1 pm Friday May 1
3.30 pm Friday May 1
8 pm Friday May 1
10 am Saturday May 2
2 pm Saturday May 2
5.30 pm Saturday May 2
Bach on Sunday
11 am Sunday May 3
2 pm Sunday May 3
5 pm Sunday May 3
Sounds on Site I: Lamentations for a Soldier
Midday Monday May 4
Silver-Garburg Piano Duo
6 pm Monday May 4
Sounds on Site II: Space Exploration
6 pm Tuesday May 5
Sounds on Site III: String Theory
Midday Wednesday May 6
Order of the Virtues
Sounds on Site IV: Forest Music
Midday Thursday May 7
Australian National Botanic Gardens
Brahms at Twilight
6 pm Thursday May 7
Sounds on Site V: From the Letter to the Law
Midday Friday May 8
NLA – Reconciliation Place – High Court
Barbara Blackman’s Festival Blessing: Being and Time
3.30 pm Friday May 8
National Gallery: Fairfax Theatre
Movers and Shakers
3 pm Saturday May 9
8 pm Saturday May 9
Sebastian the Fox and Other Animals
11 am Sunday May 10
Canberra Girls’ Grammar Senior School Hall
A World of Glass
1 pm Sunday May 10
National Gallery: Gandel Hall
7 pm Sunday May 10
Midday Tuesday May 5
6 pm Wednesday May 6
Chief Minister’s message
Festival President’s Message There is nothing quite like the sense of anticipation, before the first note is played, for the delights and surprises that will unfold over the 10 days of the Festival.
Welcome to the 21st Canberra International Music Festival: 10 days, 24 concerts and some of the finest music Canberrans will hear this year.
Not only is this my first year as President of Pro Musica, taking over from our supremely committed last President, Dorothy Danta: it is also the first year for our new Artistic Director, Roland Peelman. With the invaluable support of our General Manager Kathleen Grant, Roland has produced a program continuing the traditions built up by our previous artistic directors, as well as striking out in new and exciting directions.
Under the leadership of its new Artistic Director, Roland Peelman, the 2015 Festival has a program that ranges across the centuries, from Hildegard of Bingen to Deborah Conway. For lovers of the classical canon, it will provide a rare pleasure: the complete cycle of Beethoven’s piano sonatas, as well as three Bach cantatas, chamber music by Brahms, and a program from the Russia of 1915.
The CIMF prides itself on being a festival which truly reflects the national capital and its ideals. Thus, the 2015 Festival draws its inspiration from the connections between music and science, with their shared ambition for pursuing truth, the one in knowledge, the other in art.
Taking its inspiration from the centenary of Einstein’s General Theory of Relativity, this year’s Festival celebrates the links between music and science. It will visit several of Canberra’s leading scientific institutions, and will feature the music of Australia’s most enterprising composers and performers.
This festival has two other main features. The first is the number of new works specially commissioned for the Festival, and supporting the ongoing development of Australian music. The second is our deep commitment to young performers, and to integrating them in rehearsals and performances with more experienced musicians. Watch out for these young artists during the Festival concerts: you will be seeing and hearing the stars of the future.
Canberra is delighted to extend a welcome to the first-class international musicians participating in the Festival, and to the many young musicians from across the country and overseas who will join the seasoned professionals on the Festival stages - not least the remarkable Moorambilla Voices.
I wish to express Pro Musica’s deepest thanks to our sponsors and supporters across government and the corporate sector, and particularly to the large number of individuals who have contributed finance and resources. In addition I wish to pay tribute to the large number of volunteers and billeters who have committed their time and their hospitality to the Festival. Without this level of community commitment the Festival could not go ahead.
I encourage Canberrans and visitors to this city to make the most of the many musical delights on offer, and wish everyone involved all the best for the 2015 Canberra International Music Festival. Andrew Barr MLA ACT Chief Minister
So, like you, I will sit back, take in a deep breath, and enjoy the 10 days of music making ahead of us. Arn Sprogis President, Pro Musica, Inc. 2
Artistic Director’s Message Whether we like it or not, Canberra is a city of government and governance. But equally, Canberra is a city of knowledge, a city of science and serious factseeking, whether on terra firma or in the depths of outer space. Canberra is also a place where the nation keeps its treasures, its bank accounts, its jewels, its books, archives and artworks, an enviable wealth of relatively recent history. Barely one hundred years old, she bears the imprint of Burley-Griffin’s vision combined with the presence of a strong international community and a sense of duty, service and scholarship amongst its citizens. The result remains a work in process, but Canberra strikes me as an a-typically modern city that has proven remarkably resilient, given its proximity to the political epicentre and the inevitable ebbs and flows of the electoral cycle. But none of this would mean anything if we could not stand back and admire the sunset, or wonder at those mountain peaks around Canberra. They remind us of an ancient land with a history that looms much larger than our mere century-old construct. All the things we have built and achieved would mean nothing if we did not have the time or space to think beyond that which meets the eye – if it weren’t for our ability to listen and to imagine. This Festival carries music in its heart. Unashamedly it celebrates the great Western classical tradition, not just because we love it, or because so many great musicians have a past or current association with Canberra’s School of Music. We have a Music Festival because the way we enjoy and make music remains one of the most potent, even wilful steps in the march of history. Its central tenet is the ability to create something out of nothing, and in doing so to explore uncharted territory. Hence Albert Einstein’s thoughtful frown and rigorously unkempt mane of hair gracing our posters this year. During his formative years leading up to the 1915 publication of the General Theory of Relativity, he saw more than any of his learned contemporaries did. Even amidst the ravages of war he still could imagine a greater world – a more peaceful world. Einstein too was a musician. Roland Peelman Artistic Director 2015 Canberra International Music Festival
Beethoven and the Piano Sonatas court musicians. Thus, even before travelling to Vienna, Beethoven was able to gain a considerable knowledge and mastery of the principles of composing in what we now call ‘sonata form’, a sophisticated way of constructing large-scale musical forms through the rhetorical coordination of melody and rhythm grounded in musical tonality – a sense of home ‘key’. Beethoven’s first piano sonatas, juvenilia for which the composer did not give an ‘opus number’, date from this time. His self-conscious coming-of-age as a composer would only begin in earnest when he travelled to Vienna in 1792. The court in Bonn sponsored him to go there, as one patron famously put it, ‘to receive Mozart’s spirit from Haydn’s hands’; in the end he would not so much absorb their influences as completely transform them. In Vienna Beethoven also began a career as a virtuoso pianist and brilliant improviser, and from 1795 his published compositions attracted increasingly favorable attention – among them his first ‘official’ piano sonatas, the two that make up his Opus 2, both dedicated to Haydn.
hatever views we might hold about the ongoing significance of classical music in, and for, Australian society, we need have no doubt about that of Ludwig van Beethoven (17701827). He is one of the few composers whose image, basic biography and of course music is widely known far beyond the concert hall. For classical musicians and music lovers alike, his standing is colossal. If all Western Philosophy is a footnote to Plato, all classical music since c.1800 is a footnote to Beethoven. To understand the reasons for this, we must consider both the music itself and the world that surrounded it.
One way to understand how Beethoven’s composition developed from these two sonatas across the 30 sonatas that followed is to map them onto the traditional ‘three periods’ division used both by scholars and biographers. This is, of course, a simplification: changes in his compositional style appeared gradually, and in many respects the ‘periods’ overlapped.
Unlike his older contemporaries, Mozart and Haydn, Beethoven was a child of the French Revolution, and in the midst of those best and worst of times it was Beethoven first and foremost who instinctively heard how music could act as a mediator between the artist and the world at large, far beyond the aristocratic salon. The more courteous musical forms of his forbears – the symphony, the string quartet, and the piano sonata – would never be composed the same way again. But, just as significantly, they would never be heard the same way again.
The ‘First Period’, roughly from 1795 to 1801, includes the first 11 piano sonatas. It corresponds with these first years in Vienna, and shows the direct influence of Haydn in their taut motives and often humorous character, and of Mozart in their lyricism. We can also hear an engagement with the ‘sensitive style’ of Carl Philipp Emanuel Bach, most obvious in the slow movements of these sonatas, alongside features that would soon mark his music as starkly original: the greatly extended development (middle) and coda (final) sections, and an emerging ‘symphonic’ approach to writing for the keyboard.
Beethoven was born in the Rhine city of Bonn in 1770. Like Mozart, he was a child prodigy, but unlike Mozart his musical training was to be irregular and sparse. His aristocratic patron, the Elector at Bonn was, however, a great admirer of Mozart, and saw to it that Mozart’s latest published works were available to his 4
of Op. 31 No. 2 in D minor (‘The Tempest’) for instance, opens like an improvised fantasia, and also includes a long passage of ‘recitative without words’. One result of such musical experimentation is that by the end of this ‘middle period’ we really can no longer align this music to the ‘classical’ style without at least some drastic qualification.
The best known of the First Period sonatas, Op. 13 in C minor (the so-called ‘Pathétique’), displays these features in abundance. The opening slow introduction melds a French baroque overture to a post French revolutionary symphonic drama, and then leads into music that displays, according to Barry Cooper, a ‘strength of character, depth of emotion, level of originality, range of sonorities, and ingenuity of motivic and tonal manipulation, anticipating in many ways his style of the next decade’.
The ‘Third Period’ (c.1816–1827) coincides with music that becomes rather less public and heroic in character and instead more abstract and introspective, incorporating poetic extremes from the meditative to the grotesque. The sonatas of the ‘Third Period’ (the last five sonatas, Opus 101 to Opus 111) are increasingly novel in structure; they often include long sections of an improvisatory or recitative-like character. Other characteristics include a penchant for variation form, such as we hear in the slow movement of Op. 106 in B-flat major (the ‘Hammerklavier’), the incorporation of lengthy passages of fugato and contrapuntal textures (such as the finales of the ‘Hammerklavier’ and the Op. 110 in A-flat major), and the use of non-traditional movement plans, such as the two movements of the last sonata, Op. 111 in C minor. Such features help align these ‘late sonatas’ with a characteristic that Goethe would come to see as typical of the late works of many great artists: a wrestling with the reality of physical decay, mimicked in an apparent ‘formal’ decay, that leads to the creation of works of art that aspire ultimately to transcend that very condition.
The Second Period, approximately 1801–1816, is commonly known as Beethoven’s ‘heroic period’, in part a reference to his Third Symphony, the ‘Eroica’ (1803). It can cover all the sonatas from Opus 26 to Opus 90, and is typified by works of unprecedented length and complexity, and which are also often much more ‘public’ in nature. Both the third movement of Op. 26 in A flat and the second movement of the ‘Eroica’, for instance, are funeral marches that for contemporary listeners would have evoked the military music of the Napoleonic era. Today we are more likely to associate such music with the drama of Beethoven’s own life. By 1802 the composer knew he was going deaf, and in a letter written to his brothers Carl and Johann at Heiligenstadt on 6 October 1802 he made it very clear that it was only his art that gave him the strength to continue living. Was it, then, Beethoven’s personal suffering that inspired him to compose works like Op. 27 No. 2 in C sharp minor “Quasi una fantasia” (the ‘Moonlight’)?
However we choose to categorise these 32 Piano Sonatas, however, there is no doubt that hearing them gives us an opportunity to gain a deep insight into the composer’s musical Lebenslauf – a life’s creative journey in sound. It is perhaps the ultimate validation of Beethoven’s creative genius that the luxury of being able to hear the entire cycle remains – despite the vast expanses of time and distance that now separate us from his world – so much more than a mere idle distraction. They speak of, and to, our common humanity.
Musicologists tend to be cautious about making such subjective connections, but they would certainly agree that at the very least the formal ambition of the ‘Eroica’ symphony is matched by works like Op. 53 in C major (the ‘Waldstein’). In the first movement of this sonata the choralelike second subject is in the key of E major, a long way from the ‘home’ key of C major; a bold musical experiment that shows the composer exploring new possibilities for the sonata form. In these ‘middle period’ sonatas, Beethoven also uses music ‘topics’ drawn from other genres, including operatic recitative. The first movement
Friday 1 May, 1pm
Friday 1 May, 3.30pm
ANU School of Music and Friends of the School of Music present: CONCERT 1
BEETHOVEN a piano for life I
BEETHOVEN a piano for life II
Op. 2 No. 1 in F minor
Op. 2 No. 2 in A major
1. 2. 3. 4.
1. Allegro 2. Adagio 3. Menuetto (Allegretto) 4. Prestissimo
Op. 14 No. 1 in E major
Allegro vivace Largo appassionato Scherzo (Allegretto) Rondo (Grazioso)
Op. 49 No. 1 in G minor
Op. 54 in F major Op. 31 No. 3 in E flat major ‘The Hunt’
Op. 78 in F sharp major Nicholas Mathew* ‘Für Therese’ 1. Adagio cantabile – Allegro ma non troppo 2. Allegro vivace
— INTERVAL —
— INTERVAL —
1. Allegro ma non troppo 2. Tempo di Menuetto
Op. 31 No. 2 in D minor ‘The Tempest’
1. In tempo d’un Menuetto 2. Allegretto
1. Allegro 2. Scherzo (Allegretto vivace) 3. Menuetto (Moderato e grazioso) 4. Presto con fuoco
Op. 49 No. 2 in G major
1. Andante 2. Rondo – Allegro
1. Allegro 2. Allegretto 3. Rondo (Allegro commodo)
Op. 81a in E flat major ‘Les adieux’
1. Das Lebewohl (Adagio – Allegro) 2. Abwesenheit (Andante espressivo) 3. Das Wiedersehen (Vivacissimamente)
1. Largo – Allegretto 2. Adagio 3. Allegretto
Op. 111 in C major
1. Maestoso – Allegro con brio 2. Arietta (Adagio molto semplice e cantabile)
115’ including interval
110’ including interval This concert is supported by
This concert is supported by
David Taylor 6
Saturday 2 May, 10am
Saturday 2 May, 2pm
Embassy of the Federal Republic of Germany presents:
Tim Benson presents:
BEETHOVEN a piano for life III
BEETHOVEN a piano for life IV
Op. 13 in C minor ‘Pathétique’
Op. 10 No. 1 in C major
1. Molto allegro e con brio 2. Adagio molto 3. Finale - Prestissimo
1. Grave – Allegro di molto e con brio 2. Adagio cantabile 3. Rondo – Allegro
Op. 31 No. 1 in G major Op. 28 in D major ‘Pastoral’
1. Allegro 2. Andante 3. Scherzo – Allegro vivace 4. Rondo – Allegro ma non troppo
— INTERVAL — Op. 22 in B flat major
Op. 79 in G major
Op. 57 in F major ‘Appassionata’
— INTERVAL —
1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo
Daniel de Borah
1. Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo) 2. Lebhaft, marschmässig (Vivace all Marcia) 3. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto) 4. Zeitmass des ersten Stückes (Tempo del primo pezzo) – Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro)
Op. 110 in A flat major
1. Allegro con brio 2. Adagio con molta espressione 3. Menuetto 4. Rondo - Allegretto
1. Presto alla tedesca 2. Andante 3. Vivace
Op. 101 in A major
1. Allegro vivace 2. Adagio grazioso 3. Rondo (Allegretto)
1. Moderato cantabile molto expressivo 2. Allegro molto 3. Adagio ma non troppo – Fuga (Allegro ma non troppo) 110’ including interval
110’ including interval This concert is supported by
This concert is supported by
Koula Notaras and Emmanual Notaras
Marjorie Lindenmayer 7
Saturday 2 May, 5.30pm
Embassy of the Federal Republic of Germany presents: CONCERT 6
BEETHOVEN a piano for life V Op. 10 No. 2 in F major Stephanie McCallum 1. Allegro 2. Allegretto 3. Presto
Op. 14 No. 2 in G major
1. Allegro 2. Allegretto 3. Presto
Op. 26 in A flat major
1. Andante con Variazioni 2. Scherzo – Allegro molto 3. Marcia funebre sulla morte d’un Eroe 4. Allegro
— INTERVAL — Op. 90 in E minor
1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck 2. Nicht zu geschwind und sehr singbar vorgetragen
Op. 109 in E major
1. Vivace, ma non troppo – Adagio expressivo – Tempo I 2. Prestissimo 3. Gesangvol, mit innigster Empfindung (Andante molto cantabile ed espressivo)
* Nicholas Mathew appears by arrangement with the ANU School of Music
110’ including interval
†Andrew Leathwick, Alex Raineri and
This concert is supported by
Adam McMillan appear by arrangement with the Australian National Academy of Music (ANAM)
Margaret Saboisky 8
Sunday 3 May, 2pm
Sunday 3 May, 5pm
BEETHOVEN a piano for life VI
BEETHOVEN a piano for life VII
Op. 2 No. 3 in C major
Op. 7 in E flat major ‘Grand Sonata’
1. Allegro con brio 2. Adagio 3. Scherzo - Allegro 4. Allegro assai
1. Molto Allegro e con brio 2. Largo, con gran espressione 3. Allegro 4. Rondo - Poco Allegretto e grazioso
Op. 10 No. 3 in D major
1. Presto 2. Largo e mesto 3. Menuetto – Allegro
Op. 27 No. 2 in C# minor ‘Moonlight’
1. Adagio Sostenuto 2. Allegretto
4. Rondo - Allegro
3. Presto agitato
— INTERVAL — — INTERVAL — Op. 27 No. 1 in E flat major Daniel de Borah ‘Sonata quasi una Fantasia’
Op. 106 in B flat major ‘Hammerklavier’
1. Andante – Allegro – Andante 2. Allegro molto e vivace 3. Adagio con espressione - Allegro vivace Presto
Op. 53 in C major ‘Waldstein’
1. Allegro 2. Scherzo (Assai vivace – Presto – Prestissimo – Tempo I) 3. Adagio sostenuto. Appassionato e con molto sentimento 4. Largo, Allegro risoluto – Fuga a tre voci, con alcune licenze
1. Allegro con brio 2. Introduzione (Adagio molto) 3. Rondo (Allegretto moderato – Prestissimo)
105’ including interval
110’ including interval
This concert is supported by
This concert is supported by
Barbara Campbell and Jennie and Barry Cameron
Claudia Hyles and Mary Louise Simpson 9
Daniel de Borah
Australian pianist Daniel de Borah was a major prize winner at the 2004 Sydney International Piano Competition and has since appeared as soloist with the English Chamber Orchestra, Photo: Darren James the London Mozart Players and with the Royal Philharmonic Orchestra at the Barbican and Cadogan Halls, London. He has given recitals at major venues and festivals throughout the United Kingdom including return visits to Wigmore Hall, London’s Southbank Centre, Manchester’s Bridgewater Hall, St David’s Cardiff, the Brighton and Newbury Festivals.
Described by The Australian as a ‘musical ambassador,’ Anna Goldsworthy is one of Australia’s most acclaimed and versatile musicians. She has performed extensively as a piano soloist throughout Australia and internationally. An accomplished chamber player, Anna is a founding member of Seraphim Trio, which in 2015 celebrates its twenty-first anniversary.
Daniel has also appeared widely in Australia with the Sydney, Melbourne, Canberra and Adelaide Symphony Orchestras, the Australian Chamber Orchestra, Melbourne Chamber Orchestra and Orchestra Victoria. He has partnered many leading soloists and ensembles including Li-Wei Qin (cello), Rivka Golani (viola), Kristian Winther (violin), the Australian String Quartet, the New Zealand String Quartet, Thomas Indermühle (oboe) and Andrew Goodwin (tenor), appearing at the Canberra International Music Festival, Huntington Estate Music Festival and the Australian Festival of Chamber Music in Townsville. In 2015 Daniel joins the Australia Piano Quartet, ensemble-in-residence at the University of Technology, Sydney. APQ performances in 2015 include an eight-concert series at the Utzon Room of the Sydney Opera House, a sevenproject collaborative series at UTS and a tour to France and the UK including the quartet’s London debut at the Barbican Centre. Bernice Chua
She collaborates regularly with Australia’s most distinguished musicians, such as oboist Diana Doherty, clarinettist Paul Dean, trumpeter David Elton, soprano Jane Sheldon and the Australian String Quartet. Anna’s literary publications include the memoirs Piano Lessons and Welcome to Your New Life, as well as the Quarterly Essay Unfinished Business. She is currently Artistic Director of the Port Fairy Spring Music Festival, Kenneth Moore Memorial Music Scholar at Janet Clarke Hall, and Research Fellow at the J.M. Coetzee Centre for Creative Practice at the University of Adelaide.
Andrew Leathwick† Andrew Leathwick began piano lessons at the age of nine. In 2014, he completed the requirements for a Master of Music with First Class Honours at the University of Waikato. While at the University, Andrew was the winner of many awards and competitions, including the University of Waikato Cultural and Arts Person of the Year Award, the University of Waikato Concerto Competition, and the Sir Edmund Hillary Medal. In 2013, Andrew won the New Zealand National Concerto Competition, playing Prokofiev’s Third Piano Concerto, where he also received the junior jury prize and audience choice award. He is currently studying at the Australian National Academy of Music (ANAM) in Melbourne.
