Canberra International Music Festival 27 April – 6 May 2018

Total Page:16

File Type:pdf, Size:1020Kb

Canberra International Music Festival 27 April – 6 May 2018 CANBERRA INTERNATIONAL MUSIC FESTIVAL 27 APRIL – 6 MAY 2018 Experience the music adventure CONCERT CALENDAR PAGE 1 OPENING GALA 7.30 pm Friday April 27 Fitters’ Workshop 5 Personal Injury Lawyers 2 DAPPER'S DELIGHT 11 am Saturday April 28 Fitters’ Workshop 9 3 ROGER WOODWARD I 3 pm Saturday April 28 Fitters’ Workshop 11 4 FOUR SEASONS 8 pm Saturday April 28 Fitters’ Workshop 15 5 BACH ON SUNDAY 11 am Sunday April 29 Fitters’ Workshop 19 National Gallery of Australia 6 ENOCH ARDEN 3 pm Sunday April 29 23 Instrumental Fairfax Theatre 7 CLASSIC SOUVENIR 6.30 pm Sunday April 29 Fitters’ Workshop 27 Starts at 8 FROM THE LETTER TO THE LAW 11 am Monday April 30 31 in protecting the National Library of Australia 9 ISRAEL IN EGYPT 6.30 pm Monday April 30 Fitters’ Workshop 37 10 am, 10 REQUIEM Tuesday May 1 Australian War Memorial 41 11.30 am rights of more 11 ROGER WOODWARD II 6.30 pm Tuesday May 1 Fitters’ Workshop 45 12 GLASS GAMES 12 pm Wednesday May 2 Canberra Glassworks 49 Canberrans. 13 ULYSSES NOW 6.30 pm Wednesday May 2 Fitters’ Workshop 52 8.30 am - –– TASTE OF THE COUNTRY Thursday May 3 Annual Festival Trip 57 4 pm 14 ORAVA QUARTET 6 pm Thursday May 3 Fitters’ Workshop 59 THE ASPIRATIONS OF A J O 15 8 pm Thursday May 3 Canberra Theatre 63 M R DAISE MORROW At Maliganis Edwards Johnson, we’ve seen 2018 Canberra 16 RETURN TO BASICS 11 am Friday May 4 Canberra Grammar School 65 firsthand how an injury can impact lives. International We’ve also seen how proper compensation 17 A SOLDIER'S RETURN 7.30 pm Friday May 4 Fitters’ Workshop 67 Music Festival can make all the difference. That’s why we’ve 18 I BASSIFONDI 11 am Saturday May 5 Fitters’ Workshop 71 provided more support, more personalised S P R advice, and more understanding to more O N S O 19 THE TROUT 3 pm Saturday May 5 Fitters’ Workshop 73 Canberrans since 1985. 20 BEOWULF 8 pm Saturday May 5 Fitters’ Workshop 77 If you’ve been injured and need 21 PETER AND THE WOLF 11 am Sunday May 6 Fitters’ Workshop 81 compensation, there’s one law firm that BARBARA BLACKMAN'S National Gallery of Australia 22 2 pm Sunday May 6 83 means more. FESTIVAL BLESSING Fairfax Theatre 23 FESTIVAL FINALE: SERENADE 6.30 pm Sunday May 6 Fitters’ Workshop 87 Don’t delay. Call MEJ. 02 6257 2999 | mej.com.au 1 Welcome from Message from ACT Chief Minister Honorary Festival Patrons, Andrew Barr MLA Major General the Hon. Michael Jeffery and Mrs Marlena Jeffery Welcome to the 2018 Canberra International The Canberra International Music Festival Autumn comes around, a little later this year than we were expecting. But when it comes around, Music Festival, where you can discover your own provides an opportunity for those attending the Canberra changes its colours and we have to change our tune. The tunes come from far afield this musical adventure. many and varied performances to experience a year and they delve deep into our collective memory: the sweeping stories of men returning from wonderful program, exceptional musicianship, Across 10 days, venues across Canberra will war, and what it means to head back home. come alive with the sound of the best classical, great venues and enjoyment from real and contemporary and world music in the Southern close connections between performers and Home is where our roots are, the things who made us who we are, the generations that defined us, audience. Hemisphere. named us and gave us history and kinship. The story of Beowulf lifts up a tip of the Anglo-Saxon With 23 ticketed concerts, site-specific events, As Honorary Patrons, Marlena and I are looking veil, a tale of adventure that is as riveting now as it once was long before someone committed it forward