DIEMEN’SVAN— BAND
musicaviva.com.au/2022 Find out more: Take flight in our boundless new vision. HeeryGaryCopyright A Winter’s Journey Allan Clayton & Kate Golla Z.E.N. Trio Avi Avital & Giovanni Sollima SaxophoneSignum Quartet & Kristian Winther
Musica Viva Australia acknowledges the Traditional Custodians of the many lands on which we meet, work, and live, and we pay our respects to their Elders past and present –people who have sung their songs, danced their dances and told their stories on these lands for thousands of generations, and who continue to do so. ADELAIDE Adelaide Town Hall Thursday 28 April, 7.30pm Recorded for delayed broadcast on ABC Classic BRISBANE Conservatorium Theatre, Griffith University, South Bank Thursday 5 May, 7pm Steven Kinston Tribute Concert CANBERRA Llewellyn Hall, ANU School of Music Thursday 12 May, 7pm MELBOURNE Elisabeth Murdoch Hall, Melbourne Recital Centre Tuesday 3 May, 7pm Saturday 14 May, 7pm NEWCASTLE Newcastle City Hall Tuesday 10 May, 7.30pm PERTH Perth Concert Hall Tuesday 26 April, 7.30pm SYDNEY City Recital Hall Monday 9 May, 7pm Saturday 30 April, 2pm Julia Fredersdorff Artistic Director & violin Simone Slattery Violin & recorder Katie Yap Viola Laura Vaughan Bass viol Anton Baba Bass viol & cello Donald Nicolson Harpsichord VAN DIEMEN’S BAND Pre-concert talks for this tour will be made available online. Please see musicaviva.com.au for details. With special thanks to Ensemble Patrons Ian Dickson & Reg Holloway for their support of this tour, and to the Producers’ Circle and Amadeus Society for their support of the 2022 Concert Season. 1||
SaundersKeith©
Paul MusicaArtisticKildeaDirectorVivaAustralia
In June last year, reprogramming the 2022 mainstage season as quickly as I had had to reprogram 2021, I had a stimulating conversation with Julia Fredersdorff about a potential tour. We threw ideas around (Julia is as brilliant a conversationalist as she is a player) and I followed up with a quick email. ‘Was just listening to Beethoven’s first piano concerto and thought that the idea of borders is not simply geographic; there’s something about composers who occupy the border between stylistic/epochal change that remains ever fascinating. I throw that into your Ithat!’remained there not long. ‘I am a big fan of “themes” based on words which can have many different connotations,’ she replied with indecent speed. ‘This word “border” or “borderlands” is exactly that. Borders are pertinent in the COVID era in Australia, and I think we can also incorporate the idea of music from the “extremities” (geographically/stylistically/ epochal). The idea of extremity also ties in nicely with the fact that we (being Tasmanian) are from an island at the extremity of Australia...’ And so this delicious program was born. Of course, such borderlands are now loaded with more geopolitical significance than it is possible to bear. The duties and responsibilities of those who live alongside other nations could not be more potently articulated than they are at present, nor so wilfully ignored. In all the composers and works Julia has threaded together so beautifully in this program, I hope your thoughts dwell for a moment on the creative potential of proximity and the enduring soft diplomacy of exquisite art.
FROM THE ARTISTIC DIRECTOR
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14 min María Huld Markan
(b 1980) Clockworking (2013) 8 min ANONYMOUS (attr. Biber or Schmelzer) Sonata Jucunda 7 min Donald
(1587–1654) Courant 2 min Philipp
3 from
(1671–1751) Sonata
(1674) 7 min Borderlands Suite (assembled by
2 (1693) 3 min Tomaso
(1623–1679) Sonata
(1657–1714) Chaconne from Ouverture
Georg MUFFAT (1653–1704) No. 1 in D Major Tributo (1682) SIGFÚSDÓTTIR NICOLSON
(b 1979) Spirals (2022) 6 min World premiere performances 3||
(1587–1654) Galliard
(1640–1700) Les Pleurs 3 min Samuel
Samuel
PROGRAM‘BORDERLANDS’
Dietrich BECKER No. 5 in F Major Julia Fredersdorff) SCHEIDT Battaglia BECKER de SAINTE-COLOMBE SCHEIDT Heinrich ERLEBACH No. ALBINONI II in C Major, Op. 2 No. Sinfonia à
(1623–1679) Paduan 5 min Jean
5 (1700) 11 min INTERVAL
(1621) 3 min Dietrich
Sonata
from Armonico
The group’s recording of Bach Bass Cantatas with soloist David Greco appeared on the ABC Classic label in 2020 and its first project for the prestigious Swedish recording label BIS, the Concerti grossi Opus 3 by Handel, was released in May 2021, attracting worldwide attention for its ‘innate musicality ... impeccable preparation and spontaneity’ (Early Music Review [UK] 2021).
Founded in 2016 by violinist Julia Fredersdorff, Van Diemen’s Band varies in size from chamber group to a larger mid-18th-century orchestra, working with regular guest directors including the French Baroque specialist Martin Gester in exploring the creativity and freedom of expression in music of the Baroque while deferring to historical sources on style and instrumentation.
MEET
Van Diemen’s Band’s 2017 debut album Cello Napoletano featured soloist Catherine Jones in the cello concertos of Nicola Fiorenza and was released internationally the following year to critical acclaim. Since then, the group has appeared in concerts and festivals in its home state and around mainland Australia, establishing itself as one of the most distinguished new groups on the scene.