With a repertoire of some thirty-five concerti, Clemens Leske has performed with the Sydney, Melbourne, Adelaide, West Australian, Tasmanian and Queensland symphony orchestras and has played at venues in Spain, the United Kingdom, Singapore, New Zealand, Hungary and China. In May, 2005 he gave his London Royal Festival Hall debut, performing Rachmaninoff’s First Piano Concerto with the London Philharmonic Orchestra.
The British pianist and musicologist Nicholas Mathew is Associate Professor and Weisman Schutt Chair in Music at the University of California at Berkeley, and joint leader of the piano program there. He has Photo: Bruce Hedge always divided his musical life between the contrasting joys of scholarship and performance. While a student at Oxford University, he studied piano performance concurrently at the Guildhall School of Music and Drama in London with the Romanian virtuoso Carola Grindea. His formative years as a musician, however, came during his graduate studies at Cornell University in New York State, where he worked with the generation’s leading fortepianist Malcolm Bilson, and encountered the extraordinary range of historical keyboard instruments that have captivated him ever since.
Recent appearances include performances of Strauss’ Burlesque as well as Beethoven’s Triple Concerto with the Sydney Symphony under the baton of Vladimir Ashkenazy, and Mozart’s K467 Concerto in C at the Sidney Myer Music Bowl and Rachmaninoff’s Third Piano Concerto, both with the Melbourne Symphony Orchestra. He performed with the Canberra Symphony Orchestra last year with Beethoven’s Fourth Piano Concerto, with conductor Niicholas Milton and was also invited on a national tour in partnership with flautist Sir James Galway. Adam McMillan† Born in Brisbane, 21 year old pianist Adam McMillan is currently studying at the Australian National Academy of Music (ANAM). Adam began playing when he was four, and by age 16, Adam had performed the Bach Concerto in D minor with the Tagiev Chamber Orchestra in the Weill Recital Hall at Carnegie Hall. Recent performances include playing in the 4MBS Festival of Classics ‘Beethoven Marathon’, performing as soloist with the Queensland Conservatorium Symphony Orchestra, and collaborating with other pianists in the Australian Piano Duo Festival. He has enjoyed performing and recording the works of emerging Australian composers, and has recorded a CD with cellist Elizabeth Hubbard that continues to raise money for the charity “HeartKids”.
For the past decade, he has aimed to evolve the aims and aesthetics of what was once the “period instrument movement” – away from prescriptive questions of “what was” towards an appreciation of the richness and plurality of new expressive choices that can be promoted by a knowledge of historical practices and a love of instruments in their myriad forms. He is the author of Political Beethoven and (with Benjamin Walton) The Invention of Beethoven and Rossini, as well as several scholarly articles, on Beethoven, Haydn, Rossini, and the history and theory of piano performance. Nicholas Mathew appears by arrangement with the ANU School of Music.
Maria Mazo Maria Mazo, already an award winner at the Van Cliburn (USA), Honens (Canada) and Busoni (Italy) International Piano Competitions, is the winner of the 2013 International Beethoven Piano Photo: Tobias Moses Competition Vienna. She also recently achieved great praise from audience and critics at the 2014 Arthur Rubinstein Piano Master Competition in TelAviv where she was awarded the Audience Prize after performing with the Israel Philharmonic Orchestra conducted by Asher Fisch. Although her repertoire ranges from Bach to the present day, Maria Mazo has always been fascinated by Beethoven’s music, and it was her interpretations of some of his masterpieces that first established Maria Mazo in the international concert scene. In 2004 she won the Beethoven Piano Competition in Mannheim, Germany; the following year later she added to her reputation with a highly acclaimed performance of Beethoven´s Hammerklavier Sonata at the Van Cliburn International Piano Competition. Her next step was to win First Prize at the Beethoven Competition in Vienna, one of the oldest, most traditional and prestigious music competitions in the world, in which only the works of Beethoven are performed. Stephanie McCallum Stephanie McCallum is a piano soloist known internationally for her work on the reclusive Romantic composer, Alkan, and nationally for her many recordings and work championing unusual, new Australian repertoire. Photo: Bruce Hedge and Currently an Associate Professor of Piano at Sydney Conservatorium, University of Sydney, Stephanie has performed internationally in recital, as soloist with major Australian orchestras, and with AustraLYSIS, Sydney Alpha Ensemble, ELISION, Australia Ensemble, ACO, Kammer, Halcyon and other groups. Her live solo
performances of Alkan have been described by critics as ‘titanic’, ‘awe-inspiring’, ‘stupendous’, ‘virtuosic pianism of the highest calibre’ and ‘one of the glories of Australian pianism’. Stephanie appears on over 40 CDs including 17 solo albums ranging through Liszt, Weber, Magnard, Xenakis and premier recordings of Alkan, Kats-Chernin and even newly transcribed Beethoven. Lisa Moore Described as “beautiful, impassioned; brilliant and searching” in The New York Times, pianist Lisa Moore has collaborated with a large and diverse range of musicians and artists throughout the world, in venues such as La Scala, Carnegie Hall and the Musikverein. Originally from Canberra, Lisa has been based in New York City since 1985, and has performed with the London Sinfonietta, New York City Ballet, American Composers Orchestra, Bang on a Can All-Stars, Steve Reich Ensemble, Australian Chamber Orchestra, Australia Ensemble, Paul Dresher Double Duo, Alpha Cantauri and Terra Australis. Lisa’s festival guest appearances include Crash Dublin, Uzbekistan, Lithuania, Greece, Graz, Tanglewood, Aspen, Huddersfield, Paris d'Automne, Lisbon, Uzbekistan, South Korea, Shanghai, Beijing, Hong Kong, BBC Proms, Southbank, Adelaide, Canberra, Darwin, Perth, Sydney, Israel and Warsaw. As a concerto soloist Lisa has performed with the London Sinfonietta, the Australian Chamber Orchestra, the Sydney, Tasmania and Canberra Symphony Orchestras, among many others, under the batons of conductors from Richard Mills to Edo de Waart and Pierre Boulez. Lisa enjoys performing the highly diverse range of piano repertoire found in traditional, new and experimental forms. She has premiered and commissioned hundreds of new works, working with contemporary composers ranging from Iannis Xenakis, Elliot Carter, Peter Sculthorpe and Gerard Brophy to Elena Kats-Chernin and Martin Bresnick. 12
Ian Munro Ian Munro has emerged over recent years as one of Australia’s most distinguished and awarded musicians, with a career that has taken him to thirty countries in Europe, Asia, North America and Australasia. His award in 2003 of Premier Grand Prix at the Queen Elisabeth International Competition for composers (Belgium) is a unique achievement for an Australian and follows on from multiple prizes in international piano competitions in Spain, Italy, Portugal and the UK, where his second prize at the Leeds International Piano Competition in 1987 established his international profile. In the UK Ian has performed with the Royal Philharmonic Orchestra, Philharmonia, English Chamber Orchestra and the BBC Scottish Symphony Orchestra. Elsewhere, he has performed with orchestras in Poland, Italy, Portugal, Russia, the USA, China, New Zealand and all the major orchestras in Australia in over sixty piano concerti. A widely experienced chamber musician, Ian joined the acclaimed Australia Ensemble in Sydney in 2000. Ian has performed concerti by Ravel, Munro, Mozart, Kats-Chernin, Gershwin and Edwards, and toured to the UK, Russia, Belgium, Italy, Switzerland, Uzbekistan and throughout Australia and New Zealand in recitals, chamber music and concerto performances. Kotaro Nagano Since winning 1st prize at the Taipei Chopin International Piano Competition, Kotaro Nagano has won several other competitions, including the Second Australian International Chopin Piano Competition (1st prize and Audience Prize), the International Piano Competition Halina Czerny-Stefanska In Memoriam in Poznan (2nd prize and Chopin Nocturne Special Prize), the Tokyo Piano Competition (1st prize) and the 16th International Chopin Piano Competition in Warsaw (diploma prize).
Antonin Chopin Festival, performing Chopin’s Piano Concerto No.1 with Poznan Symphony Orchestra. He has worked with Tokyo Symphony Orchestra, Kaohsiung Symphony Orchestra, Poznan Symphony Orchestra and Lomza Chamber Philharmonic, and has performed in Tokyo, Kagoshima, Sendai, Warsaw, Krakow, Lomza, Montreal, Taipei, Kaohsiung, Sydney and Aix en Provence. Alex Raineri† 21-year-old pianist Alex Raineri is currently based in both Melbourne and Brisbane. Alex’s performance experience includes tours of California, South-East Asia, New Zealand, Germany and a numerous recital and chamber music engagements in Australia including regular broadcasts on ABC Classic FM and the MBS Networks. He has performed concertos with the Queensland, Tasmanian and West Australian Symphony Orchestras and has had several competition successes including first prizes in the Kerikeri International Piano Competition (2014), Australian National Piano Award (2014) and ANAM Concerto Competition (2014). A passionate chamber musician, Alex is the pianist and co-artistic director of the Brisbane contemporary music ensemble Kupka’s Piano. Other chamber music partnerships have been with Brett Dean, Ensemble Offspring, Greta Bradman, Tabatha McFadyen and Angus Wilson among others. In addition to his studies at ANAM, Alex is also undertaking a Doctor of Musical Arts (DMA) at the Queensland Conservatorium of Music (Griffith University) and is a current recipient of a Griffith University Postgraduate Research Scholarship.
Sivan Silver and Gil Garburg – see Concert 11, p. 24 below.
He made his debut in the Opening Concert at the 13
Gabi Sultana Described as “one of our most promising pianists of our generation” of “mammoth talent” and “a demon of energy; yet one of impeccable articulation”, Gabi Sultana, who hails from the island of Malta, is a highly acclaimed soloist and chamber musician. As the winner of the “Contemporary Music Prize” and “Outstanding Pianist” Awards at the 2013 IBLA Grand Prize International Music Competition in Sicily, Italy, she toured the States of Virginia, Arkansas and New York culminating in her debut at Carnegie Hall in May 2014. As a soloist she has also performed throughout Europe. She is currently working with Spectra Ensemble (BE) and together they have performed at internationally renowned contemporary music festivals such as Transit (BE), Gaida (LT) and Ars Musica (BE). Arnan Wiesel The Israeli born pianist Arnan Wiesel is a winner of national and international prizes including Israel’s highest prize for young musicians, the Francoix Shapira Prize. A finalist in the Sydney Piano Competition, his career as solo and chamber musician has taken him to Australia, USA, Europe, Asia, New Zealand and Israel. Performances include concertos with the Stuttgart Philharmonic and the Israel Philharmonic Orchestra, and recitals in the Concertgebouw in Amsterdam and Frankfurt Alte Oper, as well as appearances at festivals in Germany and Israel.
Since taking up residence in Australia, he has performed with the Sydney Symphony Orchestra, the Queensland Symphony Orchestra, Canberra Symphony Orchestra, the Adelaide Festival, in numerous ABC Live concerts, and in the Canberra Chamber Music Festival. From 2005 to 2010 he performed the complete keyboard works of J.S. Bach both on the modern piano and on the clavichord. Nicholas Young With a passion for classical and modern piano performance, Nicholas Young is emerging as one of Australia’s most captivating and versatile musicians. After completing his Bachelor of Music (Performance) at the Sydney Conservatorium in 2012 with First Class Honours and a University Medal, he commenced Masters studies in Solo Piano at the Universität Mozarteum Salzburg. Nicholas was the national winner of the 8th Yamaha Australian Youth Piano Competition in 2007. This success was followed by further important prizes including the First Prize and Best Beethoven Performance of the 2015 ‘Grand Prize Virtuoso’ International Piano Competition. Nicholas has given solo and chamber performances in Australia, New Zealand, Austria, France, Italy and the United Kingdom, in such venues as the Sydney Opera House, Wigmore Hall and Mozarteum Wiener Saal. He has appeared as soloist with the West Australian, Queensland, Adelaide and Willoughby Symphony Orchestras, as well as the Vienna International Orchestra in Austria, and his performances have been broadcast by ABC Classic FM.
How well do you really know your piano? Meet the
Piano Whisperer in the Music Room, Wesley Music Centre, 10.00-11.30 am, Tuesday May 5 Master piano technician Ara Vartoukian from Theme & Variations Piano Services presents a seminar on the intricacies of the piano and its tuning, with guest pianist James Huntingford.
Piano Sales, Tuning, Rebuilds & Restorations. Established in 1985 by senior concert technician, Ara Vartoukian, Theme & Variations Piano Services know all things piano. Equipped with an elegant showroom and bustling workroom, we are the place to go for sales, tuning, repairs and restorations. With an expert team of passionate, dedicated and professional staff, we strive for excellence in everything we do. Call us today for all your piano needs on (02) 9958 9888. www.themeandvariations.com.au 15
Friday 1 May, 8pm Fitters’ Workshop
Canberra Times presents: CONCERT 3
Gala Concert: Bach’s Universe Johann Sebastian Bach (1685-1750) Partita No. 2 in D minor, BWV 1004
Alex Oomens soprano Festival Bach Ensemble: Leanne Sullivan trumpet Matt Greco director / violin Annie Gard violin Heather Lloyd viola Rosanne Hunt cello Anthony Abouhamad director / harpsichord
Steve Reich (b. 1936) Vermont Counterpoint Johann Sebastian Bach Trio Sonata in G major, BWV 530 1. Vivace 2. Lento 3. Allegro
Alister Spence (b. 1955) Time is Time Enough WP
William Barton didgeridoo Rebecca Chan violin
Johann Sebastian Bach Cantata ‘Jauchzet Gott’ BWV 51 1. 2. 3. 4. 5.
Amy Dickson saxophone Claire Edwardes vibraphone
Jauchzet Gott in allen Landen Wir beten zu dem Tempel an Höchster, mache deine Güte Sei Lob und Preis mit Ehren Alleluja, Alleluja
Pete Harden electric guitar
80’ no interval
This concert is supported by Betty Beaver
Kate Moore (b. 1979) The Dam (Beaver Blaze Commission) WP
Bach’s Universe Soli Deo Gloria – ‘Glory only to God’: this is how Bach would start a new piece. And God’s humble servant might occasionally encrypt his name B-A-C-H into the score itself, as a theme or as a harmonic progression. It tells us something about a person’s understanding of a universe underpinned by the Word, wisdom and creative act of a potent God figure.Throughout the 17th century, the fundamental principles of order and gravity as conceived by God and articulated by Isaac Newton remained largely unquestioned. The notion of ‘natural’ order then became the subject of much heated discussion in the discourse of the 18th century. But only the
violent upheavals of the French Revolution, 39 years after Bach’s death, opened the door to a view of the world without a God. Listening to Bach’s Cantata ‘Jauchzet Gott’, one of his most openly jubilant compositions, one senses a genuine joy and acceptance of this divine order. From the initial doubled arpeggio to the ecstatic vocalisations of the soprano, male and female unite according to God’s law. The cantata may have as much to do with Bach’s newly found domestic bliss – a lovely young soprano called Anna Magdalena – as with the presence of a decent trumpet player amongst 16
his Leipzig forces. The form of the trio sonata, whether in instrumental chamber music or on the church organ, uses two equal parts also, in combination with the bass – a small-scale and playful tribute to the trinitarian principle that pervades most Western Christian music. This concert, however, starts with Bach’s Partita No. 2 for violin solo, four strings strung on a small but exquisitely made instrument creating out of a simple chord sequence an entire universe as reflected within a drop of water. It is the violin that became Albert Einstein’s instrument of choice. Music, and Bach in particular, never failed to entrance him without any need for explanation, in contrast to the formulation of complex new laws and equations with mathematical challenges that remained a source of frustration throughout his life. It is widely understood that first wife Mileva, a mathematician, contributed considerably to his early scientific papers as a mathematician. Their domestic world, however, played out like an increasingly discordant duet, and eventually he settled for a more conventional arrangement with his cousin Elsa. By that stage Newton’s comprehensible order had made way for a concept of time, space, light and matter that still defies our imagination. The consequences of his relativity theory sparked new research in astronomy, physics, biochemistry and much more. The same elements of time, space, and matter also form the building blocks of music itself. During Einstein’s lifetime already new models of musical structure were emerging, entirely different to the inner dialogue and outer discourse that drives Bach’s creations. Composers were now free to use hypnotically additive structures inspired by Indian music, or African drumming patterns, or Zen devices that redefine our expectations and perceptions of sound as it unfolds. Steve Reich famously credited African drumming styles for his new
departures. The physicality of endlessly repeated percussion patterns and the ever so gradual process of going ‘in and out of sync’ creates a state of trance: the ear is seduced, the body liberated and the mind lost somewhere along the way. Not surprisingly, improvising musicians really connected with this approach (as they did with Bach) and it triggered yet another wave of jazz renewal. Alister Spence, a notable Australian jazz musician, has found much joy in the cool sounds of saxophone and vibraphone and in their playful interaction. Kate Moore, our composer-in-residence, found her starting point in the intricate constructions of American and Dutch minimalists. She too creates mesmerising, trance-like music, but with a passion that perhaps wouldn’t be allowed in Dutch Protestant circles or in good New York Jewish company. In this brave new world multiple meanings, multiple perspectives and purposes can be embraced. Composers might see the physical world for what it is, explained or unexplained, and search for different layers of human complexity. Yet, within the context of a monocentric world, it could be argued that Bach’s unequivocal statement ‘SDG’ hides a much greater level of complexity than his worldly masters ever realised, and that his music, for all its hidden joy or veiled sorrow, evokes a much more unfathomable truth than this inscription may suggest. In the end, Einstein’s life-long quest for a unifying theory proved as futile as Bach’s ongoing tug-of-war with the local town council. Great art often emerges out of the collision of the personal and the universal. Tonight’s concert also reflects the collision of a past and a future that Bach the Kantor may have never suspected, but that we can now recognise in his music. Einstein, the scientist, expressed it in very simple words: “I have this to say about Bach’s works: listen, play, love, revere – and keep your trap shut”. Roland Peelman
Sunday 3 May, 11am Fitters Workshop
Palace Electric presents: CONCERT 7
Bach On Sunday Tobias Cole counter-tenor Johann Sebastian Bach (1685-1750) Cantata ‘Ich habe genug’ BWV 82 1. 2. 3. 4. 5.
David Greco baritone Alex Oomens soprano
Ich habe genug, ich habe den Heiland Ich habe genug! Mein Trost ist nur allein Schlummert ein, ihr matten Augen Mein Gott! wenn kömmt das schöne: Nun! Ich freue mich auf meinen Tod
Paul McMahon* tenor Festival Bach Ensemble: Mikaela Oberg flute Kirsten Barry oboe Matt Greco director / violin Annie Gard violin Heather Lloyd viola Rosanne Hunt cello Anthony Abouhamad director / harpsichord
Kate Moore (b. 1979) ‘Broken Rosary’ Johann Sebastian Bach Cantata ‘Schweigt stille, plaudert nicht’ (‘Coffee Cantata’) BWV 211 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Schweigt stille, plaudert nicht Hat man nicht mit seinen Kindern Du böses Kind, du loses Mädchen Ei! wie schmeckt der Coffee süsse Wenn du mir nicht den Coffee lässt Mädchen, die von harten Sinnen Nun folge, was dein Vater spricht Heute noch, lieber Vater, tut es doch Nun geht und sucht der alte Schlendrian Die Katze lässt das Mausen nicht
*by arrangement with the School of Music, ANU
75’ without interval
This concert is supported by Jim and Peronelle Windeyer
MS: Cantata 'Ich habe genug' BWV 82 (1727)
Cantata ‘Ich habe genug’ BWV 82
Cantata ‘Schweigt stille, plaudert nicht’ (‘Coffee Cantata’) BWV 211
One of the best known and best-loved of Bach’s ecclesiastical cantatas, ‘Ich habe genug’ was composed in Leipzig in 1727 for the Feast of Purification of Mary, also known as ‘Candlemas’, which falls on 2 February. It, and the two others we know for sure that Bach composed for this occasion (BWV 83, 125), share the common theological theme of death understood as a joyful release from the cares of this world, and care-laden is a good description of the affect conveyed by the opening movement – faltering strings and a plaintive oboe line – surely one of the most evocative orchestrations of all of Bach’s works.
Although classified as a cantata, Schweigt stille, plaudert nicht (‘Quiet! Stop chattering’), BWV 211 (c. 1732), is really a mini comic opera, and indeed in modern performances is frequently presented fully staged. A rare work of secular social commentary by Bach, it plays on a fear that some of the good Bürgers of Leipzig had that an addiction to coffee could have dangerous social consequences! To that extent its subject matter feels very contemporary, not so much because of the current Australian (not to say Canberran) obsession with good coffee, but in the way it satirises the moral panic that often accompanies the arrival of any new form of pleasure. A delightful final chorus observes that if most people are already drinking coffee to such an extent, how could a ‘respectable’ daughter refuse to – and indeed, why should she?
