DOCSLIB.ORG

14Th Annual Peggy Glanville-Hicks Address 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
14Th Annual Peggy Glanville-Hicks Address 2012 australian societa y fo r s music educationm e What Would Peggy Do? i ncorporated 14th Annual Peggy Glanville-Hicks Address 2012 Michael Kieran Harvey The New Music Network established the Peggy Glanville-Hicks Address in 1999 in honour of one of Australia’s great international composers. It is an annual forum for ideas relating to the creation and performance of Australian music. In the spirit of the great Australian composer Peggy Glanville-Hicks, an outstanding advocate of Australian music delivers the address each year, challenging the status quo and raising issues of importance in new music. In 2012, Michael Kieran Harvey was guest speaker presenting his Address entitled What Would Peggy Do? at the Sydney Conservatorium on 22 October and BMW Edge Fed Square in Melbourne on 2 November 2012. The transcripts are reproduced with permission by Michael Kieran Harvey and the New Music Network. http://www.newmusicnetwork.com.au/index.html Australian Journal of Music Education 2012:2,59-70 Just in case some of you are wondering about I did read an absolutely awe-inspiring Peggy what to expect from the original blurb for this Glanville-Hicks Address by Jon Rose however, address: the pie-graphs didn’t quite work out, and and I guess my views are known to the address powerpoint is so boring, don’t you agree? organisers, so, therefore, I will proceed, certain For reasons of a rare dysfunctional condition in the knowledge that I will offend many and I have called (quote) “industry allergy”, and for encourage, I hope, a valuable few. everyone’s sanity, I promise I will mention only In preparing this address I would like to one statistic, one… HORRIFYING …statistic, acknowledge the indispensable help of the during this entire speech. eminent poet and psychiatrist Professor Saxby Pridmore, the composer and my inspiring What would Peggy do? friend Dr Nigel Westlake, the imperturbable and dignified Sally Howland of APRA, the phenomenal Before I properly begin, I must admit that I am at CEO of the AMC John Davis and the virtuosic odds with many of my artmusic colleagues on musicologist/mandolinist Dr Michael Hooper. I a range of issues. I note also that many of them would like to especially thank the AMC Advisory have far too much “common-sense” to agree to Committee for putting up with my outrageous give this address, apart from those squealing for outbursts of outrage at their various meetings... yet more cash for their grand opera of course, but when I found out the truth about AMC funding. that’s hardly surprising. One need only read their Now, what would Peggy say about the state of opera plot summaries. [Circular finger-motion at classical music in Australia? (Here I am referring temple]. Australian Journal of Music Education 59 Harvey to notated music primarily, but the definition I’m is based in Melbourne. Astra has managed sure can embrace all artmusic). for over 60 years to present new Australian 1. I think she would notice immediately how compositions and nurture new performers well women are doing as performers and despite capricious and insufficient funding, composers - a quick glance through a which recently has been cut to zero, I’m wonderful recent publication, Women of ashamed to say! In my reckoning, Astra’s work Note, by Rosalind Appleby confirms this under the extraordinary John McCaughey (and I strongly recommend this publication has premiered more Australian compositions to you all); Peggy would then wryly observe than any other group, and many performers, how women are now just as equally ignored myself included, continue to be developed by and discriminated against by our taxpayer- this wonderful, cash-strapped organisation. I subsidised orchestras and opera companies would like to know who it was at the Australia as their male counterparts WARNING: Council who knocked back their meagre STATISTIC ALERT!!! - only 7 percent – 7 percent funding this year, and for what reason? - [show 7 fingers for photo opportunity!] of This is especially galling in the light of the our orchestral programs and even less of gluttonous triennial funding of the orchestras our opera season is Australian music; (this and opera which together produce the includes old music by wannabe Poms such as pathetic aforementioned statistic of Australian Percy Grainger and wannabe Elgars, wannabe work. [Again show 7 fingers]. Ravels, wannabe Brahms, Poots and Parrys 4. Peggy Glanville-Hicks would be astonished etc etc). at the diversity of recordings of Australian 2. Peggy would rejoice that there is still an art music by self-funded, independent labels Australian Music Centre representing like Tall Poppies and Move despite the unfair Australian composers, and performers, to the advantage of extravagantly taxpayer-funded world. This, in spite of the efforts of certain labels which produce