to this year’s Festival. It will be performed musical walks and free sessions, there’s to parchment. And Brenda’s story, the story of an Indigenous woman whose lands we share, the something for everyone. by very talented local, national and international artists at some of our city’s most iconic venues, story of putting ‘Gambambarawaraga’ to paper and leading us whitefellas through the cycle of the Canberrans are the happiest, longest-living and set against a backdrop of Canberra’s glorious seasons. She has lifted the tip of an even bigger veil that surrounds this land: the way it changes, the best-educated Australians and we certainly like autumn hues and colours. way it breathes, the way it burns in the sun and draws from the moon. our music. With intimate performances in some This magnificently organised ten day program of Canberra’s best buildings, this year’s festival How we return to our own sources is the story of this festival. We learn to walk a long way, often will inspire, educate and uplift. includes Indigenous cultural music, the ancient traditions of the bard, Baroque and only to find ourselves where we started. We would love to remember those first steps but our gait The ACT Government is proud to support classical music on period instruments and has shifted, our gaze widened and our stumbles have born fruit. No matter how much was gained, the Canberra International Music Festival birthday tributes to Claude Debussy and nothing ever remains the same. and Canberra’s expanded arts scene. As our Leonard Bernstein. This mix of musical styles city continues to grow, a healthy arts scene is and musicians, involving many of our younger This is a festival for the dreamers, for all those who believe in green sprigs shooting out of age-old important to add vibrancy to our community up and coming artists, provides an excellent trunks. and the Festival is an integral part of that. opportunity for all to enjoy a variety of world This Festival attracts many people from class performances. It also demonstrates that Roland interstate and I welcome you all to our city. the future of great music in this country is in You’ve come to one of the world’s best cities good hands. to visit this year, according to Lonely Planet. Marlena and I are looking forward to this year’s The Canberra region offers such diverse visitor Festival and the opportunity to share these experiences, from national institutions to our lovely musical experiences with you all. award-winning vineyards. Michael and Marlena Jeffery I hope you enjoy the 2018 Canberra International Music Festival and experience Canberra in all its seasonal beauty. Andrew Barr MLA ACT Chief Minister Photo: William Hall The position of Artistic Director IS SUPPORTED BY ANNA & BOB PROSSER 2 3 FRIDAY 27 APRIL FRIDAY 27 APRIL Supported by the AINSLIE + GORMAN ARTS CENTRES MALIGANIS EDWARDS JOHNSON presents FESTIVAL EXTRA CONCERT 1 TALK OF THE TOWN - THE VIOLINISTS OPENING GALA Gorman Arts Centre - Main Hall 55 Ainslie Avenue, Braddon 2.00pm | 60 mins Festival Artistic Director Roland Peelman in conversation with Tim Fain and Cecilia Bernardini Meet two major protagonists of the violin: New York based Tim Fain of Philip Glass fame and Cecilia Bernardini, Dutch-Italian specialist of baroque and classical violin. A discussion on versatility, virtual reality and the rewards and challenges of classical music in the digital age. The Seasons TICKETS $10 Fitters' Workshop Festival Opening - William Barton and Ned McGowan in duet 7.30pm | 115 mins Philip Glass b. 1957: Chaconne I from Partita William Barton DIDGERIDOO The Best Festival Ever: Celebrating 25 years Ned McGowan b. 1970: Winter Tones Ned McGowan CONTRABASS FLUTE Peter Sculthorpe 1929–2014: Autumn Tim Fain SOLO VIOLIN Anne Boyd b. 1946: Goldfish Through Summer Rain 25 years ago, members