QUARTET & COUNTRY AUSTRALIAN STRING QUARTET WITH LOU BENNETT, WILLIAM BARTON, & ROMA WINMAR

Image: Jacqui Way

Founder Principal Partner Chamber Music Weekend supported by Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar.

They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish.

QUARTET & COUNTRY

WINTHROP HALL | 60MINS AUSTRALIAN STRING QUARTET WITH DR LOU BENNETT AM SAT 15 FEB

AUSTRALIAN STRING QUARTET WITH WILLIAM BARTON SAT 15 FEB Image: Amy McKie AUSTRALIAN STRING QUARTET WITH STEPHEN PIGRAM SUN 16 FEB AUSTRALIAN STRING QUARTET WITH ROMA WINMAR SUN 16 FEB BACKGROUND TO QUARTET & COUNTRY The Quartet & Country commissioning series seeks to create a body of work created by Indigenous musicians that has at its a heart a conversation between the Western European Classical canon (as written for string quartet) and the songlines of the country. With the newly commissioned work by Roma Winmar, there are now seven works in There is a special relationship in the performing arts between creator, performer and audience. Without any one of the series. The three works not heard this weekend are by esteemed Yorta Yorta woman Deborah Cheetham, senior those elements, the ceremony of performance ceases to exist. In choosing to be here, we thank you for your act of Yolŋu singer Djakapurra Munyarryun and actress, singer and playwright Ursula Yovich from Maningrida. community as we celebrate the artists on the stage and the imaginations of those who have given them environments The four works in this weekend’s concerts have their origins in the four corners of our continent. William Barton, to inhabit, words to embody and songs to sing. Kalkadungu man from North East Queensland; Lou Bennett, Yorta Yorta / DjaDja Wurrung woman from Victoria; Stephen Pigram, Yawaru man from the Kimberley; and Roma ‘Yibiyung’ Winmar from Noongar boodjar. Each work Perth Festival 2020 is a celebration of us – our place and our time. It wouldn’t be the same without you. reveals the profound connection between country and the artists’ ancestry within it.

Iain Grandage, The Quartet & Country project is rooted inside collaborative theatre methodologies, where ideas are shared Perth Festival Artistic Director and workshopped, with the work being sculpted and changed in collaboration with the players of the Australian String Quartet. As such, the input of Dale, Francesca, Stephen and Sharon is happily acknowledged by each of the composers and celebrated during each and every performance.

Iain Grandage

BEETHOVEN’S STRING QUARTETS OP.18 Soon after Beethoven’s arrival in Vienna he was a sought-after performer and composer, but only at the end of the 1790s did he compose in the two genres which Haydn, with whom he’d gone to Vienna to study, dominated – the symphony and string quartet.

Beethoven made no secret of his labours with the form, but while Op.18’s six quartets may lack the effortless mastery of the late works, they contain much wonderful music and prefigure later developments in Beethoven’s art. Roma ‘Yibiyung’ Winmar’s Waalwaliny commissioned by Ulrike Klein AO for Perth Festival 2020

The other Quartet & Country works commissioned by the Klein Family Foundation Beethoven String Quartet Notes Gordon Kerry © 2001/2020

Quartet & Country is a commissioning project between the Port Fairy Spring Music Festival and its 2016 – 19 Artistic Director, composer Iain Grandage, UKARIA and the Australian String Quartet. Third section Then the third voice is my voice and my family’s voice, Marl djuwenuar koomangoonong koomangoonong (x3) explaining where she is and where she’s come from, Marl djuwenuar koomangoonong koomangoonong she’s gone out on a journey and she’s back to rest nyilamum amongst the treetops.

