and that they had been overcome by the old man’s unaccompanied singing. This demonstrated to me the emotional power of the music, but also alerted me to the need to approach very carefully anything I did to the tape. I had already thought about a gradually added orchestral accompaniment and I realised that this needed to be simple, to gradually evolve, and to respect the tramp’s humanity and simple faith. Although the old man died before he could hear what I had done with his singing, the piece remains as a restrained testament to his spirit and optimism. The rhythm of his vocal line may be erratic and there is considerable irony in the relationship between what he is singing and his circumstances at the time. But for me there is great poignancy in his voice and, though I do not share the simple optimism of his faith, I am still touched by the memory of my first encounter with what Grainger would call the “human-ness” of his voice, and through this piece I try to give it new life. Gavin Bryars

CONCERT 24

SATURDAY MAY 18

Double Duo and Friends

4.30 PM

ALBERT HALL

This concert is supported by Cathy Crompton and Tony Henshaw Paul Dresher is supported as Composer-in-Residence by The Embassy of the United States of America John Adams Road Movies Ka ren Bentley Pollick VIOLIN, Lisa Moore PIANO

Road Movies is travel music, music that is comfortably settled in a pulse groove and passes through harmonic and textural regions as one would pass through a landscape on a car trip. The piano sets the tone of the first movement, “Relaxed Groove”, with its regular, undulating figuration, a style of writing that is always executed “with a slight swing”. The violin rides the wave, picking up little fragments of melody, juggling them, playing with them and then tossing them aside in favour of something new. Then follows “Meditation”, a movement of almost motionless contemplation, a quiet dialogue that

passes a single phrase back and forth between the two instruments, each player slightly modifying it, savouring it and then yielding it up to his partner. The violinist tunes the low G-string down a full step to produce that curious, ultra-relaxed, baritone F-natural. “40% Swing” is for four-wheel-drives only, a big perpetual motion machine with echoes of jazz and bluegrass. What was a relaxed groove in the first movement now shifts into high gear with syncopated accents making the surface bump and stutter with unexpected shifts and swerves. John Adams

John Adams China Gates arranged for percussion ensemble *PREMIERE

Synergy Percussion (Timothy Constable director)

China Gates dates from 1977 and the initial uniﬁcation of my composition language during a period when I was fascinated by wave behavior. At the time I was living in a small cottage near the Paciﬁc Ocean in the outer reaches of the Sunset district of San Francisco. Both the regularity and infinitely modulated variety of wave motion on the sea surface got me to thinking about the nature of sound, which itself reaches our ears via very similar wave motion.

In China Gates a gamelan-like bass note intones the root of the mode while the upper voices weave a delicate fabric of regular patterns, themselves waveforms that oscillate back and forth between two different modes. China Gates, composed for the pianist Sarah Cahill, was written during one of those unusually rainy winter months in the Northern California climate, and its characteristic gentle patter of eighth notes must surely have been suggested by the long days and nights of steady precipitation. John Adams

66 Steve Reich Piano Counterpoint Li s a Moore PIANO

Piano Counterpoint is an arrangement for solo piano, by Vincent Corver, of Reich’s seminal 1973 work Six Pianos. This arrangement is a very

interesting, ebullient work for piano, one that, in Reich’s words, “leaps up with energy and expression.”

INTERVAL

Martin Bresnick Ishi’s Song Li s a Moore PIANO

Ishi was among the last of the Yahi Indians. Living in northern California, these Native Americans were part of a larger group known as the Yana. They were ruthlessly suppressed and finally decimated at the end of the 19th century. The few remaining Yahi people hid in the mountains until they all died, leaving only Ishi. He was found and brought to the University of California at Berkeley by sympathetic Anthropology professors Alfred Kroeber and T.T. Waterman. Ishi lived for several years at the

University's museum, then in San Francisco, teaching the professors and other researchers the ways of his people and helping to create a dictionary of his language. He was the last native speaker of the Yahi-Yana language. The opening melody of my work was taken from a transcription of a recording made by Ishi himself singing what he called "The Maidu Doctor's Song". There is no known translation of the text. Martin Bresnick

Martin Bresnick Fantasia on a Theme by Willie Dixon *AUSTRALIAN PREMIERE

Pa ul Dresher QUADRACHORD, Joel Davel MARIMBA LUMINA

In the spring of 1968 I was sitting, not completely in my right mind, at a table in a house in Palo Alto rented by a group of Stanford medical students. After a meal of randomly exotic foods and sundry medications, these future doctors retired with their lovers to the privacy of their rooms, leaving me alone in the immense dining room, while a recording I had never heard before gradually invaded every neuron of my slowly blowing mind. As I stared intently at the remains of a dinner that in my peculiar state resembled a disorderly old Dutch

Master's still-life, a basic blues grew relentlessly from elemental simplicity into melodic improvisations worthy of a South Indian master, the blues pulse multiplied into an infinity of polyrhythmic patterns, the individual lines became a counterpoint, and then, finally, when after a shattering climax of impassioned instrumental virtuosity Willie Dixon's great tune returned, I knew I had heard something I would never forget That spoon, / That spoon, / That - spoonful. Martin Bresnick

Paul Dresher Glimpsed From Afar *AUSTRALIAN PREMIERE Pa ul Dresher QUADRACHORD, Joel Davel MARIMBA LUMINA

Glimpsed From Afar represents a compositional approach that combines, in much the same way as jazz or many non-classical traditions organize their forms, germinal composed materials and a predetermined sequence of distinct sections

with substantial improvisation within each of these sections. Perhaps this is reflective of my musical roots, which are in many improvised musical forms, from blues, through free(ish) jazz and into North Indian classical music. Paul Dresher

CONCERT 25

SATURDAY MAY 18

Wagner and the Grail

8.00 PM

LLEWELLYN HALL

This concert is supported by Marjorie Lindenmayer This performance of Parsifal is supported by Parrot Press, Canberra, to commemorate the birth of Richard Wagner on May 22, 1813 A collaboration with the NMA in support of their exhibition Glorious Days: Australia 1913 Gavin Bryars The Porazzi Fragment for 21 solo strings *AUSTRALIAN PREMIERE

Ca nberra Festival Ca merata (Madeleine Mi tchell leader) incorporating the Sprogis Woods Young Artists a nd the ANU School of Mus i c faculty & s tudents, dir. Gavin Brya rs

Commissioned by the Primavera Orchestra, and designed for the orchestra's string formation, this piece originates in an enigmatic unpublished 13 bar musical theme by Wagner which appears to have been started during the period when he was composing the second act of Tristan und Isolde, but only finished shortly after the completion of Parsifal in Palermo. At this time Wagner was staying in the palace of Prince Gangi - in the Piazza dei Porazzi - in order to escape the noise outside his hotel, the Grand Hotel des Palmes.

completion of the melody. The crossing out of bar eight and the remaining bars are all written in the same violet ink which he used for the full score of Parsifal. It is also almost certain that this was the music that he was reported to have been playing on the piano the night before he died in February 1883 at the Palazzo Vendramin Calergi in Venice, and which, as Cosima's diary notes, represents his "last musical thoughts". The Porazzi Fragment is dedicated to my wife, Anya. Gavin Bryars.