of the Canberra Keiko Shichijo PIANO commmunity who shared a love of John Cage 1912-1992: 'Spring' from the ballet The Seasons (1947) Brendan Clarke DOUBLE BASS music began presenting concerts in Alistair Anderson b. 1948: When the frosts are setting in Hugh Barrett PIANO private homes and embassies. From these Anonymous: Rattlin’ Billie (18th century jig) Mark Sutton PERCUSSION small beginnings, the Festival has grown Anonymous: Rattling Roaring Willy (18th century jig) into a ten-day event with a national Susanna Borsch RECORDER reputation for excellence and innovation. Brenda Gifford b. 1968: Gambambarawaraga (WP) - Beaver Blaze Turner Trebles & Vocal Fry Kate Howden MEZZO-SOPRANO – INTERVAL – We think 25 years is worth celebrating. Tobias Cole COUNTERTENOR George Frideric Handel 1685-1759: Arias and Duets: Bach Akademie Australia We are launching a special birthday ‘Oh that I on wings could rise’ from Theodora HWV 68 DIR. Madeleine Easton appeal with the aim of raising an additional ‘Oh Lord whose mercies numberless’ from Saul HWV 53 WITH Become a Cecilia Bernadini VIOLIN $25,000 for Roland to invest in our 2019 ‘Se bramate d'amar chi vi sdegna’ from Serse (Xerxes) HWV 40 program. Simone Vallerotonda THEORBO 2019 ‘Se in fiorito prato’ from Giulio Cesare in Egitto HWV 17 Alice Giles BAROQUE HARP Festival If you simply wouldn’t miss the Festival ‘As with rosy steps’ from Theodora HWV 68 DIRECTED FROM THE HARPSICHORD BY each year, or this is your first time and ‘Son nata a lagrimar’ from Giulio Cesare in Egitto HWV 17 Roland Peelman Supporter you’ll be back, we would like you to join VOCAL FRY Is funded by ARTSACT with us to make CIMF 2019 our and presented by “Best Festival Ever”. ANU SCHOOL OF MUSIC This concert is supported by BEV & DON AITKIN WP – WORLD PREMIERE Find out more at cimf.org.au/25years 4 3-12 MAY 2019 5 Betty Beaver and the Festival Blaze Living language Betty Beaver AM is a stalwart of arts and music in Canberra.
Recommended publications
  • Sydney Conservatorium of Music Postgraduate Handbook
    2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at
    [Show full text]
  • Art Song Canberra Annual Report 2006
    Art Song Canberra Inc. www.artsongcanberra.org SEASON OF SONG 2015 In 2015 Art Song Canberra will present seven recitals of fine art song by an outstanding array of award-winning, highly-accomplished artists, many of them widely experienced on the world stage. Background Art Song Canberra was founded as the A.C.T. Lieder Society in 1976 by a small group of devotees led by Eleanor Houston OAM of Covent Garden fame. Its purpose is to foster and extend the love of art song. This is done mainly by: presenting the Season of Song, an annual series of high quality concerts, to its members and the general public; providing development opportunities such as masterclasses for talented amateur singers; conducting Members’ Soirées, gatherings of members to sing and play together in a social setting, in the manner of the earliest Lieder societies; and awarding the Art Song Canberra Prize for supreme achievement in art song in the Open sections of the Singing Division of the Australian National Eisteddfod. In each year of its life the society has presented a series art song recitals. The great majority of the society’s artists have been highly accomplished both in Australia and internationally. Singers have included such noted Australians as Eleanor Houston, Michael Martin, Sally-Anne Russell, Greta Bradman, Merlyn Quaife, Tobias Cole, Christopher Allan, Louise Page and Christina Wilson. Overseas-based singers have included Susan Burghardt (USA), Tanya Aspelmeier, Knut Schoch, Erwin Belakowitsch and Australian Sally Wilson (Germany), Rebecca Ryan (New Zealand), Thomas Weinhappel (Austria) and Bruce Cain (USA) who appeared with guitarist David Asbury.
