DOCSLIB.ORG

Official Program July 20-24, 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2018 Official Program July 20-24, 2018 Townsville Civic Theatre Townsville Grammar School Music Centre Pimlico High School Performing Arts Centre Townsville, North Queensland Designed and printed by Mayor’s Message It gives me great pleasure to welcome you all to the 2018 Australian Concerto and Vocal Competition. Very few regional centres of our size can boast a competition of this calibre and we are proud to be the home of the Australian Concerto and Vocal Competition. Townsville City Council has had a long association with this national event and I’m pleased to say we continue to stand by the competition as major sponsor. is a proud sponsor of The Australian Concerto and Vocal Competition is one of the the Australian Concerto highlights of Townsville’s culturally-rich winter calendar of & Vocal Competition events that offers a feast of live music, performances and experiences for all ages. No video recording or We are very fortunate to have skilled and dedicated committee other devices are allowed members who continue to deliver such a high quality event in the theatre during that delights and inspires both the Townsville community and performances under the those who travel here for the competition. rules of the Townsville Civic Also to be congratulated are the multitude of local sponsors - Theatre and APRA AMCOS. both individual and commercial – who are so supportive of this No food or drinks are event. allowed in the auditorium. If you are a visitor to Townsville I extend a special welcome and Silence is requested during hope you can find time between performances to explore and performances. Please enjoy our varied attractions including The Strand, Castle Hill make sure you turn off your and the many modern cafes and restaurants. mobile phone. I wish all performers the very best of luck and trust this year’s Thank you Australian Concerto and Vocal Competition will be the best yet. Councillor Jenny Hill Mayor of Townsville President’s Message It has been an exciting journey being part of this event as president of a Management Committee that includes people who put tremendous effort into ensuring the smooth running of the Australian Concerto & Vocal Competition, now in its 38th year. Sincere appreciation must go to the local sponsors, volunteers, and billet hosts as we welcome entrants from around Australia and from overseas. A very special welcome to our Patron, Mr Piers Lane AO, who is honouring us by being the instrumental adjudicator this year; a warm welcome also on a return visit to our vocal adjudicator, Ms Cheryl Barker AO. We look forward to hearing wonderful performances from the concerto and operatic repertoire over the five days of the Competition. Having been given the challenge of using three venues while the Civic Theatre is refurbished, we trust that you will enjoy having the choice not only of what you hear but also where you will hear it. As outlined in this programme, all instrumental sections will be held at the Townsville Civic Theatre, C2 Auditorium, all vocal sections will be held at the Townsville Grammar School Music Centre and the Ensembles for School Students will be at the Performing Arts Centre of Pimlico State High School. We are most grateful to the Townsville Grammar and Pimlico State High School for coming to our assistance by providing suitable venues at their schools. Collaboration with many local music organisations and teachers makes it possible to provide Townsville with this exciting opportunity for talented musicians to perform and for audiences to hear them. A special feature of this year’s competition will be the additional prize for one of the school ensembles to participate in the Winterschool Junior Workshop week-end under the auspices of the Australian Festival of Chamber Music. Another highlight this year will be a piano masterclass conducted by Piers Lane involving three piano entrants who have not been chosen for the Open Finals. With such enthusiastic support from so many people, we trust that our major sponsor Townsville City Council can take pride in supporting this annual event. Happy playing & listening! Cris Dall'Osto President Australian Concerto & Vocal Competition 2018 | 3 Welcome to the Australian Concerto and Vocal Competition. We are delighted you can join us. There are two changes this year: The Program The time and location of each event by date is in the program index. In the program, details of entrants are shown in the section/s they are performing. The day/s, date/s, time/s and venue/s are also indicated. The Venues We will be using three venues for the Competition as the Civic Theatre is being refurbished and the main theatre is not available. • Townsville Civic Theatre, C2 Auditorium • Townsville Grammar