Van Diemen’s Band Based in Tasmania, ‘Australia’s Baroque supergroup’ Van Diemen’s Band is a collective of some of the country’s most highly respected early music specialists, who between them have worked with leading ensembles around the world such as Les Arts Florissants, Les Talens Lyriques, Ensemble Pygmalion, Il Pomo d’Oro, Orchestre des Champs-Élysées, The English Concert, Academy of Ancient Music, Orchestra of the Eighteenth Century, Le Parlement de Musique and the Amsterdam Baroque Orchestra.
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THE ARTISTS
Simone Slattery is one of the country’s most versatile young musicians and performers, with a passion for music from a wide range of eras. Her performances nationally and internationally, on both modern and Baroque violin, have received critical acclaim. Simone has appeared as soloist, recitalist and chamber musician throughout Australia and overseas, and performs with ensembles including L’Arpeggiata, Netherlands Bach Society, Australian Brandenburg Orchestra, Melbourne Chamber Orchestra, Orchestra of the Antipodes, Australian Haydn Ensemble, Ironwood and the Adelaide Symphony Orchestra.
Melbourne-based modern and Baroque violist Katie Yap plays with Australia’s finest ensembles including the Australian World Orchestra, Australian Brandenburg Orchestra and Melbourne Chamber Orchestra, and has joined groups such as the Academy of Ancient Music overseas. She is a founding member of Croissants & Whiskey, the Chrysalis Harp Trio and Wattleseed Ensemble.
Katie has a particular interest in the breadth and depth of music outside the canon, particularly by female composers –and she is able to share this as the Artistic Director of the 3MBS festival Music, She Wrote, a celebration of women in music. In her spare time, she likes to explore a
Katie is fascinated by music’s ability to tell stories and bring people together. As a finalist in the 2019 Freedman Fellowship, she developed a concert called HOME for Wattleseed Ensemble. Her vision for that project is to address climate change in a way that brings people together, by focusing on the concept of home through diverse music, spanning 1000 years and including a commission of a new work by Melbourne-based composer Matt Laing.
again in Australia, Julia is the founder and Artistic Director of Van Diemen’s Band. She is also a founding member of the chamber ensemble Ironwood and the twice ARIA-nominated Baroque trio Latitude 37, and founder and former Artistic Director of the annual Peninsula Summer Music Festival on the Mornington Peninsula. Julia has appeared in major arts festivals around Australia and New Zealand and has toured extensively across Europe, from Reykjavík to Wrocław, Madeira and Venice. Julia has participated in nearly 40 international recordings for the labels BIS, Virgin Classics, Deutsche Grammophon, Accent, Accord, Naïve, Erato, Passacaille, Ambronay, ABC Classic, Vexations840 and Tall AustralianPoppies.violinist
Melbourne-born violinist Julia Fredersdorff studied Baroque violin with Lucinda Moon at the Victorian College of the Arts, before travelling to the Netherlands to study with Enrico Gatti at the Royal Conservatorium in The Hague. Based in Paris for close to a decade, Julia freelanced with some of the finest European ensembles, such as Les Talens Lyriques, Les Folies Françoises, Le Concert d’Astrée, Le Parlement de Musique, Ensemble Matheus, Les Paladins, Il Complesso Barocco, New Dutch Academy, Ensemble Aurora and Bach NowConcentus.resident
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Simone began her formal violin studies at the University of Adelaide Elder Conservatorium of Music, before moving to Melbourne to study at the Australian National Academy of Music. She has also received training in the USA, Canada and Europe, and has been a Banff Centre Creative Resident and Britten-Pears Emerging Artist. She is the recipient of awards from the Ian Potter Cultural Trust, the Thomas Elder Overseas Fund, the Australian String Quartet and the Elder Conservatorium of Music. Simone recently completed PhD studies at the University of Adelaide, and was a 2019 Churchill Fellow.
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Born in Australia, Anton Baba studied Classical cello at the Eastman School of Music (USA, 2006) after his initial studies in Perth. He completed postgraduate studies on the Baroque cello at the Royal Conservatory of The Hague (2013), where he simultaneously undertook studies in viola da gamba.
wide range of musical contexts, including folk music and improvising. She has a notoriously sweet tooth and a penchant for stress-baking, which sometimes makes for delicious rehearsal breaks!
Melbourne-based viola da gamba specialist Laura Vaughan is a dynamic and well-recognised member of the early music scene in Australia. Having studied at Melbourne Conservatorium with Miriam Morris, and with Wieland Kuijken and Philippe Pierlot at the Royal Conservatory of The Hague, she has established an active performing career encompassing a wide range of solo and chamber repertoire across PassionateAustralasia.aboutthe unique sound of the viol, Laura is committed to bringing its exquisite repertoire from the 17th and 18th centuries to life. She is also one of the few exponents of the rare lirone. Laura records regularly as a soloist and chamber musician and appears on numerous CD recordings. She can often be heard performing with most major Australian early music groups and is a founding member of the trio Latitude 37. Harpsichordist, organist and pianist Donald Nicolson is a prominent figure in performance and research of the music of 17th- and 18th-century Europe, and in high demand as a keyboardist, composer and arranger. Born in Wellington, New Zealand, he commenced harpsichord studies with Douglas Mews at Victoria University, and subsequently studied with Ton Koopman at the Royal Conservatory of The Hague. Since 2011, Donald has been based in Melbourne maintaining a busy performing schedule in the early music scene and on the orchestral platform. A sought-after continuo player, Donald is co-founder of Latitude 37 and frequently performs with Pinchgut Opera and the Sydney and Melbourne Symphony Orchestras. He has directed numerous performances from the harpsichord for the MSO and the Australian Chamber Orchestra. Donald is also a key member of Anja & Zlatna, an ensemble which performs the folk music of the Balkans and infuses it with the improvisational practices of the 17th Donaldcentury.graduated with a PhD in Musicology from the University of Melbourne in 2018, submitting a thesis that focussed on the relationship between 17th-century French social history and the keyboard preludes of Louis Couperin. He teaches historically informed performance practice at the University of Melbourne.