To understand why Candlemas would produce music of such character we need to be aware that the ancient Jewish sacrament included an act of ritual sacrifice. Thus Mary’s submission to the law hinted at the sacrifice of her son that was to come, a connection that is made explicit in the Gospel according to Luke through its retelling of Simeon’s prophecy that her Infant Son would be ‘a light to lighten the Gentiles’ (hence ‘Candlemas’). Indeed the Catholic rite for this feast mandated the singing of the complete ‘Song of Simeon’ (or Nunc dimittis), something that is hinted at in the recitative that follows. There is a reminder here for the congregation that for all their political & theological differences – and no doubt their lingering memory of the devastation caused by the Thirty Years War – the Lutheran and Catholic musical and theological traditions in Bach’s Leipzig still shared much in common. The lullaby-like middle movement and the dance-like finale (a kind of double concerto for the voice and oboe), ensure that ‘Ich habe genug’ is ultimately to be understood as asking us not so much to resign ourselves to our inescapable mortality, but celebrate its overcoming. Certainly Bach thought highly of this cantata; he later rescored it for soprano instead of bass, and also re-used the music of the opening movement to suit another occasion.
Here Bach, the serious church musician, proves himself as adept at applying his consummate musical skills to the dramatic demands of comic opera as he was with complementing the theological needs of the Lutheran rite. The ‘Coffee Cantata’ reminds us, indeed, of one of music history’s greatest ‘what might have beens’ – an opera from the hand of J.S. Bach that, sadly, was never to be. Notes by Peter Tregear
Monday 4 May, Midday Turkish Embassy
ACTEW presents: CONCERT 10
Sounds on Site I: Lamentations For a Soldier Traditional ney solo: ‘Havada Bulut Yok’ (‘No cloud in the sky’) Ekrem Mülayim (b. 1981) ‘some echo still’ WP – 1 Ney solo: Tanburi Cemil Bey (1873-1916) ‘Hüseyni Oyun Havası’ Thomas Tomkins (1572 - 1656) ‘When David heard’ Ekrem Mülayim ‘some echo still’ – 2 Ney improvisation Robert White (1538-1574) ‘Lamentations’ for six voices Ney improvisation Ekrem Mülayim ‘some echo still’ – 3 Ney solo: Tanburi Cemil Bey ‘Sedd-i Araban Saz Semaisi’ Kim Cunio (b. 1969) Psalm 57 WP Ekrem Mülayim ‘some echo still’ – 4 Thomas Weelkes (1576-1623) ‘When David heard’ Ney improvisation Ekrem Mülayim ‘some echo still’ – 5 Arvo Pärt (b. 1935)
‘Da pacem Domine’
Da pacem Domine in diebus nostris Quia non est alius qui pugnet pro nobis Nisi tu Deus noster. Give peace in our time, O Lord For there is none other that fighteth for us But only Thou, our God. Pärt’s prayer for peace was composed for the victims of the 2004 Madrid train bombings. It has since become a more universal lament for all innocent victims of atrocities around the world, now and then. Anna Fraser soprano Hannah Fraser mezzo Richard Black tenor Owen Elsley tenor Mark Donnelly baritone Andrew O’Connor bass
The Song Company
75’ no interval
This concert is supported by Donna Bush
with Oğuz Mülayim ney
‘some echo still’
Rumi and the Mevlevi Order Mevlana Celaleddin-i Rumi is a 13th century Persianborn Anatolian mystic and poet. He is known as Mevlana (“our master”) in the East and as Rumi (from the land of Rum – Anatolia) in the West. Rumi was born on September 30, 1207 in the city of Balkh in present-day Afghanistan, where his father was the chief scholar. A Mongol invasion forced the family to leave and they ended up in 1228, in Konya (in present-day Turkey) at the invitation of the Seljuk Emperor. From an early age, Rumi attended his father’s lessons, acquiring Turkish, Arabic, common Greek and Classical Greek, studying other religions along with Islam. Later on, he himself would teach hundreds of students in Madrassahs. In his books (Masnawi, Divan-i Kebir, etc.), Rumi discusses how to be a wholesome human being: one who has inner peace and harmony, who is both aware of and appreciates God’s blessings, who takes a stand in the face of life’s hardships, and is tolerant and loving.
“Out beyond ideas of wrongdoing and rightdoing there is a field I’ll meet you there” When one is asked to set Rumi to music, it soon becomes apparent that there is something beyond words and meaning in his poetry. In ‘some echo still’, I have sought to go beyond a simple setting of Rumi’s words, and to create, for the performers and the audience, an experience that reflects his secret – an effortless sense of unity within the infinite variety found in creation, as manifested in the meditative ritual of whirling dervishes. As a composer I am fascinated by the visual poetry and harmony created by bodies, clad in white, in perpetual motion while remaining perfectly still. The unity created by the individual dervishes spinning to their own devotional cycle while forming a harmonious system with many others is an analogy of the universe as perceived by Rumi.
In ‘some echo still’, each performer becomes a spinning sphere in cyclical rhythmic and melodic Rumi died in 1273 and was laid to rest beside his motion as part of an interconnected system. The MODEL .01 father in a mausoleum in Konya. After his death diagram below is an excerpt from the score. Rumi’s followers established the Mevlevi Order. 01.E01 r=24 Based on adab and erkan (discipline and rules of conduct), every part of the Mevlevi lifestyle has symbolic meaning, as in the rituals of the whirling dervishes, considered an extension of daily life. Mevlevihanes are the training centres r=8 of Mevlevi dervishes. Besides intensive soul training, candidates receive schooling in literacy, music and other artistic skills. The Mevlevihanes r=9 r=18 in Istanbul have played a significant role in training master performers of Turkish music. Oğuz Mülayim
The Ney or Turkish flute r=12
According to Rumi, music is the language of God. No other form of art penetrates the human soul as directly as music. In Rumi’s world, music brings God and man together. The ney is the symbol for “insan-ı kâmil”, a person who has become fully mature. The ney is like a friend who is pale and hollow, revived only by the breath of the Creator. For this reason, the ney is called “nây-ı erîf (holy ney)”.
Expanded Rhythm Cycle of q u a d r u p l e r o ta ti o n (2 . 2 5x 4 = 9 p u l s e s)
Expanded Rhythm Cycle of d o u b l e r o ta ti o n (4 . 5x 2= 9 p u l s e s)
‘Lamentations’ for six voices
‘When David heard’
English religious upheavals in the 16th century prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written. Robert White wrote two extensive settings of the Jeremiah Lamentations. Both remain amongst the most unfairly neglected works of the English Renaissance. Like William Byrd, White was a catholic with talent and connections to boot. He was the son of an organ builder, obtained a music degree in Cambridge in 1560 and by 1562 was ready to take over Christopher Tye’s position in Ely. After a stint at Chester Cathedral, he received the plum post of organist and master of the choristers at Westminster Abbey. Sadly, White and his family fell victim to a virulent outbreak of the plague in 1574.
Thomas Tomkins and Thomas Weelkes stem from the next generation of English composers. Tomkins being the more conservative of the two concentrated mainly on religious work, albeit in the newly reformed fashion. Weelkes on the other hand was a wayward drunk, eccentric and incapable of holding a job. Both were drawn to the David and Absalom story, perhaps for different reasons, but both realised a rendition of great emotional impact. Absalom the soldier, slain by Joab against the direct instructions of David, can easily be seen as one of the many young men drawn to battle and consumed in the heat of conflict, pointless victims to greater game of geo-political manoeuvres. Except for the fact that this soldier had a name – Absalom, and his father was David – King David. Roland Peelman
Canberra Weekly is a proud sponsor of the
2015 Canberra International Music Festival
Monday 4 May, 6pm Fitters’ Workshop
Embassy of the Federal Republic of Germany and Embassy of Israel present: CONCERT 11
Silver-Garburg Piano Duo Ludwig van Beethoven (1770-1827) Sonata for four hands in D major, Op. 6 1. Allegro molto 2. Rondo, Moderato
Camille Saint-Saëns (1835-1921) Introduction and Rondo capriccioso in A minor (arr. Claude Debussy) 1. Introduction. Andante 2. Rondo. Allegro ma non troppo
Franz Liszt (1811-1886) Sonata in B minor (arr. Camille Saint-Saëns) 1. 2. 3. 4.
Gil Garburg and Sivan Silver piano
Lento assai - Allegro energico Grandioso - Recitativo Andante sostenuto - Quasi adagio Allegro energico - Stretta quasi presto - Presto - Prestissimo - Andante sostenuto - Allegro moderato - Lento assai
60’ no interval
This concert is supported by Muriel Wilkinson and June Gordon
The Silver-Garburg Piano Duo In the great and often underappreciated art of piano duo playing, Sivan Silver and her partner Gil Garburg are setting a new standard: acclaimed by audiences and critics alike, the duo has been invited time and time again by top orchestras, festivals, and concert organizers. They have performed in Carnegie Hall, Lincoln Center, the Vienna Musikverein, the Sydney Opera House, and the Berlin Philharmonie; they have concertized in approximately 70 countries on five continents; and they collaborate regularly with such orchestras as the Israel Philharmonic, the St. Petersburg Philharmonic, and the Deutsche Kammerphilharmonie. Their recording of Mendelssohn’s concertos for two pianos and orchestra, with the Bavarian Chamber Philharmonic under Christopher Hogwood, has been called “breathtaking” (Bayerische Rundfunk), “extremely exciting” (Süddeutsche Zeitung), and “brilliant” (Rondo). The Frankfurter Allgemeinen Zeitung raved about the “lyrical sensitivity and the ravishing technical mastery” of the duo, noting that only rarely does one experience “such spontaneous shouts of ‘bravo’” at the end of a concert. The Independent concluded: “What a wondrous evening!” The two Israelis, who live in Berlin with their son,
can be heard all over the world during the 201415 season – both with orchestra and in recitals. Upcoming engagements include tours with the Munich Chamber Orchestra, the Israel Chamber Orchestra, and the Brno Philharmonic. The duo’s most recent recording, Stravinsky’s Petrushka and The Rite of Spring for four hands, is about to be released on the Berlin Classics label. An additional CD will be dedicated to the last works of Schubert. In their late thirties, after 17 years of playing together, Sivan Silver and Gil Garburg are establishing themselves as a presence at the top echelon of the music world – which, as a piano duo, requires a rare sense of oneness and of the ever-changing roles of the four hands. The avowed perfectionists rehearse for six hours each day, and the instinctive understanding between them is so deep that the two even breathe together. “We express our own emotions and, at the same time, a combined sensibility. We are one, and yet we’re in dialogue with each other – that’s the magic,” says Silver. In 2014, the Graz University for the Arts unanimously chose the Silver-Garburg Duo to occupy one of the few extant professorships for piano duo. Previously, the pair taught at 24
the Hannover Musikhochschule, where they themselves completed their studies in 2007 under Arie Vardi. Silver and Garburg are invigorated by the need to constantly adapt to the demands of duo recitals and orchestral engagements, moving between intimate pieces that require unity, dialogic works, and those in which they evoke the grand power of an entire orchestra at the two pianos. “As a piano duo, it’s easy to make effects with virtuosity. But that alone is far too little. We want to move our listeners emotionally and bring them to the core of the music.” Beethoven: Sonata for four hands in D major, Op. 6 Music for two or more players at one keyboard began to come into prominence in the generation after J.S. Bach, as the piano began to displace the harpsichord as the “default” keyboard instrument in a well-equipped musical household. J.C. Bach contributed several sonatas to the four-hand piano repertoire. In the next generation, Mozart wrote a substantial quantity of exquisitely crafted and irresistibly appealing music for two pianists. Haydn was much less prolific in this medium; and his sometime pupil Beethoven contributed only a handful of early works to the four-hands literature. Of these, the most substantial is the two-movement Sonata in D Major, Op. 6, composed and published in 1797.
Sonata in B minor for piano. This one-movement sonata makes the impression of a free, unbridled fantasia, virtually an improvisation; but in fact the whole work is tightly constructed from the music of the sonata's introduction. The pianist and musicologist Alfred Brendel, among others, has claimed for years that the sonata is related to the Faust legend. Some musicologists have also argued that the piece is autobiographical, and point out that such a view would not exclude a Faustian interpretation. Saint-Saëns: Introduction and Rondo capriccioso in A minor (arr. Claude Debussy) This work is one of Saint-Saëns' few genuine showpieces. Composed for his friend, the virtuoso violinist Pablo de Sarasate (1844-1908) it is deliberately challenging -- a testimony to the mature master's technique. Sarasate's frequent programming of the work did a great deal for its popularity in the years after its publication (1870); its appeal was wide enough, in fact, that both George Bizet and Claude Debussy made arrangements of it -- the former for violin and piano, and the latter for piano, four hands.
It is generally assumed that the D Major Sonata was composed as a teaching piece. Nonetheless, it foreshadows the composer's maturity in several respects The most striking omen of the mature Beethoven lies in the sonata’s opening motif. If you take that three-shorts-and-a-long figure, change it from major to minor mode, and speed it up, you have the opening theme of Beethoven's Fifth Symphony -- arguably the single most famous piece of classical music in the world. Liszt: Sonata in B minor (arr. Camille Saint-Saëns) There are only three works in Liszt's vast output that belong to any sonata form: the Faust Symphony, the Dante Symphony, and the 25
Tuesday 5 May, Midday Mount Stromlo
Sounds on Site II: Space Exploration with Prof. Brian Schmidt, Director, Research School of Astronomy and Astrophysics, ANU I.
At the Oddie Telescope (1911) Kate Moore (b. 1979) Dolorosa (2014) WP for cello, electric guitar, vibraphone and live electronics
II. On top of sculpture platform ‘Walking on the Moon’ – Anne Graham (2007) Kate Moore Rain (1998) for solo snare drum III. In the Yale-Columbia Telescope ruined shell (1925) Kate Moore ‘Sliabh Beagh’ (Little Mountain) (2014/15) WP for piano solo Commissioned by Lisa Moore with assistance from the Australia Council IV. In the Director’s Residence Kate Moore ‘To that which is endless’ (2015) for keyboard and winds, reconfigured for CIMF 2015 V.
In the Visitors’ Centre Kate Moore Voiceworks (2015) Prof. Brian Schmidt talks on Space Exploration
Pete Harden electric guitar Bree van Reyk percussion Kate Moore cello, sound design Lisa Moore piano
90’ no interval
This concert is supported by Bev and Don Aitkin
Roland Peelman in conversation with Kate Moore, Composer in Residence RP: Coming back to Canberra, how does it feel? KM: A concoction of mixed emotions! On the one hand it is very familiar to me, but I am observing the city now as an outsider. It is the quiet, almost desolate landscape that surrounds the city that speaks to me most. It promises solitude. The subdued colours of hazy eucalyptus blues and purples and sun parched green, yellow ochre and white adds mystical buoyancy to the place. It draws me in. My time in Canberra, particularly
at The Australian National University, was formative for me. It was a place of learning and the excitement of discovering something new. RP: I believe you are close to the performers on Mount Stromlo. Tell us a bit more about those connections. KM: It all began with the new piece commissioned for Lisa Moore, Sliabh Beagh. Lisa invited me to write a new work about Australians with Irish 26
ancestry. Having the same surname as Lisa, we exchanged stories about our heritage, trying to work out if we might be related. We’re not, as far as we know. My father’s family migrated from Ireland in 1841. They were farmers coming from country straddling the borders of County Fermanagh, Monaghan and Tyrone. This landscape is called Sliagh Beagh, which means ‘Little Mountain’. My grandfather Harry passed away last year, so I decided to make this piece a tribute to him. He was the last Moore to work the land of a long line tracing back to the beginning of time. It seems fitting to premiere this piece on Mount Stromlo where my father works. My father was the first of our family to receive a doctorate and work away from the land. He is a physicist and works on Mount Stromlo. The burnt-out telescopes are a fitting reminder of the battle between the destructive force of nature and the fragility of the culture placed upon it. No matter how great the learning, how enlightened the information, how much we know, we are at the mercy of our great planet. In the end, the Mount Stromlo project has turned out to be quite a family affair. Rain I wrote in 1998 when I was a student at the Canberra School of Music. It was inspired by the rhythms of raindrops dancing upon a corrugated iron roof. I love the sound of rainstorms that plummet to the dry earth after a long period of drought. The drops sound like they are drumming complicated
polyrhythms and dance beats. I wrote it for Bree van Reyk all those years ago in Canberra when we were students together. The funny part of the story is that, within a week of arriving back in Australia in January, I met up with Bree in Sydney. She asked me what I was doing over the weekend. As it happened I was heading to Singleton to visit my grandmother. Bree asked me: “Is your family from Singleton too?” Turns out that not only is Bree’s family also from Singleton but our fathers, both named Chris, were in the same class at Singleton High School and both played the guitar! I have known Bree for 18 years and this never came up in conversation until now! So I guess this event on Mount Stromlo is just meant to be and it’s all about family; my blood family and my musician family. RP: 'The Dam' – what does that refer to? KM: Coming back to Australia this year I helped my mother’s family move house from Annandale in Sydney to their property in the Southern Highlands. On this property there is a dam, and I have spent many late summer afternoons sitting by the dam listening to the great orchestra of creatures that inhabit it. I close my eyes and let my ears soak in the music of thousands of crickets that are gradually drowned out by the dusk chorus of frogs and birds. This is my favourite music of all time and I try to let that inform the music I write, a painterly soundscape depicting the rich vitality and energy of wildlife in their native habitat.
Tuesday 5 May, 6pm Fitters’ Workshop
Tim Benson presents: CONCERT 13 Russian Masters
Alexander Scriabin (1872-1915) Sonata No. 4 in F sharp major Op. 30
Andrew O’Connor bass-baritone Tobias Cole alto
1. Andante 2. Prestissimo volando
Maria Mazo, Gabi Sultana and Daniel de Borah piano
Igor Stravinsky (1882-1971) Pribaoutki (1914)
Andrew Leathwick† and Adam McMillan† piano
Trois pièces faciles (1915) 1. March 2. Waltz 3. Polka
Tinalley String Quartet: Eoin Anderson violin Lerida Delbridge violin Justin Williams viola Michelle Wood cello
Berceuses du chat (1915) Sergei Rachmaninov (1873-1943) ‘Blessed is the Man’ from the Vespers Op. 37
ANAM wind players
Alexander Scriabin (1872-1915) Poème, ‘Vers la flamme’ for piano, Op. 72
ANAM string players Kyle Daniel double bass
— INTERVAL —
Robert Scott, Jason Noble clarinet
Dmitri Shostakovich (1906-1975) Piano Quintet in G minor, Op. 57 (1940) 1. 2. 3. 4. 5.
The Song Company and YAFF vocalists
Prelude. Lent - Poco più mosso - Lento Fugue. Adagio Scherzo. Allegretto Intermezzo. Lento - Appassionato Finale. Allegretto
110’ including interval
This concert is supported by Gail Ford
Russian Masters However we choose to hear it today, there is little doubt that for many of his contemporaries the scandalous sounds of Igor Stravinsky’s third great ballet for Diaghilev in Paris, The Rite of Spring, were heard as an ominous prelude to war. Stravinsky himself was far from immune to the changing temper of the times, as evidenced by the tortured genesis of his next ballet, Les noces, and the works that were to follow it. The
broader changes in aesthetic thinking that they reflected were to become known Germany as Neue Sachlichkeit, or the ‘New Objectivity’, and elsewhere as ‘Neo-Classicism’. Composers across Europe reacted to the destruction wrought by both the Great War and by the perceived excesses of the hyper-romantic music that preceded it. They sought instead to reassert principles of order, control and objectivity in art. 28
This return to order, however, also included grotesque and absurdist dimensions, perhaps most famously reflected in the post-war ‘Dada’ movement. But the ‘grotesque’ had also long been a character common to Russian literature, reflecting, perhaps, the attempts of artists there to come to terms with the particularly disorientating impact of social and technological change through the nineteenth century that preceded the Russian Revolution of 1917. Pribaoutki (1914) is a cycle of four songs Stravinsky composed in 1914 to Russian texts by Alexander Afanasyev that reflects both emerging aesthetic characteristics. Its Russian title has no direct English equivalent, although ‘Nonsense Rhymes’ has been suggested. Trois pièces faciles (1915) (‘Three easy pieces’) for Piano Duet is in a more overtly grotesque vein, but also looks back to the similar distortions of dance music forms that can be heard in his ballet Petruschka (1911). The Berceuses du chat (1915) (‘Cat’s Cradle Songs’) reflect Stravinksy’s continuing interest in Russian folk song. With the onset of war Stravinsky had lost access to the land of his birth, and there is no doubt that this interest took on added significance as a result. Certainly, he could draw upon first-hand knowledge of his subject matter; as was the custom for well-to-do urban families, the Stravinskys had spent their summer holidays in the countryside, where the young composer gained direct experience of Russian and Ukrainian folk traditions. For Stravinsky’s older Russian contemporary, Alexander Scriabin, a sense of social dislocation was to find expression more through the exploration of unconventional forms of spirituality, and by his parallel attempts to express this interest in spirituality through equally unconventional musical devices. In his Poème, ‘Vers la flamme’ Op. 72, for example,
Scriabin sets a rather simple melody to a highly unusual accompaniment, both in terms of harmony and texture. According to Vladimir Horowitz, this was inspired by Scriabin’s eccentric conviction that a constant accumulation of heat would ultimately cause the destruction of the world (hence ‘toward the flame’). Peter Tregear Like the works in the first half of this program, Shostakovich’s Piano Quintet in G minor, Op. 57 was composed under the shadow of developing conflict. In 1940 most of Europe had already plunged into war. The Soviet Union, though ostensibly protected by a nonaggression pact signed by both Stalin and Hitler, was already beginning to face the certainty of conflict, though no one could imagine the actual brutality of the Great Patriotic War which was to come. Yet the country was quiet, like the proverbial calm before the storm. As with much of music, the Piano Quintet is a historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing. This clarity and accessibility was reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet, recalls in his book, Not By Music Alone: “For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, and people tried to sing in the streets the defiant second theme of the finale.”