[She returns to rest, to rest (x3) She returns to rest, to dirt song rest, baby] Written by Lou Bennett and Alexis Wright. From the Echuca, Barmah region, the heartland of Yorta Yorta in Old voice country, this is a song about the connections between Nyungek kalk (x4) Bowun bang- nyi (x2) people, music and country. ‘Baiyan Woka’ is Yorta Yorta Nyungadak kalk (x2) Nyungingurrak kalk (x2) for ‘singing for country / land’. Bowun bang- nyi (x2) Ngulla tel- leen (x2) Yannaka Larr Woi noit yere bil, This song comes from the understanding that we all Woi noit yere bil, mel lu ra pyang have connections – we just have to learn ‘Goopna Ngawar-l’ (listen deeply). [This my tree (x4) Don’t climb (x2) – Lou Bennett This our tree (exclusive) (x2) This our tree (inclusive) (x2) Don’t climb (x2) String Quartet in F major, Op.18 No.1 Don’t cut down (x2) Beethoven revised and refined the texture of this work AUSTRALIAN STRING QUARTET WITH Come home considerably and decreased the number of times its DR LOU BENNETT AM Family, first movement theme was repeated. That movement, Family, always] however, remains highly concentrated with its tautly LOU BENNETT SONG LYRICS coiled theme, tensile triple rhythm and extensive Jaara Nyilamum* Jaara Nyilamum REPERTOIRE NOTES repertoire of striking gestures. According to his friend Sung in Dja Dja Wurrung Nyungek kalk (x4) Jaara Nyilamum Amenda, the adagio was Beethoven’s response to the Bowun bang- nyi (x2) Nyungadak kalk (x4) This beautiful story was shared with by my Aunty Fay burial scene in Romeo and Juliet. The words ‘the last LOU BENNETT (with IAIN GRANDAGE) Ngulla tel- leen (x4) Nyungingurrak kalk (x4) Carter and her daughter, my big sister-cousin, Wendy sigh’ appear, in French, over a musical gesture on one dirt song Ngulla tel- leen (x2) Berrick, when we were sitting on country on Jaara of Beethoven’s sketches. The latter movements are Sung in Yorta Yorta Bowun bang- nyi (x2) Ngulla tel- leen (x2) djandaj or Jaara Jaara as we call it. considerably lighter in tone – the scherzo is genuinely Bowun bang- nyi (x2) Nyilamum koomanoongong witty; the finale is full of sudden harmonic turns and a BEETHOVEN It’s a story about a little girl and a young farmer. whirling motif which suggests that the coiled tension of String Quartet in F major, Op.18 No.1 [This my tree (x4) Around 120 years ago, this young farmer was felling the opening has been released. Allegro con brio Don’t climb (x2) trees to clear land for farming when he noticed this Adagio affetuoso ed appassionato This our tree (exclusive) (x4) Don’t cut down (x4) little bundle in a hollow log. On closer inspection, – Gordon Kerry Scherzo (allegro molto) & trio This our tree (inclusive) (x4) Don’t cut down (x2) he found a dead baby girl wrapped in a possum skin Allegro Don’t climb (x2) cloak. He took the bundle to the Police who handed Don’t cut down (x2) it to the State Museum where it stayed for 99 years, Performers alone, in a cold steel drawer – until my family found her Dr Lou Bennett Don’t climb (x2) Voice and repatriated her remains back to country to rest Dale Barltrop, Francesca Hiew Baby rests] Violin amongst the treetops. Viola Stephen King Main melody section Cello Sharon Grigoryan Jarra nyilamum gumbi, jaara nyilamum gumbi, oh jaara You see, my family were born at the place, in the cavity nyilamum gumbi … (x2) of a birthing tree. And when we pass over, when we *Commissioned by the Klein Family Foundation go to that next place, we are wrapped in our djukum [Jaara baby sleep, jaara baby sleep oh jaara baby djukum possum skins and set amongst the treetops to sleep (x2]) listen to our Ancestors singing and talking in the wind nyernila (to listen continuously). Second section Boitch ee nook, boitch ee nook, boitch ee nook My Auntie Fif and Sis they passed the story on and said nyilamum koomanoongong ‘write a song Lou, write a song for our Ancestor, our Boitch ee nook, boitch ee nook, boitch ee nook kalk little baby Ancestor’. gumbi gumbi … I wrote the story in three sections – a call out to the [Within, within, within, baby, rests Ancestors, to bring them down and make them aware Within, within, within, tree sleep, sleep] that we’re singing now, we’re telling the story of our little baby Ancestor.