School Music Centre (TGSMC) (parking beside the building) 27 Paxton Street, North Ward (near Queens Gardens) • Pimlico State High School Performing Arts Centre (PIMPAC) (in the grounds of Pimlico State High School) Fulham Road, Pimlico Warburton St Townsville Sports Reserve PIMPAC TGSMC Townsville BURKE ST Queens HUGH ST Grammar Mater School Gardens TAFE GREGORY ST Hospital PAXTON ST FULHAM RD Anderson Gardens Townsville Grammar School Music Centre Pimlico State High School Music Centre 4 | Australian Concerto & Vocal Competition 2018 Program Index SECTION TIME AND VENUE PAGE C2 TGSMC PIMPAC Friday 20 July Section 3: Instrumental 6.30pm 15 Section 4: Vocal 7.00pm 28 Saturday 21 July Section 5: Young Instrumental 10.00am 19 Section 6: Ensembles for School Students 1.30pm 20 Section 2: Open Vocal - Preliminary (Session 1 of 2) 1.00pm 24 Section 2: Open Vocal - Preliminary (Session 2 of 2) 6.00pm 25 Announcement of Vocal Finalists 8.30pm 27 Section 1: Open Instrumental - Preliminary (Session 1 of 6) 7.00pm 10 Sunday 22 July Section 1: Open Instrumental - Preliminary (Session 2 of 6) 2.00pm 10 Section 1: Open Instrumental - Preliminary (Session 3 of 6) 7.00pm 11 Gala Vocal Concert 2.00pm 27 Join us for afternoon tea after the Concert Monday 23 July Section 1: Open Instrumental - Preliminary (Session 4 of 6) 10.00am 11 Section 1: Open Instrumental - Preliminary (Session 5 of 6) 2.00pm 12 Section 1: Open Instrumental - Preliminary (Session 6 of 6) 7.00pm 12 Announcement of Finalists & Masterclass participants 9.00pm 13 Tuesday 24 July Piers Lane Masterclass 10.00am 13 Gala Instrumental Concert 7.00pm 13 Join us for supper after the Concert Australian Concerto & Vocal Competition 2018 | 5 Piers Lane AO INSTRUMENTAL ADJUDICATOR London-based Australian pianist Piers Lane stands out as an engaging and highly versatile performer, at home equally in solo, chamber and concerto repertoire. In great demand as a soloist and collaborative artist, recent highlights include performances of Busoni’s mighty piano concerto, Frank Bridge’s Phantasm and Ferdinand Ries’s eighth concerto at Carnegie Hall with the newly formed Orchestra Now; premieres of Carl Vine’s second Piano Concerto, written for him, with the Sydney Symphony and the London Philharmonic, and several sold-out solo recitals at Wigmore Hall. He also gave over thirty performances in Australia, and performed throughout the UK, and in France and Belgium. Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s concerto repertoire exceeds ninety works and has led to engagements with many of the world’s great orchestras and conductors. He has recorded over sixty CDs on major labels, primarily with Hyperion Records. Awaiting release are another Piers Goes to Town recital disc, concertos by Ferdinand Ries, and a sonata disc with violinist Tasmin Little. Recent releases include concertos by the Australians Alfred Hill and George Boyle, a Franck, Fauré and Szymanowski disc with Tasmin Little and works by Borodin, the ninth disc he has recorded with the Goldner String Quartet. Piers is the Artistic Director of the Sydney International Piano Competition of Australia, and for ten years was also the Artistic Director of the Australian Festival of Chamber Music, finishing in 2017. In the 2017/18 season Piers’ concerto appearances include Rachmaninov’s Piano Concerto No. 3 under Brett Dean at Sydney Opera House with the Sydney Symphony, Brahms piano concerto No.2 with the Auckland Philharmonia, and the world premiere of a newly commissioned piano concerto by Carl Vine with Kathryn Stott, also in Australia. Piers visits the USA on several occasions, gives a solo recital at Wigmore Hall in January, and plays throughout the UK as well as in Canada, Dubai, Portugal, Norway and Russia. In the Queens Diamond Jubilee Birthday Honours, he was made an Officer in the Order of Australia (AO). Please visit www.pierslane.com for more information. Photo Keith Saunders 6 | Australian Concerto & Vocal Competition 2018 Cheryl Barker AO VOCAL ADJUDICATOR Cheryl Barker AO has established a distinguished Operatic Career throughout the UK, Europe, USA and Australasia. She has performed for the Royal Opera House Covent Garden, English National Opera, Welsh National Opera, Paris Opera, Nederlandse Opera, Deutsche Oper Berlin, Hamburg State Opera, Houston Grand Opera, Grand Théâtre de Genève, National Opera du Rhin, De Vlaamse Opera, La Monnaie, Opera Holland Park, Reis Opera, Scottish Opera, Glyndebourne Festival Opera, Minnesota Opera, Vancouver Opera, Taipei Opera, Opera Queensland, Opera Australia, State Opera of South Australia, Opera New Zealand, Victoria State Opera and Western Australian Opera. Her many roles have included the title roles in Jenufa, Tosca, Suor Angelica, Madama Butterfly, Manon Lescaut, Rusalka,
Recommended publications
  • Piers Lane Biography