mainly old-fashioned hostile funding bodies to starve it of funds. pap in comparison; do we really need obscure Why, she would ask, is this amazing resource, French operas, another boxed set of dreary under the dogged and inspired leadership and expensive Mahler symphonies? Is this the of John Davis, not directly federally funded apex of Australian culture? Or Wagner Spin like the National Film and Sound Archives cycles?? Gimme a break! or indeed the National Library, such that its 5. Peggy would be outraged that no Australian important work is not constantly impeded by conductor laureates are leading our endless funding applications and mystifying orchestras, or championing our composers, movements of the goalposts? Why is the AMC as Challender and Patrick Thomas briefly did at a crisis point and facingeviction?! Peggy with the SSO, giving left-field composers like would wonder, as do I. Carl Vine an opportunity to develop their skills 3. She would marvel at how well groups like with orchestral music. In the case of Carl, I ASTRA have done (a group I mention simply must also mention the support he received because I can speak from long experience from the wonderful Graeme Murphy and with them; I know there are many others the Sydney Dance Company, and ASTRA, struggling to survive). The Astra Chamber particularly John McCaughey without whose music society, for those of you unfamiliar with house and bathroom accessories Carl’s string our musical equivalent of La Mama Theatre, quartet, the “Brunswick”, would not have been written. 60 2012, No. 2 14th Annual Peggy Glanville-Hicks Address 6. Peggy would be further outraged that the 9. Peggy would wonder why there is not a very same operas by Bellini, Mozart, Verdi magnificent Stuart and Sons piano in every and Wagner which she heard as a girl are concert hall and school in Australia - and still being presented now at Australian bemoan the fact that once again Australian taxpayer’s expense, while her own operas and ingenuity and superior design, such as that of symphonic works are ignored. As are most these NSW instrument makers are struggling other Australian composers. As an aside, to survive against the cultural cringe, and these ancient Bellinis, Mozarts, Verdis and against monopolistic and reactionary foreign Wagners must inevitably be pale imitations brands. And no, I am not a Stuart and Sons of superior overseas productions. We could artist (although I wish I was, Wayne if you’re never hope to match overseas cultural listening!). budgets, and neither should we try. Personally 10. Despite the lack of funding encouragement, I think the money’s better spent on original Peggy would be delighted at the emergence work. Instead of spending 10 million on an of young Australian advocates of new individual sporting gold medal why not music such as Zubin Kanga, Clare Edwardes, create a decent Australian opera or symphony Anthony Pateras, Aura Go, James Nightingale with this amount? It would provide jobs for and all the folk at the New Music Network, untold numbers of Australian musicians into Eugene Ughetti, Genevieve Lacey, Ian the distant future, and maybe even give Grandage, Vanessa Tomlinson, Ekki Waldheim, audiences some pleasure and self-respect. It The Australian Art Orchestra, Kate Neal, Ashley would certainly justify the existence of these Smith, Natsuko Yoshimoto, Elliott Gyger, my “gas-guzzling” organisations to the taxpayer siblings Dom, Bern and Rowan, Peter DeJager, more than their current programming. the astonishing brothers Dean and Grigoryan, 7. Peggy would be deeply distressed at the Annie Hsieh, Mathew Hindson, Jane Stanley Foxification (pron. Fuxification) of our and Damian Barbeler, to name but a few of culture, I refer here to the monopolisation the many who have flown through my narrow of entertainment. I believe this would make orbit. Peggyeven more determined to produce 11. Peggy would be frustrated by the failure of independent work, more determined to classical music around the globe to adapt to resist the awful competition philosophy this new world full of technology. Everything triumphantly promoted by certain powerful is miniaturizing, and being made more local individuals. efficient, smarter, doing more with less. And 8. Peggy would note that in the area of classical I believe it is in this light that she would music the Australian cultural cringe definitely carefully examine the current persisting remains. There is no problem with the arrangement of opera companies, orchestras number or quality of Australian composers or and the conservatoria. I do not think she performers; we punch well above our weight would be desperate to preserve the “golden for such a population. There is a problem, age” of classical music, at least I don’t believe however, and it is that Australian classical she would want to preserve the “golden music audiences still regard Australian music age” of classical music, AT ANY COST. There and performers as inferior.