Then the second voice is an old voice even though she’s a little baby. It’s me singing in my chest register in an old voice. String Quartet in D major, Op.18 No.3 The D major work was the first written of the six quartets. Here, it is the overall design which matters, rather than individual details, though it would be hard to dislike any of the material in this work. Interestingly, in the slow movement Beethoven chooses to use the key of B flat, where convention would suggest A major. In doing so he heightens the tension between the keys, and therefore characters, of each movement, and it is a relationship which comes to occupy a fundamental position in his later music. The slow movement explores a variety of often complex textures; the dance movement which follows – significantly not identified as anything other than allegro, has as its contrasting middle section a simple but effective passage in the minor mode. The boisterous 6/8 finale may reflect Beethoven’s admiration for Mozart’s Quintet, K.593.

String Quartet in C minor, Op.18 No.4 AUSTRALIAN STRING QUARTET Beethoven used C minor for works such as the Third WITH WILLIAM BARTON Piano Concerto, Fifth Symphony and the Pathétique Sonata, works whose emotional profile goes beyond WILLIAM BARTON SONG LYRICS anything of Haydn or Mozart. In this quartet, Square Circles Beneath the Red Desert Sand* Square Circles Beneath the Red Desert Sand sometimes described as ‘crude’ or ‘blunt’, Beethoven For string quartet and didgeridoo Kalkadunga Yurdu is experimenting with how to present direct difficult Sung in Kalkadunga Kalkadunga Marabai emotion. The first movement has little of the urbane Gunta Moltena billabilla BEETHOVEN intricacy of, say, the A major work. Its first theme is Moltenali Woma Ai presented by the first violin with a straightforward

String Quartet in D major, Op.18 No.3 accompaniment, and the movement makes much of Kalkadunga the Man Allegro rhythmic unanimity and unison. Here too, Beethoven Kalkadunga the Woman Andante con moto famously breaks the rules of harmony. When his friend Teaching Big Mob children Allegro Ferdinand Ries pointed out these ‘parallel fifths’, Big Mob Around Campfire Presto Beethoven replied that while theoreticians unanimously BEETHOVEN REPERTOIRE NOTES forbade them ‘I allow them thus’. The quartet is also notable for its two dance movements – a scherzo Square Circles Beneath the Red Desert Sand which begins with a mock-fugal exposition (supplying String Quartet in C minor, Op.18 No.4 This song is about energy and how energy might travel. Allegro ma non tanto the counterpoint missing in the first movement), and a We’re like little specks in the universe, all travelling. And Scherzo: Andante scherzoso quasi allegretto menuetto. The finale gains much of its rhythmic energy if you can imagine being out in the middle of the bush, Menuetto (allegretto) & trio from ‘fiddling’ figurations in the first violin. and the energy, the lifeform, the source of spirit, of Allegro culture, of language travels through a crystal, a prism of – Gordon Kerry Performers different colours, of different architectural constraints Voice & Didgeridoo William Barton in the Western world. But the energy that travels Violin Dale Barltrop, Francesca Hiew through that crystal becomes something else, takes on Viola Stephen King another entity. It hasn’t got a heartbeat necessarily, but Cello Sharon Grigoryan it is a transformed energy. And it’s not good or bad, it’s just different. Like a pulsing light. *Commissioned by the Klein Family Foundation – William Barton

INTERLUDE: REPERTOIRE NOTES Hey Manilaman come from long long long long long way Walganyagarra Buru cross the sea This is a story told through information that’s been To the waterhole Jirrginngan – a long walk to the west gathered through the oral narrative and the written sprung up a shanty pearling camp, thousands of single record. It’s a story about my great grandmother – we’re yellow men talking in the 1880s.