    [Show full text]
  • A C AHAH C (Key of a Major, German Designation) a Ballynure Ballad C a Ballynure Ballad C (A) Bal-Lih-N'yôôr BAL-Ludd a Capp
    A C AHAH C (key of A major, German designation) A ballynure ballad C A Ballynure Ballad C (A) bal-lih-n’YÔÔR BAL-ludd A cappella C {ah kahp-PELL-luh} ah kahp-PAYL-lah A casa a casa amici C A casa, a casa, amici C ah KAH-zah, ah KAH-zah, ah-MEE-chee C (excerpt from the opera Cavalleria rusticana [kah-vahl-lay-REE-ah roo-stee-KAH-nah] — Rustic Chivalry; music by Pietro Mascagni [peeAY-tro mah-SKAH-n’yee]; libretto by Guido Menasci [gooEE-doh may-NAH-shee] and Giovanni Targioni-Tozzetti [jo-VAHN-nee tar-JO- nee-toht-TSAYT-tee] after Giovanni Verga [jo-VAHN-nee VAYR-gah]) A casinha pequeninaC ah kah-ZEE-n’yuh peh-keh-NEE-nuh C (A Tiny House) C (song by Francisco Ernani Braga [frah6-SEESS-kôô ehr-NAH-nee BRAH-guh]) A chantar mer C A chantar m’er C ah shah6-tar mehr C (12th-century composition by Beatriz de Dia [bay-ah-treess duh dee-ah]) A chloris C A Chloris C ah klaw-reess C (To Chloris) C (poem by Théophile de Viau [tay- aw-feel duh veeo] set to music by Reynaldo Hahn [ray-NAHL-doh HAHN]) A deux danseuses C ah dö dah6-söz C (poem by Voltaire [vawl-tehr] set to music by Jacques Chailley [zhack shahee-yee]) A dur C A Dur C AHAH DOOR C (key of A major, German designation) A finisca e per sempre C ah fee-NEE-skah ay payr SAYM-pray C (excerpt from the opera Orfeo ed Euridice [ohr-FAY-o ayd ayoo-ree-DEE-chay]; music by Christoph Willibald von Gluck [KRIH-stawf VILL-lee-bahlt fawn GLÔÔK] and libretto by Ranieri de’ Calzabigi [rah- neeAY-ree day kahl-tsah-BEE-jee]) A globo veteri C AH GLO-bo vay-TAY-ree C (When from primeval mass) C (excerpt from
    [Show full text]
  • The Australian Music Centre Website
    A select guide to Australian music theatre In Repertoire 2 I Dear Reader This guide takes you on a journey through contemporary Australian music theatre works that are currently available for touring. These and additional works in repertoire can all be found in the data base on pages 24 - 25 with contact addresses and other information. A few significant works no longer in repertoire are mentioned in the overview essay on pages 22-23. Many more are documented in Arias, Recent Australian Music Theatre (Red House Editions, 1997). A sample listing of works in progress is reported on page 26. On the same page a basic set of references can be found. A longer list is available on the Australian Music Centre website http://www.amcoz.com.au/amc The Editor Editor Keith Gallasch Assistant Editors Kirsten Krauth, Virginia Baxter Design i2i design, Sydney Cover photographs Left Arena Theatre Company, Eat Your Young, photo Jeff Busby Right Top Melbourne International Festival of the Arts, The Ghost Wife, photo Jeff Busby Right Bottom Queensland Theatre Company, The Sunshine Club, photo Rob MacColl All other photography credits page 27 Produced by RealTime for the Australia Council, the Federal Government’s arts funding and advisory body Australia Council PO Box 788 Strawberry Hills NSW Australia 2012 61 2 9215 9000 fax 61 2 9215 9111 [email protected] http://www.ozco.gov.au RealTime PO Box A2246 Sydney South NSW, Australia 1235 61 2 9283 2723 fax 61 2 9283 2724 [email protected] http://www.rtimearts.com.au/~opencity/ February 2000 ISBN 0 642 47222 X With the assistance of the Australian Music Centre 3 music theatre opera music+installation+performance Introduction The remarkable growth of Australian music theatre as we enter the new millennium appears to be exponential, manifesting itself in many different and surprising ways - as chamber opera, as the musical, as installation or site specific performance, and as pervasive musical scores and sound design in an increasing number of plays.