Wednesday 6 May, Midday, The Shine Dome
Sounds on Site III: String Theory In memory of Professor Michael Raupach (1950-2015) with Prof. Craig Savage, Department of Quantum Science, Research School of Physics and Engineering, ANU New Zealand String Quartet: Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello
Ross Harris (b. 1945) 'Variation 25 for string quartet' (2008) Martin Wesley-Smith (b. 1945) ‘For marimba and tape’ John Psathas (b. 1966) 'Unbridled, Manos Breathes the Voice of Life into Kartsigar' (2004)
Barbara Jane Gilby violin Lerida Williams violin Kyle Daniel double bass
Address by Prof. Craig Savage
YAFF string players
Roger Smalley (b. 1943) ‘Strung-out’ (1987)
Claire Edwardes marimba
6D Calabi-Yau quintic manifold 75’ no interval
This concert is supported by Dianne and Brian Anderson
‘Variation 25 for string quartet’ The title refers to the 25th Variation of the Goldberg Variations by J. S. Bach. When I heard the New Zealand String Quartet perform the Goldberg Variations during their Bach and Mendelssohn series in 2007, I had a strong desire to pay my respects to the beauty and richness of the music and to write another work for the wonderful New Zealand String Quartet. I set about doing this by taking the music of the 25th Variation and using
it as the basis of a single movement for string quartet. The work begins with canonic additions to the original and evolves from there. Variation 25 was written while I was the Jack Richards/Creative New Zealand Composer in Residence at the New Zealand School of Music in 2008. Ross Harris
‘For marimba and tape’ Martin Wesley-Smith has earned a reputation with songs for all occasions as well as throughcomposed vocal works such as the classic ‘Who killed Cock Robin’, the award-winning ‘Quito’ or the more recent satirical work ‘doublethink’. Equally remarkable is his oeuvre of audiovisual pieces that combine computer-generated sounds with images and live performance such as Kdadalak or Papua Merdeka. In a lifetime of creative work that consistently took its lead from hot political hot issues (oppression in East Timor, PNG and/or any perceived instance of
political hypocrisy), one could easily forget that he set up the electronic studio at the Sydney Conservatorium and composed a number of perfectly crafted instrumental works that have remained in the repertoire. Arguably his most often-performed solo work is ‘For marimba and tape’ from 1982. Created on the Fairlight CMI and lauded for its “spirit of intelligent enquiry” (The Independent, London 1988), the work’s cascading marimba runs ricocheting against witty electronic banter still fascinates and entertains.
'Unbridled, Manos Breathes the Voice of Life into Kartsigar' In Greek music taximia form part of an oral tradition where improvisation played an important role. Songs always began with an instrumental prelude, the taximi, in which a musician showed off his prowess. This set the mood for the song to follow, and could last for as long as twenty minutes. This work began as a transcription of a recording of a traditional taximi entitled Kartsigar, as performed by one of Greece’s living master-musicians, clarino player Manos Achalinotopoulos (whose surname translates as “he who cannot be bridled”). The taximi Kartsigar comprises two elements, an ostinato and the improvised melody. The melody forms the basis of the first movement of the quartet, and the ostinato forms the basis of
the second. In this piece the traditional ostinato has been removed and replaced by a pedal note (F-sharp), which creates a very different set of tensions and resolutions for the improvised melody. When talking with Manos about his approach to playing the clarino, it becomes clear that his concept is of emulating as nearly as possible the human voice. This is the ideal that lies at the heart of much traditional musical expression in the instrumental folk music of Greece, and it is the key to understanding the phenomenon of listening to a unique player such as Manos and becoming gradually unaware of the presence of the instrument he is playing. John Psathas
‘Strung Out’ (1987) Born near Manchester in 1943, Roger Smalley is part of a remarkable group of British late 20th century composers who had their feet firmly planted in European structuralism and developed a soundworld reflecting the terse anti-romantic agenda of serialism at first before giving way to a mellower harmonic idiom that allowed a new level of freedom. After settling in Western Australia as Professor of Music, Smalley rediscovered the 19th century, which prompted a series of tautly constructed and vividly imagined concert works, often inspired by the nature itself
of the instrument. ‘Strung Out’ is no exception. The initial idea of the work was a strung-out symmetrical seating arrangement with the double bass in central position and four violins each at the outer ends. Two types of material (slow and static verses fast and active) alternate, merge, and alternate again. The composer likened this idea “to a series of beads - of differing sizes, shapes and colours - ‘strung-out’ on a thread at varying distances apart”.
Wednesday 6 May, 6pm Fitters’ Workshop City News presents: CONCERT 15 Order of the Virtues
Hildegard von Bingen (1098-1179) Ordo Virtutum Cast Patriarchae et prophetae
Patriarchs and Prophets
Lament of the Souls
Virtutes Scientia dei Humilitas Virtute Caritas Timor Dei Obedientia Fides Spes Castitas Innocentia Contemptus mundi Amor caelestis Disciplina Verecundia Misericordia Victoria Discretio Patientia
Virtues Knowledge of God Humility Virtue Charity Fear of God Obedience Faith Hope Chastity Innocence Contempt of the World Heavenly Love Discipline Shame Mercy Victory Discretion Patience
Owen Elsley Richard Black Koen van Stade Mark Donnelly Andrew O’Connor Andrew Fysh Owen Elsley Richard Black Koen van Stade Mark Donnelly Anna Fraser
directed by Koen van Stade 70’ no interval
This concert is supported by Jim and Peronelle Windeyer 32
Melissa Gregory Hannah Fraser Samuel Mitchell Mark Donnelly Andrew O’Connor Melissa Gregory Sonya Holowell Greg Brennan Owen Elsley Padraic Costello Andrew Fysh Andrew O’Connor Koen van Stade Mark Donnelly Susannah Lawergren Grace Leonard Richard Black Leighton Triplow Clive Birch
Synopsis Part I
Prologue: Introduction of the Virtues to the Patriarchs and Prophets, who express their amazement at the Virtues.
Part II A group of souls, imprisoned in human bodies, voice their complaints and frustrations and regret their sins. One particular soul, Anima, is eager to escape life and go straight to Heaven. The Virtues tell her that she has to live first. The Devil tries to seduce her. Part III The Virtues introduce themselves while the Devil occasionally interrupts and insults them. Part IV Anima returns and shows penitence. The Virtues accept her and turn on the Devil. After defeating him, they praise God. Part V Envoi: A musical contemplation on the difficult earthly journeys of the souls, and a hopeful plea for God to reach out and offer help.
Ordo Virtutum Born in 1098, the sickly tenth child of a wealthy and influential family, Hildegard was sent at the age of 8 to live and study with a girl six years her elder, Jutta von Spanheim, who taught her to read and perhaps to sing. Six years later the two girls were enclosed at a Benedictine monastery, of which Jutta served as abbess. After Jutta’s death some years later, Hildegard established her own nunnery at Rupertsberg near Bingen, and developed an extraordinary career as a writer of religious and scientific books, of poetry and music, and of some 400 letters; as a preacher, and as a vigorous practitioner of Church politics. Since childhood Hildegard had had visions, which continued well into her adult life. Over many years she compiled, with her confessor and secretary Volmar, three large books in which she both describes her visions and interprets them. The first of these, entitled Scivias (“Know the ways of the Lord”), concludes with a set of songs summarising the visions she has described in the text, and in the final portion, a dialogue in which a penitent soul’s pilgrimage to heaven is represented in dramatic form. Music was an essential element of the medieval religious world in which Hildegard lived; it has been calculated that she spent at least 4 hours a day engaged in chant. For Hildegard, music was a medium of direct communication with God, and the 77 surviving liturgical works written for her nuns are the corpus of work
for which she is most widely known today. A striking feature of her music is the way in which she extended the compass of her vocal palette: at a time when the compass of religious chant was rarely more than an octave, and the intervals between successive notes rarely more than two or three tones, Hildegard wrote lines that leapt by fourths and fifths, and required a range of two octaves and more in her singers. The child of a wealthy family, Hildegard’s earliest years would have been spent in a world of fine fabrics, and however ascetic her personal life as a religious may have been, she evidently took pleasure in visualising shining robes for her nuns to wear while singing. Clearly Hildegard saw the potential for theatre to serve in religious worship. Poet, musician and costume designer all these talents came together when Hildegard created one of the earliest known morality plays, Ordo virtutum - “The Order of the Virtues”, an elaboration of the story of redemption in the final section of the Scivias. We can assume that Hildegard’s nuns would have been cast in the singing roles of the Soul and the Virtues. The Devil, having no place in the heavenly order, has only a spoken part, described in the text as strepitus – a hoarse shouting voice. Monks from a neighbouring monastery were probably recruited to sing the brief parts of the Prophets and Patriarchs.
Thursday 7 May, Midday Australian National Botanic Gardens
ACTEW presents: CONCERT 16
Sounds on Site IV: Forest Music with Dr. Judy West, Executive Director, Australian National Botanic Gardens In memory of Dr Tony McMichael (1942-2014) A musical treasure hunt through the gardens, with an address by Dr. Judy West Performers include: Oğuz Mülayim ney Pete Harden electric guitar James Nightingale saxophone Alex Raupach trumpet Ensemble Offspring: Claire Edwardes percussion Bree van Reyk percussion Jason Noble clarinet The Song Company Alexander Hunter and the ANU Experimental Music Studio The YAFF instrumentalists 90’ no interval
This concert is supported by Judith Healy in memory of Tony McMichael AUSTRALIAN NATIONAL BOTANIC GARDENS, CLUNIES ROSS ST, ACTON Nestled at the foot of Black Mountain lies the Australian National Botanic Gardens, home of the world’s most comprehensive collection of Australian native plants. A visit to the Gardens takes you on a journey across Australia’s iconic landscapes – from the lush greenery of Australia’s eastern coastal rainforest, through the grassy eucalypt woodlands, to the arid desert of Central Australia. With its mission to inspire, inform and connect people to the Australian flora, the Australian National Botanic Gardens is the only national institution with a national collection that is truly ‘alive’. Displaying over 6,300 native plant species - showcased in themed landscapes that span across 35 hectares of water-wise and sustainably managed gardens.
The Gardens forms part of Parks Australia – a Commonwealth network of reserves that includes such places as Kakadu National Park and UluruKata Tjuta National Park. Prime Minister John Gorton opened the Gardens as ‘Canberra Botanic Gardens’ on 20th October 1970. Growing recognition of the Gardens’ importance as a national collection with plants from all over Australia led to the adoption of its new name, ‘National Botanic Gardens’ in 1978. ‘Australian’ was added to the official name in 1984 to identify the Gardens as the main national institution for botany and horticulture. The Australian National Botanic Gardens is one of the first botanic gardens in the world to adopt the study and display of native plant species as a principal goal. In the 1970’s the Gardens’ work 34
in this area sparked national interest in Australian plants for suburban and public landscaping. Today, the Gardens is increasingly involved in the conservation of native plants through restoration projects, seed banking and species recovery projects.
range of self-guided walks, free twice daily guided walks, Flora Explorer electric bus tours, afterDARK evening experiences, talks, workshops, events and public programs.
To help grow and share the beauty of the Gardens, the Friends of the Australian National Botanic Gardens was founded in 1990 and has grown rapidly to include a broad group of people from all walks of life - united by a common desire to support and be part of the Gardensâ€™ ongoing mission to â€˜inspire, inform and connect people to the Australian floraâ€™.
Gardens hosts a musical treasure hunt as part of the 2015 Canberra International Music Festival when the Gardens host Forest Music, with musicians performing underneath its canopy and amongst the array of plants and gardens. A complementary addition to the Australian National Botanic Gardens, classical music has been widely attested to enhance the growth and metabolism of plants due to the soft melodic pulsations that are created. Both the plants and visitors will enjoy this special event.
The Australian National Botanic Gardens offers visitors the opportunity to engage with its living collection in more ways than one - through a
On 7 May 2015, the Australian National Botanic
Thursday 7 May, 6pm Fitters’ Workshop
Canberra Weekly presents: CONCERT 17
Brahms at Twilight
Johannes Brahms (1833-1897) Three Intermezzi for piano from Op. 119
Daniel de Borah piano Hannah Fraser mezzo-soprano
1. Intermezzo in B minor. Adagio 2. Intermezzo in E minor. Andantino un poco agitato 3. Intermezzo in C major. Grazioso e giocoso
New Zealand String Quartet: Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello
Johannes Brahms Two Songs Op. 91 for alto, viola and piano 1. Gestillte Sehnsucht (Yearning Appeased) – text by Friedrich Rückert 2. Geistliches Wiegenlied (Spiritual Lullaby) – text by Emanuel Geibel, from a Spanish poem by Lope de Vega
Johannes Brahms String Quartet No. 3 in B flat Op. 67 65’ no interval
1. Vivace 2. Andante 3. Agitato (Allegretto non troppo) – Trio – Coda 4. Poco allegretto con variazioni
This concert is supported by Anna and Bob Prosser
Three Intermezzi for piano from Op. 119
Two Songs Op. 91 for alto, viola and piano
Although Brahms’ late piano works are brief, they are among the most complex, dense, and reflective works ever composed for the instrument. The Klavierstücke (Piano Pieces), Op. 119, was the last set of piano music that Johannes Brahms composed. Written in 1893, while spending the summer in Ischl, Upper Austria, they are the final statement of Brahms’ lifelong devotion to the composition of piano music. They were published in Berlin by Simrock in 1893, and first performed in London in January 1894.
The Zwei Gesänge Op. 91 (Two songs for Alto, Viola and Piano) have a special place in Brahms’s chamber vocal music, not least because the voice is accompanied by a meaty part for the viola. The first song in particular ('Gestillte Sehnsucht') contains one of Brahms’s most beautiful melodic inventions.
Brahms’ late piano music is the perfect example of how great both his composition and pianistic technique was. His display of harmonic understanding is breathtaking in the Op. 119 pieces. Furthermore, his subtle use of counterpoint to create polyphonic texture is mind-boggling.
The op. 91 was published in 1884, but the 'Geistliches Wiegenlied' was composed about 20 years before, in occasion of the wedding of Joseph Joachim. In this song Brahms uses a folktune as theme of the viola part: the XIV century German Christmas carol 'Joseph lieber, Joseph mein'.
However, brilliant as Brahms’ technical display is in the op. 119, the emotional depth of the pieces is just as amazing. Brahms wrote the following to Clara Schumann about the opening Intermezzo in B minor: “I am tempted to copy out a small piano piece for you, because I would like to know how you agree with it. It is teeming with dissonances! ... The little piece is exceptionally melancholic and ‘to be played very slowly’ is not an understatement. Every bar and every note must sound like a ritardando, as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances! Good Lord, this description will surely awaken your desire!”
String Quartet No. 3 in B flat Op. 67 The String Quartet in B flat major, Op. 67, was composed by Johannes Brahms in the summer of 1875 and published by the firm of Fritz Simrock. It received its premiere performance on October 30, 1876 in Berlin. Brahms composed the work in Ziegelhausen, near Heidelberg, and dedicated it to Professor Theodor Wilhelm Engelmann, an amateur cellist who had hosted Brahms on a visit to Utrecht. The work is light-hearted and cheerful, “a useless trifle,” as he put it, “to avoid facing the serious countenance of a symphony”.
Friday 8 May, Midday National Library of Australia - Reconciliation Place - High Court
Sounds on Site V: From the Letter to the Law
Foyer, National Library of Australia
Leanne Sullivan trumpet
Peter Sculthorpe (1935-2014) In Memoriam for trumpet and strings
David Greco baritone
Nigel Butterley (b. 1935) the formlessness of cold WP arranged by Chris Williams for ensemble, as part of the Friends of the National Library of Australia’s Creative Fellowship
Koen van Stade tenor
Anna Fraser soprano
James Huntingford piano Pete Harden electric guitar ANAM String Quartet: Charlie Westhoff violin Emma Zhuang violin Eli Vincent viola Daniel Smith cello
Andrew Ford (b. 1957) A Pitch Dark Night for baritone, piccolo, trumpet and piano WP II. Reconciliation Place
David Shaw† piccolo
Judy Watson sculpture:
Amy Whyte† clarinet
Michael Hewes Fire and water sound design
Bree Van Reyk percussion Gergely Mályusz French horn
Near Möbius sculpture:
Nigel Croker, Roslyn Jorgensen trombone
Bree Van Reyk Improvisation
The Song Company and YAFF vocalists dir. Koen van Stade
Commonwealth Place corridor: Olivier Messiaen (1908-1992 ) ‘Appel interstellaire’ (1971-74) III. High Court of Australia Giovanni Gabrieli (c.1554/1557-1612) Omnes Gentes Philip Glass (b. 1937) from String Quartet No. 3
90’ no interval
Arvo Pärt (b. 1935) Da pacem Domine (2004)
This concert is supported by Margaret and Peter Janssens
Two Octogenarians This year marks the 80th Anniversary of two major composers working on opposite sides of the musical spectrum and opposite poles of the globe: a great Estonian, Arvo Pärt who worked within the epicentre of Western music for most of his career, and a great Australian, whose Antipodean career forced him somewhat to the periphery of the action. Both Butterley and Pärt were attracted by the strictures of atonal serialist composition during the fifties and sixties. Pärt’s departure, however, was sudden and radical. From 1970 onwards he started writing pieces that stand up as icons in an ancient church, beautiful yet immovable. Pärt’s new style abandoned the principle of development altogether. Instead he pursued a purity of harmony and a simplicity of purpose he had encountered in music from the early European Renaissance. And as he reinvented himself as a composer, so he was reinvented as a person. He writes: “In the Soviet Union once, I spoke with a monk and asked him how, as a composer, one can prove oneself. He answered me by saying that he knew of no solution. I told him that I also wrote prayers, and set prayers and the texts of psalms to music, and that perhaps this would be of help to me as a composer. To this he said, ‘No, you are wrong. All the prayers have already been written. You don’t need to write any more. Everything has been prepared. Now you have to prepare yourself.’“
Covell wrote at the time: “‘Laudes’ moves, despite its fragmented part-writing, in a kind of sensuous trance. It is ecstatic, luminous, even – the word is used with full awareness – beautiful.” Butterley was never drawn to liturgical texts but preferred to explore the poetry of Emily Dickenson and Kathleen Raine. The latter provided him with direct inspiration for a number of major works such as The Spell of Creation, Paradise Unseen or The Woven Light. The two featured works in this festival are Benı̄ Avshalōm (2007), which will be heard in the final concert; and an entirely new discovery which comes to us thanks to the Friends of the National Library of Australia and their current Fellow, Chris Williams, who discovered amongst the papers and manuscripts the beginning of an unfinished opera based on Andersson’s The Snow Queen, to a libretto by John Frow. This fragment, the formlessness of cold, featuring the Snow Queen and Khai, today receives its world premiere. Roland Peelman
‘A Pitch Dark Night’ This piece is a setting of words from the Gallipoli diary of Arthur Taylor, a private in the 4th Light Horse Regiment. A pitch dark night and you standing in a narrow trench just wide enough to stop your shoulders from rubbing the sides, you can only see a handsbreadth in front of your face you hear the hiss of bullets passing overhead you cannot strike a match as the flare might cost one of your mates his life you move silently along past the Officer on Duty he is muffled up to the eyes for the cold is bitter you look on one platform and there is the machine gun stripped of his outer casing ready to deal out death to any Turks that try to rush our trench we were only 40 yards apart.