From across the sea and indentured to the Master Broome was already a town in 1883, but the first Pearlers dream settlement in that area happened with the sheep Of making all his riches from the biggest mother shell famers, see – the sheep men. Streeter had a station ya ever seen 50kms out of town called Streeter station, and that’s where this Lake, called Lake Edarr, is. Lake Edarr that’s Esther meets Santiago near the mangroves by the her country, her birth country. creek ah Near Morgan’s camp – Burrgugun , the love they made This is our great grandmother on Mum’s side – the was sweet mother-mother-mother line for me. We got it from Walganyagarra buru, at the turn of the century the old people, we know where her country is. We’re Petronella and Theresa bloom on the mother mother trying to work out the movement of her from 50ks out tree of town and into Broome by 1900, ‘cos that’s when my Mimi, my Grandmother’s born. I mention my Mimi’s AUSTRALIAN STRING QUARTET REFRAIN Walganya garra buru … name in the ‘Minybal’ song – Petronella – that was her WITH STEPHEN PIGRAM Mimi name. The line goes ‘Petronella and Theresa bloom on the mother mother tree’. Theresa was her sister – and STEPHEN PIGRAM SONG LYRICS Mimi in the sky – hallowed rays of light that’s Micky Manolis Mob grandmother. [Micky Manolis Walganyagarra Buru (Esther and Santiago)* Walganyagarra Buru Watching over, watching over me is a Broome musician who played in Kuckles with Sung in Yawuru & English REFRAIN: Walganya garra buru (x2) Mimi when she sings, song gliding on the wind Stephen Pigram, together helping write Bran Nue Dae Mimijanu bibi Minybal, nganjun jiya nilawal (x2) Watching over, watching over me with ]. STEPHEN PIGRAM (arr. IAIN GRANDAGE) Jalbi janu Minybal imbulan, Edarr buru gabu Mimi Country’s in my veins with blood I write my name Walganya garra (x2) – Stephen Pigram Sung in Yawuru & English I’ll sing her song to sing what I can see [REFRAIN: Long time ago (x2) A tear in Mimi’s eyes, raindrops from the sky String Quartet in A major, Op.18 No.5 BEETHOVEN My grandmothers mother Minybal, I call your name (x2) Washing over, washing over me Mozart’s A major Quartet K.464 was clearly both a Voice that speaks so loud, face up in the clouds String Quartet in A major, Op.18 No.5 Great-Grandmother Minybal, she Lake Eda from useful formal model and a source of some inspiration Watching over, watching over me Allegro Long time ago (x2)] for Beethoven. In both works the opening allegro is characterised, somewhat unusually, by a triple metre. Menuetto & trio VERSE: Country’s in my veins, with blood I write my name The second movement, again rather unconventionally, Andante cantabile Oh! Long time before now, might be hundred forty I’ll sing a song to say what I can see is the dance movement – in both cases a menuetto. Allegro years past Nyapa bulu in my veins, with blood I write her name The third movement in each is a substantial, When dem ghosts came as pastoralists and pearlers, I’ll sing a song to sing say what I can see Performers moderately slow andante with a theme and variations Blackbirders made their mark Voice & Guitar Stephen Pigram Spirit never dies, takes an endless flight and the allegro finale of both works manages to Near 122 degrees east on the 18th parallel Violin Dale Barltrop, Francesca Hiew Way up to the winding Milky Way combine great rhythmic energy with deftly handled Viola Stephen King Wambajandu Yawuru still living in their clans counterpoint. Nyapa bulu in my veins, with blood I write her name Cello Sharon Grigoryan On the salt grass plains and freshwaters of lake Edarr, I’ll sing a song to sing what I can see The opening is disarmingly, if charmingly, light (and round the shores of Nyeli-nyeligun, Nyapa bulu in my veins, with blood I write her name often very funny), but the overall arc of this work traces *Commissioned by the Klein Family Foundation Roebuck Bay – you call ‘em now? I’ll sing a song to sing what I can see a path from music which is ‘conventional’ almost to Jalbijanu Minybal, my mother’s mother’s mother Watching over, watching over me the point of being free of strongly profiled material, – great grandmother you call em that one as in the opening movements, through passages of