Load more

Recommended publications
  • Af20-Booking-Guide.Pdf
    1 SPECIAL EVENT YOU'RE 60th Birthday Concert 6 Fire Gardens 12 WRITERS’ WEEK 77 Adelaide Writers’ Week WELCOME AF OPERA Requiem 8 DANCE Breaking the Waves 24 10 Lyon Opera Ballet 26 Enter Achilles We believe everyone should be able to enjoy the Adelaide Festival. 44 Between Tiny Cities Check out the following discounts and ways to save... PHYSICAL THEATRE 45 Two Crews 54 Black Velvet High Performance Packing Tape 40 CLASSICAL MUSIC THEATRE 16 150 Psalms The Doctor 14 OPEN HOUSE CONCESSION UNDER 30 28 The Sound of History: Beethoven, Cold Blood 22 Napoleon and Revolution A range of initiatives including Pensioner Under 30? Access super Mouthpiece 30 48 Chamber Landscapes: Pay What You Can and 1000 Unemployed discounted tickets to most Cock Cock... Who’s There? 38 Citizen & Composer tickets for those in need MEAA member Festival shows The Iliad – Out Loud 42 See page 85 for more information Aleppo. A Portrait of Absence 46 52 Garrick Ohlsson Dance Nation 60 53 Mahler / Adès STUDENTS FRIENDS GROUPS CONTEMPORARY MUSIC INTERACTIVE Your full time student ID Become a Friend to access Book a group of 6+ 32 Buŋgul Eight 36 unlocks special prices for priority seating and save online and save 15% 61 WOMADelaide most Festival shows 15% on AF tickets 65 The Parov Stelar Band 66 Mad Max meets VISUAL ART The Shaolin Afronauts 150 Psalms Exhibition 21 67 Vince Jones & The Heavy Hitters MYSTERY PACKAGES NEW A Doll's House 62 68 Lisa Gerrard & Paul Grabowsky Monster Theatres - 74 IN 69 Joep Beving If you find it hard to decide what to see during the Festival, 2020 Adelaide Biennial .
    [Show full text]
  • Fantasia for Piano
    letter from englaNd faNTaSia for piaNO Joyce Hatto’s incredible career. by MaRK SiNgER n the summer of 1989, in Royston, music labels that helped establish the England, a man named William Bar- form—known as the “super-bargain” rington-CoupeI cheerfully received a classical LP. Such recordings, which visitor from Germany: Ernst Lumpe, a retailed for roughly a dollar apiece, were high-school teacher, fervent music a wellspring of artful pseudonyms— lover, and record collector. For a couple Paul Procopolis, Giuseppe Parolini, the of years, the two men had sustained a Cincinnati Pro Arte Philharmonic, the correspondence that consisted mainly of Munich Greater State Symphony— Barrington-Coupe, a former classical- and Barry is credited with coining the music agent and a peripatetic record wittiest of all: Wilhelm Havagesse (con- producer, responding to Lumpe’s ques- ducting Rimsky-Korsakov’s “Schehe- tions about the authenticity of various razade,” as rendered by the spurious arcane LPs. Zurich Municipal Orchestra). The During the nineteen-fifties and six- small labels that Barry worked at had a ties, a number of record companies in tendency to run aground financially, England and America had a practice— but perhaps his most dependable asset questionable but nodded and winked was his resilience—a facility for dusting at—of repackaging LPs by established himself off and moving on to the next artists as the work of fictitious perform- venture. ers and selling the recordings at a deep Among Lumpe’s fifteen thousand discount. Barrington-Coupe, known LPs, many of which he bought second- to familiars as Barry, worked at several hand, were about five hundred of murky Above left: an undated photograph of Joyce Hatto.
    [Show full text]
  • Paul Grabowsky
    PAUL GRABOWSKY SELECTED CREDITS DAISY WINTERS (2017) THE MENKOFF METHOD (2015) WORDS AND PICTURES (2013) EMPIRE FALLS (2005) THE JUNGLE BOOK 2(2003) (Original Songs, Lyrics – “Jungle Rhythm”, “W-I-L-D”, “Jungle Rhythm (Mowgli Solo)”) BIOGRAPHY Paul Grabowsky is a pianist, composer, arranger and conductor, and is one of Australia’s most distinguished artists. Born in Papua New Guinea in 1958, Paul was raised in Melbourne where he attended Wesley College. He began classical piano lessons at the age of five, studying with Mack Jost from 1965-1978. He began informal studies in jazz around 1976, and fully devoted his energies to improvised music from 1978. During the 70’s he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived in Munich, Germany from 1980-1985, where he was active on the local and European jazz scenes, performing and recording with Johnny Griffin, Chet Baker, Art Farmer, Benny Bailey, Guenther Klatt, Marty Cook and many others. He returned to Australia in 1986. In 1983, he formed the Paul Grabowsky Trio, winner of four ARIA awards and one of Australia’s longest-living and most influential jazz ensembles. He has also won two Helpmann awards, several Bell awards and a Deadly award. He was the Sydney Myer Performing Artist of the year in 2000, and received the Melbourne Prize for Music in 2007. As a performer, he became known for his work with the ‘Wizards of Oz’, a group he co- led with saxophonist Dale Barlow from 1987-1989 and Vince Jones, for whom he was musical director in 1988-89.