The first 8 bars, of which the eighth was crossed out, date from 1858-9. Yet it was only on March 2nd 1882, in Palermo, that Cosima witnessed his

Gavin Bryars is supported as Composer-inResidence by Harriet Elvin and Tony Hedley

Richard Wagner Prelude and Liebestod from Tristan and Isolde Loui se Pa ge SOPRANO Ca nberra Festival Orchestra i ncorporating the ANU School of Music faculty & s tudents, dir. Roland Peelman

The score of Tristan und Isolde, the first of Wagner’s “great seven”operas, has often been cited as a landmark in the development of Western music. From the famous “Tristan” chord at the beginning of the Prelude, Wagner uses throughout the opera a remarkable range of orchestral colour, harmony and polyphony, with a freedom rarely found in his earlier operas.

The Prelude and Liebestod is a concert version of the overture and Isolde's Act 3 aria, "Mild und leise". The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The Liebestod can be performed either in a purely orchestral version, or with a soprano singing Isolde's vision of Tristan resurrected.

INTERVAL

68 Richard Wagner Good Friday and the Grail Music from Parsifal (Act 3) Parsifal: Gl enn Wi nslade TENOR, Gurnemanz: Al exander Kni ght BASS, Amfortas: Simon Lobelson BARITONE ANU School of Music Chamber Choir, Oriana Chorale, Ca nberra Choral Society (Bengt-Olov Pa lmqvist, Tobias Cole chorus directors), Ca nberra Festival Orchestra i ncorporating the ANU School of Music faculty & s tudents, dir. Roland Peelman

Wagner’s first idea for an opera based on Wolfram von Eschenbach's 13th century poem Parzival was conceived in 1857, the year that he set aside the story of Siegfried to focus on composing Tristan und Isolde, but it was not until 1882, twenty-five years later, that the opera was finally completed and staged in the Bayreuth Festspielhaus. Like Tristan, it bears the imprint of Wagner’s reading of Schopenhauer, but here the focus is not on longing and unattainable desire, but rather on the renunciation of desire and salvation through compassion. The first and third acts of Parsifal are set, first outside, later within, the mountain castle of Monsalvat, where, many years ago, two holy relics were placed in the safekeeping of Titurel: the Spear with which Christ was wounded on the Cross, and the Holy Grail (the cup used at the Last Supper, into which His wounds then bled). Titurel established an order of chivalry, the Knights of the Grail, to guard and serve the Grail, with its miraculous powers of renewal. Klingsor failed to gain admission to this chaste brotherhood. As proof of his desire to be pure, he castrated himself; however, such self-mutilation earned him only the further scorn of the knights. In anger and despair, he vowed revenge upon them. He turned to sorcery, transforming a barren desert into a magic garden populated by beautiful women whose charms could beguile any errant knights. Many succumbed and became his prisoners, forming his army; he still longed to be guardian of the Grail. In old age Titurel abdicated, and his son, Amfortas, was chosen by the community of knights to succeed him. Amfortas resolved to

destroy Klingsor but failed to resist the temptress, Kundry, sent to ensnare him. Although he escaped, he lost the Spear to Klingsor who wounded him with it. It was prophesied that only a pure fool made wise through compassion (Mitleid) could heal Amfortas’s wound. Until the fulfilment of that prophecy, Amfortas lived in continual agony and the fraternity of knights was weakened because, for all his penance, Amfortas could scarcely bear the pain of officiating in the ritual of the Holy Grail by which they live. The fool who would cure Amfortas was Parsifal, who uncomprehendingly witnessed the king uncovering the Grail before the Knights, and the agony he suffered as he did so. Only much later, when Kundry attempted to seduce him in the garden of Klingsor’s castle, did Parsifal recognise the source of Amfortas’s pain, and his own mission, to rescue the Holy Spear from Klingsor, and with it to heal Amfortas. After many travails, Parsifal returns, bearing the Spear, to Monsalvat. It is Good Friday, and the meadows around the Castle seem suffused with a special magic. He finds that Amfortas has ceased to perform his duty of revealing the Grail to the Knights: as a result, the order is close to dissolution, and the old king, Titurel, has died. The knights of the Grail try to force Amfortas to preside over the last rites of his father, and once again make available to them the Grail. Deranged with pain, Amfortas pleads with the knights to kill him and bring his agony to an end. Parsifal restores the Spear to the knights, and with it heals Amfortas’s bleeding wound. He is consecrated as Amfortas’s successor, the Holy Spirit appears above him in the form of a white dove, and the Grail is revealed once more.

CONCERT 26

SUNDAY MAY 19 ACTEW presents:

1.00 PM

CANBERRA GIRLS GRAMMAR SENIOR SCHOOL HALL

Marion’s Child

This concert is supported by Campbell & Co. Lawyers – Estate and Family Law

Sally Greenaway Auróra Musis Amíca: Fanfare for Canberra *PREMIERE – COMMISSIONED BY CANBERRA GIRLS GRAMMAR SCHOOL

Ca nberra Combined Grammar Schools Orchestra dir. by Cra i g Woodland

An uplifting and inspiring piece for young musicians. The pieces opens with a soundscape reminiscent of the dawn bursting into colour over a still lake. It then unfolds into an uplifting and hopeful fanfare before fading back into a wash of colours for the final bars.

Influenced by Holst's Planet Suite, the piece combines jazz harmony and scales with some fun extended classical techniques including bowed harp, bowed vibraphone and glockenspiel, flutter tonguing flutes, and some aleatoric moments for muted trumpets.

Frank Ticheli Earth Song Combi ned Ca nberra Grammar Schools Motet Choir a nd Burgmann Anglican School Cha mber Choir, dir. Peter Tregear

Earth Song is one of only a few works that I have composed without a commission. Instead, it sprang out of a personal need during a time when so many in this country, include myself, were growing disillusioned with the war in Iraq. I felt a strong impulse to create something that would express my own personal longing for peace. It was this longing which engendered the poem’s creation. Normally, I would spend countless hours, weeks, perhaps months, searching for the perfect poem to set. But in this case, I knew I had to write the poem myself, partly because it is not

just a poem, but a prayer, a plea, a wish--a bid to find inner peace in a world that seems eternally bent on war and hatred. But also, the poem is a steadfast declaration of the power of music to heal. In the end, the speaker in the poem discovers that, through music, he is the embodiment of hope, peace, the song within the Song. Perhaps music has the power not only to nurture inner peace, but also to open hearts and ears in a world that desperately needs love and listening. Frank Ticheli

Stephen Leek Canberra Woden Valley Youth Choir dir. Alpha Gregory

Where to build a city?

–

Canberra Anthem

Stephen Leek spent his childhood in Canberra and was a member of many local musical organisations including the Canberra Children's Choir, Canberra Symphony Orchestra and his own vocal group, VOCE. After a period of working in Sydney, Leek returned to Canberra in 1979 and began a Bachelor of Arts (Music) degree at the Canberra School of Music, graduating with a double degree, in both cello performance and

composition. He has become a highly successful composer of vocal music, and in 2000, Alpha Gregory and the Woden Valley Youth Choir commissioned him to write a piece for the Centenary of Federation. Stephen chose the story of the creation of Canberra as a way of celebrating the creation of a single nation. Anne William’s text declares that “children’s voices fill this city as symbols of our nation”.

