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Ayo National Music Camp Summer Concert Series AYO NATIONAL MUSIC CAMP SUMMER CONCERT SERIES ORCHESTRAL CONCERT 1 AYO NATIONAL MUSIC CAMP SUMMER CONCERT SERIES ORCHESTRAL CONCERT 1 Saturday 12 January 2019, 4pm Elder Hall, Elder Conservatorium of Music Alexander Orchestra - Giordano Bellincampi, conductor MOZART The Marriage of Figaro: Overture SCHNELZER A Freak in Burbank Weiss Chamber Orchestra - Dale Barltrop, director WOLF Italian Serenade LEDGER The Natural Order of Things Static and serene With a sense of burden Threatening and agitated Ceremonial Calm and resolute -- Interval -- Bishop Orchestra - Ariel Zuckermann, conductor SHOSTAKOVICH Symphony No.12 in D minor The Year of 1917 Revolutionary Petrograd Razliv Aurora The Dawn of Humanity AYO NATIONAL MUSIC CAMP PARTICIPANTS ALEXANDER ORCHESTRA Giordano Bellincampi, conductor Violin 1 Viola Flute/Piccolo Josef Hanna Concertmaster Murray Kearney Principal Laura Cliff Grace Wu Joelle Hsu Lily Bryant Julian Duthoit Liam Mallinson Robyn Blann Elizabeth Simmers Oboe/Cor Anglais Lynda Latu Helena Burns Alexandra Allan Liam Pilgrim Jaimie Battams Mikaela Sukkar Mia Hughes Lachlan McKie Emma Amery Lauren Foster Clarinet Sam Jenkin Courtney Schuurs Clare Fox Beverly Kwan Sebastian Coyne Drew Gilchrist Benjamin Lam Ashleigh Abul Connor Gum Gee Aaron Dungey Bassoon Miranda Ilchef Stephanie Sheridan Josie Askey-Doran Cello Shelby MacRae Amie Stolz Charlotte Miles Principal Rose Light Rory Smith Horn Katrina Wang Christian Fisalli Violin 2 Nadia Barrow Chloe Matthews Liam Freisberg Principal Noah Lawrence Julia Hill Kate Hwang Trumpet Jasmine Milton Stephanie Skinner Hannah Rundell Amy Hosking Daisy Jeffrey Laura Jones Celine Ng Daniel Pan Lucy Clarke-Randazzo Vicky Deng Timpani Emilia Jarvela Carissa Soares Lachlan MacLaren Double Bass Nicholas Drozdowski Monty Wain Principal Ezra Uxó Williams Linh Nguyen Arwen Ooi Meg McWilliams Anika Chan Will Hansen Abigail French Hayley Witmore Elsabe de Klerk Rio Kawaguchi Thomas Crilly Georgia Lloyd AYO NATIONAL MUSIC CAMP PARTICIPANTS BISHOP ORCHESTRA Ariel Zuckermann, conductor Violin 1 Cello Horn Leanne McGowan Concertmaster Raechel Suh Principal Timothy Allen-Ankins Sola Hughes Hamish Jamieson Aishah Chadwick-Stumpf Robert Smith Kerryn Wang Gemma Lawton Julia Nicholls Henry Say Laura Hjortshoj-Haller Tahni Chan Jack Overall Linnet Sim Andrew Wang Francesca Masel Grace Thorpe Hamish Netting Trumpet Sophia Goodwin James Monro Sophie Spencer Tahlia Williams Bahar Hakimjavadi Jude Macarthur Lio S-Matsumoto Claudia Kuner Matthew Carter Elena James Hannah Solari Double Bass Trombone Georgia Cartlidge Jason Henery Principal Will Kinmont Olivia Lambert Adrian Whitehall Cian Malikides Lilly Zhang Holly Little Sebastian Pini Bass Trombone Violin 2 Louis Cann Kiran Samuel Clare Cooney Principal Sophie Cornforth Emily Su Julia Magri Tuba Willard Zhong Ayrton Gilbert Marcel Kocbek-Malepa Olivia Kowalik Alice Pickering Flute/Piccolo Timpani Sophie Hoskins-Murphy Isabel Lopez-Roldan Huon Bourne Blue Florence Cappler-Shillington Lilly Yang Sara Barbagallo Kathryn Ramsay Percussion Jonah Spriggs Jet Kye Chong David Tan Oboe/Cor Anglais Blake Roden John Choi Kate Mostert Lochie Dormer Forté Avant Kiwi Kiwi Abigail Xu Kaleah Scanlon Benjamin Caulfield Alexandra King Nathan Gatenby Nadia Alexander Clarinet/Bass Clarinet Keyboard Viola Claudia Jelic Crystal Smith Ruby Shirres Principal Nathanael Duffy Andrew Crothers Jarrad Linke Harp Charley Ma Isla Biffin Lexi Free Bassoon/Contrabassoon Emre Cakmakcioglu Tasman Compton Daniel Truong Tiger Choi Ella Pysden Chris Buckley Marlena Stanhope Olivia Spyrou Natasha Looi Kyle Brady Sebastien Masel Matthew Wu WEISS CHAMBER ORCHESTRA Dale Barltrop, director Violin 1 Viola Cello Fiona Qiu Concertmaster Isabella Fonti Principal Michael Gibson Principal Marcus Michelsen Katrina Filshie Isaac Davis Harry Egerton Dasha Auer Miranda Murray-Yong Amy You Jeremy Egerton Cindy Masterman Tanya Swinton Flora Cawte Paris Williams Sophie Ellis Double Bass Daisy Elliott Vanessa Li Principal Hayden Burton Bryn Keane Samuel Nock Violin 2 Scarlett Gallery Principal Harpsichord Natalie Kendy Scott McDougall Georgina Chan Nicholas Miceli Claudia Norton-Foley Andrew Namgung Mia Kanda-Franklin Adrian Biemmi WEISS CHAMBER ORCHESTRA Each year the Chamber Orchestra at National Music Camp is named after an individual who has made a significant contribution to Australian musical life. This year, we look forward to showcasing performances by the ‘Weiss Chamber Orchestra’, named after Australian businessman and philanthropist Peter Weiss AM. A former cellist and AYO alumnus, Weiss’ significant contributions to the arts in Australia have made it possible for countless musicians – from young students to professional players – to train, perform and excel for