Anton has worked as a skilled viola da gamba and Baroque cello player in the most experienced Baroque ensembles of Europe including Amsterdam Baroque Orchestra and Vox Luminis. Since returning to Australia in 2018, Anton has been a regular member of Orchestra of the Antipodes (Pinchgut Opera), Australian Romantic and Classical Orchestra and Australian Brandenburg Orchestra. Anton is also a dedicated educator and a member of the ACO Foundations team, providing music lessons and fostering creative skills for students at St Mary’s North Public School. When he is not playing the cello, Anton enjoys knitting and throwing a frisbee in his local park.
Funeralpopulation.halfchildren,fouremploymentScheidt’sandallofhissurvivingaswellasofHalle’sentireritualisdescribed by a Paduan (or pavane) from Becker’s aforementioned ‘Spring Fruits’, while the tears of grief in Les Pleurs by the still-mysterious French viol master Jean de Sainte-Colombe from a vast collection of 67 ‘Concerts’ for viola da gamba duet were shed to a worldwide audience in the 1991 film Tous les matins du monde. A Courant from Scheidt’s first volume of instrumental Ludi musici (1621) suggests to Fredersdorff a feeling of resentment in its spiky, argumentative running figures; the dance itself requiring swift footwork. Finally, a 1693 Chaconne resolves these abject feelings in a tripletime dance of beneficent healing as was customary in many an opera and suite of the time; in this instance, by the German Philipp Heinrich Erlebach, the longserving Kapellmeister at the Thuringian court of Rudolstadt. The post there
ABOUT THE MUSIC ‘Borders? I have never seen one. But I have heard they exist in the minds of some people.’
The world has changed dramatically in the months between Van Diemen’s Band’s devising of this program and the performance you’re about to hear, freighting the term ‘borderlands’ with renewed and disturbing resonance. But hearing this Baroque music at a time of present-day geopolitical stress is to have a kinship with the circumstances of its composers, many of whom experienced first hand the tensions of 17th-century Europe; in particular, within the German states of the Holy Roman Empire riven by the Thirty Years War that ended in 1648.
For Van Diemen’s Band Artistic Director Julia Fredersdorff, the German music of this post-war period written by the generations preceding Johann Sebastian Bach is an endlessly fertile and innovative Thelegacy.trading city of Hamburg was completing its fortifications against the War when composer Dietrich Becker was born there in 1623. Initially an organist before switching to violin, his playing career took him to other states such as Schleswig-Holstein and Saxony, and as far afield as Stockholm, before returning to his home town in 1662, where he ultimately became a Cantor in the city’s cathedral. His Musicalische Frühlings-Früchte (Musical Spring Fruits) was published in 1668 and dedicated to Hamburg’s city council in gratitude for the granting of a full-time job after years as a freelancer. The F major Sonata from this collection is an example of Becker’s acquaintance with other national styles beyond the border, notably the Italianate contrasting of fast and slow sections, and the French predilection of the time for writing in five instrumental parts. (Elsewhere in the series, he appears to be the first composer ever to use the sequence of French dances Allemande-Courante-SarabandeGigue in successive movements, setting a precedent for J.S. Bach and others.)
Fredersdorff has assembled a Borderlands Suite from works whose combined effect suggests to her a trajectory of emotions stemming from war and its aftermath. The opening Galliard Battaglia, with its evocation of opposing trumpet calls on the field of war, comes from a three-volume set of instrumental works by Halle’s court Kapellmeister Samuel Scheidt in the 1620s. War and plague would later take away
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THOR HEYERDAHL
The remarkable Georg Muffat’s life and work represents a traversal of borders in every sense. Descended from Scots, born French, part-educated in Paris (with Lully) and Italy, driven by the threat of war to Vienna, Prague, Salzburg and Passau, he ultimately considered himself a German. His early violin sonata (1677) is an enharmonic masterpiece, wandering through the keys like a browser in an opItshop.was in Italy that Muffat made the acquaintance of his exact contemporary Arcangelo Corelli, whose then unpublished concerti grossi inspired the visitor to try his hand at the fledgling form with his Armonico Tributo, published in Salzburg in 1682; Corelli’s totemic Opus 6 set would not hit the printing presses until 30 years later. The set displays Muffat’s cosmopolitan influences in the Lullian five-part string writing (casually stated as ‘suitable for few or many instruments’) and the Corellian alternation of tutti and solo passages – a concerto grosso hallmark. There are also the forms from either side of the borderlands, mixing abstract Grave movements with courtly dances from France. Living on the edge of the Arctic Circle, Icelandic composer and violinist María Huld SigfúsdóttirMarkanis best known as a member of the indie band amiina, that has released several albums since 1999. Like her fellow countryman Ólafur Arnalds, Sigfúsdóttir not only mixes music genres with impressive commercial success: she consigns their classifications to irrelevance. Clockworking (2013) is a prime example, scored for Baroque string trio and pre-recorded tape, a deliberate fusion of the ‘antique’ sound of gut strings with modern electronics in the slowmotion incantation of a pre-Industrial Revolution work song. Singing as an aid to repetitive manual labour was and is common as both distraction and impetus (the device even features in the Spinning Chorus from Wagner’s opera
The Flying Dutchman), and here the Baroque instruments play with varied rhythmic values to suggest the different sizes of interlocking cogs in a sort of mechanistic lullaby. It’s tempting to think there must be a ‘program’ driving the effects and derivations of the Sonata Jucunda – the croaking of frogs, sounds of drones, and folk-band imitations that presumably give the work its ‘joking’ title – but impossible
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consumed both his entire working life, and then his estate’s complete collection of music in a fire some 20 years after his death.