Arvo Pärt has been featured abundantly during previous festivals in Canberra. This cannot be said about Nigel Butterley, whose music is neither simple in appearance nor simple in execution, yet who shares with Pärt a spiritual search for truth and human connection. Butterley’s departures were gradual and incremental, in the way his music also tends to unfold slowly. There was nothing hair-raising in 1964 about his first major work ‘Laudes’. Roger
Taylor, A H – Manuscript held at the State Library of Victoria MS 12286
Friday 8 May, 3.30pm Fairfax Theatre National Gallery of Australia
Barbara Blackman’s Festival Blessing: Being and Time
A conversation about Art and Music: Andrew Ford with Imants Tillers and Rosalind Page Rosalind Page (b. 1956)
Geoffrey Gartner cello Gabi Sultana piano Jason Noble clarinet
‘Being and Time III: Paradiso’ for solo cello and dice WP ‘Being and Time II: Tabula Rasa’ for solo piano and dice
75’ no interval
This concert is supported by Christine Goode
‘Being and Time I: Lacrimae rerum’ for trio, wind gong and dice
Barbara Blackman (b. 1928) Author, music-lover, essayist, librettist, letter writer and patron of the Arts, Barbara was born in Brisbane in 1928. Her father died when she was three years old, and mother and daughter lived together in a series of homes and boarding houses in Brisbane. At Brisbane State High School, Barbara was introduced to the music of Shostakovich by fellow students Donald Munro, Roger Covell and Charles Osborne, and began a love affair with contemporary music that continues today. In 1950 she was diagnosed with optic atrophy; her vision declined rapidly until she became completely blind. By 1952 Barbara was married to aspiring artist Charles Blackman, a marriage that produced three children and lasted nearly thirty years. The two lived a meagre but happy existence in Melbourne until 1960, when Charles was awarded the prestigious Helen Rubinstein Travelling Scholarship, and the family moved to London. In later life, Barbara married Frenchman Marcel Veldhoven. The pair spent twelve years together before Veldhoven travelled to India to live and study Tibetan Buddhism. Though Barbara was raised in the Christian tradition, she broke away from the Church in her early twenties and today follows the teachings of Sufism. In 2004, Barbara pledged $1 million to music in Australia: to Pro Musica and the ANU School of Music among other groups. Her generosity to Pro Musica enabled the Canberra International Music Festival to develop in directions that would not otherwise have been possible.
‘Being and Time I: Lacrimae rerum’ for trio, wind gong and dice
Imants Tillers: Lacrimae Rerum (2007)
Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
Inspired by Imants Tillers’ epic Lacrimae rerum (2007), dedicated to his Latvian mother Dzidra, the three frames of Being and Time I unfold as a poetic ontologue between the seen and unseen, word, sound and silence:
1. How is the hammer of the Earth cut asunder and broken?
this house of belonging
the nature of things
purified by tears these hearts touched
2. Wave after wave, land beyond goodbye
I will go on paths
I will not speak
But love will fill my heart
3. Tomorrow will be exchanged for this sky
No prayer will console me
No tree will understand
into the mountains my grief must fly
and the blackbird guard me
in this fresh grave
‘Being and Time II: Tabula Rasa’ for solo piano and dice
Imants Tillers: Tabula Rasa (2012)
Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
A philosophical existential in three frames, inspired by Imants Tillers’ Tabula Rasa (2012), dedicated to the artist’s father.
From the vestiges of determinism, who is remembering whom? When memories are erased, with what do we replenish our being?
Beyond the sinuous line tracing family trees, how do we navigate the abyss? When language is lost, what can be sung?
In the diaspora of constellations, what can we hold onto?
In the future that is becoming
only movement or stillness or an idea of being
‘Being and Time III: Paradiso’ for solo cello and dice WP
Imants Tillers: Paradiso (1994)
Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
Commissioned by Dr. Arn Sprogis and Dr. Margot Woods for the 2015 Canberra International Music Festival, Being and Time III: Paradiso takes visual and poetic inspiration from Imants Tillers’ Paradiso (1994), an early work from the artist’s Diaspora series. A poetic diegesis on the idea of paradiso and its anagram, diaspora, the three frames unfold from symbols and text embedded within the visual narrative of Tiller’s work:
1. We are dreaming
2. I had nowhere to go
3. Out of sight of Polaris, not yet lost
Being and Time III: Paradiso is dedicated to Irena Sprogis (Katalimova), born 1924, and in memory of Janis Sprogis, 1921-2009. Born in Latvia, their lives disrupted by the Second World War, fleeing as refugees from their homeland they found refuge in Australia. Their son and grandsons owe them a debt of gratitude that can only be repaid by a continual struggle for peace and harmony for all of humanity. Rosalind Page
Saturday 9 May, 3pm Fitters’ Workshop
Movers and Shakers
Brian Howard (b. 1951) ‘Full Fathom Five’ WP
Amy Dickson saxophone Geoffrey Gartner cello
Peter Sculthorpe (1935-2014) ‘Island Songs’ for saxophone and ensemble AP 1.
‘Song of Home’
‘Lament and Yearning’.
Roland Peelman piano and conductor New Zealand String Quartet: Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello Tinalley String Quartet: Eoin Anderson violin Lerida Delbridge violin Justin Williams viola Michelle Woods cello Barbara Jane Gilby violin Anne Horton violin
Kate Moore (b.1979) ‘Velvet’ for cello and piano AP
YAFF string players Emmanuel Cassimatis† oboe
John Adams (b. 1947) ‘Shaker Loops’ for strings 1. 2. 3. 4.
Amy Whyte† clarinet
Shaking and Trembling Hymning Slews Loops and Verses A Final Shaking
Christopher Martin† bassoon Ros Jorgensen, Nigel Crocker trombone Gergely Mályusz horn Leanne Sullivan trumpet
70’ no interval
Kyle Daniel double bass Jim Nightingale saxophone
This concert is supported by Meredith Hinchliffe
Claire Edwardes, Bree van Reyk percussion
‘Full Fathom Five’ Ever since the controversial acquisition of Blue Poles in 1973, Canberra has had an association with Jackson Pollock. In Full Fathom Five, one of his earliest drip paintings from 1947, Pollock responds to Shakespeare with sinewy lines, large splashes of colour and intertwining motifs. Brian Howard has responded to Pollock’s painting with an ensemble of 15 instruments: a “sinfonietta” size ensemble that to date doesn’t have a large repertoire of works by Australian composers. Full Fathom Five is the first of a projected set of three works based on paintings by Jackson Pollock. Many of Brian Howard’s works, besides his five operas, are linked to literature or paintings. His score for the ballet The Celestial Mirror was written in response to a painting by Charles Blackman. Recently he has written Alchemy (String Quartet No 1) taking its focus from the 18 section painting by Brett Whiteley and he is currently writing Forever and ever (String Quartet No 2) after John Pule’s three-part painting at the Queensland Art Gallery. However, the larger part of Brian Howard’s work is linked to literature, from smaller ensemble works such as Last Blues (Pavese), Sun and Steel (Mishima) and Fly Away Peter (Malouf) to large orchestral works such as Nocturnes for the King of Naples (White), Our Lady of the Flowers (Genet) and The Temple of the Golden Pavilion (Mishima). Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that does fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong. Hark! Now I hear them – Ding-dong, bell.
a chant called Djilile, from the nearby mainland coast – it means ‘whistling-duck on a billabong’. The third is a lament from Elcho Island, passed on to me some years ago by a local tribal elder. ‘Song of Home’ embraces the ﬁrst two of the melodies and also makes references to the third. It sings of the love that the indigenous inhabitants have for their island home, the place where they and their ancestors were born. Sadly, because of climate change many of these places are now in peril. The second movement begins with the lament, with the thought of islands that may disappear forever in the rising tidal waters. This ﬁnally gives way to a return of the Thursday Island music. Here, it sings of the yearning for a more stable world. Given the will to do so, it is still possible for humankind to halt the worst effects of climate change. Peter Sculthorpe
‘Velvet’ for cello and piano The title 'Velvet' alludes to cloth as depicted in paintings from Da Vinci or painters from the Dutch Golden Age such as Vermeer. The wealth of fine garments and exotic textiles are painted with such precision, capturing the light and shadows of the falling cloth with detailed execution that the fabric appears to move in the surrounding air. The tone of the cello is sometimes described as ‘velvety’. The melodic line in the piece alludes to the movement of cloth floating in air in a way similar to paintings such as Da Vinci’s studies of draped fabric. Kate Moore
(Shakespeare, The Tempest)
‘Island Songs’ This work is based upon three melodies from Australia’s far north. The ﬁrst is an almostforgotten popular song from Thursday Island; during World War II, with the threat of invasion, it gave comfort to the islanders. The second is 45
Saturday 9 May, 8pm Fitters’ Workshop
Limelight Magazine presents: CONCERT 21
Franz Schubert (1797-1828) String Quartet No. 12 in C minor (“Quartettsatz”), D. 703
Tinalley String Quartet: Eoin Anderson violin Lerida Delbridge violin Justin Williams viola Michelle Wood cello
Sergei Rachmaninov (1873-1943) Romance and Scherzo for string quartet 1. Romance (Andante espressivo) 2. Scherzo (Allegro)
New Zealand String Quartet: Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello
Jack Body (1944) ‘Cries: A Border Town’ AP Andrew Ford (b. 1957) ‘Common Ground’ for two string quartets WP
The Song Company: Susannah Lawergren soprano Anna Fraser soprano Hannah Fraser mezzo-soprano Richard Black tenor Mark Donnelly baritone Andrew O’Connor bass
— INTERVAL — Felix Mendelssohn (1809-1847) Octet for strings in E flat major, Op. 20 1. Allegro moderato ma con fuoco 2. Andante 3. Scherzo. Allegro leggierissimo 4. Presto
This concert is supported by Christopher and Rieteke Chenoweth and Robin Gibson
105’ including interval
‘Cries: A Border Town’
On September 25, 1940, a man presented himself at the customs office of the border crossing at Portbou in the French Pyrenees. There his request for an official stamp to legalise his departure from Vichy France into Spain was denied. That night, in his hotel room, facing that prospect as a German Jew of being delivered back into the hands of the Nazis, the man took his own life. That man was Walter Benjamin*, one of the twentieth century’s most important philosophers and literary critics. His age was 48.
When Roland Peelman asked me if I’d write a new piece for the 2015 Canberra International Music Festival, he called it a ‘double string quartet’, and added ‘like the Mendelssohn’.
As I face my own mortality I also stand at the border. However, unlike Benjamin, I am a traveller reluctant to transit. But the sentence has been pronounced, preparations made, and when the call comes, proceed I must. But at least I have been blessed with many more years than the tragic Benjamin was granted. Name? Walter Benjamin Age? Forty-eight. Profession? Philosopher. Your request? Border transit. Request declined.
In fact this is a slight contradiction. Mendelssohn’s astonishing Octet – astonishing, not least, because it’s the work of a boy – is generally played when two quartets come together, but actually it’s a piece for four violins, two violas and two cellos. The more I thought about my piece, the more I liked the notion of a ‘double string quartet’ – a piece in which each quartet retains its identity. In my mind’s eye, I even saw the two groups sitting separately on stage, a sort of musical ‘no man’s land’ between them. ‘No man’s land’, indeed, was my first idea for a title, but I had already used it as the title of a movement in another piece. Then I wondered about ‘Neutral Ground’, but there was something a little dispiriting about the word ‘neutral’ in a title. Finally, I hit on ‘Common Ground’, the title referring not only to the shared space between the two ensembles, but to a shared ground bass. This is the same ground bass that runs through my song ‘A Pitch Dark Night’, a setting of a passage from the Gallipoli diary of Arthur Taylor, and just before the end of ‘Common Ground’, the song itself appears, rearranged and passed back and forth between the two quartets.
Deceased. Walter Benjamin Walter
‘Common Ground’ was commissioned for the Canberra International Music Festival by my generous friend, Barbara Blackman.
Your name is known. Your age is known. You are expected. The border is open.
The stream of your life Has become a river Whose banks grow ever wider. It is time to embrace the ocean. Jack Body
*Benjamin’s death certificate mistakenly reverses his names, as “Benjamin Walter”.
Sunday 10 May, 11am Canberra Girls’ Grammar Senior School Hall
CONCERT 22 Moorambilla Voices
Andrew Howes (b. 1992 ) Sticks and Stones
Woden Valley Youth Choir
Why can’t I fly
Dan Walker (b. 1978) My Goodbyes
Canberra Youth Orchestra Duncan Driver narrator
William Brown (b. 1993) Sing to the Stars
dir. Michelle Leonard and Rowan Harvey-Martin
George Dreyfus (b. 1928) The Adventures of Sebastian the Fox
60’ no interval
Katy Abbott (b. 1971) Crime Scene Investigation
This concert is supported by
Moorambilla Voices is more than a program about country kids learning about artistic expression, it’s a program that helps them find their voice, their passion and even their path for the future. Established in 2006, it has brought together more than 12,000 students from 78 schools, aged between 8-17, as part of a unique cultural experience. It has created real partnerships with major professional artists across the country, the education community in the region and has assisted in developing teachers and community member’s skills. The program has also had a significant effect on the school retention, self-confidence and self-efficacy of its participants. After nine years graduates of the program are now moving into tertiary education and planning the next phase of their lives, shaped in part by their experience with Moorambilla Voices; pursuing careers in music, community services and the environment. The program offers three choral ensembles for students from years 3-11. These young people take part in a series of workshops in composition, movement, percussion, music skills development and visual art with indigenous artists during intensive creative residency camps. The activities culminate in recordings and performances at the Moorambilla Festival in Coonamble. Since 2006 the program has grown from a fledgling idea into a full-bodied movement that has become an integral part of regional life and education in Western NSW. Schools and communities have embraced the change, moving from reluctant participants to eager advocates. For many of these students this is the only opportunity they have for cultural expression, at this level, in this part of NSW. It is life changing for all involved. The main aim of Moorambilla Voices is to develop young people’s singing and musical potential. We provide challenging musical learning experiences in highlevel choral music making, with leading professional musicians and ensembles, in an intensely creative and focused environment – and our participants THRIVE on it! Margie Moore
The Adventures of Sebastian the Fox
Crime Scene Investigation Text by Katy Abbott and Bec Christensen
In the early 1960s, filmmaker Tim Burstall received an ABC commission to produce a television series for children, The Adventures of Sebastian the Fox. The episodes concerned the doings of a small and appealing puppet (designed and operated by puppeteer Peter Scriven) surrounded in his experiences by human characters. As the episodes had no dialogue, the soundtrack was all music. For the first in the sequence, music critic Dorian Le Gallienne wrote a score but had to give up any further work as he was suffering from an eventually fatal illness. Le Gallienne proposed that a young composer colleague, George Dreyfus, take over the task and the results achieved remarkable success, retaining their flavour to this day by complementing the episodes with their subtle whimsy and melodic fertility. Clive O’Connell
Episodes 1. Sebastian and the Sausages - Sebastian steals sausages cooked by a tramp. 2. Sebastian and the Burglar - Sebastian seeks refuge in a house at the same time as a burglar. 3. The Bomb 4. The Animal Catcher - Sebastian is caught by a pet catcher 5. The Sleepwalkers - Sebastian dresses up as a ghost 6. The Showman - a greedy showman exploits Sebastian’s talents as a violinist 7. The Gold Mine - Sebastian buys a gold mine. 8. The Painter - Sebastian enters an artist’s studio. 9. The Doll’s House - Sebastian decides to move into a doll’s house. 10. The Castaway - Sebastian gets shipwrecked. 11. The Classroom - Sebastian plays up in a classroom. 12. The Potters - Sebastian moves into a potter’s studio. 13. The Fashion Parade - Sebastian wanders into the middle of the judging of the Best Dressed Man of the Year Competition.