    Piers Lane Biography

    Piers Lane Biography “… No praise could be high enough for Piers Lane whose playing throughout is of a superb musical intelligence, sensitivity, and scintillating brilliance…” (Bryce Morrison, Gramophone) London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. Highlights of the past few years have included a sold-out performance with the London Philharmonic Orchestra and Alexander Verdernikov at London’s Royal Festival Hall, concerto performances at Lincoln Center’s Avery Fisher Hall, a three-recital series entitled Metamorphoses and other performances for the London Pianoforte series at Wigmore Hall and five concerts for the opening of the Recital Centre in Melbourne. Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s wide-ranging concerto repertoire exceeds eighty works and has led to engagements with many of the world’s great orchestras including the BBC and ABC orchestras; the Aarhus, American, Bournemouth and Gothenburg Symphony Orchestras; the Australian Chamber Orchestra, Kanazawa Ensemble, Orchestre National de France, City of London Sinfonia, and the Royal Philharmonic, Royal Liverpool Philharmonic and Warsaw Philharmonic orchestras among others. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Richard Hickox, Andrew Litton, Sir Charles Mackerras, Jerzy Maxymiuk, Maxim Shostakovich, Vassily Sinaisky, Yan Pascal Tortelier and Antoni Wit. His 2007 performance of Beethoven’s Emperor Concerto with the Queensland Symphony Orchestra and Pietari Inkinen received the Limelight Magazine Award for Best Orchestral Performance in Australia. 1 Festival appearances have included, among others, Aldeburgh, Bard, Bergen, Cheltenham, Como Autumn Music, Consonances , La Roque d’Anthéron, Newport, Prague Spring, Ruhr Klavierfestival, Schloss vor Husum and the Chopin festivals in Warsaw, Duszniki- Zdroj, Mallorca and Paris.
  • Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley

    Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley

    Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley Australian World Orchestra Sydney Philharmonia Choir Conductor: Alexander Briger ABC 481 0550 The scale of a work such as Beethoven’s Ninth Symphony is truly staggering. Whilst the work has been overused for civic celebratory events, the concert experience (and this recording, which originates from a live concert in the Sydney Opera House) is something that can touch listeners in profound ways. The complexity of the music is only equalled by its challenging compositional ideas, along with the treatment of text (by Schiller), and the fusion of what, for the most part, are incompatibles, that is, the choral and the symphonic idiom. Structurally, the work is really a set of variations, showing a total connection from beginning to end. These totally new elements (the unconventional symphonic layout and the use of words within a symphony) helped to underline, in the public’s mind, that Beethoven had truly gone mad. This particular recording emanated from one of the most exciting of recent concert events, the inaugural season by the newly created Australian World Orchestra, an initiative to bring together the finest of Australian orchestral musicians from around the country and across the world. Thus, it saw players return from such illustrious orchestras as the Berlin and Vienna Philharmonics, Chicago and London Symphonies, the Concertgebouw and Gewandhaus, to be part of this concept orchestra. Bringing the whole project together, as its artistic and musical director, was conductor Alexander Briger, who has established himself on the world stage as one of the new dynamic conductors of this era.
  • Opera Australia's 60Th Anniversary Costume and Memorabilia

    Opera Australia's 60Th Anniversary Costume and Memorabilia

    MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move.
  • Symphonic Dances

    Symphonic Dances

    ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 MASTER SERIES 6 Symphonic Dances August Fri 16, 8pm Sat 17, 6.30pm PRESENTING PARTNER Adelaide Town Hall 2 MASTER SERIES 6 Symphonic Dances August Dalia Stasevska Conductor Fri 16, 8pm Louis Lortie Piano Sat 17, 6.30pm Adelaide Town Hall John Adams The Chairman Dances: Foxtrot for Orchestra Ravel Piano Concerto in G Allegramente Adagio assai Presto Louis Lortie Piano Interval Rachmaninov Symphonic Dances, Op.45 Non allegro Andante con moto (Tempo di valse) Lento assai - Allegro vivace Duration Listen Later This concert runs for approximately 1 hour This concert will be recorded for delayed and 50 minutes, including 20 minute interval. broadcast on ABC Classic. You can hear it again at 2pm, 25 Aug, and at 11am, 9 Nov. Classical Conversation One hour prior to Master Series concerts in the Meeting Hall. Join ASO Principal Cello Simon Cobcroft and ASO Double Bassist Belinda Kendall-Smith as they connect the musical worlds of John Adams, Ravel and Rachmaninov. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 3 Vincent Ciccarello Managing Director Good evening and welcome to tonight’s Notwithstanding our concertmaster, concert which marks the ASO debut women are significantly underrepresented of Finnish-Ukrainian conductor, in leadership positions in the orchestra. Dalia Stasevska. Things may be changing but there is still much work to do. Ms Stasevska is one of a growing number of young women conductors Girls and women are finally able to who are making a huge impression consider a career as a professional on the international orchestra scene.
  • October 1936) James Francis Cooke