Tomaso Giovanni Albinoni is truly an inhabitant of geographically,borderlands:various a Venetian born in a city well past its peak as a powerful trading centre; and professionally, as a self-declared dilettante who was spared the necessity of seeking paid work at church or court by his prosperous middleclass family’s finances. Even his early musical style is something of a bridge between the five-part string writing of the previous century (the Opus 2 was published in 1700) and the more overt virtuosity of his near-contemporaries Vivaldi and Locatelli. Albinoni was enough of a contrapuntist to be admired by the faraway J.S. Bach, and the technique is employed in both of the faster movements of this C major Sonata from the set. But it’s in the two slow movements with their ravishing melodies that the fanciful listener can hear the singing from La Serenissima’s canals, or at least proof that Albinoni was above all an opera composer with some 80 stage works to his credit.
The events of 2022 have again made borders the trigger for armed conflict, and border security the raison d’être and campaign slogan of governments. Borders bring both protection and obstruction, but they also erase much on either side, creating a place of absence, terra nullius of the spirit along the ribbon of their physical space. Not so in this program, where the ‘borderland’ of geography, history or imagination is the stepping stone to adventure and discovery, a longed-for portal, the place where the ‘other’ can be met, embraced and shared. These days we see too many borders. In the minds of these composers, they didn’t exist.
© CHRISTOPHER LAWRENCE, 2022
to prove, because the composer is unknown. It’s been suggested that Heinrich Ignaz Franz von Biber might have been responsible by virtue of the work’s descriptive elements; Biber also composed a vivid Battalia in 1673, and the Sonata Jucunda manuscript is housed in the same present-day Czech Republic’s Kroměříž collection as the bulk of Biber’s work. The violin flourishes that fizz through the score would seem a typical stroke from a composer who was deemed by his contemporaries to be the outstanding virtuoso of the 17th century, stretching technical demands of the player to absolute limits as well as those made upon the instrument itself, resorting to alternative tunings (scordatura) for dramatic colours, and even arranging strings between neck and bridge to visually depict the Cross in his series of Rosary Sonatas Donald Nicolson’s Spirals (2022), commissioned by Van Diemen’s Band specifically for this program, is an attempt to refract an observation of the present day through ancient materials and musical form. Taking the passacaglia, a repeated descending bassline that throughout the 17th and 18th centuries frequently connoted loss or grief (think of ‘When I am laid in earth’ at the conclusion of Purcell’s Dido and Aeneas), Nicolson weaves in the melody of a Slavonic Orthodox lament, well known throughout that religion’s Eastern diaspora: Dusha moya pregreshnaya (My sinful soul/Why don’t you weep?). The constant rotation of the passacaglia symbolises the circularity of human travail, history repeating. Nicolson points out that ‘this paradoxical progression never finds resolution, inviting us to lose ourselves for a minute within itself.’
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Paul Grabowsky & Andrea Lam National Tour: 11–25 June 1800musicaviva.com.au/grabowsky-lam688482 — Pianist Andrea Lam performs Bach’s miraculous Goldberg Variations, before Paul Grabowsky plays his own jazz-inflected interpretation of this eternal theme.
Much of this program traces war and its
Van Diemen’s Band in Tasmania. Though her home state has no land borders, the violinist has also spent time in Europe. She would travel from France to the Netherlands for lessons with an Italian teacher, experiencing a continent with “so many radically different cultures jammed in right next to each other”. So when the pandemic prevented her from travelling across the states of Australia, it felt like a “shock to the system”. “The pandemic certainly did highlight the feeling of geographical division –something we weren’t used to here.” We can contemplate division and togetherness through this program. While Muffat was an “obvious choice” to include, other composers – such as Becker, SainteColombe and Albinoni – reflect the theme “Thephilosophically.17thcentury was a time of great instability in Europe. The geopolitical situation would have had a huge impact on the way composers worked, and the context in which their music was written,” Julia “Eachexplains.ofthecomposers in this program comes from the extremity of a country – or a port town or land border, or a land which was particularly isolated from the rest of the Someworld.”even “push the extremities of their own art form”. María Huld Markan Sigfúsdóttir crosses genre and era in her 2013 piece Clockworking. Baroque strings are set to electronic backing, creating a soundscape “as isolated as the geography of her home country of Iceland”.
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BY STEPHANIE ESLAKE
For an artist of the 17th century, Georg Muffat certainly got around. The Baroque composer of Scottish descent was born in Savoy, lived in Vienna, travelled to Prague, and studied in Rome. He crafted German suites in a French style, and concerti grossi in an Italian style. What might borders have meant to this composer who crossed them in the name of music? Baroque violinist Julia Fredersdorff considers Muffat a “true musical polyglot”. The composer was at the forefront of her mind when she sat down with Musica Viva Australia Artistic Director Paul Kildea. Together, they imagined a concert program that could go on tour – music they could share across Australia’s own state borders, which for so long had been “Paullocked.and I realised this idea of borders had suddenly become much more of a talking point, and that exploring the idea of borders or lack thereof – in a musical sense, a compositional sense, as well as a human sense – made for very fertile ground,” Julia says.