Woulda been a young girl fully tribal, increasing complexity and dramatic weight.

wandering what a fence was, – Gordon Kerry As the sheep on Streeter Station stole their land They silenced all the Wamba who proudly made a stand, But spear and boomerang no hope ‘against a gun in them ghostly hands

REFRAIN: Walganya garra buru …

I long to have my loved ones near String Quartet in G major, Op.18 No.2 But I know, I just know there’s something wrong Beethoven’s only quartet in G major demonstrates the composer’s almost complete assimilation of the lessons Ngan kwerlak nyininy keny of Haydn, celebrated for the conversational nature of Maar dabakam waangkaniny his quartet writing. This grew out of the popular music Kwerl dwonk baaaminy – Baal waalwaliny for opera buffa where the gods and heroes of opera Ngaangkan birikon – kep nyininy seria were replaced by clever servants, cynical old Ngan woonyak moort kanarn nitj bachelors and gullible aristocrats. Opera buffa required Kaaditj yeye, Kaaditj yey wara warn. pithy and more flexible diction and its short, snappy phrases found their way into classical instrumental REPERTOIRE NOTES music. As did other dramatic devices such as the Waalwaliny well-timed use of sudden silence, changes of dynamics On Christmas Eve in 1954 a man and his daughter or the unexpected use of a seemingly ‘foreign’ chords drowned at Foster’s Beach after being swept off the or key. rocks while fishing. The two girls (his daughters) were in his arms. One was ripped out and he pushed the other The main themes are all strongly individuated, but to safety. easily broken up into motives with great potential for development. The finale has a marvellous comic sense He put his arm up and said ‘help me Doris’. Doris and with its ‘question and answer’ manner between cello he were like one unit, one energy. Him being ripped and full quartet and its use of sudden dynamic contrast. AUSTRALIAN STRING QUARTET away like that took part of her heart. Her daughter. It is only perhaps in the slow movement that Beethoven Her husband. I don’t think she lasted more than two WITH ROMA WINMAR misjudges, requiring a burst of speed in the middle of months after that – she died. The children were then all the movement to set off the main adagio material. ROMA WINMAR SONG LYRICS orphans. No mother, no father. Sister’s gone. They were Waalwaliny* Waalwaliny all taken to Gnowangerup mission. String Quartet in B-flat major, Op.18 No.6 In the final numbering of Op.18, Beethoven framed his BEETHOVEN CHORUS: The one that the father pulled to safety, her name first quartets with works of considerable ambition. Ngan kwerlak nyininy keny was Nola – she married and had a family. With all the String Quartet in G major, Op.18 No.2 Maar dabakam waangkaniny ongoing grief, she struggled to cope with raising the The B-flat major work unifies different and highly Allegro Kwerl dwonk baaaminy - Baal waalwaliny family. So she gifted one of the children to my brother contrasting musical manners (as in the late quartets). Adagio cantabile Ngaangkan birikon – kep nyininy Mick and his wife Kath to bring up. They raised him to The first movement has the kind of wit we expect, Scherzo (allegro) & Trio Ngan woonyak moort kanarn nitj manhood, and he married and had a family of his own. the slow movement removes its mask of impassivity Allegro molto quasi presto Kaaditj yeye, Kaaditj yey wara warn. for occasional hints of pathos in its more decorated Amongst them was a son – who – he went up to BEETHOVEN passages and the scherzo shows Beethoven VERSE 1: Carnavon to be with his family. Work for the dole experimenting with the contrast between triple and String Quartet in B-flat major, Op.18 No.6 We hear the footsteps of those we’ve lost schemes and all of that. It was either nothing or go on duple metres. But for the first time in this set it is the Allegro con brio We hear their voices in the wind the boat. That was the last they saw of him. They don’t finale which is the longest of the four movements. Adagio ma non troppo We do not see, but we can feel know if it was foul play, but his body was lost off the their presence near – it seems so real. Scherzo (allegro) & trio boat. Never to be found. Never been a funeral – just To make his finales more substantial, Beethoven had like his grandfather. Adagio: ‘La Malincolia’ – Allegretto quasi allegro Ngan kwerlak nyininy keny adopted Haydn’s solution (a mixture of sonata and rondo designs) but adds a slow introduction to increase Performers Maar dabakam waangkaniny Then four years ago, that man’s son was with a group. tension. Formally it moves the music away from the Voice Roma Winmar Kwerl dwonk baaaminy – Baal waalwaliny They went up for an outing at Lake Leschenaultia and main key, often becoming quite unstable; dramatically, Violin Dale Barltrop, Francesca Hiew Ngaangkan birikon – kep nyininy he drowned. it temporarily frustrates our expectations of fast music. Viola Stephen King Ngan woonyak moort kanarn nitj So four family members over four generations were The allegretto that eventually appears is possibly more Cello Sharon Grigoryan Kaaditj yeye, Kaaditj yey wara warn. taken by water – the son and the grandson son of the superficial than we might expect, but this is arguably

