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Live from UQ presents

New Sounds

1pm | 29 April 2021 | Nickson Room | Livestreamed concert


PROGRAM

Click to Live Stream

Bull in a China Shop Samantha Wolf three questions of scale Hannah Reardon-Smith Public Figure Jodie Rottle Fantasy on George Gershwin’s Porgy and Bess Gershwin/Grainger/Raineri/Wilson Percussionist Angus Wilson + pianist Alex Raineri bring together the familiar sounds of Gershwin alongside new sounds by three of Australia’s most vibrant compositional voices. Commissioned in 2020 for the 3rd Brisbane Music Festival, works by Jodie Rottle, Samantha Wolf and Hannah Reardon-Smith each in their own unique way comment on the

strangeness that was the year 2020. Wilson + Raineri have performed together in some of the worlds top contemporary music festivals (including BIFEM, Bendigo and Darmstadt, Germany) and have given Australian premieres of duo works by John Luther-Adams, Xenakis, Birtwistle, Aperghis, and many others.

School of Music Virutal Concert Series The School of Music is proud to present a series of world class livestreamed concerts involving our performance and academic staff together with current and past UQ students and invited guest artists. If you would like to receive regular updates on School of Music events, consider signing up to our Friends of Music Newsletter.

We are excited to offer this - and all livestreamed concerts - to our entire community free of charge. However, we hope you will consider making a gift to the Friends of Music Scholarship Fund, which supports our student musicians.


ARTISTS Angus Wilson Percussion Angus Wilson is an in-demand freelance percussionist performing in a wide range of styles and genres with a focus on new music and collaboration. He is a founding member of ‘Kupkas Piano’ a Brisbane based contemporary music ensemble. Angus has performed a significant amount of the contemporary canon of chamber music involving percussion, including Australian premieres of works by composers such as Steve Reich, Morton Feldman/Samuel Beckett, George Aperghis and Beat Furrer. He has premiered over 35 new Australian works. Angus has been a regular casual member of the Queensland Symphony Orchestra for 9 years and has also performed with the Hamburg Philharmonic Orchestra, eighth blackbird, Kroumata Percussion, The Whitlams, Hilltop Hoods and Horrow Show among many others. Some notable festival appearances include; Brisbane Music Festival, Brisbane Festival, Bangalow Music festival, Bendigo International Festival of Exploratory Music and the Darmstadt Summer Courses for New Music 2014/2016 in Germany. Angus currently holds percussion tutor positions at Loreto College, St Rita’s College and the Young Conservatorium, Griffith University. His former students can be found in schools across Brisbane inspiring the next generation of percussionists.


Alex Raineri Piano Described by Limelight Magazine as “a soloist of superb virtuosic skill and musicality”, Australian classical pianist Alex Raineri (b. 1993) is internationally active as recitalist, concerto soloist and chamber musician. International performances include tours throughout California, South-East Asia, United Kingdom, Ireland, New Zealand, Germany and Austria. He is the Artistic Director of the annual Brisbane Music Festival and is a passionate exponent of contemporary music having given over 130 World Premieres to date. Alex has been broadcast on BBC Radio 3, Radio NZ, California Capital Public Radio, ABC Classic FM and all of the Australian MBS Networks. As a concerto soloist he has featured with the Queensland, Tasmanian, Darwin and West Australian Symphony Orchestras, Southern Cross Soloists, Orchestra

Victoria, Four Winds Festival Orchestra, Bangalow Festival Orchestra and the Queensland Pops Orchestra. Alex has been the recipient of a number of major awards including the Kerikeri International Piano Competition and Australian National Piano Award. Alex is the pianist with the Southern Cross Soloists and other notable chamber partnerships include; Andreas Ottensamer, Twoset Violin, eighth blackbird, ELISION, Sara Macliver, Natalie Clein, Greta Bradman, Li Wei Qin, Teddy Tahu Rhodes, Jack Liebeck, Kathryn Stott, Slava Grigoryan, Brett Dean and many others. Discography includes; Transfiguration (2019), Inventions (2019), I’ll Walk Beside You – Teddy Tahu Rhodes & Southern Cross Soloists (2018 – ABC Classics) and braneworlds – Kupka’s Piano (2017).

“The most impressive aspect of this year’s Brisbane Music Festival was the central performer’s ability (Alex Raineri— also the artistic director of the festival), to not only curate this month-long event of music concerts, but to perform its entire piano oeuvre, with music ranging from well-known classics to just-written compositions.” Brisbane Stage, 2019


Program Notes Bull in a China Shop is a quirky adventure in bitonality. A slow, serene interlude is bookended by lively ostinato-based sections, with driving sixteenth notes creating a constant sense of motion throughout the piece. Part dance, part meditation, and part rampage, ‘Bull in a China Shop’ is a messy and exuberant showcase of virtuosity, colour, and groove