It’s impossible to overlook the impact of conflict on the evolution of borders.
Borderlands came to life: together, Musica Viva Australia and Van Diemen’s Band would reconnect Australia through live Juliaperformance.founded
“This is something a little Tassie band could never have taken the risk on without the support of Musica Viva Australia, and we are so grateful for this opportunity to spread our wings after a long period on the ground!”
aftermath; moments that have challenged or strengthened relationships between countries and cultures. Julia feels major events, such as war and the pandemic, “amplify the need for “Thismusic”.is a salient reminder that music –especially right now – is the ultimate tool for survival. It gives us a reason to keep going, and it reminds us of our common Forhumanity.”thisprogram, harpsichordist Donald Nicolson composed a new work, Spirals. In light of events in Ukraine, Donald made a “last-minute change” to the piece, weaving an Orthodox prayer into the structure of his composition. In the composer’s words, it’s an update that “acknowledges the conflicts that we are living through or reading about right “Thenow”.concept of Borderlands has suddenly become pertinent as we scroll through our newsfeeds,” Donald says. Spirals also embeds a musical connection to the theme: Donald was inspired by the passacaglia, a musical form used in European cultures in the 17th and 18th centuries. “I visualised that bassline as maintaining an ever-presence in our musical “Whetherconsciousness.now,or 400 years ago – here in the Southern Hemisphere, or in the countrysides of the European boundaries – the passacaglia has always existed, and continues to exist beyond us. “Spirals allows us to step away from our immediate surroundings – to pause, to think, to allow our mind to wander, or not; to contemplate or be transported.”
Ahead of its world premiere, Donald recalls how Julia was “clear from the outset” that she wanted original Australian music on this global program. The pair have a history of collaboration; Donald is also a harpsichordist and organist who has crafted other arrangements for Van Diemen’s Band.
As for crossing local borders on their Musica Viva Australia tour, Julia feels “a sense of hope and joy”.
2022 ComperAlbert© 13||
In exploring music of the Baroque era, as well as the remarkable characteristics of its instruments, Donald feels Van Diemen’s Band is “creating a whole new legacy of original music and sounds”. “True to the concept, these are the new borderlands of the early music movement. And Julia’s assembly of artists presents us with a unique opportunity to hear these musicians performing on the same stage.”
NSW The late Charles Berg, The late Janette Hamilton, The late Dr. Ralph Hockin in memory of Mabel Hockin, The late Beryl Raymer, The late Kenneth W Tribe AC, QLD The late Steven Kinston, Anonymous SA The late Edith Dubsky, The late John Lane Koch VIC The late Raymond Brooks, In memory of Anita Morawetz, The family of the late Paul Morawetz, The late Dr G D Watson
CUSTODIANSPATRONS
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PRODUCERS’ CIRCLE Darin Cooper Foundation, Stephen & Michele Johns AMADEUS SOCIETY Tony Berg AM & Carol Berg, Marc Besen AC & Eva Besen AO dec., Ms Jan Bowen AM, Tom Breen & Rachael Kohn AO, Dr Di Bresciani OAM, Julian Burnside AO QC (President, Melbourne) & Kate Durham, David Constable AM & Dr Ida Lichter, Dr Helen Ferguson, Ms Annabella Fletcher, Dr Annette Gero, Peter Griffin AM & Terry Swann, Katherine & Reg Grinberg, Jennifer Hershon & Russell Black, Penelope Hughes, Dr Alastair Jackson AM, Michael & Frederique Katz, Ruth Magid (Chair, Sydney) & Bob Magid OAM, Prof. John Rickard, Andrew Rosenberg, Ray Wilson OAM
ENSEMBLE PATRONS
LEGACY DONORS
CONCERT CHAMPIONS
Our artistic vision for 2022 is made possible thanks to the extraordinary generosity of our Ensemble Patrons, each of whom supports the presentation of an entire national tour for our 2022 Season. Ian Dickson & Reg Holloway (Van Diemen’s Band) Anonymous (Paul Grabowsky & Andrea Lam) Peter Griffin AM & Terry Swann as part of The Travellers - Giving Circle (A Winter’s Journey) Australian Music Foundation (Z.E.N. Trio) Eleanore Goodridge OAM (Avi Avital & Giovanni Sollima)
ACT Geoffrey & Margaret Brennan, Clive & Lynlea Rodger, Ruth Weaver, Anonymous (4) NSW Jennifer Bott AO, Catherine Brown-Watt PSM & Derek Watt, Lloyd & Mary Jo Capps AM, Andrew & Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne Gleeson, David & Christine Hartgill, Annie Hawker, Elaine Lindsay, Trevor Noffke, Dr David Schwartz, Ruth Spence-Stone, Mary Vallentine AO, Deirdre Nagle Whitford, Richard Wilkins, Kim Williams AM, Megan & Bill Williamson, Ray Wilson OAM, Anonymous (12) QLD Anonymous (2) SA Monica Hanusiak-Klavins & Martin Klavins, Anonymous (5) TAS Kim Paterson QC, Anonymous VIC Elizabeth & Anthony Brookes, Julian Burnside AO QC, Ms Helen Dick, Robert Gibbs & Tony Wildman, Helen Vorrath, Anonymous (8) WA Graham Lovelock, Anonymous (4)