VERSE 2: girl who survived when the first two died. the result of the extraordinary character of the *Commissioned by Ulrike Klein AO for Perth Festival We’ve lost our loved ones to the sea introduction itself – subtitled La Malincolia. Here we 2020 Life for them just could not be You sit by the ocean and see the sunset, or the moon hear Beethoven creating something out of apparently We mourn for generations forward on the water. There’s so much beauty in water. But it’s no material and we witness one of the first examples of They do not suffer any more dangerous. Noongars, when you go to a strange place, his clear identification of music with specific spiritual No trace of those we loved so dear usually take the sand and throw it in the water and say and emotional states. With heartfelt pain we shed a tear “I’m here. Is it OK I’m here?” Or pick the water up and With constant gaze we watch the sea, blow through it. Have permission. It’s a living thing. It – Gordon Kerry but they’ll never be returned to me forms the land. It has living things within it. That’s why I wanted to write this song. Alone amongst the sheoak trees I hear the whispering of the breeze – Roma Winmar Someone calling out my name – and crying Sunlight glimmers, the water’s clear Image: Jacqui Way Image: Jacqui Way

Q&A WITH STEPHEN KING FROM ASQ BIOGRAPHIES AUSTRALIAN STRING QUARTET

Can you describe the genesis of the Quartet & Country project? For over 30 years, the Australian String Quartet (ASQ) has created unforgettable string quartet performances for Iain Grandage came to us many years ago with the idea of creating a body of work for quartet, written by and national and international audiences. Dedicated to musical excellence with a distinctly Australian flavour, the ASQ’s performed with First Nations composers. The collaboration saw Iain mentoring the composers alongside the ASQ, purpose is to create chemistry and amplify intimacy through experiences that connect people with string quartet workshopping ideas at the Ukaria Cultural Centre before performances at Port Fairy Music Festival. Through sharing music. our musical ideas the project weaves our paths together and inspires new ways of thinking and understanding. From its home base at the University of Adelaide’s Elder Conservatorium of Music, the ASQ reaches out across Australia and the world to engage people with an outstanding program of performances, workshops, commissions How have audiences reacted to the pairing of great works of the Western Canon with Indigenous compositions? and education projects. The ASQ’s distinct sound is enhanced by a matched set of 18th century Guadagnini There is a wonderful balance created when playing music from European culture next to modern Australian works instruments, handcrafted by Giovanni Battista Guadagnini between c.1743 and 1784 in Turin and Piacenza, Italy. These with roots in an ancient culture. It is the musical merging of long-held traditions. It is also a rare and special precious instruments are on loan to the ASQ for their exclusive use through the generosity of UKARIA. experience to perform alongside living composers and get a greater understanding of the musical intent than a sheet of music conveys. The works also include sung traditional language, passing on cultural heritage through stories of Six masterworks by Beethoven, Dutilleux, Dvořák, Janáček and Mozart, as well as two world premieres of new family and history. Australian music and a tour with acclaimed pianist Konstantin Shamray, make up the ASQ’s three major National Tours in 2020. Looking beyond, the Quartet’s ground-breaking Close Quarters series continues with more compelling Is this the first time the ASQ have embarked on a mini-cycle of the Beethoven Op 18s? partnerships. Its regional festivals travel again to Dunkeld and Margaret River and, for the very first time, to the shire of Dungog in New South Wales. The ASQ is thrilled to join creative forces with Sydney Dance Company for a brand- This is the first time that ASQ have played all six of Beethoven’s Opus 18 quartets as a mini-cycle. It’s a wonderful new work, and in the 250th year since the great composer’s birth, Beethoven is celebrated with a series of special journey to play them close together and witness Beethoven experimenting, developing, seeing how far he can push events across the country. boundaries and always exploring the extreme emotional range of humanity. At home in South Australia, the ASQ continues its work as Quartet-in-Residence at the University of Adelaide’s Elder What drew the ASQ to these early quartets? And why these works to be performed with Indigenous Conservatorium of Music with projects including the annual ASQ Day at Elder and performances as part of the Elder compositions? Hall Lunchtime Concert series, and Mornings at UKARIA will continue to bring the sounds of the string quartet to the Beethoven was quite mature when he wrote his first quartets. Many quartet players feel that these quartets are his beautiful landscape of the Adelaide Hills. most challenging yet rewarding works to perform. As a set, they really mark a line in the sand where string quartets Dale Barltrop plays a 1784 Guadagnini Violin, Turin became a serious undertaking and a medium for composers to release their most personal thoughts. Francesca Hiew Plays a 1748 – 49 Guadagnini Violin, Piacenza It’s wonderful how well these first quartets of Beethoven sit next to the first quartets of these First Nations Stephen King plays a 1783 Guadagnini Viola, Turin composers. They both craft stories to be passed on, using the string quartet as a vehicle for expression. Sharon Grigoryan plays a c.1743 Guadagnini Violincello, Piacenza ‘Ngeringa’ Complete Event Solutions