Stephen Leek Landmarks *PREMIERE

Burgma nn Anglican School Chamber Choir, Ca nberra Combined Grammar Schools Motet Choir a nd Percussion Ensemble (dir. Chri s tina Hopgood), cond. Peter Tregear

Murrumbidgee Flows

–

Lake Ginninderra

Landmarks is a work in 3 movements that was commissioned in 2006/7 for Music for Everyone Inc., Canberra, Australia, to be performed, by ensembles of communlty groups in celebration of some of the local features and landmarks around Australia’s capital city. Each of the works attempts to incorporate a “community feel” through the use of catchy rhythmic motion and a sense of fun that generates a sensation of peace and well-being. Murrumbidgee Flows captures the energy, motion and ﬂow of one of the regions’ rivers that

Karl Jenkins The Shimmering City

–

The Brindabellas forges through its valleys and gorges in the wet, and in the dry the ﬂow is reduced to a passive trickle that offers important life to native birds and insects. Lake Ginninderra is a man-made lake that lies quietly within the suburbs of Canberra. The beautiful mountain range of The Brindabellas lies within the boundaries of the Ngunnawal, Ngunawal and Brungle Aboriginal people — people who have inhabited the region for over 5000 years. It is a National Park which borders much of the National Capital and is a place for all to enjoy for its natural beauty and stunning landscapes.

cond. Chri s Latham

*PREMIERE

Karl Jenkins Song of the Limestone Plains

cond. Melinda Sawyers

*PREMIERE

Sus annah Lawergren SOPRANO, Anna Fraser SOPRANO a nd Tobias Cole COUNTERTENOR, Riley Lee SHAKUHACHI, Ji Won Ki m VIOLIN, Singers and i ns trumentalists from Woden Valley Youth Choir, Ca nberra Girls Gra mmar a nd Ca nberra Gra mmar School, Burgmann Anglican School Chamber Choir, Radford College, Canberra International Music Festival artists and Sprogis Woods Young Artists.

“… we always felt this city was our child” – Marion Mahony I encountered the works of Karl Jenkins while working for his publisher. He was largely belittled as a commercial composer, but my initial experience was that of a Mozart-level talent working in an unusual field – writing music for children. His intelligent but heartfelt works struck me as utterly perfect, combining simplicity with invention and perfect proportions to allow children of all ages to quickly absorb the pieces and sound good when performing them. I encountered both of these works here early on, and became so fascinated by them that I listened to them, literally, for hundreds of hours. In 2010, when we first undertook to celebrate Canberra’s centenary, I realised that with reimagined texts these works would form the climax of a great

celebratory concert performed by children, and I worked with the music directors of Canberra’s best youth choirs to learn and absorb Jenkins’ musical language; in 2011 we performed Adiemus and The Armed Man: A Mass for Peace in 2012. It has been my great pleasure to write the new text, and in the process to tell the story of the Griffins to our young singers. Walter and Marion did not have the good fortune to have children of their own: the offspring of their loving honeymoon and marriage is this city. I have wished for this event for many years: to have children sing thanks to them and to the creators of their city; and specifically, for children to say to their metaphysical mother: we love you, Marion – you who made such beautiful things. Chris Latham

CONCERT 27

SUNDAY MAY 19

In Praise of Creative Women

4.00 PM

ALBERT HALL

This concert is supported by Gail Lubbock and an anonymous donor Amy Beach Songs: Ecstasy, Chanson d’Amour, Mirage *AUSTRALIAN PREMIERES

Loui se Pa ge SOPRANO, Ma deleine Mi tchell VIOLIN, David Pereira CELLO, Tamara Anna Cislowska PIANO

Rebecca Clarke Midsummer Moon *AUSTRALIAN PREMIERE

Ma deleine Mi tchell VIOLIN, Tamara Anna Ci slowska PIANO

Lily Boulanger Nocturne Ma deleine Mi tchell VIOLIN, Tamara Anna Ci slowska PIANO

Rebecca Clarke Passacaglia on an Old British Tune *AUSTRALIAN PREMIERE Da vi d Pereira CELLO, Tamara Anna Cislowska PIANO

Elena Kats-Chernin Blue Silence Da vi d Pereira CELLO, Tamara Anna Cislowska PIANO

INTERVAL

Phyllis Campbell Nature Studies Ta ma ra Anna Cislowska PIANO

Rebecca Clarke Three Old Songs *AUSTRALIAN PREMIERES

Loui se Pa ge SOPRANO, Ma deleine Mi tchell VIOLIN

Rebecca Clarke I Know Where I’m Going from Three Irish Country Songs *AUSTRALIAN PREMIERE Loui se Pa ge SOPRANO, Ma deleine Mi tchell VIOLIN

Rebecca Clarke Three Movements for Two Violins and Piano *AUSTRALIAN PREMIERE

Ma deleine Mi tchell VIOLIN, Anna McMi chael VIOLIN, Timothy Young PIANO

NOTES ON THE COMPOSERS Chris Latham I worked in the music publishing business for about five years after leaving the ACO and was always very conscious of the lack of female composers represented by music publishers. When I did a rough check around 2003 it was something like a 30-to-1 ratio of men to women. It might be slightly better now, but only slightly. I used to read some ridiculous historical arguments where people asserted that women lacked something in the brain makeup which meant they couldn’t write music as well as men. The true reason is mainly an economic problem because husbands or male partners don’t seem willing to support their wives’ creative careers in the same way that wives commonly support husbands.

72 The other reason is because of the impact of childrearing on women’s available time to create works in that crucial mid career period when composers typically do most of their writing, which then gets played more widely when they are older and more established but possibly l ess active as composers. We find the numbers of women and men at university level are pretty much identical, but women seem to drop off along the way as they progress in the professional world. Here, then, some brief notes about the women included in this concert. They may not all be well known, but they all are excellent composers. AMY BEACH (1867 – 1944) was the first woman to break the glass ceiling in the US. She is a really wonderful composer. Born in 1867, she was an early pioneer. She is the best known of the four composers represented in this concert. REBECCA CLARKE (1886–1979) was a great violist who had an international reputation as a performer. Her compositional talents were less widely noticed, and she really only gained respect as a composer after her death. She suffered from depression, which is common amongst composers and creative types, but in her case the lack of encouragement, and indeed often outright discouragement, for her work as a composer seems to have seriously undermined her creativity, and she only wrote a small number of works in her lifetime. So we can only be grateful that her 1909 suite for two violins and piano was finally unearthed in 2000 in a box of old medical records, even if the most of the fourth movement, the original Finale, is missing. PHYLLIS CAMPBELL (1891-1974) is so forgotten that there is not even a Wikipedia article on her. She was an active member of the Theosophical Society during the 1920s and 1930s and lived in Sydney where she was a close colleague of Marion Mahony – another highly significant artist! She was an active member of the Castlecrag community, and wrote music for the theatre productions in their open-air amphitheatre. Phyllis was active as a pianist, violinist, composer, poet, pioneering broadcaster, lecturer and musicologist. She had strong

theosophical beliefs about the spiritual benefits of music, believing that music was a “physical translation of far mightier harmony to which the true composer is ever striving.” She felt music could open, reveal and illuminate. She said it “raised humanity above physical beauty or ugliness.” She was interested in the revival of folksong and plainsong in many countries, pointing to the particular importance of Russia and the introduction of new scales and modes, including Eastern scales that were finding their way into Western music. LILI BOULANGER (1893-1918) was a Parisian-born prodigy. Gabriel Fauré was a friend of her family and later taught her. She was the first woman to win the prestigious Prix de Rome for composition. Her work was noted for its colorful harmony and instrumentation and skillful text setting. Always of fragile health, she died from Crohn’s disease at age 24. Her elder sister Nadia Boulanger was very influential as a composer and a teacher of many well-known composers. ELENA KATS-CHERNIN (1957 – ) is in many ways a force of nature - prodigously creative and endlessly inventive. Born in Tashkent, Elena draws on a vast array of musical genres, mixing elements of Russian and Jewish music, ragtime, tango and 1920s popular idioms, with a sense of the filmic and the dramatic. Then just when you don't expect it, she spins a mesmeric spell that makes time stand still, and touches listeners deeper than they imagined was possible.