    [Show full text]
  • Great Performances in the Albert Hall the Second 25 Years (1954 – 1979)
    Canberra Choral Society proudly presents GREAT PERFORMANCES ALexANDeR BALus IN THE ALBERT HALL the second 25 years (1954–1979) 20 September 2014 | Canberra Playhouse Conducted by Brett Weymark Starring Tobias Cole, Christopher Saunders and Jacqueline Porter with Christopher Richardson and Christina Wilson Sunday 13 July 2014 Great Performances in the Albert Hall the second 25 years (1954 – 1979) Conductor/MC: Tobias Cole Featuring Louise Page, Christopher Lincoln Bogg, Anthony Smith and CCS Chorus With Katie Cole, Barbara Jane Gilby, Joy McDonald and the Turner Trebles Guests Veronica Thwaites-Brown and Peter Tregear God Save the Queen (all) 1954–Vienna Boys Choir (Turner Trebles) Emperor's Waltz (Johann Strauss) 1955–Medea (Elizabethan Trust Theatre starring Judith Anderson) (Katie Cole and Tobias Cole) 1956–Miklos Gafni (Christopher Lincoln Bogg) Recondita Armonia (Puccini) Mattina (Leoncavallo) Torna a Surriento (de Curtis) 1957–Leontyne Price (Louise Page) 'Piangerò' from Giulio Cesare in Egitto (Handel) Après un rêve (Faure) 1959–Beryl Kimber 1961–Isaac Stern (Barbara Jane Gilby) ‘Loure’, ‘Gavotte en rondeau’ from Partita No. 3 in E (JS Bach) ‘Sonatensatz: Scherzo’ from FAE Sonata (Brahms) 1960–The Magic Pudding (Peter Scriven’s Puppets) (Joy McDonald) 1961–The Sentimental Bloke (singalong) 2 Interval 1963–Rita Streich (Louise Page) ‘O luce di quest’anima’ from Linda di Chamounix (Donizetti) 1965–Canberra Choral Society ‘Hallelujah’ from Messiah (Handel) 1968–Canberra Children’s Choir (Turner Trebles) ‘Wolcum Yole’ from Ceremony
    [Show full text]
  • AGENDA Opera Antarctic Symposium: FIRST LIGHT
    AGENDA Opera Antarctic Symposium: FIRST LIGHT Monday 1st July - 4:00 - 5:00 pm OPERA ANTARCTICA Opening 'Icebreaker' event at IMAS Waterfront Building with VIPs (drinks and nibbles provided) ’The Metaphor – An Inspiration for Composition Practice' - Mary Finsterer Tuesday 2nd July - 9:30 - 4:30 pm 'The Genesis of the Antarctica Libretto' - Tom 9:30 am - 9.40 am: Symposium Introduction and Wright General Housekeeping 'Moving the Science to the Stage: A Case of 9:40 am - 11.00 am: Introduction to the Artistic Creative Pragmaticism...' - Joel Crotty Process - Part I 12.30 pm - 2:00 pm - Lunch HISTORICAL PERSPECTIVES 2:00 pm - 3:00 pm: Introduction to Antarctic 'An historical overview on how humans engage Science - Part I with Antarctica through sound and music' - Carolyn Philpott 'The Delicate Balance of Antarctica's Ice Mass' - Felicity McCormack 'Performing Antarctica' - Elizabeth Leane 'Uncovering Terra Incognita - what lies beneath?' - ART COMMUNICATION TODAY Jacqueline Halpin ‘Connecting to an Audience' - Fedor Teunisse 'Antarctica and the Ice Ages' - Zanna Chase ’Pristine – Landscapes and Perception' - Dean Golja ‘Secret Sediments’ – Taryn Noble 'Parallels between Science Communication and 'Under-waterfalls Driving the World's Ocean Arts Marketing' - Troy Beer Engine' - Guy Williams 11.00 am - 11.15 am: Morning Tea 'Etchings of an Iceberg' - Vanessa Lucieer 11:15 am - 12:30 pm: Introduction to the Artistic ‘Hotspots of Wonderment’ – Craig Johnson Process - Part II 1 Tuesday 2nd July - Cont Wednesday 3rd July - 9.30 - 4.30 pm 3.00 pm
    [Show full text]
  • 2 a Message from CCS President, Alison White I Warmly Welcome You to the Albert Hall and Our Performance Which Celebrates This L
    A Message from CCS President, Alison White I warmly welcome you to the Albert Hall and our performance which celebrates this lovely venue and relives some of the great concerts which were held here in Canberra’s early years. There is something for everyone in this afternoon’s concert and I would like to acknowledge all the talented local Canberra artists who have contributed to the program and of course our creative and talented conductor and Artistic Director, Tobias Cole. I would also like to thank the very hard-working members of the Canberra Choral Society committee and choir members who devote hours of their time to the choir and without whose hard work we could not possibly put on these performances. The Canberra Choral Society relies in major part on funding from ticket sales and donations and I gratefully acknowledge those donors who have so generously supported this concert. You too can choose to support us and by doing so help us to present high quality and creative performances for Canberra audiences. All donations to the Canberra Choral Society are tax deductible. Our next performance will be the Australian premiere on period instruments of the Handel oratorio Theodora, with acclaimed soprano Greta Bradman, guest conductor Brett Weymark from Sydney Philharmonia Choirs and our own Tobias Cole, along with many other talented musicians and singers. This concert will be performed in the Canberra Playhousea first for the CCS and a really exciting venture. We look forward to seeing you in the audience on Sunday 23 June. In the meantime I hope you enjoy today’s entertaining program.