    [Show full text]
  • On Writing the Ocean Road
    On writing The Ocean Road. Megan Clark Volume 2 Thesis submitted for the degree of Doctor of Philosophy in Creative Writing School of English University of Adelaide October 2014 Megan Clark On writing The Ocean Road i Contents as they are ordered in this book. Title Page i Contents ii Abstract iii Declaration iv Acknowledgements v Introduction 1 Aboriginal Literature 5 Myth and Time and Modernism 19 Land and the Australian Flaneur 36 Language, Lingo and Linguistics 46 Australian Perspectives 66 Conclusion 75 Biography 80 Megan Clark On writing The Ocean Road ii Abstract It is the week after the failed Australian Republic referendum, 1999 in Port Noarlunga, a working class neighbourhood south of Adelaide. Libby is on the verge of becoming a woman and her mother, writer Genevieve Smart, has just been reported a missing person. There are no clues to her mother’s disappearance; all that is left behind is a completed, but unpublished, manuscript which appears to be a family history. The Ocean Road is a contemporary literary novel which tells the story of the Smart family, a ragtag bunch of smokers and drinkers who fight too much and spend too much time together. Their story runs alongside a parallel story, the unpublished manuscript, which is set in Adelaide and Melbourne in 1938, 1972 and 1986 and which outlines the struggles and stories of people who, it might be said, are aspiring to the level of working class enjoyed by the Smart family. The story set in 1938 describes an Aboriginal couple, Jack and Margery, and what they do to try to survive.
    [Show full text]
  • Proyecto Fin De Carrera Plan 2000       
    PROYECTO FIN DE CARRERA PLAN 2000 TEMA: ANLISIS DE M SICA GRABADA TÍTULO: ANLISIS DE M SICA GRABADA: BALADAS Y SCHERZOS DE CHOPIN AUTOR: ÁNGEL ESTEBAN VICENTE TUTOR: JORGE GRUNDMAN ISLA Vº Bº. DEPARTAMENTO: DIAC Miembros del Tribunal Calificador: PRESIDENTE: WALDO PÉREZ AGUIAR VOCAL: VOCAL SECRETARIO: ANTONIO MÍNGUEZ OLIVARES DIRECTOR: Fecha de lectura: 30 DE SEPTIEMBRE DE 2.014 Calificación: El Secretario, RESUMEN DEL PROYECTO: Anlisis de múltiples grabaciones de las cuatro baladas y los cuatro scherzos de Chopin realizadas por diversos int rpretes. El objetivo del proyecto ser determinar las diferencias objetivas existentes entre las diferentes ejecuciones y respecto a una partitura de referencia. ANÁLISIS'DE'MÚSICA'GRABADA:'BALADAS'Y'SCHERZOS'DE'CHOPIN' ! ! ! ! ! 3! ANÁLISIS'DE'MÚSICA'GRABADA:'BALADAS'Y'SCHERZOS'DE'CHOPIN! ! ! ! ! ! 4! ! ANÁLISIS'DE'MÚSICA'GRABADA:'BALADAS'Y'SCHERZOS'DE'CHOPIN' ! 1 !Índice' 1! !ÍNDICE! 5! 2! INTRODUCCIÓN! 7! 3! ANÁLISIS!DE!LA!MÚSICA!GRABADA! 11! 3.1! HISTORIA!DE!LA!MÚSICA!GRABADA!Y!DESARROLLO!TÉCNICO! 11! 3.1.1! JUSTIFICACIÓN!DEL!ANÁLISIS!DE!MÚSICA!GRABADA! 17! 3.1.2! EL!FRAUDE!DE!JOYCE!HATTO! 21! 3.2! EL!CHARM! 23! 4! HERRAMIENTAS!DE!SOFTWARE! 25! 4.1! SONIC!VISUALISER! 25! 4.2! MICROSOFT!EXCEL! 32! 4.3! APPLE!LOGIC!PRO!9! 33! 4.4! MATHWORKS!MATLAB! 35! 5! METODOLOGÍA!DE!ANÁLISIS! 37! 5.1! TÍTULO!DE!LA!OBRA! 38! 5.1.1! ANÁLISIS!FORMAL! 38! 5.1.2! ANÁLISIS!DE!LA!INTERPRETACIÓN!DE!VLADIMIR!ASHKENAZY! 39! 5.1.3! COMPARACIÓN!CON!LAS!EJECUCIONES!DE!OTROS!INTÉRPRETES! 44! 6! ANÁLISIS! 49! 6.1!