Adelaide Joan & Ivan Blanchard, Helen Fulcher, Helen Bennetts & Tim Lloyd, The late Lesley Lynn, Dr Susan Marsden & Michael Szwarcbord, Leonie Schmidt & Michael Davis, Anonymous (2) Brisbane Ian & Cass George, Andrew & Kate Lister, Barry & Diana Moore, The Hon Justice A Philippides, Anonymous Canberra ACT Committee and Ruth Weaver, Andrew Blanckensee Music Lover, Humphries Family Trust, Malcolm Gillies and David Pear, Dr Sue Packer, Sue Terry & Len Whyte, Anonymous Melbourne Alexandra Clemens, Continuo Syndicate, Peter Griffin AM & Terry Swann, Monica Lim & Konfir Kabo, Peter Lovell, Rosemary & John MacLeod, The Morawetz Family in memory of Paul Morawetz, Greg Shalit & Miriam Faine (2), Dr Michael Troy, The Musica Viva Victorian Committee Newcastle Megan & Bill Williamson, Newcastle Committee
Perth Deborah Lehmann AO & Michael Alpers AO, In memory of Stephanie Quinlan (2), Valerie & Michael Wishart Sydney Patricia Crummer, Pam Cudlipp, Dr Jennifer Donald & Mr Stephen Burford, Charles Graham – in acknowledgement of his piano teacher, Sana Chia, Katherine & Reg Grinberg, Anthony Strachan, Kay Vernon, Kim Williams AM & Catherine Dovey (2), Ray Wilson OAM
VIC Roger Druce & Jane Bentley, Mercer Family Foundation, Greg Shalit & Miriam Faine, Anonymous WA Team Legacy $5,000–$9,999
We thank all our audience members who donated the value of their cancelled tickets towards the Artist Fund and sincerely appreciate the generous support we receive from our incredible community. We encourage you to scan the QR code to see a full list of donors over $500 to Musica Viva Australia.
GIVINGMASTERCLASSESCIRCLE The Masterclasses Giving Circle is a group of generous donors whose collective support will enable the artistic development of the next generation of Australian chamber musicians. Nicholas Callinan AO & Elizabeth Callinan, Caroline & Robert Clemente, Ian & Caroline Frazer, Allan Myers AC QC & Maria Myers AC, Patricia H. Reid Endowment Fund, Andrew Sisson AO & Tracey Sisson, Mick and Margaret Toller, Anonymous (2) COMMISSIONS Musica Viva acknowledges and celebrates those individuals and collectives who have generously committed to commissioning new music in 2021/22 to be enjoyed by us all. In loving memory of Jennifer Bates; Julian Burnside AO QC & Kate Durham; The Barry Jones Birthday Commission; Michael & Frederique Katz, in honour of Cecily Katz; Graham Lovelock & Steve Singer; DR & KM Magarey; Vicki Olsson; Tribe family in honour of Doug Tribe’s 75th birthday Musica Viva also thanks the Silo Collective, the Ken Tribe Fund for Australian Composition, and the Hildegard Project for their support in bringing new Australian works to life. BARRY BIRTHDAYJONESCOMMISSION $500+ Steve Bracks AC & Terry Bracks AM, Dr George Deutsch OAM & Kathy Deutsch, Carrillo Gantner AC & ZiYin Gantner, Professor Margaret Gardner AC & Professor Glyn Davis AC, Naomi & George Golvan QC, Hon David Harper AM, Ellen Koshland & James McCaughey, Miles Lewis, Barry McGaw, Jeannette McHugh, Fiona McLeod AO SC, Peter & Ruth McMullin, Julie & Ian Macphee, peckvonhartel architects, Anne & Robert Richter QC, Gianna Rosica, Joy Selby Smith, Maureen & Tony Wheeler, Lyn Williams, Dr Robyn Williams AO, Bob, Robyn, Annie & Nick, Anonymous (3) MAJOR GIFTS $100,000+ NSW The Berg Family Foundation, Patricia H. Reid Endowment Fund $50,000–$99,999 ACT Marion & Michael Newman NSW J A Donald Family, Katherine Grinberg, Tom & Elisabeth Karplus $20,000–$49,999 NSW Tom Breen & Rachael Kohn AO, Ian Dickson & Reg Holloway, Michael & Frederique Katz, Vicki Olsson QLD Ian & Caroline Frazer, Andrea & Malcolm HallBrown, The Hon Justice A Philippides VIC The Morawetz Family in memory of Paul Morawetz, Marjorie Nicholas OAM, Anonymous WA Anonymous $10,000–$19,999 ACT R & V Hillman, Anonymous NSW Anne & Terrey Arcus AM, Gardos Family, Hilmer Family Endowment, Nigel & Carol Price, Anthony Strachan QLD Anonymous SA Anonymous
ACT Goodwin Crace Concertgoers, Craig Reynolds, Sue Terry & Len Whyte NSW Jo & Barry Daffron, Liz Gee, Iphygenia Kallinikos, DR & KM Magarey, Hywel Sims, David & Carole Singer, Diane Sturrock, Kim Williams AM & Catherine Dovey QLD Andrew & Kate Lister SA Aldridge Family Endowment, Jennifer & John Henshall, Galina Podgoretsky in memory of Rodney Crewther, Anonymous VIC In memory of Kate Boyce, Dr Di Bresciani OAM & Lino Bresciani, Alastair & Sue Campbell, Alexandra Clemens, Robert Gibbs & Tony Wildman, Andrew Johnston, Stephen Shanasy, Anonymous WA Deborah Lehmann AO & Michael Alpers AO, Anonymous