    [Show full text]
  • La Création Musicale À Montréal De 1966 À 2006 Vue Par Ses Institutions
    Collection dirigée par Sophie Stévance La collection Recherches en musique souhaite rassembler la diversité de la recherche en musique – nous sommes tous et toutes des chercheurs ayant comme objet d’étude la musique, quelles que soient les disciplines et les approches adoptées pour mieux la comprendre : musicologie, pédagogie musicale, éducation musicale, histoire de la musique, ethnomusicologie, sociologie de la musique, philosophie de la musique, psychologie, etc. Comité scientifique Serge Lacasse, Francis Dubé, Jean-Philippe Desprès, Ariane Couture, Nicolas Darbon, Valerie Peters, Paul-André Dubois, Monique Desroches Titre paru : Stévance, Sophie (dir.), Serge Lacasse (dir.), Martin Desjardins (dir.), Pour une éthique partagée de la recherche-création en milieu universitaire, 2018. La création musicale à Montréal de 1966 à 2006 vue par ses institutions III La création musicale à Montréal de 1966 à 2006 vue par ses institutions ARIANE COUTURE Nous remercions le Conseil des arts du Canada de son soutien. We acknowledge the support of the Canada Council for the Arts. Les Presses de l’Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l’ensemble de leur programme de publication. Illustration de couverture : Odile Côté-Rousseau, Désir, 2016, acrylique sur toile, 30 × 40 pouces, Québec, https://www.odile-rousseau-artiste.com/ Maquette de couverture : Laurie Patry Mise en pages : Danielle Motard ISBN papier : 978-2-7637-4656-2 ISBN pdf : 9782763746579 © Les Presses de l’Université Laval Tous droits réservés. Imprimé au Canada Dépôt légal 4e trimestre 2019 Les Presses de l’Université Laval www.pulaval.com Toute reproduction ou diffusion en tout ou en partie de ce livre par quelque moyen que ce soit est interdite sans l’autorisation écrite des Presses de l’Université Laval.
    [Show full text]
  • The Melba – Spring 2017
    Edition 17 Spring 2017 BEING MELBA WITH EMMA MATTHEWS A MEZZO ASCENDING - EMILY EDMONDS WINS DAME HEATHER BEGG AWARD A FOREIGN CONCEPT - LANGUAGE, CULTURE AND ETIQUETTE Cleo Lee-McGowan - Joseph Sambrook Opera Scholarship In this edition of The Melba, you continued with him winning the Stacey Alleaume will reprise her role CONTENTS NOTE FROM will read how each of our scholars German-Australian Opera Grant: of Micaëla (Carmen) and Violetta has been working to prepare for a twelve-month contract with (La traviata) with Opera Australia PAGE 2 THE GENERAL these important ‘next steps’ and Wiesbaden Opera from the middle next year, Samuel Piper will make • Note from the General how Melba Opera Trust continues of next year. Last month, Bronwyn his debut with Opera Queensland as Manager MANAGER to support their development Douglas received the prestigious Masetto (Don Giovanni) and you can • About Melba Opera Trust with our three-tier program. One Dame Joan Sutherland & Richard hear Nicholas Tolputt perform both • Sterling Leadership and Vision of our challenges is to ensure Bonynge Bel Canto Award along with Messiah and Bernstein Classics with that the suite of Melba programs a suite of other awards including Melbourne Symphony Orchestra. PAGE 3 remain responsive to the ever- the Audience Choice. Melba proudly At Melba headquarters, planning changing world of opera. Recent congratulates Fiona, Damian, Daniel • Since We Last Wrote is underway for our own 2018 enhancements to the Mentor and Bronwyn on their achievements program as we prepare to hear the PAGE 4-5 Program are highlighted in the pages and we are looking forward to next generation of promising young that follow.