You are now a suspect in a murder investigation. The leader of the orchestra – the first violinist – has just been murdered as she swept off the stage, never to return for her encore. Please remain seated while the evidence is collected and analysed. Crime Scene Investigation was commissioned by MLC School (Sydney) for their 2005 Sydney Opera House concert ‘Flights of Fantasy’. The audience inadvertently found themselves prime suspects at a crime scene. The terms ‘mystery’ and ‘fantasy’ conjure up all sorts of evocative imagery: goblins and forests, moody sound-worlds and space adventure. I like to keep things more local and in real time. At the time of writing the piece, the television programmers were presenting a fairly constant array of murder mystery and crime programs, such as Crime Scene Investigation (Las Vegas, NY and Miami) and other shows such as Criminal Intent and NCIS. My twins were one year old, and in order to escape the busyness of the daytime, and keep awake in the early evening, my lovely husband became addicted to Crime Scene Investigation. Unfortunately, he would fall asleep 45 minutes into the program and wake up five minutes after the end. As a dutiful wife, I would relay the plot and of course describe the bloodied evidence that led to the murderer and the arrest of the culprit. Having a brain that was quite befuddled in new-found parenthood, composing a spoof of such a TV program appealed and seemed to fit into the ‘fantasy’ aspect of the Sydney Opera House concert. I wanted to compose something contemporary and fun. Knowing how well rehearsed the ensemble would be, I wrote music that would engage the singers and challenge them to sing it ‘as if it was the first time they heard the story’. I derived a perverse pleasure from imagining a girls’ choir singing about being ‘shot dead in the head’ in the most polite tones. Katy Abbott
Sunday 10 May, 1pm Gandel Hall National Gallery of Australia
Embassy of the United States of America presents: CONCERT 23
A World of Glass Philip Glass (b. 1937)
Ensemble Offspring: Claire Edwardes, Bree van Reyk vibraphones Jason Noble clarinet and keyboard Jim Nightingale saxophone
1 + 1 (1968) Two Pages (1968) Music in Similar Motion (1969)
Graeme Jennings violin
Music in Fifths (1969)
Gabi Sultana, Alister Spence, Roland Peelman keyboards
Music in Contrary Motion (1969)
David Shaw† flute
Knee Plays 1–5 from Einstein on the Beach (1976)
The Song Company with YAFF vocalists
Music with Changing Parts (1970)
This concert is supported by Rosanna Hindmarsh
120’ no interval
New music in a new place For many artists in the 1960s, New York was the place to be. A range of visual artists embarked on radical depictions of reality seen through the lenses of outrageously designed sunglasses or the haze of chemical substances. New York had the best parties, the grittiest underground scene and probably the greatest collection of anti-traditionalists around at any one time. John Cage, perched above 5th Avenue, and Andy Warhol, holed up in ‘The Factory’, set the scene for a major tabula rasa. Away from the hallowed temples of European art, as well as the arcane complexity of serial composition, a total re-think of musical essence emerged in the smoky lofts and basements, as well as in galleries where art could be experienced differently. In 1968, at the Film-Makers’ Cinematheque, an event took place which Philip Glass now considers to have been his debut. The audience consisted of mostly visual artists, Glass says: this was “a very conceptual concert. Both visual and musical.” By that stage, Philip Glass had been marked by two different but defining experiences. As a Fulbright scholar he had spent two years in Paris, having lessons with Nadia Boulanger (as every visiting young American composer would in those days), and developing a loathing for what
was happening around Boulez’ domaine musical. In reaction, he collaborated with artists in theatre and film and worked with Indian musicians such as Ravi Shankar. Not surprisingly his next travels in 1966 took him to Northern India, where he came in contact with Tibetan refugees and began to gravitate towards Buddhism. By the time he returned to New York, he was ready to reject all his earlier work and reduce all musical material to a bare minumum. Indian music had taught him “how to hear differently”. As he explained it: “In western music we divide time, as you slice a loaf of bread. Indian music takes small units, or ‘beats’, and strings them together to make up larger time values.” This resulted in long pieces with small melodic cells, endlessly strung together and repeated at a constant (mostly loud) volume. The effect was hypnotic. Not only did it it become part of a new movement, called ‘minimalism’ – alongside similarly driven explots by Terry Riley and Steve Reich; it also found a new fan base in musicians such as Brian Eno and David Bowie. As Andy Warhol had brashly embraced market consumerism, Philip Glass’ form of minimalism easily connected with elements of popular music and dance music that resonate today. It formed the first potent opposition to European complexity since Word War II. 50
The title of 1+1, one of nine initial pieces that were presented at the Film-Makers’ Cinematheque in September 1968, indicates the nature of his reductive aspirations. In February 1969 he wrote Two Pages, no more than a single additive musical line over two pages for a keyboard player. Consciously or not, he revisited Western history’s progression from bare rhythm, to monody, and on to basic organum - although at great speed. Music in Fifths could be seen as a cheeky homage to Nadia Boulanger, who loved to point out hidden parallel fifths in his work – a cardinal sin in European music theory! Music in Contrary Motion and the inevitable counterpart Music in Similar Motion from 1969 grew more intricate and dramatic, using slightly bigger forces – the Philip Glass Ensemble as we now know it. These pieces were performed in the Whitney Museum of American Art in 1969 and the Guggenheim Museum in 1970, often to unmistakable hostility from critics. We now might call them ‘classic’ minimalism, as opposed to ‘romantic’ minimalism, if we wish to describe Music with Changing Parts from 1970. Brian Eno described this music as a “viscous bath of pure, thick energy”, concluding “this was actually the most detailed music I’d ever heard. It was all intricacy, exotic harmonics.” Indeed, this one-hour-long piece could be considered one of the composer’s most significant and attractive works. It was issued only on LP, packaged in a cheaply made, grainy black and white cover, and has been out of print since the late 1970s. It uses all the devices of the previous pieces and is clearly conceived for the musicians he had been working with, but it adds a sense of the epic. Some early performances reportedly went on for up to two hours. But in this work Glass allowed both himself and the players a certain impulsive, almost romantic, creative freedom that is markedly absent in the stark, formalist rigor of the earlier works. In retrospect Glass
now thinks that “It was a little too spacey for my tastes.… We don’t play it much anymore. But it was very important to my development. I proved to myself that the music I was making could sustain attention over a prolonged period of time – an hour or more. And that led directly to Music In Twelve Parts, and then on to the operas.” By late 1970 Glass had returned to theatre, and set the stage for fertile and long lasting connections with such leading figures as Robert Wilson. Einstein on the Beach, premiered at the Avignon Festival in 1975, brought his music into the international limelight. The Kneeplays from Einstein on the Beach were written as
more intimate portrait-size pieces in between the large scenes. They use vocalists as well as the unmistakable Einstein violin solo underneath hypnotic organ drones. But Glass’s break with the tradition was clear and defining. Just as he was prepared to revisit the beginnings and building blocks of Western music, he was prepared to engage or disengage with any aspect of its traditions. He simply refused to accept that music was one long inevitable strand of development, musically or historically. In his own words: “When I struck out in my own music language, I took a step out of the world of serious music, according to most of my teachers. But I didn’t care. I could row the boat by myself, you know? I didn’t need to be on the big liner with everybody else.” Roland Peelman
Sunday 10 May, 7pm Fitters’ Workshop
Hardwickes presents: CONCERT 24 Festival Closure Moorambilla Voices dir. Michelle Leonard
William Brown (b. 1993) Sing to the Stars
The Song Company
Andrew Howes (b. 1992 ) Sticks and Stones
All YAFF vocalists and instrumentalists
Why can’t I fly
Graeme Jennings violin
Philip Glass (b. 1937) Violin music from Einstein on the Beach
Anne Horton violin Bree Van Reyk drums
James Huntingford piano James Nightingale saxophone
Nigel Butterley (b. 1935) Benı̄ Avshalōm for unaccompanied choir
dir. Roland Peelman Deborah Conway and Willy Zygier
Ernest Bloch (1885-1977) ‘Nigun’ from Baal Shem: Pictures from Chassidic Life
80’ including interval
— INTERVAL — This concert is supported by Major General the Honourable Michael Jeffrey and Mrs Marlena Jeffrey
Deborah Conway and Willy Zygier Songs from Stories of Ghosts
Jewish roots and rites A single book, the Hebrew Bible, lies at the heart of Jewish culture and Jewish identity as the people of Israel. The story of the Ark of the Covenant, told in the two books of Samuel, constitutes the theological history of the Israelites. Their first king Saul proved unworthy until God’s choice fell on David, who defeated Israel’s enemies, brought the Ark to Jerusalem and set an example of strong and successfully lasting rule. The same book tells us of David’s musical prowess as a harp player and the musical feast that celebrated the bringing of the Ark to Jerusalem. Music, and specifically the Psalms, have always been associated with King David. One of the more tragic stories from David’s reign recounts the death of his favorite son Absalom. This story and the poetry of David’s heart-wrenching lament prompted highly expressive settings by a number of 16th century composers, as we heard in Monday’s concert. The subject returns tonight in a remarkable recent setting by the Australian Nigel Butterley. Benı̄ Avshalōm combines both the narrative of what happened to Absalom and the sound of his father’s lament. Under David’s successor, Solomon, the temple was built in Jerusalem. With it emerged a prototype of chant that over the centuries would be transformed into no less than eight distinct chant traditions, following the nature and diversity of the diaspora. The three best known are the Sephardi tradition (in Iberia), the Western Azhkenaz (roughly in the German spreaking countries) and the Eastern European Azhkenaz tradition that became dominant in the USA. Ernest Bloch is one of many German composers who emigrated to the US in the early 20th century. To this day he remains one of the most prominent musicians to derive his inspiration from the Jewish lifestyle and liturgy. He describes his connection to Jewish music as intensely personal: “It is not my purpose, nor my desire, to attempt a ‘reconstitution’ of Jewish music,
or to base my work on melodies more or less authentic. I am not an archeologist.... It is the Jewish soul that interests me ... the freshness and naiveté of the Patriarchs; the violence of the Prophetic books; the Jewish savage love of justice.” It was only in Western Europe, under the influence of the surrounding musical cultures, that polyphonic Jewish music started to be heard. Salomone Rossi’s Song of Solomon is a particularly outstanding collection of Hebrew motets written for the Jewish community in Mantua around 1600, and traditional harmonisation became quite common in the Western Azhkenaz practice during the 19th century. But the most recognisably Jewish music today comes from klezmer bands, a happy concoction of Slavic, Balkan and middle-Eastern characteristics with a sprinkling of jazz thrown in for good measure. It thrives in the USA, and émigré communities in other countries have produced different but no less interesting emanations of Jewish culture in contemporary society. Hence the performance of Deborah Conway with her partner-in-crime Willy Zygier at the close of this year’s festival. Most artists live a secular existence, little concerned with the ancient rites of their forefathers. Nevertheless, Ben Lee, Elena KatsChernin, George Dreyfus, Lior and Barry Kosky are all fascinating exponents of a rich and deeply engaged culture. Stories of Ghosts, the acclaimed 2013 album of Conway and Zygier, beautifully explores the connections between ancient practice and modern life. As an unbeliever’s examination of biblical themes, it is unparallelled in Australia. It won Conway and her partner many plaudits, and asserted the vibrancy and relevance of Jewish culture in the 21st century at the antipodean outskirts of the world. Roland Peelman
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A husband returned from warâ€Ś A wife wracked by suspicionsâ€ŚWill they survive?
Saturday 30 May 2015, 7.30pm
The Playhouse | Conducted by Brett Weymark Starring Christopher Richardson and Christina Wilson
Tickets 6275 2700 | www.canberraticketing.com.au
In celebration of Nigel Butterley's 80th birthday 27/03/2015 year, Wildbird is delighted to announce the publication of the third volume in its Australian Composers series. Written by Elliott Gyger, Senior Lecturer in Composition at the University of Melbourne, this book looks at all the major compositions by Nigel Butterley and features a large number of musical examples to enable music students, teachers and the interested public to see the key features of his creative world.
Special offer for festival goers: a copy of The Music of Nigel Butterley for $35 (incl. GST) plus postage. Enter this code during checkout: 2015CIMF Offer valid 1-14 May 2015. Visit www.wildbirdmusic.com.au to order or find out more about Wildbird and our publications.
The Musicians Artistic Director Roland Peelman An 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 finest 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. In 2009 Sydney Morning Herald reviewer Peter McCallum named Peelman “The Innovator”, praising him as the mastermind behind two of Sydney’s “best moments” in music, referring to the Tenebrae III dance collaboration to music by Gesualdo, and the Festival Licht, featuring music by the composer Karlheinz Stockhausen. Peelman has also been widely recognised for his creativity in commissioning new
artistic projects, including Kalkadunga Yurdu with didgeridoo artist and composer William Barton. His overview and understanding of the music canon is unique. With a repertoire that includes the major classical works from Bach to Gershwin as well as a vast oeuvre of early music, from Lassus, Monteverdi and Schütz to Purcell, Peelman is Australia’s most innovative and versatile musical director. His passion for new music has been crucial to an ever-growing repertoire of concert music as well as music theatre. Over the years Peelman has directed numerous recordings and premiere seasons of new operas such as Black River, Fahrenheit 451, The Burrow, The Sinking of the Rainbow Warrior and Gauguin, to name just a few. He has worked with most orchestras in Australia,and continues to develop new projects that aim to change and re-invigorate the nature of concerts, both in form and content. In 2015 Roland was appointed to succeed Christopher Latham as Artistic Director of the Canberra International Music Festival.
The Composers Nigel Butterley Since the instrumental octet Laudes (1963) Nigel Butterley has been recognised as one of the foremost Australian composers of his generation. His output includes chamber music, the orchestral Meditations of Thomas Traherne (1968) and From Sorrowing Earth (1991), the opera Lawrence Hargrave Flying Alone (1988), and music for choir, vocal ensemble and solo voice. He was awarded the Italia Prize for In the Head the Fire (1966) and the Paul Lowen Orchestral Prize for Spell of Creation (2001), for soloists, choir and orchestra. As a pianist Nigel Butterley has been interested in accompanying and in exploring the piano duet repertoire; he is also known for his many performances throughout Australia of Messiaen's Visions de L'Amen and John Cage's Sonatas and Interludes (for prepared piano). He was lecturer in contemporary music at Newcastle
Conservatorium from 1973 to 1991, and currently teaches composition at the Sydney Conservatorium of Music. Nigel Butterley holds an Honorary Doctorate in music from the University of Newcastle, and is a Member of the Order of Australia.
Andrew Ford Andrew Ford is a composer, writer and broadcaster, and has won awards in all three capacities, including the 2004 Paul Lowin Prize for his song cycle Learning to Howl, a 2010 Green Room Award for his opera Rembrandt's Wife and the 2012 Albert H Maggs Prize for his large ensemble piece, Rauha. His music has been played throughout Australia and in more than 40 countries around the world. He was composerin-residence with the Australian Chamber Orchestra (1992–94), Peggy Glanville-Hicks Fellow (1998– 2000), Australia Council Music Board Fellow (2005–
06) and resident composer at ANAM in 2009. In April 2014 he was Poynter Fellow and Visiting Composer at Yale University. A former academic, Ford has written widely on all manner of music and published eight books, most recently Earth Dances: music in search of the primitive (2015). He has written, presented and coproduced four radio series, including Illegal Harmonies and Dots on the Landscape, and since 1995 he has presented The Music Show each Saturday morning on ABC Radio National.
Brian Howard Brian Howard, one of Australia's most striking composers of chamber operas, studied with Peter Sculthorpe, Richard Meale, Bernard Rands and Sir Peter Maxwell Davies. He has taught composition at University of Melbourne and New South Wales Conservatorium in Sydney, and held composer residencies at Cité Internationale des Arts in Paris and the Royal Danish Ballet in Copenhagen, He has had commissions from Australian Opera, Victoria State Opera, Australian Broadcasting Corporation, West Australian Ballet and Opera Factory Zürich.
Amsterdam Sinfonietta, Nieuw Ensemble, Alarm Will Sound, Bang on a Can All-Stars, Calder Quartet, Ensemble Offspring, and Asko|Schönberg. She holds a doctorate from The Conservatorium of Sydney (Sydney University 2008-2012), she completed her masters at the Koninklijk Conservatorium (20022004) and received a Bachelor of Music with first class honours from the Australian National University (1998-2001). She was awarded prizes including Den Haag Toptalent (2012), De Komeet cultural award (2010) and the Carlsbad Festival of Music Composition Prize (2010) among others.
Howard is particularly acclaimed for his chamber operas, based on texts by Steven Berkoff (after Kafka), Louis Nowra and Jean Rhys; his operas have strong theatrical thrust, with social conventions threatened by dangerous external forces and psychological disturbance. His output also includes evocatively crafted ensemble and orchestral works. His early scores demonstrate a forceful, modernist idiom while recent works embrace tonal harmony, minimalist processes and a rich poetic vein.
Ekrem Mülayim is a Sydney-based composer, born in Istanbul, Turkey. Currently doing a Master's degree in composition at Sydney Conservatorium of Music, he has been actively involved in the Australian music scene since his arrival in 2005. Along with his involvement in new music, he specialises in composing for theatre, film and dance. His theatre credits include Belvoir Street Theatre productions of Yellow Moon, Cut and The Kiss, Tell it like it isn’t for Australian Theatre for Young People and Vigil for Spirit House Theatre Company. His other collaborations include Critical Path, Campbelltown Arts Centre for Composers-Choreographers Lab Residency, The Australian Voices and The Song Company. Ekrem made his international debut with Lost Souls, composed in 2009 for a speech choir. Lost Souls has recently been released on the album Playing with Words by GruenRekorder in Germany.
Kate Moore is a composer of new music. She creates worlds of sound for acoustic and electroacoustic media and writes instrumental music, concert music, sound installations and more. Moore specialises in creating surprising performance scenarios that feature virtuosic instrumentalists and musicians set amidst unusual and alternative performance circumstances. Her work has been performed in venues including Carnegie Hall, The Sydney Opera House and the Concertgebouw Amsterdam and at major festivals including The Holland Festival, The Sydney Film Festival, ISCM World Music Days 2010 and MATA 2009. She has worked with many ensembles including Slagwerk Den Haag,
Composer Rosalind Page has created works for theatre, chamber ensembles, orchestra and electronica, with international performances in Europe, USA and Japan. Rosalinds artistic practice shares affinities with the philosophies of Deleuze and Ricoeur and includes her M.A. (Theatre and Film Studies) on the cinema of Yasujiro Ozu, Wim Wenders and sound/ image relationships in the films of Andrei Tarkovsky. In 2004, Fracture: a noh play for cello and orchestra, an interpretation of Shakespeare's King Lear and Kurosawa's RAN, received a Highly Commended Award in the prestigious Paul Lowin Orchestral Prize and in 2006 her setting of Lorca's Sonetos del Amor Oscuro won the Paul Lowin Song Cycle Prize.
Rosalind Page has taught aesthetics and history of film sound and music at the University of Sydney, composition at the Sydney Conservatorium of Music, scripted original works for theatre and film and set texts in French, Russian, Latin, German, Spanish, Sanskrit, Kalkatungu and Icelandic. International residences have included Visby International Composers' Centre (VICC, Sweden), CAMAC, Marnay-sur-Seine, (France), Herhusid (Iceland) and the Leighton Artists' Colony, Banff Centre (Canada). Visiting Fellow 2009-10, Creative Practice and Research Unit, School of English, Media and Performing Arts, Faculty of Arts and Social Sciences, UNSW, Rosalind Page was also honoured as 2010 Ian Reed Foundation ABC Writer-in-Residence to write, compose and sound design her radiophonic work Extinct.
Alister Spence Alister is recognized as one of Australia’s most original, distinctive pianists/composers. With a performing and composing career spanning more than 25 years, his wide-ranging talents have led him to perform with and compose for some of the world’s most respected artists in the areas of contemporary music, improvisation, film and theatre. In recent years he has devoted his energy to writing
and performing with his trio, The Alister Spence Trio with Lloyd Swanton on double bass and Toby Hall, drums and glockenspiel. The group has recorded five CDs (Rufus Records) and has a growing international reputation. Their most recent CD, Far Flung (2012) received a 4 star review in Jazz Journal (June 2013) and was listed in Critics Poll 2013 (January 2014). Alister is a founding member of Wanderlust and a long-standing member of The Australian Art Orchestra (AAO). Alister was also co-leader/composer with the internationally acclaimed group Clarion Fracture Zone for 15 years from 1990 – 2005. His talents as a composer are well known in Australia. As well as his own trio and Clarion Fracture Zone, Alister composes for Wanderlust and has been commissioned several times to write for The Australian Art Orchestra and Ten Part Invention. In 2010, The Australian Art Orchestra premiered his first major work, Soak, a suite in 4 movements, at the Melbourne International Arts Festival. Alister also composes music for film and theatre. His theatre credits include the sound design for Angela’s Kitchen, featuring Paul Capsis (2010). Alister is an Adjunct Senior Lecturer at University of New South Wales in Jazz Performance and Composition.
The Singers Deborah Conway & Willy Zygier Deborah Conway has won ARIA’s, was anointed Rolling Stone Singer of The Year and has been a significant and eloquent contributor in many capacities to Australian music for over 30 years releasing a dozen albums both with 80’s band Do Re Mi, solo and with long time collaborator Willy Zygier. Together Conway and Zygier have composed and recorded 8 albums; introduced the groundbreaking house concerts, a marketing method that was quickly adopted across the industry; produced the national concert series Broad, a performance exploring the talents of female singer-songwriters. In 2009 and 2011 Conway took on the role of Artistic Director of the Queensland Music Festival, and in 2013 Conway and Zygier released Stories of Ghosts to 4-star reviews from every major Australian publication. Currently Conway and Zygier are working on their
ninth studio album, and are the Director and Artistic Director for The Shir Madness Melbourne Jewish Music Festival scheduled for September 2015.
The Song Company Susannah Lawergren soprano Anna Fraser soprano Hannah Fraser mezzo-soprano Richard Black tenor Mark Donnelly baritone Andrew O’Connor bass/baritone The Song Company’s first performance took place in July 1984 at the Rothbury Estate winery in the Hunter Valley, under its founder, Charles Colman. Ill-health forced Colman to resign in 1988, and the group became a sextet led by John Grundy until Roland Peelman was appointed in early 1990. Under Roland’s leadership,
The Song Company has built an enviable reputation as a vocal group of unmatched scope and expertise. Since 1997, the group has performed at some of the world’s most prestigious venues and has been hosted by major festivals in Europe, including the Flanders Festival, Utrecht Early Music Festival, and the Budapest Music Festival, and is equally at home singing in Nullagyne, Trangy or Barradine. While its point of reference lies in the vocal consort repertoire of the 16th and early 17th century, frequent explorations in medieval music and ongoing creative development with composers and artists here and abroad continue to expand the group’s repertoire and skill base. New and innovative collaborations have taken The Song Company’s unique voice into the 21st century, most notably with choreographers Kate Champion, Martin del Amo and Shaun Parker demonstrating the transformative power of dance and voice together. No other vocal ensemble in the country matches the quality of The Song Company’s ensemble or the diversity of its repertoire. There are arguably few vocal ensembles anywhere in the same league.
Alexandra Oomens soprano Alexandra Oomens concluded her Bachelor of Music with Honours at the Sydney Conservatorium of Music in 2014. She has received a scholarship to undertake her Masters degree at the Royal Academy of Music, London which she will commence in September 2015. In February 2015, Alexandra recorded with ARIA award winning pianist and composer Sally Whitwell in her most recent album with the ABC. In April 2015 she performed as a soloist in the Brisbane Baroque Festival in their production of Handel’s Faramondo and Purcell’s Dido & Aeneas. In 2014 Alexandra performed the role of Lisel with Pinchgut Opera in their production of Antonio Salieri’s The Chimney Sweep. In 2014 she performed as a soloist and ensemble member with the Australian Chamber Orchestra in their national tour of the project, Timeline. Alexandra has also toured as a guest artist with The Song Company. In 2013 Alexandra performed with Pinchgut Opera as Alinda in Cavalli’s Giasone, and as Thisbe in Lampe’s farcical operetta, Pyramus and Thisbe.
Tobias Cole countertenor Tobias Cole, Artistic Director of Canberra Choral Society, Distinguished Artist in Residence at the Australian National University, and winner of the Green Room Award and the Metropolitan Opera Young Artist Study Award, has performed throughout Australia, the UK and USA. Highlight performances have included Ottone in L'Incoronazione di Poppea, Apollo in Death in Venice and Oberon in A Midsummer Night’s Dream (Chicago Opera Theater); title role in Philip Glass’ Akhnaten (State Opera of South Australia); title role in Julius Caesar, Medoro in Orlando, and Oberon (Opera Australia); title role in Xerxes (NBR NZ Opera, Victorian Opera) Roberto in Griselda and Athamas in Semele (Pinchgut Opera); St Matthew Passion (Opera Queensland); La Speranza in L'Orfeo (Australian Brandenburg Orchestra); title role in Handel’s Alexander Balus (Canberra Choral Society); Dr Who Spectacular (Melbourne Symphony); Messiah and St John Passion (Queensland Symphony); Shawn Parker’s This Show Is About People (Sydney Festival); Purcell’s Dido and Aeneas, John Adams’ El Niño and Bach’s B minor Mass (Sydney Philharmonia); as well as appearances at the Canberra International Music Festival, Australian Festival of Chamber Music and Woodend Winter Arts Festival. In 2015 Tobias will return to West Australian Symphony Orchestra to perform Carmina Burana, and to Canberra Choral Society as Lychas in Handel’s Hercules.