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ACT The Breen/Dullo Family, Dudley & Helen Creagh, Martin Dolan, Olivia Gesini, Malcolm Gillies AM, Kingsley Herbert, Margaret & Peter Janssens, Garth Mansfield, Teresa Neeman, Margaret Oates, S Packer, Clive & Lynlea Rodger, Hannah Semler, Anonymous (2) NSW Judith Allen, David & Rae Allen, Maia Ambegaokar & Joshua Bishop, Dr Warwick Anderson, Stephen Booth, Catherine Brown-Watt PSM, Neil Burns, Hon J C Campbell QC & Mrs Campbell, Lloyd & Mary Jo Capps AM, Stefan Couani, Robin & Wendy Cumming, Thomas Dent, Nancy Fox AM & Bruce Arnold, John & Irene Garran, Charles & Wallis Graham, H2 Cairns Foundation, Annie Hawker, Margaret Hicks, Lybus Hillman, Dr Ailsa Hocking & Dr Bernard Williams, Dorothy Hoddinott AO, Catharine & Robert Kench, Kevin & Deidre McCann, Arthur & Elfreda Marshall, Dr Dennis Mather & John Studdert, Michael & Janet Neustein, Paul O’Donnell, In memory of Katherine Robertson, Dr Robyn Smiles, Geoff Stearn, Richard & Beverley Taperell, Graham & Judy Tribe, Mary Vallentine AO, Dr Elizabeth Watson, John & Flora Weickhardt, Richard Wilkins, Megan & Bill Williamson, Anonymous (4) QLD George Booker & Denise Bond, Jill Boughen, Prof. Paul & Ann Crook, John & Denise Elkins, Robin Harvey, Lynn & John Kelly, Dr Helen Kerr and Dr John Ratcliffe, Jocelyn Luck, Barry & Diana Moore, Debra & Patrick Mullins, Barbara Williams & Jankees van der Have SA The late Peter Bailie & Ann-Maree O’Connor, Ivan & Joan Blanchard, Richard Blomfield, Max & Ionie Brennan, John & Libby Clapp, Dr Iwan Jensen, The Hon. Christopher Legoe AO QC & Mrs Jenny Legoe, Fiona MacLachlan OAM, Dr Leo Mahar, Ann & David Matison, Diane Myers, H & I Pollard, Trish & Richard Ryan AO, Anne Sutcliffe, Anonymous (2) VIC Joanna Baevski, Russ & Jacqui Bate, Peter Burch AM BM, Alison & John Cameron, Mrs Maggie Cash, Alex & Elizabeth Chernov, Lord Ebury, Virginia Henry, Dr Anthea Hyslop, Helen Imber, John V Kaufman QC, Angela & Richard Kirsner, Ann Lahore, Janet McDonald, Ruth McNair AM & Rhonda Brown in memory of Patricia Begg & David McNair, June K Marks, Mr Baillieu Myer AC, Sir Gustav Nossal, Barry Robbins, Murray Sandland, Darren Taylor & Kent Stringer, Wendy R. Taylor, Mark & Anna Yates, Anonymous WA David & Minnette Ambrose, Michael & Wendy Davis, In memory of Raymond Dudley, Helen Dwyer, Dr Penny Herbert in memory of Dunstan Herbert, Ms Helen Hollingshead & Mr John Hollingshead, Anne Last & Steve Scudamore, Zoe Lenard & Hamish Milne, Mandy Loton OAM, Marian Magee & David Castillo, John Overton, Elizabeth Syme, Robyn Tamke, Anonymous (4) $500–$999 ACT Geoffrey & Margaret Brennan, A & P Chalmers, Christopher Clarke, Christina Cook, Peter Cumines, Lesley Fisk, Robert Hefner, Mary Elspeth Humphries, Claudia Hyles OAM, Margaret Lovell & Grant Webeck, Dr Louise Moran, Robert Orr, Helen Rankin, Dr Jenny Stewart, Dr Douglas Sturkey CVO AM, Joan ten Brummelaar, Dr Paul & Dr Lel Whitbread, Anonymous NSW Jock Baird in memoriam Annette McClure, Barbara Brady, Denise Braggett, Vicki Brooke, Alexandra Bune AM, Robert Cahill & Anne Cahill OAM, Lucia Cascone, Michael & Colleen Chesterman, Zoë Cobden-Jewitt & Peter Jewitt, Rhonwen Cuningham, Trish & John Curotta, Professor Zoltan Endre, Dr Arno Enno & Dr Anna Enno, Bronwyn Evans, Kate Girdwood, Anthony Gregg, Rohan Haslam, Megan Jones, In honour of Michael Katz, Cynthia Kaye, Mathilde Kearny-Kibble, KP Kemp, Bruce Lane, Olive Lawson, Trish Ludgate, Dr Colin MacArthur, Laura McDonald, Dr V Jean McPherson, Alan & Rosemary Moore, Margot Morgan, Donald Nairn, Professors Robin & Tina Offler, Kim & Margie Ostinga, Dr John Rogers, Penny Rogers, Professor Lyndall Ryan AM, Dr Lynette Schaverien, Anonymous (14) QLD Janet Franklin, Prof Robert G Gilbert, Marie Isackson, M F Lejeune, Timothy Matthies & Chris Bonnily, Anthony Simmonds, Jianxin Zhao & Faye Liu, Anonymous (4) SA Lesley Haas-Baker, Terence & Caroline Donald, Daniel & Susan Hains, Elizabeth Ho OAM, in honour of the late Tom Steel, Helga Linnert & Douglas Ransom, Joan Lyons, Ruth Marshall & Tim Muecke, Linda Sampson, Anonymous (5) VIC David Bernshaw & Caroline Isakow, Helen Brack, Pam Caldwell, Elise Callander, Ted & Alison Davies, Beverley Douglas, Professor Denise Grocke AO, Alan Gunther, Irene Kearsey & Michael Ridley, Jane Lazarevic, Monica Lim & Konfir Kabo, Greg J Reinhardt AM, Eda Ritchie AM, Dr Charles Su & Dr Emily Lo, Pera Wells, Anonymous (7) WA Fiona Campbell, Joan Carney, Fred & Angela Chaney, Jennifer L Jones, Paula Nathan AO & Yvonne Patterson, Lindsay & Suzanne Silbert, Ruth Stratton, Christopher Tyler, Peter & Cathy Wiese, Anonymous (2)
ANNUAL GIVING $2,500–$4,999