    [Show full text]
  • Waikato Journal of Education
    Waikato Journal of Education Journal website: http://wje.org.nz ISSN 2382-0373 Published by the Wilf Malcolm Institute of Educational Research Volume 24, Issue 2, 2019 The ABCs of collaboration in academia Diana Amundsen, Nadine Ballam & Marg Cosgriff Editor: Noeline Wright To cite this article: Amundsen, D., Ballam, N., & Cosgriff, M. (2019). The ABCs of collaboration in academia. Waikato Journal of Education, 24(2), 39-53. https://doi.org/10.15663/wje.v%vi%i.667 To link to this article: https://doi.org/10.15663/wje.v%vi%i.667 To link to this volume: https://doi.org/10.15663/wje.v24i2 Copyright of articles Authors retain copyright of their publications. Articles are subject to the Creative commons license: https://creativecommons.org/licenses/by-nc-sa/3.0/legalcode Summary of the Creative Commons license. Author and users are free to Share—copy and redistribute the material in any medium or format Adapt—remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms Attribution—You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use Non-Commercial—You may not use the material for commercial purposes ShareAlike—If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original No additional restrictions – You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
    AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years.
    [Show full text]
  • Beethoven's Eroica
    BEETHOVEN’S EROICA 10–12 MAY 2018 CONCERT PROGRAM Melbourne Symphony Orchestra Sir Andrew Davis conductor Moye Chen piano Vine Concerto for Orchestra – Composer in Residence Liszt Piano Concerto No.1 INTERVAL Beethoven Symphony No.3 Eroica Running time: 2 hours, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from mso.com.au other communities who may be in attendance. (03) 9929 9600 2 MELBOURNE SYMPHONY SIR ANDREW DAVIS ORCHESTRA CONDUCTOR Established in 1906, the Melbourne Chief Conductor of the Melbourne Symphony Orchestra (MSO) is an Symphony Orchestra, Sir Andrew arts leader and Australia’s longest- Davis is also Music Director and running professional orchestra. Chief Principal Conductor of the Lyric Opera Conductor Sir Andrew Davis has of Chicago. He is Conductor Laureate been at the helm of MSO since 2013. of both the BBC Symphony Orchestra Engaging more than 4 million people and the Toronto Symphony, where he each year, the MSO reaches a variety has also been named interim Artistic of audiences through live performances, Director until 2020. recordings, TV and radio broadcasts In a career spanning more than 40 and live streaming. years he has conducted virtually all The MSO also works with Associate the world’s major orchestras and opera Conductor Benjamin Northey and companies, and at the major festivals. Cybec Assistant Conductor Tianyi Lu, Recent highlights have included as well as with such eminent recent Die Walküre in a new production guest conductors as Tan Dun, John at Chicago Lyric.
    [Show full text]
  • 2004 Edition 1 (PDF 2.5MB)
    ORIG IN2004 EDITION 1 S Vice Chancellor’s comment Welcome to the first edition of Origins which profiles Australia’s newest university. Established in November 2003, Charles Darwin University is a place for fresh thought, bold vision and renewed focus. The first step has been to develop a new framework for the institution and we have been heartened by the support and input from our stakeholders in making sure we build the right framework to deliver outcomes for the Territory. The energy and enthusiasm that Charles Darwin University is harnessing in finding knowledge solutions is inspirational – and we have only just opened for business. With campuses and study centres located across the Northern Territory, we offer opportunities beyond what is normally expected of a University. We provide pathways into a broad range of courses in traditional areas as well as specialist areas unique to our location including tropical and desert studies and Indigenous research and education. For a place steeped in Aboriginal tradition and culture which enjoys a close interaction with the peoples of Southeast Asia, our location affords boundless research opportunities to create local knowledge with global applications. We are a University that dares to be different. We welcome researchers, teachers and students who are prepared to take on challenges and are committed to making a difference. This first edition of Origins provides a snapshot of the diversity and strengths on which we are building Vice Chancellor Professor Helen Garnett Vice Chancellor Professor the new institution. 1 Northern attraction Some of Australia’s leading academics have joined Charles Darwin University, strengthening the organisation’s role as a leading research and education provider in specialist areas.