    October 1936) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1936 Volume 54, Number 10 (October 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 10 (October 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/849 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE zJxtusic ^Magazine ©ctefoer 1936 Price 25 Cents ENSEMBLES MAKE INTERESTING RECITAL NUVELTIES PIANO Pianos as are Available The Players May Double-Up on These Numbers Employing as Many By Geo. L. Spaulding Curtis Institute of Music Price. 40 cents DR. JOSEF HOFMANN, Director Faculty for the School Year 1936-1937 Piano Voice JOSEF HOFMANN, Mus. D. EMILIO de GOGORZA DAVID SAPERTON HARRIET van EMDEN ISABELLE VENGEROVA Violin Viola EFREM ZIMBALIST LEA LUBOSHUTZ Dr. LOUIS BAILLY ALEXANDER HILSBERG MAX ARONOFF RUVIN HEIFETZ Harp Other Numbers for Four Performers at One Piamo Violincello CARLOS SALZEDO Price Cat. No. Title and Composer Cat. No. Title and Composer 26485 Song of the Pinas—Mildred Adair FELIX SALMOND Accompanying and $0.50 26497 Airy Fairies—Geo.
  • OQS0762 Subs 2011 Brochure Text V6.Indd

    OQS0762 Subs 2011 Brochure Text V6.Indd

    SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre.
  • FRIENDSHIPS: GOOD and BAD a Lecture for Mercury Opera Rochester by Chuck Lundeen Guild Address P.O

    FRIENDSHIPS: GOOD and BAD a Lecture for Mercury Opera Rochester by Chuck Lundeen Guild Address P.O

    FRIENDSHIPS: GOOD and BAD A Lecture for Mercury Opera Rochester by Chuck Lundeen Guild address P.O. Box 92245 Rochester NY 14692 Mercury Opera Rochester Website: www.mercuryoperarochester.org with link to Guild Guild contacts: Dr. Agneta D. Borgstedt, President 585-334-2323 [email protected] Helga Strasser, Trip coordinator 585-586-2274 [email protected] Arthur Axelrod, Vice-President,Guild lectures and technical assistance 585-377-6133 [email protected] Playlist of excerpts used and an outline of the lecture 1. A Friendship Formed from Shared Circumstances: NORMA 1831, La Scala, Milan; by Vincenzo Bellini (1801-1835), with libretto by !Felice !Romani. ARTHAUS MUSIK DVD #101 465: From the Gran Teatre Del Liceu, Barcelona, !conducted by Giuliano Carella and directed by Francisco Negrin, 2007. Norma (soprano), High Priestess of the Druids!!Fiorenza Cedolins Adalgisa (soprano) a virgin from the Druid temple!Sonia Ganassi Norma, supposedly a virgin high priestess of the Druids, has secretly been carrying on a love affair. Oddly enough, it is with Pollione, the head of the Roman army in Gaul, which is trying to conquer the Druids. Their affair has been going on long enough for the couple to have two young sons whom Norma has successfully kept hidden from everyone! Adalgisa, one of the young virgin priestesses, is feeling guilty and comes to confide in Norma that she is having a secret love affair. During the course of her confession Norma discovers that the affair is with none other than her own lover, Pollione. In this scene Norma is in total desperation.
  • 2007 2008 2007 Note $000 $000 Note $000 $000

    2007 2008 2007 Note $000 $000 Note $000 $000

    PERFORMING FOR TODAY BUILDING FOR FUTURE GENERATIONS SYDNEY OPERA HOUSE TRUST ANNUAL REPORT 2007/08 PERFORMING FOR TODAY Symphonie Fantastique Le Grand Cirque Sydney Opera House is one of the busiest and most successful performing arts centres in the world. FOR TODAY Operating 363 days, 1,269,996 people attended 1,661 performances over the year. Performance Partnerships 53,726 children attended our Kids at the Through our own programming division, Resident companies – The Australian House and House:Ed programs designed Sydney Opera House Presents, our resident Ballet, Opera Australia, Sydney Symphony for young audiences. companies and major hirers we generated and Sydney Theatre Company – were 2,709 people attended the Balnaves Open a wealth of diverse performances including responsible for 54% of our total audiences House Program that extends access to the international artists and ensembles, local and and 34% of all performances. broader community by offering $5 tickets. newly commissioned works, emerging artists Our Major Partners NAB and HP, our and programs for families and schools. Approximately 120,000 unique visitors five Media Partners and our 20 Corporate visit our website every month. Sydney Opera House Presents aims to complement Sponsors help us to achieve our business the programming of our resident companies objectives. 605 people are employed at Sydney Opera and extend the cultural experiences available House and help us to achieve success every day. Our 417 private donors generously contributed to the people of Sydney and NSW. Our They are joined by many, many other people $545,305, an increase of 15% year on programming under this banner represented on site who work with our resident companies, year, to allow us to invest in the world’s best 44% of all performances across our venues.
  • The 11Th WIPAC Piano Competition!