Koen van Stade tenor and vocal director Koen van Stade studied singing with Peter Kooij and Max van Egmond; Church Organ and Church Music with Jos van der Kooy; and conducting with Harold Lenselink at both Amsterdam Conservatorium and The Royal Conservatory of The Hague. He specialised in Gregorian Chant at the Schola Cantorum Amsterdam. During his studies Koen had already begun working as an ensemble member of the most prestigious Early Music groups in Europe, including Collegium Vocale Gent (Philippe Herreweghe) and The Amsterdam Baroque Choir (Ton Koopman). He sang more than 2,000 concerts in major international cities on every continent with these ensembles, and recorded over 60 CDs and hundreds of radio and television broadcasts. In 2003 Koen became a member of the vocal chamber
ensemble The Gesualdo Consort Amsterdam (Harry van der Kamp). With this ensemble he participated in the premiere recording of the complete works of Dutch composer Jan Pieterzoon Sweelinck, a 20 CD collection which received an Edison Award from the Queen of the Netherlands. Koen moved to Australia in 2009. He is an Academic Tutor at St John’s College, University of Sydney and Vocal Tutor at Sydney Conservatorium of Music. He appears regularly as a soloist and ensemble member of Sydney’s leading groups including The Song Company and Pinchgut Opera.
Paul McMahon tenor Performing regularly as a soloist with symphony orchestras, chamber music groups and choirs throughout Australia, New Zealand and Asia, tenor Paul McMahon is one of Australia’s finest exponents of baroque and classical repertoire, particularly the Evangelist role in the Passions of J. S. Bach. Career highlights include Bach’s Johannes-Passion with the Australian Chamber Orchestra under Richard Tognetti; Bach’s Matthäus-Passion under Roy Goodman; Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Mass in C Minor under Masaaki Suzuki and Mozart’s Requiem with the Hong Kong Philharmonic Orchestra under Manfred Honeck. Paul’s collaborations include recitals with the renowned pianists Bengt Forsberg and Kathryn Stott, the New Zealand String Quartet and the Australia Ensemble. Paul has appeared as soloist in the festivals of Sydney, Melbourne and. He was a member of The Song Company from 1997 to 2001, touring regularly with this ensemble throughout Australia, Asia and Europe. Paul accepted a Churchill Fellowship in 2002 to undertake intensive study in baroque repertoire under the tutelage of Marius van Altena at the Royal Conservatoire in The Hague, Netherlands. Awarded a Griffith University Postgraduate Research Scholarship, Paul completed his PhD examining the delivery of baroque performance practice pedagogy
in higher education. His academic research includes publications on works by Handel and Draghi, vocal pedagogy and historical performance practice. An experienced teacher and lecturer, Paul was a member of the academic staff at the University of Newcastle from 2005–2012. He is currently a Lecturer in Music and Convenor of Performance at the School of Music, Australian National University, Canberra. Paul appears in the Festival by arrangement with the ANU School of Music.
David Greco baritone David Greco has established himself as a fine interpreter of oratorio and opera throughout Australia and Europe. After his studies at The Sydney Conservatorium of Music, he appeared with Dame Emma Kirkby as a soloist in her Australian concert tour 2006. He was soon invited as the soloist with many distinguished Australian ensembles, including the Australian Chamber Orchestra, the Australian Brandenburg Orchestra and The Australian Haydn Ensemble. David is equally at home on stage. His first operatic appearance was in Sydney as Papageno in Die Zauberflöte, and in 2006 performed the role of Perichaud with the Sydney Symphony Orchestra in La Rondine. In 2010 he made his Italian debut at Teatro Comunale Modena in Handel’s Agrippina in the role of Pallante. The following year he made his debut with the Festival d'Aix-en-Provence, France, in Alceste, in the role of Oracle. He has performed regularly with Australian baroque opera company Pinchgut Opera, and recently made his role debut with for the company as Orestes in Cavalli’s Giasone. David has been based in the UK for the last two years, during which time he was a deputy bass with Westminster Abbey Choir. He appeared at Glyndebourne Festival Opera in The Fairy Queen (Purcell), and was invited to tour the UK and France in Messiah with The Academy of Ancient Music.
The Players The New Zealand String Quartet Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello Since 1987 the New Zealand String Quartet has been New Zealand’s leading chamber ensemble, with a distinguished record of international touring success. The current members of the ensemble have been making music together for 20 years. Drawing from an ever-expanding repertoire this musical tour de force presents diverse and innovative programmes that embrace everything from the standard quartet repertoire to new music by New Zealand composers. They are known for their dynamic performances, their intensity of focus and their engaging style of communication. Much-loved by audiences at home and around the world, the Quartet performs over eighty concerts to popular and critical acclaim each year. Career highlights have included highly-praised debuts in London at the Wigmore Hall, in New York at the prestigious Frick Collection and in Washington’s Library of Congress. In recent years the group has toured to Canada, the United States and the United Kingdom on a regular basis as well as performing in Mexico, Curacao, Korea, Australia, the United Kingdom, Germany, Poland, the Czech Republic, the Netherlands, Sweden and China. 2012 saw the celebration of the New Zealand String Quartet’s 25th anniversary with a New Zealand-wide tour of the complete Beethoven string quartets and a week-long residency of New Zealand arts and music at the Kings Place in London.
The Tinalley String Quartet Eoin Anderson violin (guest leader) Lerida Delbridge violin Justin Williams viola Michelle Wood cello Australia’s Tinalley String Quartet has established itself as one of the finest string quartets of its generation. Awarded First Prize at the 9th Banff International String Quartet Competition and Grand Prize at the
2005 Australian Chamber Music Competition, the Quartet has performed throughout Europe, America, Canada and Australia to critical acclaim. International highlights have included appearances at the Vienna Musikverein, Berlin Konzerthaus, Amsterdam Concertgebouw, Bremen Die Glocke, Frankfurt AlteOper, as well as in Paris, Hamburg, Nürnberg, Luxembourg, Baden-Baden, Utrecht, Vancouver, Calgary, San Jose, San Francisco, San Diego, Toronto and New York. In Australia, the Quartet has appeared in recital for the Melbourne Recital Centre, Sydney Opera House, Musica Viva Australia and at the nation’s premier festivals including the Port Fairy Festival; Perth International Arts Festival; Canberra International Music Festival; Huntington Festival and the Melbourne International Arts Festival. The Quartet has been broadcast by ABC Classic FM, CBC Canada, SRW2 and HR2 Kultur Germany, Radio France and Public National Radio, The Netherlands. Its recent CD release of Haydn’s Opus 20 Quartets garnered international praise, UK’s Strad Magazine singling the recording out as ‘recommended’ listening, describing the performances as “technically assured, warm-toned, beautifully blended and ideally balanced… they characterise Haydn’s differing moods with sharp insights, relish his developing dramatic languageand make telling use of silence as an expressive device”.
Ensemble Offspring Claire Edwardes percussion Bree van Reyk percussion Jason Noble clarinet James Nightingale saxophone Ensemble Offspring is a dynamic Sydney-based organisation dedicated to innovative new music. Led by Artistic Directors Claire Edwardes (percussion) and Damien Ricketson (composer) the virtuoso team of musicians boasts broad ranging backgrounds and talents. Driven by open-mindedness, Ensemble Offspring’s activities promote diverse and emerging music practices that expose audiences to new ways of experiencing sound. The group embraces a broad and progressive repertoire from seminal chamber works of the past 50 years by composers such as
Stockhausen and Grisey, to free improvisation and the creation of striking interdisciplinary productions. Past collaborators feature Mike Patton, Theatre Kantanka, Nelly Benjamin, Speak Percussion and James Crabb and upcoming festivals appearances include Sydney Festival, Shanghai New Music Week and Canberra International Music Festival. Dedicated to a living classical music tradition, Ensemble Offspring has premiered more than 100 new works, and through the ‘Noisy Egg Creation Fund’ puts commissioning at the forefront of its activities with recent new works by Kate Moore, Elena Kats-Chernin and Felicity Wilcox. In 2015 Ensemble Offspring is proud to celebrate its 20th birthday.
Anthony Abouhamad harpsichord; Director, Festival Bach Ensemble Anthony Abouhamad is an Honours graduate of the Sydney Conservatorium of Music (SCM) (2009) and the Royal Conservatory of The Hague (2014). He is a student of Historical Performance, specialising on early keyboard instruments. His former teachers include Dr. Neal Peres da Costa (SCM) and Dr. Ewald Demeyere (Royal Conservatory of Antwerp). In Australia, Anthony has performed with a number of ensembles, including the Ensemble 1788, Latitude 37, The Marais Project and the Sydney Symphony Orchestra. He was also a member of Musica Viva’s Sounds Baroque which toured regional NSW and Metropolitan Sydney. In Europe, he has performed in a number of festivals and concert series, including Bach en Combrailles (France), the Utrecht Early Music Festival and the Dordrecht Bach Festival (Netherlands). Before his departure he co-founded the Ensemble for Eighteenth-Century Harmony, an ensemble of thirteen musicians. Anthony teaches Basso Continuo and Early Keyboard at the SCM, and has been awarded an APA scholarship to undertake a Doctorate of Musical Arts.
Amy Dickson saxophone Twice Grammy-nominated Amy Dickson made history by becoming the first saxophonist and the first Australian to win the 2013 MasterCard Breakthrough Artist of the Year Classic Brit Award with her third album released on Sony Music. It had previously attained the coveted No. 1 position in the UK classical charts.
Sydney-born Amy has spearheaded something of a classical saxophone revival, on account of her unique take on the genre and her distinctive approach to the instrument. She has won several major competitions which have never been won before by a saxophonist. Recognized widely for her remarkable and distinctive tone and exceptional musicality, Amy has performed throughout the world, in such venues as Wigmore Hall, the Royal Albert Hall and the Sydney Opera House. She has also performed as a soloist with many orchestras including the Philharmonia, London Philharmonic Orchestra, Sydney Symphony Orchestra and the Vienna Chamber Orchestra. Amy has released five critically acclaimed recordings for Sony Music. She is deeply committed to the development of new repertoire for the saxophone.
Willam Barton didgeridoo 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. From 2001 William collaborated with Australian composer Peter Sculthorpe. Sculthorpe’s Requiem (2004), performed by the Adelaide Symphony Orchestra, the Royal Melbourne Philharmonic 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.
Oğuz Mülayim ney (Turkish flute)
Eoin Andersen violin
Mehmet Oğuz Mülayim started his music studies in 1993 at the Bakırköy Music Society where he received training on makams, usuls and repertoire of Turkish Classical Music under the supervision of Mehmet Güntekin, a member of the Istanbul State Choir. While attending these classes and performing as a chorist in this society, he began his ney studies at the Caferağa Medresesi Traditional Arts Center in 1994 with İlyas Çelikoğlu, a student of renowned ney players Neyzen Tevfik and Mesut Paker.
Eoin Andersen has been guest Concertmaster of the Konzerthausorchester Berlin and the Swedish Radio Symphony Orchestra, and guest Principal with the Mahler and Australian Chamber Orchestras, the Zürich Kammerorchester, the London Philharmonic, the Bavarian Radio Symphony, and frequently with the Rundfunk-Sinphonieorchester Berlin.
After less than a year of ney education, he joined the orchestra of both schools as a ney player and had the chance to perform together with celebrated musicians such as Sadreddin Özçimi, Salih Bilgin, Göksel Baktagir and Yurdal Tokcan. He collaborated with numerous classical and sufi music ensembles such as Zeytinburnu Music Society, Ümmi Sinan Mystical Music Ensemble. He performed both as a chorist and a ney player in most important concert halls of Istanbul. During his three year stay in Barcelona, he played with oud player Yannis Papaioannou on several Ottoman Music sessions and he also appeared on a radio programme in Mataró Radio. Mehmet Oğuz Mülayim holds the degrees of BSc in Computer Science and MSc in Artifical Intelligence.
He was a long-time member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. As a founding member and director of the Mahler Chamber Soloists he performed in South America and throughout Europe. He has made chamber music performances at the Aspen, Tanglewood, and Sarasota Festivals in the United States, and at the Il de Re Festival in Bordeaux, in Aix-en Provence, in a Pacific Music Festival sponsored tour of Japan, at the Lucerne Festival, and biannually at the ICMF Wassenaar in the Netherlands, among others. Most recently he collaborated with Patricia Kopatchinskaja in a Bach Double concerto concert in Zürich. Appointed Principal 2nd Violin of the Orchester der Oper Zürich in 2011, Eoin left that position in 2015 to become Concertmaster of the Melbourne Symphony Orchestra.
Graeme Jennings violin
Barbara Jane Gilby was the Canberra School of Music’s first graduate in violin performance and completed her studies at Boston University with Prof. Roman Totenberg. She then worked with a number of German Orchestras before returning to Australia in 1985 as Concertmaster of the Tasmanian Symphony Orchestra. As leader of the Tasmanian Symphony Chamber Players she toured Australia for Musica Viva and was the soloist for the ARIA – Award – winning recording of Vivaldi’s Four Seasons.
Graeme Jennings is a former member of the legendary Arditti String Quartet. He has toured widely throughout the world, made more than 70 CDs, given over 300 premieres and received numerous accolades including the prestigious Siemens Prize and two Gramophone awards. Active as a soloist, chamber musician, ensemble leader and conductor, his repertoire ranges from Bach to Boulez and beyond. Graeme is a member of Australia's internationally acclaimed new music ensemble ELISION as well as the San Francisco Contemporary Music Players, the Lunaire Collective and the Kurilpa String Quartet.
In 2000 Barbara returned to Canberra to teach at the ANU School of Music and as well as teaching she is an active orchestral and chamber musician and soloist. She is Concertmaster of the Canberra Symphony Orchestra and violinist with the Trigon Ensemble. Barbara lives with her two cats, Kara and Pitch and aspires to have the most interesting garden in South Canberra.
Graeme has also performed as Guest Concertmaster of the Adelaide and Melbourne Symphony Orchestras and Guest Associate Concertmaster with the Sydney Symphony. An alumnus of the Queensland Conservatorium, he was awarded the Conservatorium Medal in 1989 and has also received two Australia Council grants.
Barbara Jane Gilby violin
Rebecca Chan violin
Annie Gard violin
Rebecca Chan was born in Melbourne and grew up in regional Victoria. She has been soloist with many of Australia’s major orchestras, including the Melbourne Symphony Orchestra, Australian Chamber Orchestra, Tasmanian Symphony Orchestra, Adelaide Symphony Orchestra, Canberra Symphony Orchestra, Orchestra Victoria and Melbourne Chamber Orchestra, and has also performed as soloist in Europe.
Annie Gard began her violin study in primary school and soon discovered that she loved playing in ensembles. She joined SYO and progressed through the orchestras, leading each before she moved on. As a student at Conservatorium High School she gained the Chamber Music prize and was introduced to tango music. As one of the only established tango musicians in Australia she has travelled to Buenos Aires to study and has played for many world famous tango dancers.
Rebecca has been a regular guest concertmaster and associate concertmaster with the Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, Auckland Philharmonic Orchestra and Melbourne Chamber Orchestra and guest principal second with the London Philharmonic Orchestra and the Scottish Chamber Orchestra. As a chamber musician, Rebecca has performed in numerous festivals and concert series around Australia and Europe. Rebecca was a member of the Australian Chamber Orchestra from 2010-2015. She has been a member of the Melbourne Chamber Orchestra since 2008 and the Australia Piano Quartet since 2013.
Matthew Greco violin Matthew began studying violin at the age of 12 in Sydney, his hometown in Australia and currently resides in The Hague, The Netherlands. Matthew's love of the Baroque and Classical violin is nurtured by his employment as a core member, concertmaster, or soloist in some of the world’s leading period ensembles. During his studies at the Sydney Conservatorium of Music he developed a strong affinity to the baroque violin which he pursued professionally in engagements with some of Australia’s leading period orchestras, including Orchestra of the Antipodes and the Australian Brandenburg Orchestra. Since completing post-graduate studies at The Royale Conservatoire in The Hague, Matthew performed with a variety of international ensembles and festivals in The Netherlands, Germany, France, Italy, Poland, Canada, The United States and Australia. Matthew’s approach to music is one governed by his commitment to developing a unique and individual sound, an ability to be spontaneous whilst performing, and a deeper understanding of the performer/audience connection.
Annie also performs on baroque violin, and has led the Sydney Conservatorium of Music’s Early Music Ensemble since 2010. The Ensemble toured Europe in 2011 joining with Stephano Montenari to open the Organ Festival in Aalburg, The Netherlands. In 2014 she was awarded 1st Class Honours from the Conservatorium of Music for her research into Corelli’s famous violin sonatas Opus 5.
Anne Horton violin Anne has established an outstanding reputation both nationally and internationally as a member of the Tankstream Quartet, which won several prestigious awards including First prize in the Cremona and Osaka International String Quartet Competitions. Anne holds a Master of Music Performance from The Australian Institute of Music. At the completion of her Masters in 2004 she undertook further studies in the chamber music class directed by the Alban Berg Quartet at the Cologne Hochschule für Musik.During her time as a member of the Australian String Quartet Anne has enjoyed successful collaborations with performers including Angela Hewitt, Sarah Macliver, Li Wei, Teddy Tahu Rhodes and Piers Lane.
Heather Lloyd viola Born in Sydney, Heather studied at the Sydney Conservatorium and Australian National Academy of Music in Melbourne. Heather performs with the Adelaide Symphony Orchestra, Sydney Chamber Opera, Australian Brandenburg Orchestra and Ironwood and has played Principal Viola with Pinchgut Opera, Victorian Opera and Melbourne Chamber Orchestra. Heather is the Artistic Director of Australian Chamber Players, a new string orchestra made up of young professional musicians from SA, VIC and NSW. The ACP has performed in the Elder Hall Perspectives Series and for the Adelaide International Cello Festival.
Geoffrey Gartner cello
Kyle Daniel double bass
Geoffrey Gartner is well known for his dynamic stage presence and extrovert performance style. He has performed at festivals including the Warsaw Autumn, ISCM World New Music Days, Sydney Festival and the Roaring Hoofs Festival in Mongolia, and in 2010 made his European conducting debut directing the SBS Youth Orchestra on its tour of Eastern Europe. Geoffrey has completed Graduate degrees in Contemporary Music Performance at the University of California San Diego and has been a guest lecturer and performer at universities and conservatoriums throughout Australia and the USA.
Kyle is a Canberra based double bassist who performs regularly with the Canberra Symphony Orchestra and several other local ensembles. He has performed all around Australia, including several seasons with the Australian Youth Orchestra and a fellowship with the Tasmanian Symphony Orchestra. He finished a Bachelor degree in 2011 with first class Honours and began a PhD candidature in 2012 at the ANU focussing on double bass performance and pedagogy. He has appeared as a soloist with Musica Di Camera, the National Capital Orchestra, Canberra Youth Orchestra and the Limestone Consort, and premiered several new solo works for double bass by young Canberran composers.
Nowadays Geoffrey performs a repertoire extending from the baroque to the newest works, many written specially for him. He regularly performs with vocal chamber ensemble, Halcyon, and has made numerous appearances with Ensemble Offspring and Sydney Dance Company. He is also a member of the choir at St Mark’s, Darling Point. In July and August he tours Australia with Sydney Dance Company playing ambulatory cello in its production, Cacti .
Rosanne Hunt cello Rosanne Hunt has played with the Australian Chamber Orchestra, The Australian Brandenburg Orchestra, the Melbourne Symphony and Orchestra Victoria. She was the founding cellist of the Elision contemporary music ensemble, and has played in many new music projects for Chamber Made Opera and the Libra ensemble. Recent performing highlights include being part of the Melbourne Ring Orchestra; performing Beethoven on period instruments with Julie Haskell (fortepiano) and Elizabeth Wallfisch (classical violin); and premiering “Out of the Depths” for cello and piano by Adam Yee ( with Eidit Golder, piano). She teaches at the University of Melbourne, Monash University and the Victorian College of the Arts Secondary School, as well as privately, and has recently introduced string teaching and an orchestra to her daughter's state primary school (St Kilda Park Primary). She also administers, and presents concerts for, the Kenneth Hunt Memorial Fund ( in memory of her father) which helps young musicians attend National Music Camp.
Pete Harden electric guitar Pete Harden is a composer and performer based in the Netherlands. In 2000 he won the Pro-Arte Guitar Trio Composition Competition, was a winner at the 2004 Apeldoorn Young Composers Meeting, and has had work featured in the Gaudeamus Music Week. In October 2011 his work ‘forming a petal from a piece of metal’ was performed in New York during the SONiC Festival, a celebration of some of the most interesting music written by composers under the age of 40. Pete has worked on a number of large-scale musictheatre pieces, including Carnation (2005), a work for large ensemble and four cars. Recent works have pursued an interest in information aesthetics, exploring the beauty of data and its representation. Following a period of research in 2011 most pieces have embraced Just Intonation tuning, including Beating Patterns I and Beating Patterns II. Pete is a founding member of Ensemble Klang, with which he has performed across the Netherlands, and in France, Germany, Switzerland, Spain, the Czech Republic, the United Kingdom and the United States.