666 ABC CANBERRA presents:

CONCERT 28

FESTIVAL FINALE

SUNDAY MAY 19

Wispelwey: Elgar, Adams

7.30 PM

LLEWELLYN HALL

This concert is supported by Peronelle and Jim Windeyer Pieter Wispelwey is supported by Dr Peter William Weiss AO Celebrating Canberra: the culmination of two great democratic traditions

England’s contribution Ralph Vaughan Williams Serenade to Music The Song Company wi th Louise Page AND Sarahlouise Owens SOPRANOS, Christina Wilson MEZZO, Tobias Cole COUNTERTENOR, Glenn Wi nslade and Andrew Goodwin TENORS, Peter Tregear and Simon Lobelson BARITONES, Canberra Festival Orchestra,dir. Roland Peelman

Serenade to Music was written in 1938 as a tribute to Sir Henry Wood. The words – "How sweet the moonlight sleeps upon this bank..." – are from the scene in Act V of The Merchant of Venice where Lorenzo and Jessica sit in the garden at Belmont,

entranced by the stars and the sounds of music from the house. At the premiere Rachmaninov, who also performed at the concert, was so overcome by the beauty of this music that he wept.

Edward Elgar Cello Concerto Pi eter Wispelwey CELLO, Ca nberra Festival Orchestra, i ncorporating the Sprogis Woods Young Arti sts a nd the ANU School of Music fa cul ty & s tudents and JB Smith PERCUSSION, dir. Roland Peelman

The Cello Concerto is Elgar's last major work. Its prevailing mood is sad and autumnal, reflecting Elgar's state of mind in the last years of the 191418 war, and his perception that the war marked the end of a way of life socially and artistically. The concerto received its first performance on 26 October 1919; woefully under-rehearsed, it had to surmount the handicap of initial failure. The first movement begins with a strong nobilmente flourish which is to recur in two of the other three movements – a dramatic gesture whose energy is soon spent and gives way to a long, world-weary moderato theme. The movement has the character of a melancholy soliloquy. It is linked to the G major second movement by the soloist’s guitar-like pizzicato version of the introductory flourish. A hesitant try-out of the movement's main theme precedes the full version of the theme, which scurries along like a moto perpetuo. A subsidiary theme reminds us of the

sadness at the heart of the music, but generally all is quicksilver. The short Adagio in B flat is an elegiac song without words, perfectly suited to the cello at its most nobly eloquent. Once again the effect is of intimate self-communing. The finale opens with a cello recitative combining the motto flourish with the movement’s main theme. Elgar then summons up the rumbustious swagger of his heyday, though without much conviction; there is still a wistful second subject to counteract it. A splendid passage where the solo cellist leads the orchestral cellos in pursuit of more confident memories is short-lived. Chromatic harmonies and an accompanied cadenza revert to tragedy: rarely has music conveyed such despair. But the soloist's introductory flourish returns in its original strength and the work ends with a few hurried bars of high spirits. Acknowledgements to Michael Kennedy

INTERVAL

America’s contribution Aaron Copland Lincoln Portrait WB Gri ffi n NARRATOR Ca nberra Festival Orchestra (Ka ren Bentley Pol lick leader) with guests Synergy Percussion a nd Double Duo, and incorporating the Sprogis Woods Young Artists and the ANU School of Music fa culty & s tudents, dir. Roland Peelman

After Pearl Harbor was attacked in 1941, and the United States entered World War II, conductor Andre Kostelanetz asked three American composers to create a "gallery of musical portraits" that would celebrate "the qualities of courage, dignity, strength, simplicity and humor which are so characteristic of the American people", for a patriotic concert in May 1942.

Aaron Copland, having recently picked up a biography of Abraham Lincoln, hit on the idea of using Lincoln's words spoken by a narrator - and his "Lincoln Portrait" was born. Copland's music perfectly embodies the qualities Kostelanetz had hoped for. The piece was an immediate hit, and is the only one of the works at that concert to have had a significant life since.

John Adams The Dharma at Big Sur *PREMIERE OF CELLO VERSION Pi eter Wispelwey CELLO

Ca nberra Festival Orchestra (Ka ren Bentley Pol lick leader) with guests Synergy Percussion a nd Double Duo, and incorporating the Sprogis Woods Young Artists and the ANU School of Music fa culty & s tudents, dir. Roland Peelman

The Dharma at Big Sur, originally for solo electric violin and orchestra, was composed in 2003 for the opening of Disney Hall in Los Angeles. It was conducted by Esa-Pekka Salonen, with Tracy Silverman performing the electric violin solo.

lazy rhythm of terrifying power. For a newcomer the first exposure produces a visceral effect of great emotional complexity."

The piece calls for some instruments (harps, piano, samplers) to use “just intonation”, a tuning system in which intervals sound pure, rather than “equal temperament”, the standard Western tuning system in which all intervals except the octave are slightly impure.

The piece is divided into two movements intended as homages to Lou Harrison and Terry Riley, respectively. The ﬁrst part, “A New Day," is a long rhapsodic reverie above an orchestral drone with quietly pulsating gongs and harps and distant brass chords. It reaches a climactic moment when the orchestra surges up and takes over the melody from the soloist.

John Adams described the process of composing the piece: "I wanted to express the moment, the socalled “shock of recognition”, when one reaches the edge of the continental land mass. Coming upon the California coast at Big Sur, the Western shelf drops off violently, often from dizzying heights. Here the current pounds and smashes the littoral in a slow,

Later the tempo takes on a deﬁned pulse, not unlike the jod section of a classical raga. This is “Sri Moonshine,” a tip of the hat to Terry Riley, not only the composer of In C but also a master of Indian raga singing. Low-tuned gongs mark the inner structure of the music as it vibrates over and over on one enormous, ecstatic expression of “just B”.

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 will complete 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.

ENSEMBLES NZ String Quartet With its dynamic performing style, eloquent communication and beautiful sound the New Zealand String Quartet has forged a major career in the busy international chamber music field, earning the acclaim of critics and the delighted response of audiences. The Quartet has particularly distinguished itself through imaginative programming, insightful interpretations of the string quartet repertoire including cycles of composers’ music from Mozart to Berg, and the development of an international audience for important new works from New Zealand composers. Donald Armstrong, standing in for Helene Pohl as first violin on this tour, is Associate Concertmaster of the NZSO. He was formerly Music Director of the NZ Chamber Orchestra, Principal Second Violin of the Tivoli Sinfoniorkester in Denmark and Co-Concertmaster of the Orchestre Philharmonique de Nice in France. He performs regularly in New Zealand with his own chamber group, the “Amici Ensemble”. Donald is interested in preserving and advancing New Zealand’s musical heritage, and as an artist teacher at the New Zealand School of Music, he teaches, coaches and encourages young instrumentalists. He plays a violin by Nicolo Gagliano of 1754. A native of Kansas, USA, Douglas Beilman was first violinist of the Sierra String Quartet at the San Francisco Conservatory of Music’s Chamber Music Centre, before joining the New Zealand String Quartet in 1989. Douglas was a co-founder of the Adam New Zealand Festival of Chamber Music and was its artistic Director until 2001. He has been soloist and guest leader of the NZ Chamber Orchestra and has performed concertos with other New Zealand orchestras. As both a founding member of the 20th century ensemble CadeNZa and as an individual he has participated extensively in premiere performances of New Zealand and international compositions. Gillian Ansell was born in Auckland, New Zealand and began violin and piano lessons at an early age. At 16 years she made her concerto debut with the Auckland Symphonia (now the Auckland Philharmonia). After working professionally in London she returned to New Zealand to become a founding member of the New Zealand String Quartet. She was second violinist for two years before taking up the position of violist of the group. In 2001 she became Artistic Director, with fellow quartet member Helene Pohl, of the Adam New Zealand Festival of Chamber Music. In 2008 she was made a Member of the New Zealand Order of Merit (MNZM) for her outstanding services to music in New Zealand.

Rolf Gjelsten grew up in Victoria, Canada, in a Norwegian family of folk dancers. In his teens, he became an accomplished accordionist before focussing on cello studies with James Hunter and Janos Starker. At 22 he left Canada for Berlin, Germany, where he won a position in the Berlin Symphony Orchestra, but his passion for chamber music led him into studies with the LaSalle, Hungarian, Vermeer, Cleveland and Emerson string quartets. As cellist with the Laurentian Quartet for almost a decade he regularly toured internationally, as well as teaching cello at Sarah Lawrence College in New York. Dr Gjelsten has enjoyed playing with the New Zealand String Quartet since May 1994, touring at home and abroad, making recordings, teaching at NZSM and giving master classes throughout the world. He became a New Zealand citizen in 1997.

Double Duo The Double Duo is a quartet of contemporary music virtuosos performing a program of challenging and innovative contemporary acoustic, electro-acoustic and invented instrument compositions. The group features Paul Dresher [see p. 75] performing on electric guitar and his remarkable 15 foot-long invented stringed instrument, the Quadrachord, long-time ensemble percussionist Joel Davel on the miraculous Marimba Lumina, virtuoso violinist Karen Bentley Pollick and pianist Lisa Moore, the noted contemporary music soloist and founding and long-time member of the Bang on A Can All Stars. Percussionist Joel Davel has toured and recorded with new music and jazz groups performing original music and premieres by today¹s leading composers. He has also composed for and appeared as an on-stage accompanist for several theater and dance companies both as soloist and most recently in duos with composer and instrument-builder, Paul Dresher. His primary interests are in non-traditional instruments, interdisciplinary work, and performing original contemporary music both written and improvised. As a technician, Davel has worked since 1993 with Don Buchla to build and design innovative electronic music instruments. Davel was involved in almost every aspect in the creation of the Marimba Lumina, an instrument that emulates and extends the vocabulary of conventional mallet instruments. Karen Bentley Pollick has performed as violinist with Paul Dresher’s Electro-Acoustic Ensemble since 1999 and performs a wide range of solo repertoire and styles on violin, viola, piano and Norwegian hardangerfele. A native of Palo Alto, California, she has appeared as soloist with Redwood Symphony in the world premiere of Swedish composer Ole Saxe’s Dance Suite for Violin

77 and Orchestra, and with orchestras in Panama, Russia, Alaska, New York and California. With Australian pianist Lisa Moore, Pollick formed the duo Prophet Birds in spring 2009 and the Double Duo with Paul Dresher and Joel Davel. Pollick performs on a violin made by Jean Baptiste Vuillaume in 1860. Described as “brilliant and searching...beautiful and impassioned...lustrous at the keyboard” by The New York Times, Lisa Moore combines music, theatre and expressive, emotional power - whether in the delivery of the simplest song, a solo recital or a fiendish chamber score. Crowned "New York's queen of avantgarde piano" and “visionary” by The New Yorker magazine this Australian virtuoso has performed with a large and diverse range of musicians and artists throughout the globe – the London Sinfonietta, New York City Ballet, Steve Reich Ensemble, Paul Dresher Double Duo, Mabou Mines Theater and the Australia Ensemble, to name but a few. As a concerto soloist Moore has appeared under the batons of Richard Mills, Pierre Boulez and Edo de Waart. One of Moore's most recent ventures is the formation of ExhAust, a collective of “ex-pat” Australian musicians - dedicated to the presentation of Australian music in New York City.

Viney-Grinberg Piano Duo Natives of Australia and Israel respectively, Liam Viney and Anna Grinberg began playing together while students at Yale, later developing into a professional ensemble while living in Los Angeles. After a decade in the United States, they are now based in Australia at the University of Queensland. The duo has performed in festivals and concert series in Australia, the United States and Israel. Anna and Liam have appeared together as soloists with Queensland Symphony Orchestra, were featured pianists at the 2010 Bangalow Music Festival, Yale University's Messiaen Centenary Celebration, and have made live broadcasts on the Australian Broadcasting Corporation's "Classic FM" Sunday Live program and the ABC’s Keys to Music program with Graham Abbott. As individual pianists their careers have included concerts in the U.S., Australia, Israel, England, Italy, Germany and Belgium. The Viney-Grinberg Duo is committed to developing a unique repertoire based on exploring classics of the two-piano literature, as well as creating new works through commissions. Since forming in 2006, the duo has commissioned six new works from composers Ezra Laderman, Marc Lowenstein, Shaun Naidoo and Yevgeniy Sharlat. In 2010 they gave the world premiere of Stephen Leek’s Warrumbungles Burning for two pianos and choir with the St. Peter’s Chorale, and released a CD of two-piano and choir works by Leek, Jonathan Dove and Mary Ellen Childs.

The Song Company The Song Company is Australia’s leading vocal ensemble. It embraces music from around the world and across the ages. In collaboration with artists of the highest calibre, it aims to create a distinctive and dynamic new voice, relevant to the audiences of today and tomorrow. Formed in 1984, the Song Company is a group of six full -time professional singers led by internationally acclaimed Artistic Director, Roland Peelman. It gives approximately 130 performances each year across Australia and around the world.The Song Company has developed as one of the most vibrant and extraordinary voca l ensembles in the world. The group’s repertoire covers vocal music from the 10th century to the present day and is unique in its stylistic diversity. With the support of The Australia Council and Arts NSW, the company operates full -time. Through a longstanding commitment to education, an annual concert series, as well as many recordings and broadcasts, The Song Company has built up an impressive following around Australia, and increasingly so, around the world.

Sharvari Jamenis Ensemble Sharvari Jamenis is unique among Kathak dancers: she is also a very successful actor, winning a number of prestigious film awards for her distinguished roles in Marathi films. As a dancer she is nimble-footed, vivacious and can express a multitude of emotions with aplomb; and in addition she is a fine choreographer. She has a postgraduate degree in Dance from Pune University, and recently she won the highest award, the Bismillah Khan Award, conferred on young dancers by India’s highest Music and Dance Academy – Sangeet Natak Academy. Sharvari has been invited to the US, UK and France, in addition to a number of state-run dance festivals associated with Hindu temples famous for erotic sculpture, such as Khajuraho, Ellora, Konark and Hampi, as appropriate backdrops for such ri ch feasts of music and dance. Sharvari is accompanied on the tabla by her husband Nikhal Phatak, with Chinmay Kolhatkar on harmonium Swapna Achyuta Soman on violin, and the singer Manoj Desai.

TaikOz Since 1997 TaikOz has established a unique performance aesthetic that reflects the group’s passionate dedication to the forms of wadaiko and a desire to create new music for today’s audiences. The group undertakes a year-round schedule of workshops, teaching and performances that have seen them appear on the stages of Australia's finest concert halls, as well as those of Japan, Paris, Bangkok and most recently Taiwan. The group regularly appears in the theatres of regional Australia, having undertaken four Australia-wide tours. TaikOz has collaborated with artists and companies as diverse as John Bell and the

78 Bell Shakespeare Company, Meryl Tankard and Kodo. The group has also appeared in concerto works with the Sydney, Melbourne, West Australian and Queensland Symphony Orchestras, as well as the Dresden Sinfoniker in Europe. Awards include Limelight "Best New Composition Award" for Kaidan, Sidney Myer Performing Arts Award in recognition of TaikOz's commitment to Australian music and a Drover Award for regional touring and education.

Synergy Percussion Synergy is a world of sound with percussion at its heart. This award-winning percussion group began its journey in 1974, and regularly performs at festivals through Europe, Asia and the United States, as well as most of Australia's mainstage recital and performance venues. Core members Timothy Constable, Bree van Reyk and Joshua Hill are all award-winning and internationally acclaimed exponents of new music in their own right. Synergy is at home on world music stages,

contemporary/experimental art venues, pop and rock concerts, and opera and recital stages. Its expansive vision of percussion, together with the exceptionally wide musical experience of the members, has allowed the group to work together with a diverse and exemplary family of artists from around the world.

DRUMatix - Gary France Gary France is director of the ANU "DRUMatiX" Percussion Group. A native of Syracuse, New York, USA, now living in Australia, he performs in a wide range of musical genres. Since he first settled in Australia in 1987 as the inaugural lecturer in Percussion at the West Australian Conservatorium of Music. Since 1997 Gary has coordinated and nurtured the Percussion program at the Australian National University, and through his dedicated teaching, performing and entrepreneurial lea dership, Gary has done much to raise the profile of percussion playing in Australia.

SINGERS Andrew Goodwin Andrew Goodwin was born in Sydney and began learning the violin at the age of five. While singing in St Andrewâ&#x20AC;&#x2122;s Cathedral choir he continued lea rning the violin, piano, and organ. He studied in the Saint Petersburg Conservatory under Professor Lyov Nikolaevich Morozov and graduated from the Conservatory in June 2005. In 2006, he began a postgraduate diploma in vocal studies at the Royal Academy of Music. Goodwin's operatic debut was as Fenton in Verdi's Falstaff for Opera Australia in January 2006. Later that year he performed Lensky in a new Production of Eugene Onegin by Dmitry Chernyakov at the Bolshoi Theatre, Russia, a rare achievement by a foreigner. He is also now a regular soloist with the St Petersburg Symphony Orchestra and a cultural ambassador for Australia on the world stage. Since 2006, Goodwin has been a soloist with the Bolshoi Theatre (Moscow, Russia). He has also appeared at The Sydney Opera House, The Arts Centre, Melbourne, Tokyo Opera City Concert Hall, Teatro Real, Madrid, Gran Teatre de Liceu, Barcelona, La Scala, Milan, Philharmonic Hall, St. Peterburg and the Great Hall of the Moscow Conservatory.

Glenn Winslade The Australian tenor, Glenn Winslade, studied at the New South Wales Conservatorium and at the Vienna Conservatory. He has sung with English National Opera as Ferrando; Victoria State Opera as Belmonte, Walter von der Vogelweide and Don Ottavio; Scottish Opera as Mozart's Titus and Australian Opera as Oronte in Alcina. He made his Covent Garden debut in 1990, as

Vogelgesang in Die Meistersinger, and had further appearances with Glyndebourne Festival and Touring Opera, New Sadler's Wells Opera (Merry Widow); Freiburg Oper, Semper Oper Dresden (Belmonte), Stuttgart Opera and the Netherlands Opera (ldomeneo). His recordings include: Messiah with the Scottish Chamber Orchestra; Merry Widow. Honours include: Winner, Austral ian Opera Auditions, Esso/Glyndebourne Touring and John Christie Glyndebourne awards.

Louise Page Louise Page is one of Australiaâ&#x20AC;&#x2122;s most highly regarded and versatile singers. She has appeared in opera, operetta, oratorio, cabaret, recital and broadcasts for various groups throughout Australia, Germany, Belgium and Austria. Based in Canberra, Louise divides her time between performance and teaching voice at the ANU School of Music. She performs regularly in Sydney, Melbourne, Canberra and regional areas. With accompanist Phillipa Candy she has recorded six CDs of music varying from lieder to operetta, premieres of Australian music and Christmas songs.

Christina Wilson Christina Wilson has appeared in performances throughout the UK, Europe, the USA and Aus tralia at venues such as the Royal Albert Hall, the Wigmore Hall, Westminster Abbey, Canterbury Cathedral and Parliament House. Christina is a graduate of the ANU School of Music, the Royal Northern College of Music, Manchester, and the National Opera Studio in London. She currently teaches vocal practice and performance at the University of Canberra.

79 Tobias Cole

Paul McMahon

Tobias Cole is one of Australia’s most successful counter-tenors, 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.

Tenor Paul McMahon is one of Australia’s finest exponents of baroque and classical repertoire, particularly the Evangelist role in the Passions of JS Bach. Career highlights include Bach’s JohannesPassion with the Australian Chamber Orchestra under Richard Tognetti; Bach’s Matthäus-Passion under Roy Goodman; Haydn’s Die Schöpfung under the late Richard Hickox, and Mozart’s Requiem with the Hong Kong Philharmonic Orchestra. An experienced teacher and lecturer, Paul is currently a Lecturer in Music at the Australian National University, Canberra.

Peter Tregear Peter Tregear has a diverse musical career that encompasses scholarship, performance and teaching. He began his career as a student of flute and piano at University of Melbourne and subsequently undertook doctoral studies at King’s College, University of Cambridge, where he was a Choral Scholar. In 2000 he was appointed a Fellow of Fitzwilliam College, Cambridge where he was a Lecturer and Director of Music. He was a regular performer in opera and oratorio in the UK and Europe, and directed a number of historic revivals and premieres, including a critically acclaimed UK stage premiere of Max Brand’s Maschinist Hopkins in 2001. Peter was invited to return to Australia in 2006 to take up the position of Dean of Trinity College, University of Melbourne. He has subsequently taught at the University of Melbourne and the Australian National Academy of Music, worked with both Victorian Opera and Melbourne Opera, and performed with the Tallis Scholars as part of their Australian tour in 2007. In 2010 Peter was appointed Executive Director of the Academy of Performing Arts, Monash University. In 2012 he was appointed Head of the School of Music at the Australian National University.

Simon Lobelson Born in Sydney, baritone Simon Lobelson spent his childhood in Brussels and currently resides in London. On a scholarship from the University of Sydney, he obtained first-class honours in his Bachelor of Music degree. Later, whilst studying with John Pringle, he won the Tinkler Award in the 2003 Australian Singing Competition. He has sung in public master classes with such renowned singers as Sir Thomas Allen, Gerald Finley, Dame Kiri Te Kanawa and Philip Langridge. Amongst many other concert appearances, Simon has been a soloist in Mozart’s Requiem with the Liverpool Sinfonia, Mendelssohn’s Elijah, Brahms’ Ein Deutsches Requiem in Brecon Cathedral, Bach’s Christmas Oratorio in Sheffield Cathedral, Haydn’s Missa in Tempore Belli, Handel’s Israel in Egypt, Vaughan Williams’ Dona nobis pacem, Vaughan Williams’ Fantasia on Christmas Carols at The Sydney Opera House and St. Martin-in-the-Fields and Bach’s Johannes-Passion for the Brighton Festival and at St. Mary’s Cathedral Sydney.

Rachael Thoms Accomplished in both jazz and classical performance, Rachael Thoms holds a BMus in Jazz, First Class Honours in Classical Performance and a Master of Music degree from the ANU School of Music. She has been a staff member of the ANU School of Music’s Voice and Jazz Departments since 2010. As a jazz composer, arranger and vocalist she released her debut jazz recording, The Great Unknown, with Sydney based improvising pianist and composer, Luke Sweeting, in 2011. Recent performance highlights include appearances with The Song Company, Lisa Moore, Miroslav Bukovsky, Tobias Cole, Bill Risby and Calvin Bowman.

Alexander Knight Alexander Knight is currently completing an Advanced Diploma of Opera at the Sydney Conservatorium of Music. As well as appearing with Penrith Symphony Orchestra in Handel’s Messiah (2010) and Haydn’s Nelson Mass (2011), he has recently appeared with the

80 Sydney Symphony (Peer Gynt) and with Sydney Chamber Opera as the Gamekeeper in Janacek’s The

Cunning Little Vixen.

INSTRUMENTALISTS William Barton 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.

Calvin Bowman Calvin Bowman is currently a Senior Lecturer and University Organist at the Australian National University. Dr Bowman has presented the complete Bach organ works twice in public. He has premiered 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 the Melbourne, Adelaide, West Australian and Tasmanian Symphony Orchestras. As a composer, Dr 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).

Miroslav Bukovsky Born in Czechoslovakia, Miroslav graduated with Honours (Absolutorium) from Leos Jana cek State Conservatorium in Ostrava. Arriving in Australia in 1968 as a refugee after the Soviet invasion of

Czechoslovakia, Miroslav has had a long and established career as one of Australia's leading jazz trumpeters, composers and educators. He was one of founding teachers of the first Jazz course in Australia at the Sydney Conservatorium in 1975. Miroslav has performed and recorded with a variety of groups and orchestras, including Marcia Hines, Ginger Rodgers, Debbie Reynolds, Renee Geyer, Australian Crawl and Jimmy Barnes. His ARIA winning band Wanderlust has performed extensively at many major European and Asian festivals since 1995. In 1999 he joined the Jazz faculty at the ANU School of Music, where he has taught trumpet, composition, arranging, and improvisation.

Tamara Anna Cislowska Tamara Anna Cislowska is a concert pianist and chamber musician. She has performed across most of the world, and has been associated with the Philharmonia, the London Philharmonic and Romanian Philharmonic orchestras as well as all six major Australian symphony orchestras. She won the 1991 ABC Symphony Australia Young Performer Award, Australia’s most prestigious classical music award, at the age of 14, becoming the youngest pianist ever to do so. She has received a number of awards and honours for her work and has been a major prizewinner at several international piano competitions, including the Rovere d’Oro, Maria Callas and National World Power. Her work has received three nominations for ARIA awards for “Best Classical Release”.

Alan Hicks Alan Hicks, the Choir Director of UC Chorale, is one of Australia's foremost vocal coaches and accompanists. As Head of Voice at the ANU School of Music (20082012) he developed an exciting and innovative programme which provided voice students with highlevel performance opportunities at embassies and consular venues throughout Canberra, at Wesley Music Centre and at the Canberra International Music Festival. Alan performs in duo partnerships with Geoffrey Lancaster (Canberra International Music Festival 2009-2012) and Alan Vivian (Clarinet Ballistix and ABC Sunday Live). Alan has appeared with his wife, mezzo-soprano Christina Wilson, in Europe and Australia, performing regularly for the Canberra International Music Festival and on ABC Classic FM.

Vernon Hill Vernon Hill was Principal Flute in the Melbourne Symphony Orchestra for more than 10 years. He

81 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.

Graeme Jennings Graeme Jennings studied at the Queensland Conservatorium where he completed his bachelor's degree in 1989, and later on, at the San Francisco Conservatory, earning his master's degree in 1992, and an Artist Certificate in Chamber Music in 1994. He has appeared as soloist with orchestras such as the Concertgebouw Orchestra, the Radio Symphony Orchestra of Berlin, the Tasmanian Symphony Orchestra and The Queensland Orchestra. His chamber music partners have included members of the Alban Berg Quartet, Marc-André Hamelin, Michael Kieran Harvey and many others. Jennings is senior lecturer in violin and viola at the Queensland Conservatorium of Music.

Ji Won Kim Ji Won Kim has performed throughout Australia and overseas under the direction of conductors such as James Judd, Luke Dollman, Vladimir Verbitsky, John Hopkins, Nicholas Milton and Vakhtang Jordania. She has appeared with many of Australia’s orchestras including the Melbourne, Adelaide and Queensland Symphony Orchestras, Sydney Symphony and the Willoughby Symphony Orchestra. In 2009 Ji Won Kim was named the ABC Symphony Australia Young Performer of the Year following a performance of the Sibelius Violin Concerto with the Adelaide Symphony Orchestra.

Anna McMichael Anna McMichael is an Australian-born violinist who returned in 2010 to live in Austral ia after 17 years in Holland performing in many of the major European ensembles and orchestras. While living in Europe and working as a freelance musician, Anna was invited to lead many ensembles, and performed at Music Festivals throughout Europe. As a teacher Anna has tutored at Conservatoriums in The Hague, Amsterdam, Huddersfield, Birmingham, Canberra and at ANAM in Melbourne. Anna has been a member and soloist with Melbourne Chamber Orchestra, Assistant Concertmaster with the Canberra Symphony, invited as guest artist to Hobart Baroque Festival, and has been

guest artist/soloist and leader of orchestral concerts at the Canberra International Music Festival from 20102013.

Max McBride 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 is the regular bass player of the Brandenburg Orchestra and has been invited as guest principal to play with the Tasmanian and Sydney Symphony 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 as well as the Victoria State Orchestra. Since 1994 he has also been lecturing in conducting at the Canberra School of Music. In 2001 he was promoted to Senior Lecturer in Double Bass.

Madeleine Mitchell Madeleine Mitchell is a British violinist who has performed as a soloist and chamber musician in over forty countries in a wide repertoire. She has also been a member of The Fires of London and the Michael Nyman Band. Known for her creative programming, Madeleine Mitchell founded the eclectic international Red Violin festival under the patronage of Yehudi Menuhin, celebrating the fiddle across the arts, for which she was shortlisted for both Creative Briton and European Women of Achievement Awards.

David Pereira 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 Australian Chamber Orchestra and for three years Principal Cello with the Sydney Symphony Orches tra. From 1990 to 2008 David was Senior Lecturer in Cello at the ANU School of Music. He is currently a member of the School’s part-time staff, and continues to be in demand as a performer. Several of his compositions are featured in this Festival.

Bill Risby A gifted child prodigy, Bill commenced piano at age 3, and was the youngest student to study piano at the NSW State Conservatorium of Music (Australia), playing 7th Grade pieces by the time he was 7 years old. After high school, He completed an Associate Diploma in Jazz Studies with Merit in 1987. By the time he was 15, he had already performed in Bartok Festivals, piano competitions, and in Gershwin's Rhapsody In Blue as solo pianist, going on to perform Leonard Bernstein's Mass, as well as gigs around town with the "pop" bands

82 of the moment. Bill started to frequent famed music spots in Sydney such as the Basement and the old All Nations Club to check out the music scene he would soon be a big part of. Around this time he started playing Electric Bass, which he occasionally plays at the same time as the piano, but usually not.

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. Along side 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.

JB Smith Dr JB 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 having performed and recorded with musicians such as Steve Reich, George Crumb, and Lou Harrison. Dr Smith is director of the ASU Contemporary Percussion Ensemble that was featured in performances at the 1991, 2002 and 2006 Percussive Arts Society International Conventions. He served as principal percussionist with Ensemble 21, a contemporary music group under the direction of Arthur Weisberg, and as principal percussionist with The Daniel Lentz Group which performed at the Interlink Festival in Los Angeles. He has also recorded and performed with the internationally acclaimed Summit Brass and Phoenix Symphony Orchestra.

Alan Vivian Alan Vivian’s career has made him one of the country's highest profile musicians. He has held the long-term orchestral positions of Principal Clarinet with the Sydney Symphony Orchestra, Australian Chamber Orchestra, and Canberra Symphony Orchestra. He has also performed as Guest Principal Clarinet with the BBC Symphony in London and with the Orchestra of the Vienna State Opera, as well as acting as Principal Clarinet with all of Australia's major symphony orchestras. As a teacher, Alan has presented master classes throughout Australia and the world. He joined the ANU School of Music in 1985.

Timothy Young

Robert Spring Robert Spring has been described as "one of [America]'s most sensitive and tal ented 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.

Virginia Taylor Virginia’s love of the flute began at the age of 10 after having spent several years learning the recorder. She

Currently the Resident Pianist at the Australian National Academy of Music, 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. Timothy has appeared at the ANAM Autumn Music Festival, Queensland Biennial Festival of Music, the Melbourne International Arts Festival, Music in the Round at Monash University, the Utzon Room music series at the Sydney Opera House and the Perth Concert Hall Summer Series. Timothy has been an assistant teacher to Professor Lidia Baldecchi Arcuri at the Nicolo Paganini Conservatorium, and a guest lecturer at Melbourne University Faculty of Music and the Victorian College of the Arts.

AND Elisha Adams, violin Hayley Bullock, violin Jane Cameron, violin Tobias Chisnall, violin Alison Giles, violin Veronique Serret, violin Mia Stanton, violin Yan Kei (Ida) Tse, violin Gillian Ansell, viola

James Eccles, viola Tor Frømyhr, viola Cecile Ross, viola James Wannan, viola Kieran Welch, viola Julia Janiszewsk, cello Anneliese McGee-Collett, cello Amelia Noble, cello Jessica Quarmby, cello

Emma Raynor, cello Camilla Saunders, cello Imogen Thompson, cello Will Tu, cello Clare Tunney, cello Chris Bainbridge, bass Kinga Janiszewski, bass Robert Jeffreys, bass Kit Spencer, harp

83 Laura Tanata, harp David Shaw, flute Emma Armstrong, flute Jennifer Rhodes, flute Nichaud Mundy, flute Eve Newsome, oboe Megan Billing, oboe Sarah Pettigrove, oboe Caitlin McAnulty, oboe, cor anglais

Tom Azoury, clarinet Robert Scott, clarinet Jordan London, bassoon Kirsten Sutcliffe, bassoon Matthew Ventura, bassoon Paul Goodchild, trumpet Owen Morris, trumpet Zach Raffan, trumpet Julie Watson, trumpet Carly Brown, horn

Michael Dixon, horn Julian Hunt, horn James McCrow, horn Brett Favell, trombone Colin Burrows, trombone Will Farmer, trombone Ed Diefes, tuba Jonathan Griffiths, percussion Christina Hopgood, percussion Charles Martin, percussion

Sprogis Woods Young Artists Julian Baker, violin, New Zealand Lara Baker-Finch, violin, Brisbane Hester Bell Jordan, violin, New Zealand Georgia Betros, viola, Brisbane Annabel Drummond, violin, New Zealand Dominic Fitzgerald, cello, Brisbane Jack Hobbs, cello, Canberra Julianna Kim, violin, Brisbane Jen Kirsner, violin, Melbourne Alice McIvor, viola, New Zealand

Arna Morton, violin, New Zealand Kate Oswin, violin, New Zealand Carmen Pierce, violin, Brisbane Alex Raupach, trumpet, Canberra Kristen Rowlands, violin, Melbourne Julia Russoniello, violin, Sydney Jonathan Tanner, violin, New Zealand Kieran Welch, viola, Brisbane Sophie Williams, cello, New Zealand Sonia Wilson, violin, Brisbane

CHOIRS ANU School of Music Chamber Choir The ANU School of Music Chamber Choir was founded in 2012, bringing students of the School of Music together with other skilled musicians from the staff and student body in the performance of fine vocal music. It is directed by the Head of the School of Music, Dr Peter Tregear.

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. After sixty years 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.

A Chorus of Women A Chorus of Women began when some 150 women filled the Australian Parliament on 18 March 2003, 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.

Kompactus Kompactus is a youth chamber choir formed by David Yardley, currently directed by Judith Clingan, 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.

Llewellyn Choir Founded in 1980, the Llewellyn Choir is one of Canberra’s leading amateur choral groups. Under current Music Director Rowan Harvey-Martin, it has given critically acclaimed performances of Mozart’s Requiem, Bernstein’s Chichester Psalms and Bach's St Matthew Passion. The Llewellyn Choir established and sponsors the annual Margaret Smiles Accompanist Competition.

Oriana Chorale 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 most recently Tobias Cole and David Mackay, and is currently directed by Bengt-Olov Palmqvist. 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.

SCUNA Founded in 1963, the Australian National University Choral Society (SCUNA) draws its membership from students, staff, alumni, friends of the ANU, and from the wider Canberra community. It has an established reputation for high quality performances; concerts in recent years have included Fauré's Requiem, Vivaldi's Gloria, Bach's Mass in B Minor and pieces by Bernstein, Britten, Byrd, Haydn, Pergolesi, Sculthorpe and Victoria.

UC Chorale UC Chorale is a non-auditioned community choir with the goals of enjoying the creation of music with others, and of presenting a quality performance of serious music at least twice each year. UC Chorale is directed by Alan Hicks and rehearses at the University of Canberra under the auspices of UC College of Music.