over 25 years. His love and generosity towards music and visual arts have had a profound and lasting impact on Australia’s cultural landscape, and in recognition Weiss was awarded an Order of Australia in 2013 for distinguished services to the arts, particularly orchestral music. AYO NATIONAL MUSIC CAMP PARTICIPANTS ARTS ADMINISTRATION AND COMPOSITION PROGRAMS Orchestral Management Composition Brighdie Chambers Rhys Little Allanah Coldwell Thomas Misson Meg Collis Alys Rayner Sage Fuller Joshua Winestock Brienne Gawler Julia Janiszewski Words About Music Dominic Jones Madi Chwasta Alexandra Lovejoy Christopher Healey Stella Joseph-Jarecki Sound Production Adam Weitzer Marcelo Hidalgo ABC CLASSIC FM BROADCASTS Live Concert Broadcasts Orchestral Concert 2 Saturday 12 January, 8pm Delayed Concert Broadcasts Orchestral Concert 1 Saturday 26 January, 12pm Orchestral Concert 2 Saturday 26 January, 8pm Orchestral Concert 3 Sunday 27 January, 12pm Orchestral Concert 4 Sunday 27 January, 2pm The times listed are local time if tuning in via analogue radio and ESDT if live streaming. CONCERT 1 PROGRAM NOTES Wolfgang Amadeus Mozart (1756-1791) The Marriage of Figaro: Overture Mozart’s The Marriage of Figaro premiered on the first of May 1786 at the Burgtheater in Vienna. It was the first full-scale collaboration between Mozart and librettist Lorenzo da Ponte, a relationship that would go on to produce two more operas which are mainstays of the operatic canon to this day, Don Giovanni (1787) and Così fan tutte (1790). The Marriage of Figaro is a comic opera which follows the adventures of manservant Figaro and his fiancé Susanna, as they try to outwit Figaro’s master Count Almaviva, who is determined to seduce Susanna before her wedding ceremony. The musical material of the overture is not heard elsewhere in the opera. Despite this, the five-minute overture captures the energetic spirit of the opera. It opens with a rollicking passage on strings and bassoon, which helps to create a sense of the mischief and pandemonium to come. This is followed by a triumphant melody utilising the full might of the orchestra. The conductor of tonight’s performance, Maestro Giordano Bellincampi, describes the overture as a ‘flash of genius put down on paper’. Stella Joseph-Jarecki This program note was written as part of the Words About Music program at the 2019 AYO National Music Camp CONCERT 1 PROGRAM NOTES Albert Schnelzer (born 1972) A Freak in Burbank (2017) Composers draw the inspiration for their music from many sources. A work might be born of the excitement of a blushing romance, the hazy atmosphere of an impressionist painting, or from the simple ‘what if?’ of a technical idea. In other instances, the person who commissioned the work might propose a starting point for the composer, and such was the case with A Freak in Burbank. According to Schnelzer, the work was originally intended as a “piece for chamber orchestra with a sort of Haydn twist on it”. Perhaps fortunately, given the nature of the initially proposed idea, the composer found himself drawn instead to the life story and works of American film director, Tim Burton, best known for his peculiar, playful, and sometimes creepy films such as Beetlejuice and Edward Scissorhands: “The humour and the burlesque qualities [of Tim Burton’s films] were something that I found interesting... When he entered my mind, he more or less took over the piece.” Schnelzer (who at the time of writing this piece was reading Burton’s autobiography Burton on Burton) tried to imagine what life must have been like for Burton as a young, “moderately destructive” boy who grew up in Burbank (California). Burton has described his experience growing up in quintessential suburban America as that of an outcast, his love for monster movies leading him to feel “kind of different and isolated... you don’t feel like you fit into your surroundings.” Schnelzer suggests the work ultimately turned out to be roughly 90 percent Burton and ten percent Haydn. While the listener is unlikely to make an association between the music of Haydn and Schnelzer’s music here, the work’s chugging rhythms and unexpected interjections masterfully capture the zany, startling and unsettling qualities that have become hallmarks of much of Burton’s oeuvre. An edge-of-your seat work, A Freak in Burbank has become immensely popular, with over 60 performances to date, including a performance at the BBC Proms in 2010. If you enjoyed this work, you may also enjoy the works of the composers Thomas Adès and Michael Gandolfi. Christopher Healey This program note was written as part of the Words About Music program at the 2019 AYO National Music Camp CONCERT 1 PROGRAM NOTES Hugo Wolf (1860-1903) Italian Serenade Taking after the ‘New German School’ tradition of Richard
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