Roslyn Jorgensen trombone Based in Sydney, Roslyn Jorgensen is a freelance trombonist who completed postgraduate studies at the Canberra School of Music and the Sydney Conservatorium of Music. She performs regularly with the Australian Opera and Ballet Orchestra, nad has recently toured with the Australian Chamber Orchestra and Bayerische Staatsoper.
Mikaela Oberg flute Mikaela Oberg is a historical flute and recorder player based in Sydney. She is a member of the Australian Brandenburg Orchestra and also performs with groups such as the Orchestra of the Antipodes as part of Pinchgut Opera, the Australian Haydn Ensemble, Sydney Philharmonia Choirs and Orchestra Seventeen88. Mikaela recently relocated back to Australia from Europe where she worked with the Orchestra of the Age of Enlightenment as part of their Anne and Peter Law Experience for Young Players program, and with the Orchestra of the 18th Century under the leadership of Frans Bruggen. Whilst in Holland, Mikaela completed her Masters degree at the Royal Conservatorium of The Hague, studying with Barthold Kuijken.
Kirsten Barry oboe Kirsten Barry is Australia’s leading exponent of period oboes. She has been principal oboist with the Australian Brandenburg Orchestra since 2001. In 2005 the orchestra’s CD Sanctuary on which she is featured soloist won the Best Classical Album at that year’s ARIA awards.In addition to the ABO, Kirsten also performs regularly with many groups in Australia and New Zealand including Pinchgut Opera, Orchestra of the Antipodes and Ironwood Ensemble. Kirsten regularly appears as guest artist throughout the region, including Perth Festival Baroque, New Zealand Opera and Organs of the Ballarat Goldfields. She regularly plays for various groups across Melbourne and is a regular player at St John’s Southgate, a Lutheran church that presents the cantatas of JS Bach in liturgical context.Kirsten grew up in Canberra and first started learning oboe on a Canberra Youth Orchestra beginner oboe scholarship.
Robert Scott clarinet Since moving to Canberra in 2011 to study with Australian clarinettist Alan Vivian, Robert Scott has been involved with many of Canberra’s recognised ensembles, inluding Canberra Youth Orchestra, National Capital Orchestra, Duntroon’s Royal Military College Band, ANU SoM Orchestra and the ANU Chamber Orchestra. Throughout 2013, Robert held a casual position with the Canberra Symphony
Orchestra and now holds the full time 3rdclarinet/bass clarinet position, along with filling in on second and principal when required. He has performed in many venues around Canberra, Victoria, Tasmania and New South Wales including performing in master classes run by some of Australia’s most prolific clarinettists. Robert has been a participant in AYO and AISOI programs for the past couple of years performing on both clarinet and bass clarinet, and was a winner in the 2014 CYO concerto competition
Leanne Sullivan trumpet Leanne Sullivan is principal trumpet with the Australian Brandenburg Orchestra Australia’s finest period instrument orchestra, made up of leading specialists in the performance of baroque and classical music. In Australia she has performed with many of Australia’s leading orchestras including the West Australian Symphony Orchestra, Tasmanian Symphony Orchestra, Sydney Symphony Orchestra and the Australian Opera and Ballet Orchestra.. She plays principal trumpet with Pinchgut Opera and has performed as a soloist with Australian Baroque Brass. Leanne occupied the position of principal trumpet with the Australian Chamber Orchestra for many years. In 2002, Leanne was awarded the Dame Roma Mitchell Churchill Fellowship for Excellence in the Performing Arts. Under the auspices of the Fellowship, Leanne returned to Europe to continue studies on baroque trumpet. Leanne is active in a teaching role and lectures in trumpet at the Sydney Conservatorium of Music.
Gergely Mályusz horn Gergely Mályusz was born in Hungary. After many years teaching music in Austria and freelancing with orchestras such as the Vienna Symphony and Vienna Radio Symphony, Klangforum Wien, Les-Musiciensdu-Louvre-Grenoble (on authentic instruments), Wiener Bachsolisten, Volksoper Vienna, he was appointed associate principal horn with the Thessaloniki State Symphony Orchestra (Greece). He has premiered numerous works for solo horn in Austria and Australia. In 2010 Gergely moved to Australia where he was active in educating young musicians in the Coffs Harbour area and Armidale. Recently he relocated
to Sydney to commence the position of guest principal/3rd horn with the Australian Opera and Ballet Orchestra. He is currently freelancing and teaching in Sydney.
foundation member of the Sydney Alpha Ensemble and has appeared as guest with other contemporary music groups - notably Elision, Seymour Group and Ensemble Offspring.
James Nightingale saxophone
Claire Edwardes percussion
James Nightingale is the alto saxophonist with Australia’s premier saxophone quartet, Continuum Sax and has performed regularly as a casual musician with Sydney’s orchestras since 1993. Australian composers Barry Cockcroft, Paul Stanhope and Stuart Greenbaum have dedicated works to him, and his playing is featured on many CDs and recordings.
Internationally acclaimed percussion soloist, chamber musician and artistic director Claire Edwardes, has been described by the press as a ‘sorceress of percussion’ performing with ‘spellbinding intensity’ and ‘graceful virtuosity’. Her award-winning performances combine a theatrical energy with charismatic and original interpretations, bringing to life the varied array of music she performs.
James has completed a PhD at the University of Queensland and holds degrees of both Master of Music (Performance) and Bachelor of Music from the Sydney Conservatorium of Music. James is the President of the New Music Network, an organisation dedicated to the promotion and presentation of new musical works in Australia.
Nigel Croker trombone The early part of Nigel’s career was spent knocking around in rock and funk bands in his home town of Perth. In 1981 he moved to Melbourne where he played with iconic rock band Hunters And Collectors before joining the Channel 9 Band working on The Tonight Show With Don Lane. In 1983 Nigel was appointed Principal Trombone to the Tasmanian Symphony orchestra and occupied that position for 6 years before moving to Sydney to freelance, He appears regularly with AOBO, SSO, ACO and Canberra Symphony Orchestra. Nigel has a keen interest in the sackbut and often works with Australian Brandenburg Orchestra, Pinchgut Opera, Australian Baroque Brass, and the newly formed Orchestra 1788. Nigel was a
Graduating as Student of the Year in 1997 from the Sydney Conservatorium of Music (where she now teaches), she went on to win the coveted Symphony Australia Young Performers Award in 1999. Claire subsequently relocated to the Netherlands to undertake a Masters Degree at the Rotterdam and Amsterdam Conservatories. Resident there for seven years, she was the recipient of many international awards and prizes including first place at the Tromp Percussion Competition (2000) and Llangollen International Instrumentalist (2001). Claire was the 2005 MCA/Freedman Fellow and she is the two time winner (2007/2012) of the AMC/APRA Art Music Award for Excellence for her contribution to Australian Music. Claire has performed concertos with all of the Australian orchestras as well as numerous European orchestras in venues such as the Concertgebouw (Amsterdam) and Queen Elizabeth Hall (London). She is the co-Artistic Director of successful innovative new music group, Ensemble Offspring and was recently granted an Australia Council Music Fellowship. Claire currently balances her life as a mother of two young girls with a busy concert schedule in Australia and abroad.
The Speakers Clive Birch (The Devil, Concert 15) If my mother is to be believed I was singing before I could speak and made my debut, albeit not my professional debut, at the age of 5 on the Sunday school anniversary platform of my local Methodist Chapel singing 'Jesus wants me for a sunbeam'.My adult voice was discovered during the first year of my B.Mus. course at Huddersfield Polytechnic and I went on to win the Gold Medal at the Guildhall School of Music and Drama in 1977 After the usual round of soul-destroying auditions I was given my first professional gig in 1979 as chorus and understudy in a 6 month run of The Mikado in the West End during which I did several performances of Koko. This led to two and a half years of touring with
the renowned D'Oyly Carte Opera Company during which I really learned my trade performing 8 shows a week for 48 weeks a year. 1983 found me at the National Opera Studio and thence to Glyndebourne for the next four years. During this time I fell in love with Australia and moved here in 1987. I found work immediately doing the sort of music I would never have had the chance of doing in the UK, and finally ending up in the most wonderful group of artists in the world. I have now retired from the Song Company after 25 wonderful years and am currently enjoying time for myself. My future is in the hands of the Universe and I look forward to more exciting challenges.
Duncan Driver (Narrator, Concert 22) Duncan Driver is an artistic director and founding member of Canberra's Everyman Theatre. He directed the company's inaugural production of Someone Who'll Watch Over Me and its subsequent productions of In Cold Light, Richard III, The Ides of March, God and The Burning, many of which contributed to Everyman's Critics' Circle Awards. Duncan has also directed Les liaisons dangereuses for Canberra Repertory, One Flew Over the Cuckoo's Nest for Radford College and assistant directed Romeo and Juliet for Gungahlin College. For Everyman, he
has acted in Latin! or Tobacco and Boys, Richard III, The Laramie Project, Breaker Morant, The Musical of Musicals (The Musical!) and Home at the End. Other recent acting credits include First Voice in Under Milk Wood (Canberra Rep) and Demetrius in A Midsummer Night's Dream (Centrepiece). Duncan has twice won the Canberra Area Theatre Award for best actor in a leading role in a play (in 2007, for the role of Richard Sherman in The Seven Year Itch and in 2009, for the role of Dominic in Latin! or Tobacco and Boys).
Imants Tillers: Diaspora (1992)
Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
Imants Tiller Imants Tillers is a visual artist, writer and curator. Born in Sydney in 1950, Tillers currently lives and works in Cooma, New South Wales. In 1973 he graduated from the University of Sydney with a Bachelor of Science in Architecture (Hons), and the University Medal. Tillers has exhibited widely since the late 1960s, and has represented Australia at important international exhibitions, such as the Sao Paulo Bienal in 1975, Documenta 7 in 1982, and the 42nd Venice Biennale in 1986. Major solo surveys of Tillers’ work include Imants Tillers: works 1978 – 1988, Institute of Contemporary Arts, London (1988); Imants Tillers: 19301, National Art Gallery, Wellington (1989); Diaspora, National Art Museum, Riga, Latvia (1993); Diaspora in Context, Pori Art Museum, Pori, Finland (1995); Towards Infinity: Works by Imants Tillers, Museum of Contemporary Art (MARCO) in Monterrey, Mexico (1999); Imants Tillers: one world many visions, National Gallery of Australia, Canberra (2006); The Long Poem, Lawrence Wilson Art Gallery, Perth (2009). Tillers has also exhibited in numerous group exhibitions around the world, including An Australian Accent, PS1, New York (1984); Antipodean Currents, Guggenheim Museum, Soho (1995); Australian Perspecta (1981,198789); The World Over/Under Capricorn: Art in the Age of Globalisation, City Gallery Wellington, New Zealand and Stedelijk Museum, Amsterdam (1996); the Biennale of Sydney (1979, 1986, 1988 and 2006); Kunst Nach Kunst (Art After Art), the Neues Museum Weserburg, Germany (2003); Prism, Bridgestone Museum of Art, Tokyo (2006). Tillers has been the recipient of numerous awards and commissions, such as the Osaka Triennale Prize (Gold in 1993, Bronze in 1996, and Silver in 2001), and the inaugural Beijing International Art Biennale Prize for Excellence (2003). Major commissions include the Federation Pavilion, Centennial Park (1985-87); the Founding Donors Painting, Museum of Contemporary Art, Sydney (1991), and two key sculptures for Sydney Olympic Park (2002). Tillers has been a trustee of the Art Gallery of New South Wales since 2001. In 2005 he was awarded a Doctor of Letters honoris causa for ‘his long and distinguished contribution to the field of arts’, by the University of New South Wales. In 2012, Tillers was awarded the Wynne Prize for landscape painting.
The Young Artist Festival Fellows - YAFF Australian National Academy of Music YAFF:
Sprogis Woods Smith YAFF: Sonya Hollowell soprano (NSW)
David Shaw flute (ACT)
Grace Leonard soprano (NSW)
Emmanuel Cassimatis oboe (NSW)
Melissa Gregory alto (QLD)
Amy Whyte clarinet (NSW)
Padraic Costello countertenor (Hawaiâ€™i)
Christopher Martin bassoon (VIC)
Samuel Mitchell countertenor (QLD)
Gregory Bannan baritone (WA)
The ANAM String Quartet: Charlie Westhoff violin (NSW) Emma Zhuang violin (NSW) Eli Vincent viola (QLD) Daniel Smith cello (QLD)
Molly Collier-Oâ€™Boyle violin (QLD)
Andrew Leathwick piano (NZ)
Esther Wong violin (NSW)
Alex Raineri piano (QLD)
Caleb Wong cello (NSW)
Adam McMillan piano (QLD)
Owen Elsley tenor (NSW) Leighton Triplow tenor (VIC)
Moorambilla Voices (NSW) Director: Michelle Leonard Dorian Abel
Ruby Belle Stingemore
Arcail Gilson Wakeling Max Robinson
Delta Hawkins Richardson Grace Robinson
Ehren Donnelly Phoebe Ellis
Vocal Fry (ACT) Director: Tobias Cole Asha Aikman
Woden Valley Youth Choir (ACT) Conductor: Sally McRae Sophie Barton
Isabel Cruz Clare
Elizabeth de Souza
Canberra Youth Orchestra Conductor: Rowan Harvey-Martin Laura Lay
Olina Goodman-Viereck violin 1
Jerrabomberra Rotary is proud to support the Canberra International Music Festival www.jerrarotary.org.au
2015 Festival Team Roland Peelman, Artistic Director Kathleen Grant, General Manager Dan Sloss, Festival Manager Hanna-Mari Latham, Office Manager Rachel Walker, Artistic Administrator Gabrielle Hyslop, External Venues Producer Geoff Millar, Publications Editor Miranda Boorman, Publicist Liz McKenzie, Volunteer Coordinator Jenny Harper, Billeting Coordinator Nathalie Oâ€™Toole, Transport Coordinator Caroline Beckman, Dinner Coordinator Elyse McDonald, Project Leader Alex Raupach and Jack Hobbs, Project Assistants Ben Birt, Hugh Coffey and Simon Peart, Production and Stage Managers Peter Hislop, William Hall and Anthony Browell, Photography Jon Holden, Videography Kimmo Vennonen, Audio Recordings Sam Behr, Graphics Designer Pro Musica Board: Dr Arn Sprogis (President) Dorothy Danta (Vice-President) Bev Clarke (Vice-President) Will Laurie (Treasurer) Govert Mellink (Secretary) Donna Bush Dr Royston Gustavson Anna Prosser Volunteers: Andrew Blanckensee, Barbara Jesiolowski, Debra Nowell, Gabriela Samcewicz, Gayle Lander, Gini Hole, Heather McKean, Helen Cory, Helene Stead, Jackie Stepanas, Jan Edwards, Jan O'Connor, Jennifer Whipp, Kate King, Lauren Sutherland, Leonie Hunt, Maggie White, Maureen Boyle, Melissa Crowther, Merrilyn Crawford, Nathalie Oâ€™Toole, Oliver Raymond, Pamela McKay, Raffaele Piccolo, Zhiran Zhang 78
Billeters: Andrew Blanckensee and Julie Matthews, Anna and Bob Prosser, Barbara and John Inglis, Bev Clarke, Bill McIntyre and Libby Hewson, Bridget Middleton, Carol Taylor and David Moore, Chris and Rieteke Chenoweth, David Uren, Debbie Cameron, Elspeth Humphries, Eric Pozza and Megan Curlewis, Frances Rose and Ross Dunn, Gabrielle Tryon, Govert and Lillian Mellink, Jane Thompson, Jenny and David Harper, John Studholme, Judy and Peter Biggs, Judy McKenna, Kate Wall, Maggie White, Margaret Bromley and John Kennard, Margot Woods and Arn Sprogis, Marjorie Lindenmayer, Mary and Michael Tatchell, Mary and Philip Constable, Mary Martin, Marya Glyn-Daniel, Pam and Allan O'Neil, Peggy Horn, Peronelle and Jim Windeyer, Peta Gould, Peter and Margaret Callan, Robert Goodrick, Rupert and Janet Summerson, Sue Hall, Tim and Chris Kain, Vicki Moss Special thanks to: ANU School of Music: Prof. Peter Tregear, Kate Bisshop-Witting, Alexander Hunter Australian National Academy of Music: Paul Dean, Matt Hoy National Capital Authority: Carlia Sorrentino The National Gallery of Australia: Mirah Lambert, Edith Young, Bill Hoorweg The National Library of Australia: Kathryn Flavelle, Robyn Holmes, Johannah Wilson, Brendan Dahl The High Court of Australia: Andrew Phelan, Karina Edwards, Ben Wickham The Australian National Botanic Gardens: Dr Judy West, Jennifer Salkeld, Julie Akmacic, Stephen Speer Mount Stromlo Observatory: Brad E. Tucker The Song Company: Irene Hendricks Ainslie and Gorman Arts Centre: Joseph Falsone Shine Dome: Mitchell Piercey Canberra Girls’ Grammar School: Anne Coutts, Nikki Hoitink, Alex King Telopea Park School: Kerrie Blain, Tom Kobal, Robin Egerton, Mary Ryan Turkish Embassy in Canberra: Ramazan Aydemir, Ece Yılmaz, Gülseren Çelik Carey Beebe Harpsichords: supplier of the continuo organ 666 ABC Canberra: Alex Sloan Megalo Print Studio + Gallery: Megan Jackson Canberra Glassworks: Beverly Growden TryBooking: Delma Dunoon Wesley Music Centre: Liz McKenzie Music for Everyone: Canberra Youth Orchestra
All information in this program is correct at the time of publishing. The Artistic Director reserves the right to make changes, alter, amend or delete sections of the scheduled program without notification.
Acknowledgements â€“ Concert and Artist Support The 2015 Festival owes a great debt of thanks to the following Diplomatic Missions and Corporate Partners for their sponsorship of concerts in this Festival: Embassy of the Federal Republic of Germany Embassy of Israel Embassy of the United States of America ACTEW Canberra Times Canberra Weekly City News
ANU School of Music and Friends of the School of Music
Hardwickes Limelight Magazine Palace Electric Tim Benson
Without the support of people within the Canberra community it would not be possible to present this Festival each year. This financial support directly contributes to the quality and creativity of our artistic program. Our warmest appreciation is owed to the following for contributing so generously to the 2015 Festival: Concert 1
Concert 13 Gail Ford
Concert 14 Dianne and Brian Anderson
Concert 15 Jim and Peronelle Windeyer
Koula Notaras and Emmanual Notaras
Concert 16 Judith Healy - In memory of Tony McMichael
Concert 17 Anna and Bob Prosser
Concert 18 Margaret & Peter Janssens
Jim and Peronelle Windeyer
Concert 19 Christine Goode
Barbara Campbell and Jennie and Barry Cameron
Concert 20 Meredith Hinchliffe
Claudia Hyles and Mary Louise Simpson
Concert 10 Donna Bush Concert 11 Muriel Wilkinson and June Gordon Concert 12 Bev and Don Aitkin
Concert 21 Christopher and Rieteke Chenoweth and Robin Gibson Concert 22 Marjorie Lindenmayer Concert 23 Rosanna Hindmarsh Concert 24 Major General the Hon. Michael Jeffrey and Mrs Marlena Jeffrey
The Sprogis Woods Smith YAFF are supported by Arn Sprogis and Margot Woods and Ann and Roger Smith The Australian National Academy of Music YAFF are supported by Randy Goldberg and Warren Curry William Barton is supported by Will Laurie Bernice Chua is supported by Marjorie Lindenmayer Amy Dickson is supported by Debbie Cameron David Greco is supported by Peter Wise Maria Mazo is supported by Leonie Hunt Lisa Moore is supported by Susan and David Chessell Alex Oomens is supported by Meryl Joyce Daniel Pan is supported by Marjorie Lindenmayer Roland Peelman is supported by Anna and Bob Prosser Alister Spence is supported by Carolyn Philpot Leanne Sullivan is supported by Lyndall Hatch Koen van Stade is supported by Lou and Mandy Westende The Song Company are supported by Anna Prosserâ€™s Fundraiser
ANU Ensemble in Residence The Noise
H.C. Coombs Fellow Andrew Farriss (INXS)
Indigenous Australian Music: Stephen Wild Composition: George Dreyfus Australian Classical Music: Robyn Holmes Digital Sonic Arts: David Worrall
Historically Informed Performance Practice: Anna Freeman
50th Anniversary Weekend Celebrations: September 19 & 20 SAVE THE DATE!
ANU School of Music for information on upcoming events music.anu.edu.au
Canberra International Music Festival 1-10 May 2015