    [Show full text]
  • Bill Nicholson & Jim Poulter
    THE PROPOSAL FOR A REFERENDUM TO ENSHRINE TWO BASIC PRINCIPLES IN OUR CONSTITUTION The use of the word multiculturalism is well-intentioned and meant to convey that Australia is a diverse, inclusive and tolerant society, which we are. We are one of the most egalitarian cultures in the world, and our national values of ‘mateship and the right to a fair go’ clearly attest to that. What other country in the world takes their equality so seriously that they routinely refer to their Prime Minister by their first name? These core national values therefore bind us together as a society through a common belief in equality, justice and, above all, fairness. This innate sense of fairness is in reality the foundation of our tolerance and inclusiveness as a society. However the word multiculturalism does not do us justice as a descriptor of our society and culture. It is a word that does not have any real depth of meaning as a theory of society. In reality is just a popular and rather vacuous buzz-word. There are four serious problems attaching to the indiscriminate application of the word multiculturalism. First, multiculturalism implies that cultural or ethnic background is the prime determinant of our individual identity. As some well known Australians such as Noel Pearson and Stan Grant have said, our identities are multi-layed. We are therefore defined by the totality of these layers, not just our claimed or percieved ethnicity. In a plural multi-group society such as Australia, we freely associate with others on the basis of common interest.
    [Show full text]
  • 2019 Annual Report
    MUSICA VIVA ANNUAL REPORT 2019 CONTENTS CHAIRMAN & CEO’S REPORT 4 COMPANY OVERVIEW 5 OUR REACH & IMPACT 6 A TRIBUTE TO CARL VINE AO 8 INSPIRING STUDENTS & TEACHERS Musica Viva In Schools 11 Musica Viva In Schools Program Reach 14 Don’t Stop The Music 15 Strike A Chord 15 SUPPORTING AUSTRALIAN CREATIVITY Masterclasses 17 FutureMakers 18 Australian Composers 20 Janette Hamilton Studio 21 PRESENTING THE FINEST MUSICIANS International Concert Season 23 Morning Concerts 26 Musica Viva Sessions 28 Musica Viva Festival 30 ENGAGING WITH REGIONAL AUDIENCES Regional Touring Program 33 Huntington Estate Music Festival 34 INDIVIDUAL GIVING, CORPORATE PARTNERSHIPS AND TRUSTS & FOUNDATIONS Individual Giving 37 Strategic Partnerships 40 Our Partners 42 Our Supporters 44 KEY FINANCIALS, ACTIVITY & REACH 50 GOVERNANCE 55 STAFF & VOLUNTEERS 59 Choir of King’s College, Cambridge performing in Adelaide Cover: Tessa Lark, Musica Viva Festival | Matthias Schack-Arnott, FutureMakers | student participant, Musica Viva In Schools 2 MUSICA VIVA ANNUAL REPORT 2019 MUSICA VIVA ANNUAL REPORT 2019 3 CHAIRMAN & CEO’S REPORT COMPANY OVERVIEW We are pleased to present another year of results that TO MAKE AUSTRALIA A MORE MUSICAL PLACE demonstrate Musica Viva Australia’s reach, artistic vibrancy and institutional stability. PURPOSE TO CREATE A NATIONAL CULTURE BASED ON CREATIVITY AND As an organisation founded by musicians, we recognise that without artists we would not exist or be able to achieve the impact IMAGINATION WHICH VALUES THE QUALITY, we desire. This year, Musica Viva employed 352 artists – 80% VISION DIVERSITY, CHALLENGE AND JOY OF LIVE CHAMBER MUSIC of whom were Australian. On concert stages (both regional and metro), in schools and online, Musica Viva brought music and TO ENRICH COMMUNITIES ACROSS AUSTRALIA BY music education of exceptional quality to 358,502 Australians.
    [Show full text]