PAV Events has proudly delivered Perth Festival’s technical solutions for over a decade. We cater from boardroom AV, hire, DR LOU BENNETT AM STEPHEN PIGRAM installations through to full-scale productions. We reliably deliver cutting-edge productions by taking your Yorta Yorta Dja Dja Wurrung, Dr Lou Bennett AM is a former Born and raised in the multi-racial pearling town of ideas and making them a reality. member of the internationally acclaimed trio Tiddas and during Broome in Australia’s far northwest Kimberley region, her ten years with the band, she wrote a number of the group’s singer, songwriter and guitarist Stephen Pigram has been signature songs. Bennett’s versatile work within the arts industry performing and songwriting since the mid-1970s. over the past 30 years includes various roles as performer, songwriter, musical and artistic director, composer, actor, He has been a member of the Broome bands Kuckles soundscape designer and academic. (1981 to present), Scrap Metal (1983 – 92), and since 1994 Our express lunch menu highlights the regional he has performed and recorded with six of his siblings Bennett was a member of the Black Arm Band and was an specialties from Guy’s Love Italy cookbook focusing on a different region every month. instrumental force in the company’s transformative journey from in the Pigram Brothers, pioneering a vocal / acoustic Recharge + Explore being a one-off ‘special project’, into becoming an Indigenous ‘saltwater country’ style of music. He was musical ToFind make your your balance afternoon with an enrichingeven easier, stay we at guaranteeThe Westin to Perth have and you performing arts company. director for the original production of the 1990 stage be assuredwell you fed will in leave 45 minutes feeling better and willthan also when include you arrived. musical Bran Nue Dae by Jimmy Chi and Kuckles and he complimentary valet parking.* Bennett completed her PhD in October 2015 and her played a major role in the development and production To book visitAvailable marriott.com/perwi for lunch daily or call from +61 812pm-3pm. 6559 1888 dissertation discusses the importance and relevance of of the 2011 AACTA-nominated Australian film Mad Indigenous language retrieval, reclamation and regeneration Bastards as composer, actor and co-producer. Two course 39 | Includes a glass of wine and coffee through the medium of the arts to enhance community health and wellbeing. In 2017 she was accepted as the McKenzie Bookings are recommended on 08 6559 1870 or email [email protected] Postdoctoral Research Fellow at the University of Melbourne and was inducted onto the Victorian Women’s Honour Roll. ROMA YIBIYUNG WINMAR 480 Hay Street, Perth, Western Australia 