    [Show full text]
  • Australian Chamber Music with Piano
    Australian Chamber Music with Piano Australian Chamber Music with Piano Larry Sitsky THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/ National Library of Australia Cataloguing-in-Publication entry Author: Sitsky, Larry, 1934- Title: Australian chamber music with piano / Larry Sitsky. ISBN: 9781921862403 (pbk.) 9781921862410 (ebook) Notes: Includes bibliographical references. Subjects: Chamber music--Australia--History and criticism. Dewey Number: 785.700924 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Cover image: ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgments . vii Preface . ix Part 1: The First Generation 1 . Composers of Their Time: Early modernists and neo-classicists . 3 2 . Composers Looking Back: Late romantics and the nineteenth-century legacy . 21 3 . Phyllis Campbell (1891–1974) . 45 Fiona Fraser Part 2: The Second Generation 4 . Post–1945 Modernism Arrives in Australia . 55 5 . Retrospective Composers . 101 6 . Pluralism . 123 7 . Sitsky’s Chamber Music . 137 Edward Neeman Part 3: The Third Generation 8 . The Next Wave of Modernism . 161 9 . Maximalism . 183 10 . Pluralism . 187 Part 4: The Fourth Generation 11 . The Fourth Generation . 225 Concluding Remarks . 251 Appendix . 255 v Acknowledgments Many thanks are due to the following.
    [Show full text]
  • The Piano Prelude in the Early Twentieth Century: Genre and Form
    THE PIANO PRELUDE IN THE EARLY TWENTIETH CENTURY: GENRE AND FORM by Siew Yuan Ong, B.Mus.(Hons) This thesis is presented for the degree of Master of Arts of The University of Western Australia School of Music Faculty of Arts 2005 Abstract This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features – its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function – the prefatory role – in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity.
    [Show full text]
  • Education Resource Guide
    Australian Music Education resource guide MUSIC RESOURCES AT YOUR FINGERTIPS Quickly and easily find music teaching resources and materials relating to Australian contemporary classical music, improvised jazz, experimental music and sound art. Our website and collection provides access to: INSIDE • Biographical information on over 600 artists Fast-track your library searching 2 • Resource materials to support curriculum content Using the digital library 2 • Customised education kits New releases: education resources 3 • Repertoire listings of works suitable for high school performance Popular education resources 4 • Over 34,000 scores, recordings and information resources – including online audio Books on Australian music and score excerpts for a majority of works and composers 7 • Monthly eNews with the latest information on the Australian music landscape Books on jazz, Indigenous music, • Online magazine Resonate, featuring in-depth articles and discussion, blog articles, composition and performance 8 news and commentary; interviews with composers, sound artists and performers. Recordings of Australian music 9 Much of the content on the AMC website is freely available for online visitors, with some Post-secondary music institutions 10 services, such as digital and physical library loans, available only to members. Music for youth ensembles 11 Youth music programs in Australia 11 NEW RESOURCES FOR PERFORMANCE, Resonate magazine: COMPOSITION AND MUSICOLOGY in-depth features, news and blogs 12 In 2012 the Australian Music Centre released three new education RESOURCES ON DEMAND: resources for classroom teaching. (See website for more recent kits.) BECOME A MEMBER With a focus on analysing composition techniques and how composers turn inspiration into a work of music, The music of Become a School Member for $150 Liza Lim is centred around the work of the UK-based Australian composer, Liza Lim.
    [Show full text]