Samantha Wolf Composer Melbourne-based composer and pun enthusiast Samantha Wolf is quickly gaining recognition as one of Australia’s most distinctive young voices. A graduate of the Queensland and Melbourne Conservatoriums, and the recipient of numerous awards, her music has been described as ‘haunting’ (XS Entertainment), ‘enigmatic’ (Blue Curtains) and ‘inspired’ (Brisbane Music Festival). Her diverse practice encompasses solo, chamber, choral, band and orchestral works, interdisciplinary collaborations, and electroacoustic and fixed media works that incorporate noise, speech, and found sounds. For Samantha, music is a way of understanding and interacting with the world around her. As such, her music is deeply reflective of its time and place, and draws inspiration from a wide array of sources, including philosophy, scientific and physical phenomena, and environmental and social justice issues. Her work inhabits the space in between classical, contemporary, acoustic and electroacoustic worlds, while maintaining its grounding in the notated tradition. She has a particular fondness for weird and wonderful instruments, such as the Uilleann Pipes (Splinter), and common classical instruments used in unusual ways, such as Prepared Harp (Scintillation) and bowed Electric Guitar (at the mercy of the elements).

Often, her pieces are born out of close collaboration with performers, most notably a year-long interdisciplinary collaboration with MakeShift Dance Collective and Kupka’s Piano which culminated in The Binds That Tie Us, earning great reviews at its premiere at the Judith Wright Centre in 2015. Recent interests include exploring found sounds, particularly from objects that have been discarded, damaged or unused. Want Not, commissioned by Rubiks Collective for the inaugural Pythia Prize, utilises these elements most extensively, constructed from a sound palette including kitchen tiles, gum packets, fruit bowls, plastic forks, old music boxes, empty wine bottles and bulldog clips, alongside the core instrumentation of Piccolo, Piano/Toy Piano, Percussion and Cello.


three questions of scale explores some experiences of mirroring between events in the world at large and events in my own personal and emotional life. For myself and for many around me, the world-altering events of 2019 and 2020 came with the added bonus of shifts, changes, upsets, and uprootings in personal relationships, living situations, work-life, travel plans, bodies and physical-mental-emotional health. Grappling with personal crises when there are bigger, more significant events taking place in the world may itself elicit guilt and shame. Maybe this piece might be seen as an invitation to slow down for a second, and view supposedly smaller happenings as a lens through which we might experience world events with a greater sense of connection—the micro and the macro as fractal relationships necessary to make up the whole. The work is in three movements, and each seeds ideas for the performers to unravel, which in turn become an invitation to the listener to construct their own meanings. These are titled: 1) three ants carry a dead wasp | east coast—west coast fires, 2) the continuous trickle of my cat’s drinking fountain | the port of beirut explosion, 3) mould growing inside an unopened tub of coconut yoghurt | we have all run out of medicare-supported therapy sessions.

Hannah Reardon-Smith Composer Hannah Reardon-Smith (she/they) is a flutist, electronic musician, composer and improviser living on the unceded land of the Jagera, Yuggera, and Turrbal Peoples. Her music explores the sweetness in unsettling difficulty, and reveals the monsters lurking in traditionally beautiful instruments. Their work and thinking are rooted in queer and feminist collaborative and

contaminative co-creation with other soundmakers and artmakers, physical and social environments, ecologies, histories, and narratives, exploring the possibilities of making-kin and finding agency within community.


Public Figure is a reaction to the inundation of news and information reliance as a result of the 2020 Coronavirus Pandemic. I found I became dependent on social media platforms and I began to consume content that I had never before had interest in watching. The internet became an odd and somewhat unwelcomed replacement for in-person social interactions. I still look on with dumbfounded amazement, yet I can’t look away; it is a strange comfort. The title refers to the influential power that these media platforms offer to anyone who is willing to invest the time into creating themselves as a public figure. Consuming this content can be solitary but extremely noisy, intermittent but relentless. The irony is that this concept of public life is experienced in private. It makes me question: what defines “public”?

Jodie Rottle Composer Jodie Rottle is a flutist, composer and improviser. She works in a variety of settings exploring new sound concepts, having performed new and original works across Australia and the United States. Jodie’s work as a composer explores the sounds of everyday objects alongside traditional instruments. A central theme of her work is the element of surprise, and to achieve this she often skims the outer territories of performance art, puppetry, and comedy. She primarily writes for solo performers or small chamber ensembles, which have included string quartets, dance collaborations, and site-specific works. Some of her explorations as a composer-performer include prepared flutes and wearable sound objects. She has presented her own participatory and embodied sound-based works at Made Now Music, Make It Up Club, and the Listening Museum, among others. Jodie can often be heard collaborating as a chamber musician. She is a member of Kupka’s Piano, a Brisbane-based ensemble that focuses on new Australian music. With Kupka’s Piano she has commissioned over 35 new works— many by emerging composers—and performed nationally across Australia. Her recorded work with Kupka’s Piano

can be heard on multiple podcasts with ABC Classic FM and on the ensemble’s 2017 debut album, Braneworlds. With her New York-based trio Dead Language, Jodie improvises, composes, and performs interdisciplinary works that include everything from literature and white noise to toys and wolf howls. Dead Language performances have taken place at historic American Shaker villages, the Centre for Fiction NYC, and Seattle’s Wayward Music Series. Jodie is active within the Brisbane new music community and also enjoys performing nationally. As a freelance flutist, she has worked with organisations such as Camerata—Queensland’s Chamber Orchestra, Ensemble Offspring (Sydney), Queensland Ballet, and Philharmonia Australia. She has performed at the Bendigo International Festival of Exploratory Music; toured regionally with the Queensland Music Festival; and presented concerts at the Brisbane Festival of Toy Music. Since 2015, she has been invited to perform at the annual Easter at the Piano Mill events in rural NSW where she has improvised with native birds and composed for moving mini-buses. Jodie was the winner of the 2009 Coeur d’Alene Symphony Young Artist Concerto Competition (USA) and a finalist in the Carson Memorial Prize (Queensland), Seattle Flute Society Young Artist Competition, and the