6000. In 2019 she accepted the appointment as a member (AM) of the Roma Yibiyung Winmar is from the Wirlomin Noongar group *Visit www.garum.com.au/offfers for full terms and conditions. Order of Australia for her significant service to the performing of WA’s south coast. She is ‘Elder in Residence’ for Kurongkurl arts, particularly to music, and the Indigenous community. Katitjin Centre for Indigenous Australian Education & Research at pav.com.au Hibernian Place, 480 Hay Street, Perth, Western Australia 6000, Australia ECU’s Mt Lawley Campus. photo: Tashi Hall T +61 8 6559 1870 E [email protected] W garum.com.au

She has consulted on a range of nationally and internationally WILLIAM BARTON performed theatrical works featuring Noongar language, including Yibiyung written by her daughter Dallas Winmar. She Born in Mount Isa, composer, multi-instrumentalist and vocalist has worked tirelessly in Indigenous education and the arts, PERTH William Barton has been playing the didgeridoo for over 25 where she continuously strives to promote Noongar language years. He has forged an international profile in the classical and cultural activities, and she has translated many children’s FESTIVAL musical world as a performer and composer, performing with songs into Noongar. the Philharmonic Orchestras of London and Berlin. CHAMBER Winmar was awarded the Barry Hayward Outstanding Barton’s unique talent has been featured at the 2008 Beijing Achievement Aboriginal Individual Award in 2005 and she sits MUSIC Olympics, the 2018 opening ceremonies of the Commonwealth on the Department of Education’s Curriculum Council, setting Games and the Invictus Games in Australia, and recently at standards and educational expectations for Noongar language WEEKEND Westminster Abbey for Her Majesty, The Queen of England for taught at secondary and TEE levels. FEATURING Commonwealth Day 2019. Australian String Quartet Barton holds honorary doctorate degrees from the Universities William Barton of Griffith and Sydney and has released five albums on the ABC Lou Bennett Classics label. His awards include Winner of Best Original Score The Gesualdo Six for a Mainstage Production at the 2018 Sydney Theatre Awards The Giovanni Consort and an ARIA for Best Classical Album for Birdsong At Dusk in Grigoryan Brothers 2012. With his prodigious musicality and the quiet conviction of Seraphim Trio his Kalkadunga heritage, he has vastly expanded the horizons Stephen Pigram of the didgeridoo — and the culture and landscape that it Voyces represents. Roma Winmar 14 – 16 FEBRUARY WINTHROP HALL & SURROUNDS VISIT PERTHFESTIVAL.COM.AU TO SEE ALL EVENTS AND TIMES WE COULDN’T DO IT WITHOUT

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