    The 11Th WIPAC Piano Competition!

    Established 2001 ________________________________________________________ Dedicated to creating a Renaissance of interest in the Art of Piano Performance ♫ Making music flourish in our communities ♫ Promoting international friendship and cultural understanding through the art of classical piano music ♫♫♫ 3862 Farrcroft Drive, Fairfax, VA 22030 USA E-mail: [email protected] Website: www.wipac.org (703) 728-7766 …………………..…………... A Message from the Chair Welcome to The Festival of Music 2013 & The 11th Washington International Piano Artists Competition Washington International Piano Arts Council (WIPAC) continues to present this celebration of music in cooperation with The George Washington Music Department, The Kosciuszko Foundation and the Embassies of Bulgaria and Portugal. The path to success in this competition was made easier and manageable by all the special people I met who supported us along the way. May I begin with a special thanks to a very special friend of WIPAC, Her Excellency Elena Poptodorova, Ambassador of Bulgaria, who has been a bright light that shines on that path. Her generosity had no bounds, always welcoming and standing ready to open the door to help us. The Embassy of Bulgaria hosts the Final Round of this year’s competition, even in her unscheduled absence. To all the pianists who came from three continents, my admiration and deep appreciation for your valor, strength, tenacity and hard work, preparing your programs and practicing many hours at the same time as maintaining a busy life of career and family! A toast! John and I consider ourselves very fortunate to be surrounded by dedicated board members and friends who continue to keep our torch burning so that we may give the pianists a place in the sky where they can showcase their amazing talents.
  • 2005 Distinguished Faculty, John Hall

    2005 Distinguished Faculty, John Hall

    The Complete Recitalist June 9-23 n Singing On Stage June 18-July 3 n Distinguished faculty John Harbison, Jake Heggie, Martin Katz, and others 2005 Distinguished Faculty, John Hall Welcome to Songfest 2005! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer 1996 Young Artist program with co-founder John Hall. Songfest 2005 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2005 at Pepperdine University once again this summer. In our third year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song to exploring the varied and rich American Song. We are once again privileged to have John Harbison with us this summer. He has generously donated a commission to Songfest – Vocalism – to be premiered on the June 19 concert. Our singers and pianists will be previewing his new song cycle on poems by Milosz. Each time I read these beautiful poems, I am reminded why we love this music and how our lives are enriched. What an honor and unique opportunity this is for Songfest.
  • Nexas Quartet Biography (2020)

    Nexas Quartet Biography (2020)

    Nexas Quartet Biography (2020) ‘Utterly startling … adrenaline fueled. 4.5 stars.’ Limelight Magazine ‘The quartet played with great energy and smooth precision full of virtuosity and fine ensemble work’ Lynne Lancaster Sydney Arts Guide ‘The group demonstrated its tight ensemble work and took us on a romp of colourations, each as exciting as the next’ Samuel Cottell Cut Common At the forefront of chamber music, Nexas Quartet are leaders in promoting existing and creating new repertoire for the saxophone quartet. The group’s success comes from a combination of personalities, virtuosic saxophone skills, and an ability to program concerts of a wide appeal that has seen the musicians perform in a multitude of settings. 2020 will see performances for the Australian Festival of Chamber Music in Townsville, Musica Viva, Bravo Performing Arts Cruise, Concerto performances with the Willoughby Symphony Orchestra, Orange Chamber Music Festival, Melbourne Recital Centre, the Chamber Music Project, new collaborations with Cheryl Barker and Peter Coleman-Wright, as well as the release of their CD "Tango de Saxos" featuring Daniel Rojas (piano) and Stephen Cuttriss (bandoneon). Over the last couple of years the quartets has developed an ongoing collaboration with opera star Peter Coleman-Wright. This has been highlighted by the 2017 recording ‘Ballads of a Pleasant Life’ for ABC Classics. This collaboration also resulted in the show ‘Composers in Exile’ described thus by Bill Stephens for Arts Review: ‘the brilliance of the five performers, their easy charm and obvious affection and enthusiasm for the material, proved a seductive combination in a presentation which informed the mind while pleasuring the soul’.
  • An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka

    An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka

    \ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues.