DOCSLIB.ORG

Australian Youth Orchestra 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Australian Youth Orchestra 1990 ABC Classics “VAST” Recording Sydney Conductor: John Hopkins Soloists: Graeme Jennings, violin; Duncan Fikkers, cello; Paul McMillan, viola; Lance Bartholomeusz, double bass ABC Concerts Sydney, Canberra, Alice Springs, Darwin, Brisbane, Adelaide, Perth, Melbourne, and Shepparton Conductor: David Shallon Soloist: Adele Anthony, violin Sidney Myer Music Bowl Melbourne Conductor: Vladimir Verbitsky Soloist: Graham Ashton, trumpet Violin 1 Cello French Horn Graeme Jennings, Leader Duncan Fikkers Mitchell Ross Richard Pulley Eszter Mikes Ysolt Clark Julian Martin Nicholas Bochner Matthew Coorey Anne Harvey Iain Grandage Wendy Minett Susannah Webb Rebecca Harris Brendan Joyce Allan Hall Michael Green Alexander Voorhoeve Jane Atkinson Genevieve Code Trumpet Kate Drybrough Michaela Graham Geoff Bradley Emma Hayes Ian Bofinger Anthony Heinrichs Stacey Bartsch John Lam Robert Booth Kirsty Beilharz Judith French Robert Farmer Karina Moss Ollivier Cuneo Nicki Ayres Kirsten Le Strange Bass Trombone Lance Bartholomeusz Andrew Sweeney Marian Heckenberg Cameron Malouf Louise Ross Malcolm Elvery Violin 2 Andrew Taylor Esmerelda Tintner Caroline Brenchley Lucy Carrig Marbia Pegrum Suzanne Simpson Richard Durie Ingrid Code Rosemary Thirlwell Tuba Nicole Stewart Desmond Ward Cathering Oakley Robyn Wager Sandra Mangion Flute Rachael Beesley Meldi Arkinstall Timpani Stephen King Dianne Berger Neil Craig Rex Carr-White Sophie Gill Katherine Hoare Hugh Won Oboe Marina Phillips Conall McClure Percussion Lisa Outred Will Larsen Christine Kearslake Stephen Hardie Timothy Phillips Viola Clarinet Paul McMillan Christopher Tingay Harp Andrew Jezek Kim Traill Verna Lee Craig Miller Jan Bofinger Ingrid Hapke Nicholas Tomkin Cecily Matthews Bassoons Organ Kate Walker Clare Dolby Allan Hall Julian O’Sullivan Andrew Barnes Alistair Kirwan Elise Millman Nicole Forsyth Rosemary Curtin Australian Youth Orchestra 1991 Festival of Sydney Sydney Conductor: John Hopkins Soloist: Lawrence Dobell, clarinet The Camerata of the Australian youth Orchestra New York, Illinois, Virginia, Pennsylvania, Florida (USA); Caracas, Maracaibo, Barquisimeto (Venezuela); Rio de Janeiro, Brasilia, Sao Paolo (Brazil) Conductor: John Hopkins Soloists: Prudence Davies, flute; Alice Giles, harp Camerata of the Australian Youth Orchestra Conductor: John Hopkins Violin 1 Cello Bassoon Graeme Jennings, Leader Daniel Morris Andrew Barnes Brendan Joyce Iain Grandage Sarah Warner Penelope Bergen Lynne Hawley Julian Martin Ursula Nelius Philippa Allan French Horn Merrilyn Bear Bass Ysolt Clark Nicole Stewart Lance Bartholomeusz Wendy Minett Louise Major Violin 2 Trumpet Emma Hayes Flute Anthony Heinrichs Jemima Littlemore Meldi Arkinstall Bronwyn Scrivener Kirsty Beilharz Diane Berger Masaki Nakamura Benjamin Rimmer Luisa Hyams Timpani/Percussion Oboe Neil Craig Conall McClure Scott Marshall Viola Andrew Jezek Gabrielle Robin Orchestra Managers Alissa Smith Geoffrey Conrau Rosemary Curtin Clarinet Antony Grybowski Christopher Tingay Prudence Rollo Australian Youth Orchestra 1992 ABC Concerts Melbourne, Hobart Conductor: Christopher Bell Soloists: Anthony Chesterman, oboe; Nicola Ferner-Waite, soprano; Stephen Bennett, bass Sydney Choral Festival Sydney Conductor: Rodney Eichenberger Soloists: Nicola Ferner-Waite, soprano; Michael Lewis, baritone The Camerata of the Australian Youth Orchestra Sydney, Indonesia Conductor: Graham Abbott Soloist: Kim Walker Violin 1 Cello Bassoon Brendan Joyce, Leader Iain Grandage Sarah Warner Emma Hayes Taryn Fiebig Richard Hawley Jacob Plooij Coral Paget Angela Gates Katy Perisic Margaret Stone Catharina Pelster Wayne Jennings Merrilyn Bear Nicole Dobosi Masaki Nakamura Matthew Jones Contra Bassoon Philippa Allan Anna Spinaze Richard Hawley Leanne Bear Jane Tallon Sandra Mangion Leah Jennings Michelle Green Anthea Cottee Ollivier Cuneo French Horn Theo Kotzas Luisa Hyams Matthew Coorey Anton Schroeder Double Bass Wendy Minett Violin 2 Marion Heckenberg Camille Smith Jemima Littlemore Marcia Pegrum Kirsty Hilton Alison Roy Stephen King Andrew Taylor Sarah Curro Silvia Hosking Nicole Stewart Anita Hustas Trumpet Helen Ayers Kylie Davies Anthony Heinrichs Katrina Breen Sasha Marker Paul Monaghan Naomi Radom Helen Ryan Luke Dollman Yashwant Sinha Flute Trombone Jennifer Hoy Michele Hughes Andrew Sweeny Katie Betts James Fortune Mark Watkins Monica Fynnaart Viola Bass Trombone Rosemary Curtin Piccolo Terry Leahy Toni Robson James Fortune Nicole Forsyth Monica Fynnaart Paul Leggett Victoria O’Young Tuba Helen Ireland John Szkutko Kylie Gabb Christiana Maguire Oboe Adrian McDonald Scott Marshall Thora Klein Rixon Thomas Jennifer Spinaze Timpani Murray Winton Cor Anglais Rixon Thomas Percussion Jamie Richmond Alison Eddington Clarinet Susan Dennis Nicholas Murphy Timothy Paillas Elowyn Leonard Harp Lucianne Brady Owen Torr Australian Youth Orchestra 1993 Inaugural New Zealand Tour Sydney (Australia); Wellington, New Plymouth, Palmerston North and Auckland (New Zealand) Conductor: Patrick Strub Soloist: Duncan Gifford, piano Violin 1 Double Bass Trumpet Benjamin Rimmer, Leader Marcia Pegrum Helen Blunt Jemima Littlemore Kylie Davies Maria Glover Merrilyn Bear Helen Georgiades Paul Monaghan Masaki Nakamura Alexandra Treloar Clinton Power Nicole Stewart Samantha Harvey Stephanie Higgs Grayden Husband Cornet Helen Ayres David Cooper Paul Monaghan Kirsty Le Strange Talia Deutsch Clinton Power Jenni Solomons Michael Stocks Trombone Kirsty Beilharz Cameron Malouf Philippa Allan Flute Trevor Beyer Sarah Curro Ellen Fryar Yashwant Sinha James Fortune Bass Trombone Sandra Mangion Monica Fynnaart Malcolm Elvery Roger Solomons Tuba Matthew Walmsley Piccolo Violin 2 James Fortune Timpani Kirsty Hilton Monica Fynnaart Alison Low Choy Ben Smith Naomi Radom Haylie Ecker Percussion Airena Nakamura Richard Gleeson Kathryn Betts Oboe Alice Emor Belinda Jezek Kirsty Wilson Timothy Paillas Hugh Won Astrid Whiting Iain Robbie Jennifer Hoy Nick Deutsch Johanna Wadsley Jennifer Mee Oliver Dennis Nadine Delbridge Monica Grosman Cor Anglais Harp Charlotte Armstrong Nick Deutsch Verna Lee Viola Clarinet Piano Rosemary Curtin Nicholas Murphy Jee Lee Nicole Forsyth Elowyn Leonard Elizabeth O’Connor Phillip Arkinstall Helen Ireland Amelia Peachment Operations/Tour Manager Stephen King Marilyn Callaghan Stephen Venema Bass Clarinet David Coughlan Phillip Arkinstall Sophie Kesoglidis Sarah Mitchell Felicity Law Orchestra Manager Jacqueline Epps Vincent Ciccarello Saxophone Jim Nightingale Cello Orchestral Assistant Rohan de Korte Anne Frankenberg Taryn Fiebig Bassoon Stephanie Barwood Sarah Warner Clare Brassil Megan Waugh Nicole Dobosi Lyndon Watts Karla Drazenovic Leah Jennings Elizabeth Howes Brendan Conroy Contra Bassoon Andrew Wilson Megan Waugh Matthew Hoy Patrick Murphy French Horn Ysolt Clark Victoria Chatterley Julien Epps Heidi Bowdler Sarah Galbraith Australian Youth Orchestra 1994 Herald-Sun Summer Music ‘94 Melbourne Conductor: David Alan Miller Soloist: Duncan Gifford, piano Gala Farewell Concert Melbourne Conductor: Ronald Zollman Soloist: Jeffrey Crellin, oboe “Moving on Music” European Tour Amsterdam (The Netherlands); Copenhagen (Denmark); Mulheim (Germany); Salo, Milan (Italy); London, Aberystwyth, Birmingham (UK) Conductor: Yakov Kreisberg Soloists: Cristina Ortiz, piano; Adele Anthony and Cho-Liang Lin, violins; Duncan Gifford, piano European Tour Conductor: Yakov Kreizberg Violin 1 Double Bass Trumpet Jemima Littlemore, Leader Anita Hustas Peter Wiseman Kirsty Hilton Patrick Taylor Clinton Power Sarah Curro David Cooper Anton Koch Jacob Plooij Helen Georgiadis John Foster Kirsten Le Strange Grayden Husband Masaki Nakamura Elizabeth Browning Benjamin Smith Alexandria Treloar Hugh Won Mark Harris Trombone Sophie Rowell Damian Butler Merrilyn Bear Flute Michael Bertoncello Tania Davis James Fortune Andrew Leach Luke Dollman Carolyn Monger Belinda Jezek Linda Stuckey Anna McAllister Airena Nakamura Piccolo Ollivier Cuneo Bass Trombone Linda Stuckey Adam Sebire Violin 2 Oboe Helen Ayres Ngaire de Korte Philippa Allan Renae Stavely Tuba Kathryn Betts Matthew Tighe Luisa Hyams Matthew Walmsley Jennifer Hoy Cor Anglais Andrew Ang Matthew Tighe Kirsty Beilharz Jennifer Mee Timpani Clarinet Yashwant Sinha Richard Gleeson Carolyn Watson Nicholas Murphy Phillip Arkinstall Michelle Higgs Lynette Rayner Ashley McDougall Madeleine Easton Percussion Ben Dollman Bass Clarinet Ashley McDougall Timothy Paillas Johanna Wadsley Viola Tracey Patten Bassoon Rosemary Curtin Iain Robbie Lyndon Watts Nicole Forsyth Guy du Blet Sally Boud Nicole Tait Christopher Emerson Richard Hawley Julian O’Sullivan Sarah Mitchell Sophie Kesoglidis Harp Genevieve Lang Annelies Billeter Contrabassoon Felicity Law Richard Hawley Helen Ireland James Eccles Timothy Hollo Piano Daniel Wong French Horn Cello Matthew Coorey Rohan De Korte Benjamin Jacks Oliver Miller Wendy Minett Brendan Conroy Heidi Bowdler Celeste Leah Jennings Sarah Galbraith Merrilyn Bear Matthew Hoy Patrick Murphy Wayne Jennings Andrew Wilson Orchestra Manager Anna Spinaze Mitchell Miller Jane Oliver Derek Brotherson Martin Rees Australian Youth Orchestra 1995 Musica Viva Australian Tour Adelaide, Brisbane, Darwin, Sydney, Newcastle, Armidale, Grafton, Melbourne, Bendigo, Canberra Conductor: Martyn Brabbins Soloists: Elowyn Leonard, clarinet; Li-Wei Qin, cello Violin 1 Cello Bassoon Kirsty Hilton, Leader Leah Jennings Jane Brown Helen Ayres Brendan Conroy Miriam Butler Sophie Rowell Matthew Hoy David McKinnon Hugh Won
Recommended publications
  • UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA

    UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA

    UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
  • Choose Yourfavorite Three Concerts

    Choose Yourfavorite Three Concerts

    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Handel's Oratorios and the Culture of Sentiment By

    Handel's Oratorios and the Culture of Sentiment By

    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
  • A Countertenor's Reference Guide to Operatic Repertoire

    A Countertenor's Reference Guide to Operatic Repertoire

    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
  • Artistic Representations of the Sea and Coast: Implications for Sustainability

    Artistic Representations of the Sea and Coast: Implications for Sustainability

    Landscapes: the Journal of the International Centre for Landscape and Language Volume 4 Issue 2 Sustainabilia Article 28 January 2011 Artistic Representations of the Sea and Coast: Implications For Sustainability Laura Stocker Curtin University Sustainability Policy (CUSP) Institute Deborah Kennedy Curtin University Sustainability Policy (CUSP) Institute Follow this and additional works at: https://ro.ecu.edu.au/landscapes Part of the Creative Writing Commons Recommended Citation Stocker, L., & Kennedy, D. (2011). Artistic Representations of the Sea and Coast: Implications For Sustainability. Landscapes: the Journal of the International Centre for Landscape and Language, 4(2). Retrieved from https://ro.ecu.edu.au/landscapes/vol4/iss2/28 This Article (refereed) is posted at Research Online. https://ro.ecu.edu.au/landscapes/vol4/iss2/28 Stocker and Kennedy: Artistic Representations of the Sea and Coast: Implications For S Edith Cowan University School of Communications and Arts Centre for Research in Entertainment, Arts, Technology, Education & Communications The International Centre for Landscape and Language Landscapes ISSN 1448-0778 ARTISTIC REPRESENTATIONS OF THE SEA AND COAST: IMPLICATIONS FOR SUSTAINABILITY Laura Stocker and Deborah Kennedy Curtin University Sustainability Policy (CUSP) Institute 3 Pakenham Street, Fremantle, 6160 Corresponding author: Laura Stocker email: [email protected] ABSTRACT: This article explores artistic representations of Australian seas and coasts, and the power of art to sustain seas and coasts. Research into artworks at the National Gallery of Australia was supplemented with a study of other local public and private works. A number of substantive themes emerged in viewing the paintings; the sea and coast has been represented as: sea country, sovereign territory, sublime spaces, a Romantic space of yearning, a psychological journey, a literal journey, a site of social and political comment, social places, ecological places and a site for industry.
  • 2019 Annual Report

    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.
  • 2020 Annual Report

    2020 Annual Report

    MUSICA VIVA ANNUAL REPORT 2020 CONTENTS CHAIRMAN’S REPORT 4 CEO & ARTISTIC DIRECTOR’S REPORT 5 INSPIRING STUDENTS & TEACHERS Strike A Chord 7 Musica Viva In Schools 10 Musica Viva In Schools Program Reach 12 PRESENTING THE FINEST MUSICIANS Concerts 15 Regional Touring 17 Musica Viva’s 75th Anniversary 18 SUPPORTING AUSTRALIAN CREATIVITY Australian Composers 23 Australian Works performed in 2020 25 Australian Works - Musica Viva In Schools 26 INVESTING IN MUSICA VIVA Investing in Musica Viva 29 Our Partners 34 Our Supporters 36 KEY FINANCIALS, ACTIVITY & REACH 45 GOVERNANCE 49 STAFF 51 PURPOSE MUSICA VIVA EXISTS TO CREATE AND SUPPORT A VIBRANT CHAMBER MUSIC SECTOR, FINANCIAL REPORT 2020 55 ACCESSIBLE TO PEOPLE OF ALL BACKGROUNDS ACROSS AUSTRALIA. VISION AN AUSTRALIA WHERE CHAMBER MUSIC THRIVES AND WHERE PEOPLE OF ALL AGES, CULTURES AND COMMUNITIES HAVE ACCESS TO AND LEARN TO APPRECIATE THE VITAL ROLE OF MUSIC IN BUILDING A STRONGER AND MORE CREATIVE WORLD. MISSION TO ENRICH COMMUNITIES ACROSS AUSTRALIA BY MAKING LIVE CHAMBER MUSIC ACCESSIBLE TO EVERYONE. MUSICA VIVA ANNUAL REPORT 2020 3 CHAIRMAN’S REPORT CEO & ARTISTIC DIRECTOR’S REPORT I am pleased to present you with Musica Viva’s financial and programmatic Each year Musica Viva presents to our stakeholders a report on financial results for 2020. The year began and ended with live performances throughout and programmatic results and impacts. We attempt, in a few online pages, the country with the pandemic pausing normal business operations. to capture the range, depth and innovation of our mission, knowing Musica Viva weaves connections between people through music - something Musica Viva demonstrated its flexibility, innovative approach and commitment words cannot easily capture and which may only be hinted at through to ensuring Australia becomes a more musical place.
  • 26 November 2007 Federation Square Melbourne

    26 November 2007 Federation Square Melbourne

    Finalist exhibition 12 – 26 November 2007 Federation Square Melbourne Melbourne Prize for Music 2007 fi nalists / Brenton Broadstock / Paul Grabowsky / David Jones / Paul Kelly / Richard Mills Outstanding Musicians Award fi nalists / Clare Bowditch / David Chisholm / The Cat Empire / Luke Howard and Leonard Grigoryan / Cameron Hill / Andrea Keller / Genevieve Lacey / Stephen Magnusson / Geoffrey Morris / Flinders Quartet Development Award fi nalists / Sam Anning / Sophie Brous / Aura Go / Julian Langdon / Tristram Williams The Melbourne Prize for Music 2007 The free public exhibition of fi nalists will be catalogue provides a review of the fi nalists held in the Atrium at Federation Square in the following award categories: between 12 – 26 November 2007. Visitors can read about each fi nalist and listen to examples / Melbourne Prize for Music 2007 of their music. / Outstanding Musicians Award For further information on the Melbourne Prize / Development Award Trust and Melbourne Prize for Music 2007 please visit www.melbourneprizetrust.org or call 03 9650 8800. The Melbourne Prize for Music 2007 is made possible by the support of our partners and patrons. The Melbourne Prize Trust would like to thank all partners for their generosity. Government Partner Founding Partners Patrons Diana Gibson AO Megg Evans Melbourne Prize for Music 2007 Partners Venue & Exhibition Partner Exhibition Design Exhibition Construction Digital Printing & Banners Exhibition Photography Exhibition Consultants Coleby Consulting Audio Equipment PartnerMedia Communications Professional Services Print Partner Winners Trophies Website Fundere Foundry The Melbourne Prize for Music 2007 celebrates excellence and talent in music and demonstrates the value our community places on its creative resources. With the generous support of all our partners, we have been able to recognise and reward the abundant and diverse musical talent we have in Victoria and make this accessible to the public.

  • 9–18 May 2014

    9–18 May 2014 FOLLOW US #CIMF cimf.org.au Welcome to the 2014 Canberra International The European Union is delighted to support Music Festival. Celebrating its 20th year, the prestigious Canberra International Music this year’s Festival will bring together many Festival in what promises to be a magnificent of Australia’s finest musicians and a wonderful classical music event. array of acclaimed international artists to I am particularly pleased that the opening ensure a memorable program. night of the 2014 festival will take place on This year’s theme, The Fire and the Rose, will explore the centenary of 9 May, a date when 500 million European citizens celebrate Europe Day the commencement of World War I and the 75th anniversary of the all over the world. outbreak of World War II through the works of composers who wrote A number of the EU Member States' Embassies are also involved in while serving as soldiers on all sides. the festival, offering the Canberra community a unique opportunity of You will experience a rich and vibrant program of classical and enjoying some remarkable pieces of work – many of which are in fact contemporary music – a showcase of the familiar and the new. world or Australian premieres. The Festival program will feature a number of major reflective works In a year when we commemorate the centenary of the start of WWI, it is by Bach, Mozart and Brahms performed on period instruments. fitting that CIMF Director Chris Latham has put together a repertoire by Once again the award-winning Amazing Spaces series showcases European and other composers who at different times were affected or Canberra’s unique architecture and landscapes and explores the influenced by war and its difficult consequences.
  • 2018 Geelong Contemporary Art Prize Saturday 9 June to Sunday 19 August 2018 Geelong Gallery Free Entry—Open Daily 10Am to 5Pm

    2018 Geelong Contemporary Art Prize Saturday 9 June to Sunday 19 August 2018 Geelong Gallery Free Entry—Open Daily 10Am to 5Pm

    media release Media contact: Miranda Brown | T: 03 9419 0931 | E: [email protected] 2018 Geelong contemporary art prize Saturday 9 June to Sunday 19 August 2018 Geelong Gallery Free entry—Open daily 10am to 5pm Official announcement: Friday 8 June, 6.00pm for 6.30pm The recipient of the $30,000 acquisitive 2018 Geelong Andrew Browne contemporary art prize will be announced on the evening The awakening 2017 of Friday 8 June. To reserve a media pass contact: oil on linen Miranda at [email protected] Courtesy of the artist and Tolarno Galleries, Melbourne Geelong Gallery is delighted to announce that 36 works by leading and emerging Australian artists have been shortlisted for the 2018 Geelong contemporary art prize. Showcasing the best of contemporary Australian painting practice, this $30,000 acquisitive award and biennial exhibition will feature works by Natasha Bieniek, Seth Birchall, Amber Boardman, Andrew Browne, Jon Campbell, Nancy Constandelia, Yvette Coppersmith, Ann Debono, Troy Emery, Emily Ferretti, Patrick Francis, Nyarapayi Giles, Peter Graham, Camille Hannah, Katherine Hattam, Euan Heng, Gregory Hodge, Carissa Karamarko, Madeleine Kelly, Mason Kimber, Anna Kristensen, Darren McDonald, Laith McGregor, Fiona McMonagle, Amanda Marburg, Sam Martin, Tully Moore, Jan Murray, Louise Paramor, Sally Ross, Huseyin Sami, Andrew Taylor, Kate Tucker, Sharon West, Bradd Westmoreland and Alice Wormald. Selected from over 550 entries from around the country, the 36 shortlisted works for the 2018 Geelong contemporary Fiona McMonagle art prize reveal the diversity of contemporary painting practice Princess 2017 oil on linen in Australia. This year’s exhibition will include paintings by Courtesy of the artist and Sophie Gannon Gallery, some of the nation’s most talented established and younger Melbourne generation artists working across a broad range of subjects, genres and stylistic approaches such as landscape, the built environment, portraiture, still-life, social commentary, and abstraction.