Tacoma Philharmonic Beatrice Hermann Recital Competition (USA). She attended the Manhattan School of Music (MM), SUNY Purchase College, and Pacific Lutheran University (BMus) where she was awarded both the Mary Baker Russell and James D. Holloway Memorial scholarships. She has been an Artistin-Residence at the Bundanon Trust (Australia), Avaloch Farm Music Institute (USA), the Banff Centre (Canada), and the Bang on a Can Summer Institute (USA). Jodie teaches at secondary and tertiary levels, as well as being active in arts administration. She is the flute

Jodie Rottle. Photo © Vivid Visual Co

tutor at Loreto College Coorparoo and has held sessional positions at the Queensland Conservatorium Griffith University. She has given guest workshops at primary, secondary, and tertiary institutions in Queensland. She has worked as an arts administrator and grant writer, having co-founded the Silicon Valley Music Festival (USA) in 2011 and worked with the Southern Cross Soloists and Tyalgum Music Festival. Jodie is a citizen of both the United States and Australia. She resides in Brisbane where she is a PhD candidate at the Queensland Conservatorium Griffith University.


2021 Vice Chancellor’s Concert Series Concert Hall, Queensland Performing Arts Centre Ode To Joy: Beethoven 9 23 May | 2pm Ludwig Van Beethoven’s Ninth Symphony has a special place in the history of orchestral music. The decadelong path that led to the Ninth’s creation was strewn with crisis and adversity for the composer. His descent into profound deafness was complete at the first performance, where he nevertheless attempted to lead the orchestra by beating time. The work itself traces a shape from darkness to light, an elemental struggle that incorporates macro and microcosmic

musical perspectives. A crescendo toward cacophony gives way in the final choral movement, where Schiller’s Ode is so famously set. Any performance of this symphony is an extraordinary event. For music at UQ, it is the ideal work to celebrate a return to QPAC after two cancelled concert hall performances in 2020, and to welcome the University’s new Vice-Chancellor, Professor Deborah Terry AO. TICKETS available for purchase from 31 March 2021 qpac.com.au • 136 246

“...the UQ series sends an important signal within the university itself: It [music] is core to its soul and capacity to bind many different disciplines together.” 

Vincent Plush


Upcoming Events

Viney Grinberg Duo

Robert Davidson

Nickson Room 1pm, 06 May

Virtual Concert 1pm, 12 May

Anna Grinberg, Vanessa Tomlinson, Nozomi Omote and Liam Viney will perform The Rite of Spring by Igor Stravinsky, arranged for two pianos and percussion. The two piano arrangement was created by Stravinsky himself so that the Ballet Russes could rehearse the work ahead of its 1913 premiere in Paris. UQ alumnus and composer Christopher Healey arranged the full percussion battery for two percussionists, to enable performance of this great work in this configuration.

Exploring the textures and melodic webs possible with the double bass, this concert will feature the solo double bass and its transformation through layering its sound on itself.

bit.ly/6MayConcert

Robert is a prolific composer, bassist, lecturer and founder and artistic director of Topology, the ensemble-in-residence at the Brisbanev Powerhouse and a Key Organisation funded by the Australia Council. Robert’s compositions are regularly performed, recorded and broadcast around the world. bit.ly/UQVirtualConcert12May


“Music can impact on all aspects of a students development... enhancing the quality of their lives...” - Grace Rackemann, Bachelor of Music (Honours) student

Instant Music

UQ Prize Winners Concert

Nickson Room 1pm, 13 May

Nickson Room 1pm, 20 May

The music in this concert will all be invented on the spot by all the musicians on stage, led by Dr Robert Davidson, the head of composition in the UQ School of Music. Some improvised coordination will be assisted by techniques of “Sound Painting” in which hand gestures communicate various instructions, facilitating some coordination and varying of textures.

The Prize Winners Concert features students who are finalists in the The Wind and Brass Prize and The Sleath String Performance Prize. Mitchell Leigh will accompany the performance.

bit.ly/13MayConcert

bit.ly/20MayConcert


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New Sounds  

Percussionist Angus Wilson + pianist Alex Raineri bring together the familiar sounds of Gershwin alongside new sounds by three of Australia’...

New Sounds  

Percussionist Angus Wilson + pianist Alex Raineri bring together the familiar sounds of Gershwin alongside new sounds by three of Australia’...

Profile for uqmusic
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