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ACT Kristin van Brunschot & John Holliday, Dr Andrew Singer, Ruth Weaver, Anonymous NSW ADFAS Newcastle, Sarah & Tony Falzarano, Mrs W G Keighley, Andrew Rosenberg, Jo Strutt SA DJ & EM Bleby, Peter Clifton, Ms Judy Potter & Dr George Potter, STARS VIC Jan Begg, Anne Frankenberg & Adrian McEniery, Lyndsey & Peter Hawkins, Doug Hooley, Ralph & Ruth Renard, Maria Sola, Gai & David Taylor, Helen Vorrath, Lyn Williams WA David Cooke, Mrs Morrell, Vivienne Stewart, Anonymous $1,000–$2,499
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Journey into the Chamber of Musical Curiosities
Hosted by Artistic Director Paul Kildea, the Chamber of Musical Curiosities is a podcast exploring the world of music in and around Musica Viva Australia. During the episodes, guests reflect upon creativity, their careers, and their passion for chamber music. Episode 15: Paul Grabowsky
Listen
musicaviva.com.au/podcast Tenor Allan Clayton and pianist Kate Golla perform Schubert’s immortal songs of love and loss, newly reinterpreted for Australia through Lindy Hume’s direction and Fred Williams’ wondrous landscape paintings. National Tour: 12–27 July | Barbican, London: 12 December musicaviva.com.au/a-winters-journey | 1800 688 482 | barbican.org.uk/whats-on A JOURNEYWINTER’S Copyright Gary Heery ALLAN CLAYTON & KATE GOLLA This tour is generously supported by Peter Griffin AM & Terry Swann.
In this episode, Paul Grabowsky sits down to talk about his upbringing, his life through music and how that journey has left him coming full circle to his current musical project. on Spotify, Apple Podcasts or our website to come with us inside the Chamber of Musical Curiosities explore a collection of musical marvels.
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DAVID COLVILLE
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A dental practitioner and a fine pianist, Dr Steven Kinston was one of a number of European immigrants whose contribution to Australia’s artistic life in the 1950s and 1960s helped transform the soul and face of the nation. When he and his younger brother, Paul, arrived in Brisbane in 1938 as Jewish refugees, they found a place where the arts were struggling to gain a foothold in a relatively new nation. Over the next decade, Dr Kinston contributed substantially to the development of Brisbane’s artistic life, founding the Brisbane branch of Musica Viva Australia.
TRIBUTE Steven Kinston (1908–1996)
The concert in Brisbane on 5 May is presented in memory of Dr Steven Kinston. prevented his leaving the country. Only a series of undercover arrangements allowed him and his brother to cross the border to freedom. After his arrival in Brisbane he auditioned for the ABC and was accepted on its roster of soloists. He also established a successful dental practice. When business and personal commitments necessitated the family’s move to Sydney many years later, Dr Kinston remained a passionate supporter of Musica Viva and of the arts in general. His achievements were made possible through the support and encouragement of his wife, Lena. Throughout their 53 years together, he was intensely devoted to her and to their two children. His lifetime commitment to his adopted country was epitomised by one of his favourite sayings: ‘The soul of a country is expressed in its art.’
Born in 1908 in the small town of Kolomea, Romania, Steven Kinston grew up in Czernowicz (Cernăutį), where antiSemitism and discrimination marred his childhood. Although possessing high intelligence and musical ability, he was barred entrance to any local university. He travelled to Italy, where anti-Jewish feeling was less pronounced, and was welcomed into both the University of Florence and, simultaneously, that city’s Luigi Cherubini Conservatorium of Music. In 1933 he graduated with an unprecedented two degrees: one in medicine, with a speciality in dentistry, and another from the Conservatorium, where he also won a national piano competition. At this time it became obvious to Dr Kinston that his family needed to find a new life and a new country if they were to survive Mussolini’s alliance with Hitler. He was granted refugee status by Australia, and before emigrating, returned to Romania to say farewell to his parents. The Romanian government immediately conscripted Dr Kinston into the army and
At Musica Viva Australia we are proud to share exceptional music with audiences of every age, location and circumstance — it’s what we have always done, and what we will always strive to do. With your contribution, we can support our professional musicians, introduce children to live music in schools, commission new works, create innovative and engaging online content, and develop future generations of artists. Scan the QR code to give today. Contact us on philanthropy@musicaviva.com.au
Music brings us together
